Sentences with phrase «with fragmented images»

His torn posters, with their fragmented images and dislocated typography, are spontaneous, anonymous, and collective; they invite the visitor to lose himself in a space that is as fictional as it is poetic.

Not exact matches

But language is what the poet has to work with, and so the poet is forced to take sometimes exaggerated, sometimes extreme steps to pierce the mundane, breaking up lines, using words in odd new contexts, relying on sound effects and packing the stanzas with sensuous images and fragments from scripture, and the common language of faith suddenly takes on new meaning through these odd juxtapositions.

For life in a highly fragmented and specialized society, the pastor as theological integrator can perform a socially unique role in building provisional bridges to enable us to stay in touch with our common humanity fashioned in the image of God.

They then compared the impact of today's fragmented vegetation, obtained from satellite images, with that of 1788, prior to European settlement.

Knight of Cups: For those willing to get on director Terrence Malick's wavelength, this is an ecstatic use of cinema — the story of a screenwriter (Christian Bale) in Hollywood as told through dream images and voice - over, with only fragments of scenes.

Verify that every graphic, font, and image falls in line with the overall theme to prevent a fragmented eLearning course design.

Appel's new series of paintings begin as primary arrangements: cut - out paper forms referencing the portholes of Jean Prouvé's Maison Tropicale are combined with Appel's own photographs of fragments of his previous works, landscapes, and images of Paolo Soleri's Arcosanti.

With bright Day - Glo colors and a sleek aesthetic, Rosenquist's early work juxtaposes fragmented images derived from advertising to create enigmatic, thought - provoking narratives that foster a dialogue about consumer culture.

With immaculate precision, Stezaker fuses fragments of different pictures through slicing, overlaying and conjoining, thereby giving found images a new meaning while exploring or revealing their subversive quality.

These corporeal images periodically overlap with close - up fragments from nature as Rist blurs the boundaries between the self and organic structures.

The rest of the gallery has paintings made of grids filled with images of architectural fragments and symbols from history, various religions or perhaps dreams.

Schiele famously traveled everywhere with a full - length mirror that once belonged to his mother, and Saville also uses full - length mirrors, as well as photographs (the latter to «hold the image down,» in her words), to aid in the lengthy process of painting her fragmented and layered figures.

Representations of a distant, classical past are spliced with images of fragmented memories from the Soviet era, conveying the collision of two time periods.

2011 Sculpture Now, Galerie Eva Presenhuber, Zurich, Switzerland The Language of Less, Museum of Contemporary Art, Chicago / IL, USA The Art of Narration Changes with Time, Sprüth Magers, Berlin, Germany ILLUMInations (curated by Bice Curiger), 54th International Art Exhibition — La Biennale di Venezia, Venice, Italy The Shape of Things to Come: New Sculpture Part 1, Saatchi Gallery, London, Great Britain Tableaux, Le Magasin, Grenoble, France THE WAY IT WAS N'T, Culturgest, Porto, Portugal After Images (curated by Fionn Meade), Musée Juif de Belgique, Bruxelles, Belgium Isabelle Cornaro, Nikolas Gambaroff, Oscar Tuazon, Eli Hansen, A Palazzo Gallery, Brescia, Italy Fragments Americana (curated by Hedi Slimane), Almine Rech Gallery, Brussels, Belgium Dystopia, CAPC Bordeaux, Bordeaux, France Art In The City, Art Brussels, Brussels, Belgium Under Construction, SAKS, Geneva, Switzerland Light In Darkness, Western Bridge, Seattle, Washington, USA Poste Restante (curated by Eric Fredericksen), Artspeak, Vancouver, Canada You and Now, Balice Hertling, Paris, France

Too poor to afford painting materials, Margo innovated with «decalomania,» a process in which he used automatism to select and assemble fragments of print and images from magazines.

By silk - screening fragments of text from an essay by the French thinker Maurice Blanchot directly onto the surface of the paintings, he integrates language with his iconic images.

One feels the presence of the boy collector in one untitled work in which detailed printed images of bugs are placed side by side, together with a few other found fragments and much empty space.

Means of producing and displaying images are central to his methodology and he unpacks the image as both subject and object, unfolding ways in which fragments of the present can connect with those of the past, the hidden with the visible, and the sentient with the physical.

The artist has now shifted his focus from photography to making large digital tableaux in which swirling brushstrokes mix with and partially obscure images of contorted, fragmented bodies.

In The Influence Machine, Tony Oursler blends fragments of speech from the history of technology with images of heads.

Bray sketches with her camera, taking digital images of the landscape, urban and rural, then fragments the images in Photoshop into shapes and forms.

Choosing images generally experienced through second hand sources of information, Kahrs infuses his paintings and drawings with the drama of film, creating a sense of constant motion and closeness within a still and fragmented plane.

More provocative is the work which gives the show its title., and is comprised of 10 kilos of small cellophane drug baggies, each filled with tiny fragments of paint and found images.

In his distinctive caricaturistic style, Pettibon juxtaposes figurative images with fragmented texts throughout all mediums and subject matters.

The effects of this formative environment coupled with the influences of other Los Angeles - based artists such as Ed Ruscha, Douglas Huebler, and John Baldessari, who all experimented with combing found images and text fragments, are important foundations of his work.

The drawings, which combine fragments of text with images culled from American popular and underground culture, dominated the exhibition, due in part to the sheer number of them and in part to the appeal of familiar images drawn in a simple graphic style.

Powerfully striking images, portraits of obsolete architecture and natural landscapes, and visions of remote deserts turn up throughout her works, combined with fragments of text and scenarios where past and present intertwine.

In the nine - second video loop «Untitled (Touchscreen),» a still image of a smiling young couple is split into overlapping blue and red versions that flicker from place to place, alternating with moments of black; the handsome print «Untitled (Coil Whine)» puts a large, black and white image of fingers beside wavering green lines of video distortion and under a block of marbleized orange and a fragment of sans - serif text reading «UP YOUR DAY.»

Mickalene Thomas, meanwhile, engages with the history of modernism in her use of pattern, fabric, and fragmented images which reference cubist imagery.

In the new works, Sarmento combines his seminal portraits of the female form with images taken from popular culture (found and personal material) silk - screened directly onto the surface of the paintings, that read almost like fragmented film stills.

Her photographic practice flowered in the 1980s, becoming famous for its examination of gender and race: her works juxtapose text fragments with images of African - American men and women, their faces often hidden from the lens.

Some of the works included in the exhibition explicitly engage with Eliot and his writing, such as Philip Guston's grim deathbed painting East Coker: T.S.E. (1979); David Jones's painted inscription Nam Sibyllam (1958), made as a gift for Eliot, which combines the text from Petronius that is The Waste Land's epigraph with the opening lines of the poem and other phrases connected to the Grail myth; Graham Sutherland's two Illustrations for T. S. Eliot (1973); and Vibeke Tandberg's The Waste Land (2007), which consists of 36 collages in which the artist has cut out each of the words of the poem, and re-organised them alphabetically and in groups, at once fragmenting Eliot's poem of «broken images» even further and bringing its underlying verbal structure to light.

Dreamlands presents early experiments with cinematic space that jolt the spectator out of the conventions of seeing, postwar works that offer a darker and more fragmented experience of the moving image, and contemporary works that often exploit the infinite malleability of the digital image.

His work toys with text and fragmented images of the human body.

The images, fragmented and then displayed as three dimensional works, present the viewer with multiple, shifting perspectives when viewed from different angles and engage the environment in which they are presented.

A number of fragments that are actually small images, presumably of the resurrection collaborations and the show, are embedded in a space, which, when you navigate it with your cursor feels like an invisible whirlpool, or the inside of a beehive in the middle of a webpage.

The image here shows Paul standing near his wall installation with painted metal fragments.

Sometimes Wood also experiments with the idea of collage, superimposing objects over others or simply playing with the distortion of images by creating the illusion of separate or fragmented painted canvas surfaces brought together in one, such as in Still Life Collage, 2015.

Seen together, their works present fragmented images of American life from the 1970s to the 1990s, pointing towards the spectacle of consumer culture in general, at the same time as revealing their own personal engagement with American culture in particular.

His paintings use the by - now venerable abstract painting technique of pouring to risk a certain loss of control, and yet by using blown - up stencils to interrupt these random flows with fragments of words, images, or hand - me - down decorative motifs, he constantly keeps a discursive, referential function in play.

The showroom has been set with a course that allows to investigate different forms of spirituality; to complement the visit it has been produced a travel journal, in which each artist has chosen a work to associate its image with fragments of their open conversation with the writer.

In each instance, he gives the works a new lease on life by choosing a fragment and interpreting it as a complete image in its own right before «doubling» or pairing it with a text that appears as a title.

The playful yet dark «portraits» pull together found objects and fragmented images while the «abstractions» are composed using raw paper and fabric, cut, torn and reconnected with metal, canvas and wood.

The National Portrait Gallery exhibition, with about 100 images, takes us from early black and white images, to well - known as well as previously unseen works in colour, via a fragment of video.

The works are rife with clichéd symbols, such as Arabic calligraphy, fragments of ceramic artifacts, images of camels and political cartoons, in an attempt to create work that will meet Western expectations for a brand of contemporary Middle Eastern art much in the same way that smiling Mao and Panda paintings became the brand for post-Cultural Revolutionary art in China in the 1980's.

Using fabric, bits of glass, photographs, and casted fragments from other processes, Jones opens a space of possibility with ideas of archetypes and humor; sexuality and identity; and ideas of timelessness, going into the deep past to make images about the present moment.

The photographs in «The Resonant Image: Photographs by Chip Simone» at the High Museum of Art — a 10 - year retrospective initiated by former curator Julian Cox and completed by his successor, Brett Abbott — are well - crafted images produced with excellent resolution, color balance and formal composition, and many cleverly align decomposing advertisements, scruffy walls and artfully abstracted architectural fragments.

Images drawn from the series are fragmented and recombined with those from other real - life contexts to create composite wallpaper installed on three of the four gallery walls.

Cragg has widened the boundaries of sculpture with a dynamic and investigative approach to materials, to images, and objects in the physical world, and an early use of found industrial objects and fragments.

An authentication card signed by Doug Aitken indicating the edition number is included along with: A 23» x 36» double - sided poster with original artwork by Doug Aitken; A 12» vinyl picture disc contains unreleased tracks by Broadcast and a live recording of Doug Aitken's original opera the handle comes up, the hammer comes down; A 96 - page visual diary of the making of the film including sketches, production photos, film stills, script fragments, and inspirational found images; Two flipbooks with motion sequences excerpted from the film and the film's projection of the MoMA facade; A triptych gatefold case contains a CD soundtrack that features the tracks on the picture disc plus tracks by Bibio, Ranphorynchus, Steve Roden, Tim Hecker, and Canyon Country; A DVD includes an edit of Sleepwalkers cut specifically for this box set and a street level walkthrough as installed at the MoMA in NYC