Sentences with phrase «century photographic portraits»

Not exact matches

The opening credits sequence, accompanied by a rendering of Camille Saint - Saens «Carnival of the Animals,» provides sepia - toned historical period photographs (from the Library of Congress, various museums and photographic archives, and the NY Public Library) of turn - of - the - century city and tenement life (portraits, closeups, slices of life including play, marriage, work, politics, friendships, transportation, domesticity, and leisure time).

It's full of curiosities and various collections of modern and contemporary art and 50 photographic portraits of key artists of the 20th and 21st centuries.

«In and Out of the Studio: Photographic Portraits from West Africa» @ The Metropolitan Museum of Art New York, N.Y. Sourced from the museum's collection, this exhibition explores a century of West African portrait photography spanning the 1870s to the 1970s.

Work from the art gallery's rich permanent collection will also be on display as part of the exhibition including 20th century naked portraits from Stanley Spencer's painting of his second wife Nude, Portrait of Patricia Preece (1935) to John Coplan's photographic Self Portrait Upside Down (1992).

This exhibition features photographic portraits of fine artists, writers, and performers taken throughout the 20th century.

Thomas's layered process of fragmentation, in which she begins with a photographic portrait and moves to collage and then on to painting, is the result of discreet borrowings from our twenty - first century language of mass culture.

The Social Medium features work spanning from the mid-twentieth century to the present, and includes multiple photographic genres such as social documentary, street, society / celebrity, and portrait photography.

The exhibition allies a range of highly varied works; Reza Aramesh's critical reconfiguration of postures of oppression taken from the documentary photographic record of the late 20th century within the context of high - cultural legacy of the Enlightenment, Jake & Dinos Chapman's attack of those same Enlightenment spawned delusions of cultural progress, Desiree Dolron's exquisite, dense, almost painterly rendering of light and shadow within the photographic medium, Terence Koh's white - on - white neon declaration of Eternal Love, Wayne Horse's lighter - lit display of sub-cultural, cul - de-sacs articulated in a trash aesthetic, Dawn Mellor's radical portraits of female film stars, re-contextualized from the objectifying gaze of cinematic light into the critical, imaginative space afforded by painting, Gino Saccone's loose but formal play of material, surface and light in his multi-media, sculptural assemblages, Peter Schuyff's abstract, shaded path from ambient light into a dark portal and finally Conrad Shawcross» beautiful and austere kinetic work that emanates an ever shifting pattern in shadow and light.

To celebrate the opening of The Serial Portrait: Photography and Identity in the Last One Hundred Years at the National Gallery of Art on September 30, 2012, Sarah Kennel and Ksenya Gurshtein explored the role of seriality in 20th - century and contemporary photographic portraiture.

In Mapping Sitting, two contemporary artists present installations that dynamically disclose how photographic portraits operated in the Middle East over the last century.

This talk will discuss how photographic technology and changing aesthetics influenced the evolution of photographic portraiture in the 20th Century — moving from the formal studio portrait, to on - location and finally to the more casual snapshot.

In her signature painted and photographic portraits of family, friends, lovers, and pop - culture icons, Thomas draws on and deconstructs 19th - and 20th - century traditions of portraiture, replacing the ubiquitous white female nude with voluptuous African American women.

Pillows: After being relegated to cameos in the backgrounds of painting and photographic portraits for centuries, pillows are finally stepping out on their own.

The exhibition device organises this archive into a photographic project where XIXth century portrait album medallions play a combinatory role with a colored Portuguese flag and new countries issued from liberation movements, colorful posters, postcards and a fake promotional video tale.

curated by David Hunt 2005 NAPOLI PRESENTE Posizioni e Prospettive dell - Arte Contemporarea, PAN Contemporary Art Museum, Naples Italy (Oct) Wish, COCA Center of Contemporary Art, Seattle WA (Sept) Only Skin Deep: Chancing Visions of the American Self, San Diego Museum of Art and Museum of Photographic Arts, CA, curated by Coco Fusco (catalogue) Crossings: 10 artists from Kaohsiung & Chicago Chicago Cultural Center (July), Museum of Fine Art, Kaohsiung, Taiwan (Nov), co-curated by Greg Knight & Tseng Fangling International Biennale of Contemporary Art 2005, Prague (May - Sept) In Search of a Continuous Present curated by Lynne Warren, MCA Chicago Not Too Loose and Not Too Tight, DCKT Contemporary, New York 2004 Only Skin Deep: Chancing Visions of the American Self, Seattle Art Museum, WA curated by Coco Fusco (catalogue) A Perfect Union... More or Less, Renaissance Society at the University of Chicago curated by Hamza Walker About Face: Photographic Portraits from the Collection, Art Institute of Chicago Common Ground: Discovering Community in 150 Years of Art, Corcoran Museum of Art, Washington, DC Inside Out: Portrait Photographs from the Permanent Collection, Whitney Museum, NY The Perfect Number, 404contemporanea, Naples, Italy 2003 Only Skin Deep: Chancing Visions of the American Self, ICP New York curated by Coco Fusco (catalogue) The Squared Circle: Boxing in Contemporary Art, Walker Art Center Minneapolis curated by Olukemi Ilesanmi A Century of Collection: African American Art, Art Institute of Chicago curated by Daniel Schulman 2002 Manumission Papers, Sunrise Museum, Charleston, WV Cut, Pulled, Colored, and Burnt, Hyde Park Art Center, Chicago, IL curated by Michael Rooks 2001 Freestyle, Studio Museum in Harlem, NY curated by Thelma Golden Bastard (son of hot sauce), Law Office, Chicago IL Musings: Contemporizing Tradition Gallery 312, Chicago, IL curated by Kathryn Hixson and Nathan Mason 2000 A Decade of Acquisitions, Detroit Institute of Arts, Detroit, MI 1999 Seeing In the Dark, G.R. N'Namdi Gallery, Birmingham, MI, Chicago, IL New Artists, Old Techniques, Schneider Gallery, Chicago, IL

Lush images of modern dance pioneers; haunting early cyanotypes of algae (the first photographic works to be produced by a woman); majestic geographical surveys taken along the Union Pacific Railroad, iconic Depression - era images taken under the Farm Security Administration's famed photography program; Berenice Abbott's epic documentation of 1930s New York for the Federal Art Project; stunning 19th century vistas of the Egypt and Syria; scenes and portraits of Ellis Island Immigrants, the Statue of Liberty under construction...