Sentences with phrase «american color photography»

The first New York survey of Shore's work in 10 years, this exhibition establishes the artist's full oeuvre in the context of his time — from his days at Andy Warhol's Factory through the rise of American color photography and the transition to large - scale digital photography — and argues for his singular vision and uncompromising pursuit of photography's possibilities.

★ Luigi Ghirri: «Kodachrome» (closes on Saturday) The photographs of Luigi Ghirri (1943 - 92), as seen in this show of selections from his 1978 book, «Kodachrome,» sometimes bring to mind American color photography by William Eggleston and Joel Sternfeld but have a dreamier quality and a more persistent sense of artifice.

The Inaugural Exhibition brings together over 350 works that epitomize those genres and subjects most prominently featured in the collection such as contemporary Bay Area photography, American color photography, and portraiture, alongside photographs of historic San Francisco and the industrial landscape.

The inaugural exhibition highlighted prominent veins running through the collection with rooms dedicated to portraiture, contemporary Bay Area photographers, historical images of San Francisco, early American color photography, and works produced through the Farm Security Administration (FSA).

Other publications include Color Rush: American Color Photography from Stieglitz to Sherman (2013); Street Art, Street Life: From the 1950s to Now (2008); and So the Story Goes: Photographs by Tina Barney, Philip - Lorca diCorcia, Nan Goldin, Sally Mann, and Larry Sultan (2006).

Not exact matches

It's actually a lament for another lost American value replaced by digital second - rateness, this time the cherished Kodachrome color film process by which photography used to look 100 times better than it does now.

Her publications include Passing Strange: A Gilded Age Tale of Love and Deception Across the Color Line (2009), and Print the Legend: Photography and the American West (2002), winner of the Organization of American Historians» Ray Allen Billington Award for the best book in American frontier history and the William P. Clements Award.

1981 Whitney Biennial, Whitney Museum of American Art, New York, NY Color Photography: New Images, Mandville Art Gallery, University of California at San Diego, La Jolla, CA.

1984 Group Show, Sonnabend Gallery, New York, NY 1983 Whitney Biennial, Whitney Museum of American Art, New York, NY 1982 Color as Form, International Museum of Photography, George Eastman House, Rochester, NY Beyond Photography, The Fabricated Image, Delahunty Gallery, New York.

In recent years, Thompson's work has also been exhibited regularly in group exhibitions worldwide, including Il Secolo del Jazz: Arte, Cinema, Musica e Fotografia da Picasso a Basquiat (The Jazz Century: Art, Cinema, Music and Photography from Picasso to Basquiat) at the Museo di Arte Moderna e Contemporanea in Rovereto, Italy, which traveled to the Musée du Quai Branly in Paris France and the Centre de Cultura Contemporània in Barcelona, Spain (2009); Blues for Smoke at the Museum of Contemporary Art in Los Angeles, CA, which traveled to the Whitney Museum of American Art and Wexner Center for the Arts of the Ohio State University in Columbus, OH (2012); Witness: Art and Civil Rights in the Sixties at the Brooklyn Museum, Brooklyn, NY, which traveled to the Hood Museum of Art, Dartmouth College, Hanover, NH and the Blanton Museum of Art, Austin, TX (2014); Beat Generation at the Centre Pompidou in Paris, France (2016); and The Color Line: African American Artists and Segregation at the Musée du Quai Branly (2016).

Until January 8, 2017 NO MAN»S LAND: WOMEN ARTISTS FROM THE RUBELL FAMILY COLLECTION National Museum of Women in the Arts, Washington DC Until January 14, 2017 BEDAZZLED Lehman College Art Gallery, Bronx, NY Until January 16, 2017 FIRST LIGHT: A DECADE OF COLLECTING AT THE ICA ICA Boston, MA October 4, 2016 - January 22, 2017 THE COLOR LINE: AFRICAN - AMERICAN ARTISTS AND THE CIVIL RIGHTS IN THE UNITED STATES Musée du quai Branly, Paris Until January 22, 2017 BELIEF + DOUBT: SELECTIONS FROM THE FRANCIE BISHOP GOOD AND DAVID HORVITZ COLLECTION NSU Art Museum, Fort Lauderdale, FL Until January 31, 2017 COLLECTED Pier24 Photography, San Francisco, CA

With a small number of contemporaries, he championed the elevation of color photography as art and redefined the documentary tradition in American photography.

Wilson echoes a common theme in politics and photography, much as when Misrach encountered lunch tables on salt flats: disturbance of the land colors American, environmental, or human history — and a contested history at that.

Stephen Shore (American, b. 1947) is a pioneer of color and vernacular photography.

Mike Smith photographs the rural American Southeast in large - format color photography, exposing the unique beauty of the region and the people who call it home.

While his teacher is noted for his black - and - white images, Epstein is a master of color photography, capturing on film the American experience as well as images from countries throughout the world — he has traveled extensively and realized series on locales including Vietnam, India, Berlin, and his hometown of Holyoke, Massachusetts, among others.

The exhibition includes his seminal street photography — both color and black - and - white, intimate images of American life, and landscapes exploring luminous scenes from Cape Cod to Tuscany.

This spring, the Amon Carter Museum of American Art presents two uniquely American looks at the medium of photography — Big Pictures, on view March 5 through April 21, and Marie Cosindas: Instant Color, on view March 2 through May 26.

The exhibition is devoted to the iconic American photographer William Eggleston (born 1939) who emerged in the early 1960s as a pioneer of modern color photography.

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, Pphotography, 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, PPhotography, 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, PPhotography,» 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, PPhotography 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, PPhotography 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, PPhotography 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, PPhotography of Egypt, slide presentation, the Portland Art Museum, Portland, OR

Covering three decades of the artist's provocative yet intimate large - scale color images capturing the domestic life and private moments of the American and European elite — her family and friends — this book will appeal to contemporary - art lovers, photography book collectors, and anyone with an interest in modern culture.

The book and show unabashedly forced the art world to deal with color photography, a medium scarcely taken seriously at the time, and with the vernacular content of a body of photographs that could have been but definitely weren't some average American's Instamatic pictures from the family album.

American Photography Transformed is the first - ever survey of fine art color photography's journey to becoming a fully acceptePhotography Transformed is the first - ever survey of fine art color photography's journey to becoming a fully acceptephotography's journey to becoming a fully accepted art form.

African American Vernacular Photography reproduces 70 of Cowin's most exceptional color plates with essays by Brian Wallis, Director of Exhibitions and Chief Curator at the International Center of Photography, and Deborah Willis, MacArthur Fellow and author of Reflections in Black: A History of Black Photographers 1840 to the Present and, with Carla Williams, The Black Female Body: A Photographic History.

In Black Is a Color, Elvan Zabunyan develops a rich approach to explore the practice and contribution of black American artists to contemporary art history in its various forms of representation, including sculpture, painting, photography, video and performance.

Projet Est - Ouest, Espace 72, Dison, Verviers, Belgium curated by Claude Degueldre MCA Exposed: Defining Moments in Photography, 1967 - 2007 Museum of Contemporary Art Chicago 2006 A noir, E blanc, I rouge, U vert, O bleu: colors, Kunstmuseum Magdeburg, Germany American Identities, Brooklyn Museum of Art, Brooklyn, NY.

Guggenheim Museum: «Carrie Mae Weems: Three Decades of Photography and Video» (through May 14) Color and class are still the great divides in American culture, and few artists have surveyed them as subtly and incisively as Ms. Weems, whose traveling 30 - year retrospective is now at the Guggenheim.

LITTLE THEATER: 608 19th Ave. E. «American Mall,» color photography taken from large shopping malls by Craig Pozzi.

Known for her vibrant color photography, Opie examines various facets of American life, from the identities of individuals to subcultures and communities, to urban settings, and majestic natural surroundings.