Sentences with phrase «narrative image at»

Brandeis was chosen by the guest curator for Best Narrative image at Guild Hall 2012.

Brandeis was chosen by the guest curator as Best Narrative image at Guild Hall 2012.

Not exact matches

Destructive biblical criticism, exemplified for years in the work of the so - called Jesus Seminar, eviscerates the gospel narratives of all theological power and leaves us, at best, with a Jesus made in our own image — political agitator, cynic sage, new age guru, etc..

Perhaps the reminder is again in order that Israel's interest in the original «event» rests predominantly in its present and continuing meaning that the form of the narrative before us is unquestionably cultically conditioned, that is, shaped by the influences of cultic circles at centers of worship in which, the tradition was maintained; and that this cultic tradition returns an image of Moses formed out of long years of meditation on the total significance of his life and time through the succeeding generations of Israel's life.

At 8:30 a.m. the CUNY Black Male Initiative holds its 12th annual conference on «The Black & Latino Male Image: Rewriting the Narrative,» 1650 Bedford Ave., Brooklyn.

His reach is over-ambitious at times, but he has a sure hand with the narrative and fills each frame with splendid images.

While it never quite becomes the twin narrative of Versace's and Cunanan's lives that's hinted at in the early episodes, it continues using them as mirror images of one another: creator and destroyer, mother's apprentice and father's favored child, doting brother and prodigal son.

In analysing the dynamics of (mis) perception that allow sequences of images to be viewed as comic narratives — asking, in effect, just who or what we think we're laughing at — the articles assembled here hopefully shed some light on the contested ground where ethics and aesthetics meet.

Although its overwhelming logic is hence from video games — «I've never made it this far,» Cage tells his followers at one point, when asked what comes next — Edge of Tomorrow works best as a gleeful riff on the narrative tricks endemic to the cinema, an art defined more by editing than by images.

This disjunction of sounds and images is of course a classic narrative devise of cinema (27) and functions as a kind of pedagogical entry into the visual regime of the film; it does interpolate the viewer and ask him or her to connect these tracks, not necessarily to make sense of them, but at least to organise a suspended logic of connectivity.

by Walter Chaw The images in Niki Caro's second film, Whale Rider, are so heartbreakingly beautiful that at times the narrative diminishes its mythic gravity.

A Cure for Wellness slides images at you, each of them meant to conjure a particular feeling, but it never lays out any cohesive narrative to bring them together.

The other, whose clinical depression is brilliantly signaled by an all - lowercase narrative and so intensely conveyed that his early entries are hard to read, sees at least a glimmer of light fall on his self - image after a chance meeting with Tiny sparks a wild mutual infatuation.

Novels, narrative non-fiction and narrative with images produce the highest quality ebooks at Smashwords.

The app presents short passages of text at a time and triggers relevant video, animation, image sequences and sound content related to the narrative.

Yes, part of that is due to the source material dragging on at this period in the narrative, but the decision to use static images outside of flashbacks is puzzling because of how gorgeous the animated in - engine cutscenes are.

Especially at the end when I saw the image on the wall (intentional vague - ness) and my heart sunk, only to never see a resolution for that narrative branch.

Upon arriving at these points of interest, the game transitions to something of a visual novel as you are presented with a short, self - contained narrative in the form of a still image accompanied by a few lines of dialogue.

Assembling in Marfa will be a faction of contemporary artists who are peeling the page one frame - at - a-time in an inquiry into the visual dimension of language, ranging from David Gatten's reflection on the role of documents and Michael Tracy's secret, worldly recitations to Julia Meltzer and David Thorne's digital archives where images become a fault - line between world views and hidden narratives.

In these photographs, no image is truly innocent: even at their most anonymous and lyrical, each subject in the series bears the overtones of an inescapable American narrative.

The images that I use need to be detailed enough to preserve their inherent narrative, and at the same time they have to be open enough not to be too locked into that narrative.

Other works featured in LIVESupport include «Church State,» a two - part sculpture comprised of ink - covered church pews mounted on wheels; «Ambulascope,» a downward facing telescope supported by a seven - foot tower of walking canes, which are marked with ink and adorned with Magnetic Resonance Images (MRIs) of the spinal column; «Riot Gates,» a series of large - scale X-Ray images of the human skull mounted on security gates and surrounded by a border of ink - covered shoe tips, objects often used by the artist as tenuous representation of the body; «Role Play Drawings» a series of found black and white cards from the 1960s used for teaching young children, which Ward has altered using ink to mark out the key elements and reshape the narrative, which leaves the viewer to interpret the remaining psychological tension; and «Father and Sons,» a video filmed at Reverend Al Sharpton's National Action Network House of Justice, which comments on the anxiety and complex dialogue that African - American police officers are often faced with when dealing with young African - American teenImages (MRIs) of the spinal column; «Riot Gates,» a series of large - scale X-Ray images of the human skull mounted on security gates and surrounded by a border of ink - covered shoe tips, objects often used by the artist as tenuous representation of the body; «Role Play Drawings» a series of found black and white cards from the 1960s used for teaching young children, which Ward has altered using ink to mark out the key elements and reshape the narrative, which leaves the viewer to interpret the remaining psychological tension; and «Father and Sons,» a video filmed at Reverend Al Sharpton's National Action Network House of Justice, which comments on the anxiety and complex dialogue that African - American police officers are often faced with when dealing with young African - American teenimages of the human skull mounted on security gates and surrounded by a border of ink - covered shoe tips, objects often used by the artist as tenuous representation of the body; «Role Play Drawings» a series of found black and white cards from the 1960s used for teaching young children, which Ward has altered using ink to mark out the key elements and reshape the narrative, which leaves the viewer to interpret the remaining psychological tension; and «Father and Sons,» a video filmed at Reverend Al Sharpton's National Action Network House of Justice, which comments on the anxiety and complex dialogue that African - American police officers are often faced with when dealing with young African - American teenagers.

«Through a mash - up of images,» said Murrow in an artist statement, «I hope to cut away at the neat and tidy narrative of progress and domination and create moments that deal with the abundant misinformation, deep confusion, genuine absurdity and billowing mass that has always kept this country on its toes.»

This is the closing weekend for AT THIS STAGE at Chateau Shatto, an exhibition that considers the violent and contaminating «intrusion of images and the assault of narrative structures on consciousness.&raquAT THIS STAGE at Chateau Shatto, an exhibition that considers the violent and contaminating «intrusion of images and the assault of narrative structures on consciousness.&raquat Chateau Shatto, an exhibition that considers the violent and contaminating «intrusion of images and the assault of narrative structures on consciousness.»

DAVID DRISKELL Creative Spirit: Five Decades by Bridget Goodbody DAINA HIGGINS New Paintings by Charles Schultz LOIS DODD New Panel Paintings by Sharon Butler Unlikely Friends: JAMES BROOKS & DAN FLAVIN by Greg Lindquist DAMIEN HIRST The Complete Spot Paintings 1986 — 2011 by Corina Larkin LORI ELLISON by Corina Larkin GEORGES HUGNET The Love Life of the Spumifers by Valery Oisteanu Dark Christmas by Bradley Rubenstein ELLSWORTH KELLY Schwarz & Weiss by David Rhodes MALCOLM MORLEY Another Way to Make an Image, Monotypes by Robert Storr Five Works from the Collection of Albert Murray: ROMARE BEARDEN and NORMAN LEWIS by Charles Schultz THE RONALD S. LAUDER COLLECTION: Selections from the 3rd Century BC to the 20th Century / Germany, Austria, and France by Charles Schultz Anonymous Tantra Paintings by Noah Dillon SANGRAM MAJUMDAR New Work by Kara L. Rooney GUDMUNDUR THORODDSEN Father's Father by Paolo Javier SOTO Paris and Beyond, 1950 — 1970 by Cora Fisher JESS Paintings by Phong Bui GEORGE MCNEIL by Robert Berlind VICTOR MATTHEWS by Vincent Katz LOLA MONTES SCHNABEL Love Before Intimacy by David Markus THOMAS WOODRUFF The Four Temperament Variations by Kara L. Rooney MARTHA CLIPPINGER Hopscotch by Robert Berlind PETER GALLO by Jonathan Goodman Connected by Noah Dillon KANDINSKY's «Painting with White Border» by Susan Bee BARBARA SANDLER Straight On Till Morning by Robert Berlind December (Organized by Howie Chen) by Nathan Kernan EDWIN DICKINSON In Retrospect by Robert Berlind JOSÉ RIVERA by Nathan Kernan REMBRANDT»S WORLD: Dutch Drawings from the Clement C. Moore Collection by Sara Christoph JOSEPH MONTGOMERY Velveteen by Linnea Kniaz The Renaissance Portrait from Donatello to Bellini by Mira Schor BOSCO SODI Ubi Sunt by Jonathan Goodman DOUG WADA Americana by Lilly Wei Mind the Gap by Anne Sherwood Pundyk BILL JENSEN by Ben La Rocco WITHIN / WITHOUT: A Studio Visit With SHOSHANA DENTZ by Zachary Wollard SUSANNA HELLER's Studio by Robert Berlind STUDIO VISIT: JOYCE PENSATO by William Corwin Making American Taste: Narrative Art for a New Democracy by Shane McAdams Letter from BERLIN by David Rhodes JOSEPH MARIONI Eye to Eye by Robert C. Morgan GORDON MOORE by Joan Waltemath Master Bill at MoMA by Irving Sandler

Published alongside her recent exhibition at Miami Art Central, this volume gathers key films together with Dean's poetic narratives, which become discrete works in themselves when juxtaposed with the still images.

Take It or Leave It: Institution, Image, Ideology opts for an unusual curatorial methodology, adopting certain standards of exhibition practice at the same time that it challenges them, arguing that accepted categories, genres, and conventions of telling a narrative through artworks can be approached otherwise.

, 1976 traces Acconci's early actions and performances, including FOLLOWING PIECE (1969), in which he followed passers - by on the street until they entered private spaces — SHADOW - PLAY (1970), in which he shadowboxed with a bright light shining behind him while moving in front of a wall — OPENINGS (1970), during which a camera focuses on Acconci's stomach as he pulls out his body hair, the film ends when Acconci is hairless — SEEDBED (1972), during which he audibly masturbated for eight hours a day under a temporary floor at the Sonnabend Gallery in New York while visitors walked overhead — THE RED TAPES (1976 - 77), a three - part epic that merges video space with filmic space, evolving into complex amalgam of narrative strategies, photographic images, music and spoken language.

As this Long Island - native's first solo showing at the downtown Los Angeles gallery, the seemingly commonplace images seen here feature an ominous energy, forcing the viewer to play detective and piece together Lifson's cryptic narratives.

These superimposed optical illusions scramble perspective; the images metamorphose into broken kaleidoscopes, forcing us to look again at the distorting lens of mainstream narratives.

Significant Objects, by Belfast born photographer Jim Mc Keever, is a visual narrative constructed of a soft, almost sepia toned and at times pastoral series of innocuous images that belay the deeper darker truth of one mans lifetime experience of unremitting physical, and sexual abuse at the hands of his «protectors» within the care system.

The gallery says both artists «probe the depths of political unrest, the hidden narratives behind objects and images, and the points at which empathy and perception connect.»

Olivier fuses painting and the moving image in tiny animated films which invest small events with magical lyricism and at the same time illuminate the narrative process of painting.

Since first showcasing her video work at her Whitney Museum of American Art retrospective in 2002, Rovner has pioneered the use of the moving image as a non-narrative, non-cinematic medium for the creation of painterly images and installations which, like painting and sculpture, conjure the timeless realities in a way the narrative arts can not.

Complementing an exhibition that was on view at the Art Institute of Chicago, the volume includes Parks's black and white images with narrative captions accompanying the plates; Ellison's typed manuscript for «Harlem is Nowhere,» complete with handwritten edits; and the layout pages for «A Man Becomes Invisible,» reproduced from Life.

06.2017 Suffering ², MONA, Tasmania (solo show) 04.2017 The World Made New, PiArts London [commissioned] 03.2017 Casebooks, Ambika P3 London [commission] 10.2016 Suffering, Queenstown, Tasmania [commission] 10.2016 Nowhere Less Now ⁷ Glynn Vivian Gallery, Swansea, Wales, UK [commissioned solo show] 07.2016 Leisure Land Golf, Quad, Derby, UK 06.2016 Seeing Round Corners, Turner Contemporary UK 04.2016 Leisure Land Golf, New Art Exchange, Nottingham, UK 02.2016 Objects Do Things, Ujazdowsky Castle, Centre for Contemporary Art, Poland 03.2016 Stories in the Dark, The Beaney, Whitstable Biennale, UK 05.2015 Leisure Land Golf, Venice Biennale (EM15 commission) 01.2015 Reads Like a Book, Cricoteka, Kraków, Poland 09.2014 Mirrorcity, Hayward Gallery, Southbank Centre, London [new work] 10.2014 Top of the World, Sami Centre for Contemporary Art, Karasjok, Norway 01.2014 For The Record, Birmingham Museum and Art Gallery, UK 09.2013 Entangled ², (Theatre II), Matt's Gallery, London (solo show) 09.2013 Monocular ⁴, Quad, Derby [commission] 08.2013 Narrative Structures, Stryx, Birmingham, UK 06.2013 Nowhere Less Now ², (Red Queen) MONA, Tasmania, Australia [commission] 05.2013 A» Comes First, Toulouse International Art Festival, France [commission] 01.2013 The Book Lovers, EFA Project Space, New York, USA 11.2012 The Book Lovers, MHKA, Antwerp, Begium 11.2012 Reality Bites, Kiasma, Helsinki, Finland 09.2012 Nowhere Less Now, Tin Tabernacle, Kilburn, London [Artangel commission solo show] 07.2012 Entangled ², Turner Contemporary, Margate [commission] 06.2012 Focal Points: Art and Photography, Manchester Art Gallery, UK 05.2012 Møte (Meeting), Galleri Festiviteten, Norway 03.2012 Ich is ein Anderer, Kunstverein Freiburg, Germany 02.2012 A Trip to the Moon, Bonniers Konsthall, Stockholm, Sweden11.2011 Monodrome, Athens Biennale, Greece 11.2011 Beyond Deception, Erik Steen Gallery, Oslo, Norway 08.2011 Something In The Way, Lofoten International Art Festival, Norway 07.2011 Outrageous Fortunes, Focal Point Gallery, Southend, UK 03.2011 Extramission 6, TPW Gallery, Toronto [as part of Images Festival solo show] 03.2011 Dis - covery, Salamanca Art Centre, Tasmania 03.2011 The Collection, Rugby Art Gallery, inaugural exhibition of CAS and V&A purchase for the collection 03.2011 Just Photography, Ancient and Modern at Martos Gallery, New York, USA 02.2011 It has to be this way ², BALTIC, Gateshead (solo show) 11.2010 Persistence of Vision, Kunsthallen Nikolaj, Copenhagen, Denmark 10.2010 It has to be this way ², Mead Gallery, Warwick (solo show) 10.2010 It has to be this way1.5, Aspex Gallery, Porstmouth (solo show) 09.

Internationally acclaimed Texas - based artist Trenton Doyle Hancock is best known for his ongoing narrative and theatrical installations that thrust the viewer literally and figuratively into his personal, idiosyncratic, and, at times, heretical weave of words and images.

I believe half the enjoyment of looking at concept art is to make up your own narrative to go with the image.»

«We at the Mitchell Center have been transformed by Marc Bamuthi Joseph's amazing talent and energy over the past several years and can not wait to see this project travel nationwide, carrying with it narratives and images of Houston.»

As I was reviewing the selection, The Velvet Underground song «what goes on» was playing in the background at which point an unexpected narrative emerged in the chronological sequence of images.

Spanning the years from 1926 to 2016, the exhausted chronology embeds personal images such as Saar's baby pictures, family photographs, and casual snapshots of the artist at work within a larger visual narrative, consisting of historical events ranging from the founding of the National Negro Congress, to the debut of Ms.Magazine, to Nina Simone's final concert at Carnegie Hall.

The exhibition of the same name at CCA is not a direct response to the narrative of this story, but, instead, stages a number of artworks that explore similar ideas of how our perceptual and physical behaviours are transfigured by objects, images, and new technologies.

Throughout, Douglas's interest in the construction of the image, and the narratives (or lack thereof) that emerge from the surface is at center stage.

Prince keeps the viewer at arm's length by removing the image from its source, and by doing so, he undermines the entire narrative function of painting, creating instead an utterly new work that's all the more alluring because of its evasive presence.

Surely, all of us are influenced by various images, hooked at times in our minds but comics and fairy tales, are mainly a narrative form.

Monroe imagines these images at frozen points of motion with an implied short narrative that refers to the before and after.

While studying at the California Institute of Arts, Oursler was influenced by John Baldessari, who taught him, Mike Kelly, John Miller, and Jim Shaw the importance of the narrative potential of images and the associative power of language.

Evans was in residence at the institution in 2006; afterward he crafted the work by combining more than ten thousand images drawn from governmental, corporate, military, commercial, and pop - cultural websites to illustrate a set of loose imaginative narratives.

His titles — «Footsteps Brushed Over,» «Things We Lost Along the Way» — hint at narratives couched within his images.

New Slideshow looks at the ways in which artists are using sequences of still images to make film with various kinds of narratives.