In it the image of Gala, in the robes and the pose of a saint, decorates the huge banner that accompanies the boyishly appealing explorer's first brave steps onto the unknown shore.
"I wanted to capture the poise and the pose of the original Eustace Tilley dandy, but do it as something extremely simple and modern," Malika Favre, a French artist who lives in London, says, about "The Butterfly Effect," a riff on the very first cover of The New Yorker, from 1925.
Kalam Patua, an artist from West Bengal, is represented by watercolours that feel timeless in their composition and the pose of their figures, but that feature contemporary technology such as the camera, while Pushpa Kumari – an artist from Bihar – is represented by Tsunami (2015), an ink on paper work that depicts the titular disaster.
By Françoise Mouly February 5, 2018 "I wanted to capture the poise and the pose of the original Eustace Tilley dandy, but do it as something extremely simple and modern," Malika Favre, a French artist who lives in London, says, about "The Butterfly Effect," a riff on the very first cover of The New Yorker, from 1925.
Generations of medieval monks knew the joys of the smutty double-entendre and the pose of moral outrage ("you thought it was a penis, Brother Alfred? I'll pray for you … ") Such riddles are spoken by objects such as keys, pokers, helmets, dough and churns.
The pulse of the nightclubs and the pose of the designer boutiques seem to carry such a genetic imprint of the Nancy Reagan era that you half expect Tad Allagash of "Bright Lights, Big City" to come stumbling out of a black door, wiping white powder off the collar of his blazer, knocking over a few yards of velvet rope and shouting at the doormen.
For the American educational reformer John Dewey, scepticism was "the mark and even the pose of the educated mind".
Common to these approaches is that they use a probabilistic formulation to represent and update the pose of the robot.
By reflex, my body traveled back to high school and struck the pose of a third-baseman fielding a ground ball.
Museum-goers were enjoying an exhibition entitled Splendour and Misery: Images of Prostitution 1850-1910 when Luxembourg artist Deborah de Robertis undressed and took on the pose of the famed Olympia.
It is typical of the depictions of donors or lesser saints in Renaissance altarpieces and also evokes the pose of the Madonna in paintings of the Annunciation.
