Sentences with phrase «white framed photographs»

A stylish pale grey wall filled with black - and - white framed photographs makes an attractive focal point above the stylish original fireplace painted in a complementary tone.

With views out over the garden, this room is furnished with a centrally positioned desk and accessorised with funky lights and black & white framed photographs.

Not exact matches

She claims the Assemblyman spoke about pornography freely in the office during her tenure and, on one occasion, brought in framed black and white sexually charged photographs of women's navel areas that he intended on hanging throughout the office.

Pendant light / / Mirror / / Bedding / / Sheepskin / / Sconces / / Handles / / Wardrobes / / Cabinet / / Cabinet doors / / Ottoman fabric / / Floor lamp / / Wood branch / / Beaded garland / / Coasters / / Parsons side table / / «What is done in love is done well» print / / Picture ledge / / Abstract prints / / Diamond jute rug / / Shoe cabinet / / Marble table lamp / / Frames / / Baskets / / Tissue box / / Soap dish / / Vase / / Minimalist white horse photograph / / Pillow fabric / / Side stool / / Desk / / Gold table lamp / / Glass knots / / Sideboard / / Rug / / Clock

I have a beautiful black and white photograph framed and I thought a pop of chartreuse would pair nicely with it.

Chic black and white bathroom is fitted with black towel hooks mounted beside white recessed shelves fixed above a cabinet and beneath and beside framed black and white photographs.

Beautifully crafted in a white distressed finish with grey lettering, this horizontal frame will hold your favorite 8» x 10» photograph.

Films that might have fit this putative strand included the charming but overlong Timeless Stories, co-written and directed by Vasilis Raisis (and winner of the Michael Cacoyannis Award for Best Greek Film), a story that follows a couple (played by different actors at different stages of the characters» lives) across the temporal loop of their will - they, won't - they relationship from childhood to middle age and back again — essentially Julio Medem - lite, or Looper rewritten by Richard Curtis; Michalis Giagkounidis's 4 Days, where the young antiheroine watches reruns of Friends, works in an underpatronized café, freaks out her hairy stalker by coming on to him, takes photographs and molests invalids as a means of staving off millennial ennui, and causes ripples in the temporal fold, but the film is as dead as she is, so you hardly notice; Bob Byington's Infinity Baby, which may be a «science - fiction comedy» about a company providing foster parents with infants who never grow up, but is essentially the same kind of lame, unambitious, conformist indie comedy that has characterized U.S. independent cinema for way too long — static, meticulously framed shots in pretentious black and white, amoral yet supposedly lovable characters played deadpan by the usual suspects (Kieran Culkin, Nick Offerman, Megan Mullally, Kevin Corrigan), reciting apparently nihilistic but essentially soft - center dialogue, jangly indie music at the end, and a pretty good, if belated, Dick Cheney joke; and Petter Lennstrand's loveably lo - fi Up in the Sky, shown in the Youth Screen section, about a young girl abandoned by overworked parents at a sinister recycling plant, who is reluctantly adopted by a reconstituted family of misfits and marginalized (mostly puppets) who are secretly building a rocket — it's for anyone who has ever loved the Tintin moon adventures, books with resourceful heroines, narratives with oddball gangs, and the legendary episode of Angel where David Boreanaz turned into a Muppet.

Lucas has a broad oak desk covered in neat piles of paper and a framed black - and - white photograph of a woman whom I take to be his wife.

Villa Colombier boasts a private swimming pool and an eclectic take on mid century modern design with a framed Slim Aarons photograph, and a vintage Audoux Minet buffet table, while white, canopied beds cap off the tropical ambiance.

Here's what did work: Glenn Kaino's glittering mass of arrows in flight at Honor Fraser's booth, a demure suite of gelatin silver prints showing Carrie Mae Weems dancing in a nearly transparent white nightgown, Galerie Brandstrup's laser - focus on young painters (including Michael Kvium and Christer Glein), and Chris Wiley's quirky photographs mimicking and framed with quotidian substances (never has Astro - Turf served a better purpose than a picture frame) as part of Nicelle Beauchene Gallery's entry into Armory Presents.

Kiluanji Kia Henda's black - and - white photographs feature a group of people assembling what could be Cerrillo's frames into empty cubes — Donald Judd's boxes without the volume — because in the age of social media, it's only the exterior that counts.

Lisa Oppenheim, Landscape Portraits (Butternut)(Version II), 2016, set of four black and white silver gelatin photographs with Butternut frames, 24 3/8 x 24 1/4 inches (each panel); 49 3/8 x 49 3/8 inches (overall).

Between and Including, Set H, 1998 framed black and white photographs and texts on painted wall dimensions variable acquired in 2008

The laborious printing process included selecting a black and white photograph transferred to a framed silkscreen, tracing the image, delineating paint areas and hand pulling each paint color across the screen onto the paper or canvas.

Her iconic, large - scale, black - and - white photograph Walking House, 1989, was recently acquired by the Modern and is featured in the current exhibition Framing Desire: Photography and Video.

In Swirls and Pearls, a black and white photograph shaped like a Victorian fan, a triangle of flowers frames five chains.

, a black and white photograph shaped like a Victorian fan, a triangle of flowers frames five chains.

Graphic for: Silent Ping - Pong, 1972 Black and white photographs and ink on paperboard Paper Size: 20 x 30 inches 50.8 x 76.2 cm Framed Size: 21 x 31 x.75 inches 53.3 x 78.7 x 1.9 cm

HANNE DARBOVEN Webstuhl posthum 1997 192 sheets of yellow paper with 12 black and white photographs Paper Size: 8 1/4 x 11 5/8 inches (21 x 29.7 cm) Frame Size: 9.06 x 12.2 inches (23 x 31 cm) ARG # DAH1997 - 001

Enlarged black - and - white split - frame photographs comprise the Included Middle series, in which the space of one standard negative is divided in half to yield a twofold image.

SANDRA CINTO Untitled 1999 Tinted black and white photograph with etched glass in custom wood frame Each panel: 44 1/2 x 20 x 4 inches; Overall: 97 x 20 x 4 inches Edition of 3

Hiroshi Sugimoto Mathematical Form 0005, 2004 black and white photograph framed: 32 1/4 x 28 3/4 inches (82 x 73 cm) edition of 25 HS - 0005

Role Exchange, 1975 / published 1994 2 black and white photographs with 1 letter press text panel framed: 29 3/4 x 39 1/2 inches (75.6 x 100.3 cm) text framed: 10 1/4 x 7 1/4 inches (26 x 18.4 cm) edition of 16 with 3 APs MA - 2.12

Tim Lee, Untitled (Aleksander Rodchenko, 1928), 2008, four framed black - and - white photographs, 30 x 30 inches each Courtesy of the artist and Kadist, San Francisco.

Of course, there were many thematic and visual references to poverty and exclusion that were framed by the discourse of art history — as in a metal construction by Jannis Kounellis [who died in February this year] that combines a hard - edged steel - cast minimalist frame with multicoloured rags of Arte Poveraat White Cube, for example; or in a an arresting display of Sadie Benning's «drawings» made of wood, Aqua - Resin, casein and acrylic gouache with motifs reminiscent of African textilesat Susanne Vielmetter Los Angeles Projects; or works about otherness framed by the formerly excluded, or on their behalf — as in a display from the Goodman Gallery in Johannesburg, South Africa; or Andres Serrano's unforgettable photographs of notable figures in American pop culture, such as his portrait of Snoop Dogg (America)(2002) placed next to that of Donald Trump, on view at Galerie Nathalie Obadia.

The photograph above shows the steam from the decomposition, and the small white dots at the bottom of the frame are live maggots.

The photograph is printed on beautiful archival Epson Velvet Fine Art Paper, framed with glass and white wood.

He often organized his photographs in the form of a grid on white gallery walls, sometimes framed and sometimes hung with clips, tape, or pushpins.

Changing Colors: a workshop on toning black and white photographs; Crow Shadow Institute, Pendleton, OR, April, 1999 What Geologists Call an «Explanation» - Terry Toedtemeier: on his photography, Portland Community Colleges, Rock Creek, Sylvania, and Cascade campuses, Portland, OR Peculiar to Photography, slide lecture for the exhibition, «Seeing Through Photography,» Sheehan Gallery, Whitman College, Walla Walla, WA, March 5, 1999 About Photographing Basalt, slide lecture at Blue Sky Photography Gallery, Portland, OR February 11, 1999 Hope Photographs: Thought from an Historic Perspective, slide lecture at the University of Oregon Museum of Art, Eugene, OR, February 17, 1999 Framing the Frontier - 19th Century Photography in the American West, slide presentation at Cheney Cowles Museum of Art, Spokane, WA, November, 1998 Photography and Censorship, slide presentation, Portland State University, Portland, OR, March, 1998 Mysteries on a Plate Glass - Early Photography of Egypt, slide presentation, the Portland Art Museum, Pphotographs; Crow Shadow Institute, Pendleton, OR, April, 1999 What Geologists Call an «Explanation» - Terry Toedtemeier: on his photography, Portland Community Colleges, Rock Creek, Sylvania, and Cascade campuses, Portland, OR Peculiar to Photography, slide lecture for the exhibition, «Seeing Through Photography,» Sheehan Gallery, Whitman College, Walla Walla, WA, March 5, 1999 About Photographing Basalt, slide lecture at Blue Sky Photography Gallery, Portland, OR February 11, 1999 Hope Photographs: Thought from an Historic Perspective, slide lecture at the University of Oregon Museum of Art, Eugene, OR, February 17, 1999 Framing the Frontier - 19th Century Photography in the American West, slide presentation at Cheney Cowles Museum of Art, Spokane, WA, November, 1998 Photography and Censorship, slide presentation, Portland State University, Portland, OR, March, 1998 Mysteries on a Plate Glass - Early Photography of Egypt, slide presentation, the Portland Art Museum, PPhotographs: Thought from an Historic Perspective, slide lecture at the University of Oregon Museum of Art, Eugene, OR, February 17, 1999 Framing the Frontier - 19th Century Photography in the American West, slide presentation at Cheney Cowles Museum of Art, Spokane, WA, November, 1998 Photography and Censorship, slide presentation, Portland State University, Portland, OR, March, 1998 Mysteries on a Plate Glass - Early Photography of Egypt, slide presentation, the Portland Art Museum, Portland, OR

Mixing artifact with mythology, and history with invention, the project's wide - ranging material includes a 45 - minute film and still photographs from the forests of Oregon, to St. Petersburg and the White Sea in Russia; sculptures; topological maps; and site - specific framed works.

Fewer photographs are exhibited but each one is tucked behind hallowed glass and immaculately delineated by a white mat and industrial frame.

Simpson's work — consisting of two circular framed photographs focusing on a woman's mouth, clavicle, and the neckline of a plain white garment with a list of words on plastic plates displayed between them — is representative of her unique approach to image making.

On the ground right: Martin Kippenberger Richter - Modell (interconti), 1987 a 1972 Gerhard Richter painting, wood frame, metal legs From right to left: Lucio Fontana — Hisachika Takahashi Concetto spaziale, Attese, 1966 oil on canvas; Louise Lawler Chandelier, 2007 cibachrome mounted on museum box Elad Lassry Man (Selfie), 2014 c - print photograph; Sturtevant Duchamp Man Ray Portrait, 1966 black and white photograph; Louise Lawler Marilyn, 1999 cibachrome, museum mount; Sturtevant Warhol Marilyn (study for Warhol diptych), 1973 silkscreen and acrylic on canvas; Maurizio Mochetti Mochetti di Mochetti (Jean Harlow), 1976 Conté de Paris on paper; Pierre Huyghe De Hory Modigliani, 2007 oil on canvas; Cy Twombly Copy of a Picasso, 1988 acrylic on canvas; Jean - Auguste - Dominique Ingres Autoportrait de Raphael, 1820 — 1824 oil on canvas; Francis Bacon four slashed canvas oil on canvas; Asger Jorn Brotherhood Above All, 1962 oil on canvas; Asger Jorn The Sweet Life II, 1962 oil on canvas Asger Jorn Rutting Stag in the Royal Forest, 1960 oil on canvas; Background wallpaper: Sara Cwynar 72 Pictures of Modern Paintings, 2016 wallpaper On the ground left: Vija Celmins To Fix the Image in Memory XIII, 1977 — 1982 tones and painted bronze

Marina Abramović Role Exchange, 1975; published 1994 2 black and white photograph with 1 letter press text panel framed: 29 3/4 x 39 1/2 inches (75.6 x 100.3 cm) text framed: 10 1/4 x 7 1/4 inches (26 x 18.4 cm) edition of 16 with 3 APs MA - 2.12

Rudolf Stingel, Untitled (# 4), 1989 Oil and enamel on black and white photograph Image size: 7 5/8 x 9 5/8 inches Frame size: 18 1/2 x 14 1/4 inches February 20 — March 21, 2009 Paula Cooper Gallery presents an exhibition of new work by internationally acclaimed artist Rudolf Stingel.

ROMAN STETINA Untitled (Auditorium), 2014 Installation, digital print on fabric, metal constructions, black and white photograph Photograph, framed: 12 x 15 xphotograph Photograph, framed: 12 x 15 xPhotograph, framed: 12 x 15 x 1 1/4 in.

Black and white photograph, Framed: 36 x 29 inches.

One of five black and white photographs; parts 1 — 4: 37 × 27 1⁄2 inches each, framed; part 5: 37 × 32 inches, framed.

Framed black - and - white photographs; overall dimensions vary with installation, thirteen parts: 16 3/4 × 20 1/4 in.

There was nothing outwardly difficult about Talia Chetrit's second New York solo show; eight modestly scaled, soberly framed black - and - white photographs — all but one made this year — ranged evenly around the walls of a small gallery.

Over wallpaper featuring Bette Davis and Joan Crawford in black mink coats, framed photographs of iconic (white) men, taken from a Francesco Scavullo coffee - table book, are violated with chewing gum and inked - on tears.

Uta Barth Untitled # 3, 1979 - 1982 / 2010 black and white photograph in artist's frame (inkjet print editioned in 2010 from the 1979 - 82 original) 10 1/2 x 8 1/2 inches; 26.7 x 21.6 cm Edition of 6; 2 APs

‖ Photographed at The Factory (Warhol's studio in New York City from 1962 to 1968) on 16 mm black - and - white film stock at the standard sound speed of 24 frames per second (fps), the portraits were intended to be projected at 16 fps, the speed of earlier silent films.

Its usual function thwarted, it serves as a pedestal or extended frame for a large black and white photograph of a 19th - century bronze of a black man's head.

The photographs within the black frames and the white space among these images contain rhythms that can stimulate the memories deep inside the soul.

35 mm slide film photograph c print mounted framed in custom white wood uv protective non reflective glass one of a kind from past exhibition shows little to no wear from being exhibited

Spring 2011 - Summer 2011 (Mirror Reflecting White Flat 1, Mirror Reflecting White Flat 2, Photographing Mirrors 1), 2011 Archival inkjet prints, frames and Plexiglas 38 1/2 x 47 x 6 1/2 in.

Untitled (2013) consists of analogue black and white photograms, which are dominated by their black ground and open a circular frame to reveal a photograph.

I have a beautiful black and white photograph framed and I thought a pop of chartreuse would pair nicely with it.