Sentences with phrase «photographic practice at»

Based in the North East of England, Garrod carried out a Foundation Degree in Commercial Photographic Practice at Newcastle College.

A final year student in Photographic Practice at the University of Northampton, Kay has a particular passion for traditional photographic methods, and is also concerned with the photograph as object in its own right.

Not exact matches

Recognized for her photographic works including «A Prime» (1997 --RRB-, «Color of the Planet» (2004), «In the Desert» (2007 --RRB- that convey a unique sense of distance to the subject and appears to freshly recapture the given world replete with convention, Noguchi's gaze that is expressed through her practice is critically described as «the stranger's eyes» at work.

An eponymous new show, opening tomorrow at Boston's Institute of Contemporary Art, represents the first full North American survey of his practice, exploring Raad's focus on investigations into distinctions between fact and fiction, especially in relation to «the veracity of archives and photographic documents in the public realm [and] the role of memory and narrative within discourses of conflict».

Shown only in black - and - white, the images paint a picture of the rich photographic community practicing together at the Lexington Camera Club between 1954 and 1974.

Samira Yamin's practice explores systems of knowledge production through systematic interventions at various points in the life of the photographic image.

The first serious exploration of Albers's photographic practice occurred in a modest exhibition at MoMA in 1988, The Photographs of Josef Albers.

Above all, Kenneth Josephson's conceptual photographic practice encourages a closer look at the quotidian environment.

The exhibition's subtitle, Performing for the Camera, emphasizes the aspects of masquerade, theatricality, and performance at the root of his conceptual photographic practice.

Celebrating its 125th year, Baxter St at CCNY is marking this important anniversary with an exhibition of work by artists who draw upon the origins of the medium to address contemporary photographic issues and practices.

[ENG] The third exhibition by Peter Downsbrough at àngels barcelona focuses on the conceptual photographic work that the artist has been consistently producing since 1978 and that has been of major relevance in his multidisciplinary artistic practice which includes sculpture, works on paper, photographs, films and books.

She is currently working on the final manuscript for her book The Benefit of the Doubt: Regarding the Photographic Conditions of Conceptual Art, 1966 - 1973, and editing a volume on the critical conjunction between conceptual art and humor, based on a panel she co-chaired at the College Art Conference (CAA) in Los Angeles (2012), entitled «Conceptual Art as Comedic Practice.»

The first serious exploration of Albers's photographic practice occurred in a modest exhibition of 38 photographs organized by John Szarkowski at MoMA in 1988, The Photographs of Josef Albers.

This exhibition looks at two facets of Pindell's practice that have remained consistent through five decades of artmaking: abstract paintings and constructions on canvas, paper, and board; and a body of work Pindell calls «video drawings», an ongoing series of photographic prints that arise from her unique hybridization of photography, video, and drawing.

Central to his practice is the undisguised and frequently experimental use of mirrors, which draws the viewer's attention to the images» photographic artifice, complicating the experience of looking at a subject, while also engendering a mystifying effect.

Her work has been presented in many solo and group exhibitions such as For An Experience of Wholeness (2013) at the Digital Media Gallery, Lycoming College in Williamsport; Contemporary Photographic Practice and the Archive (2013) at the Harry Ransom Center at the University of Texas at Austin; X Y Z — The Geometric Impulse in Abstract Art (2012) at the Torrance Art Museum; and Perspectives 168 (2010) at the Contemporary Arts Museum Houston.

There, it's worth mentioning Cynthia Daignault's photographic and painterly meditation on images of the Matterhorn for New York gallery Lisa Cooley; British artist Merlin James» solo show of his expanded landscape painting practice at Kerlin Gallery, Dublin; London - based Italian artist Salvatore Arancio at Rome's Federica Schiavo Gallery alongside Jay Heikes; and Jacqueline Mesmaeker's beautiful photo - sculptural installations at Nadja Vilenne, Liège.

He held teaching positions at Black Mountain College, the Art Institute of Design in Chicago and the Rhode Island School of Design, and was a founding member of the Society for Photographic Education, a non-profit membership organization that provides and fosters an understanding of photography as a means of diverse creative expression, cultural insight, and experimental practice.

While the wall drawings, which he started in 1968 at the age of 40, constitute LeWitt's most emblematic practice, his oeuvre also includes three - dimensional works (which he referred to as «structures»), innumerable drawings on paper, photographic series and artist's books.

Another part of the fair is Photo50, which provides a critical forum for examining some of the most distinctive elements of current photographic practice, Photography Focus Day that takes place at the Fair on Wednesday 21 January, the Art Projects Film Programme, live performances as well as an extensive program of talks, tours and critical debates.

He went on to do his bachelor's degree at the Camberwell College of Arts, University of the Arts, London, which helped him expand his artistic practice to construct layers within his photographic narratives to allow for the viewer to question what they see by oscillating between reality and fiction.

Formerly a cinema set painter, Vitturi has brought this experience into his photographic practice, which revolves around site - specific interventions at the intersection of photography, sculpture and performance.

On the occasion of her first solo exhibition at the Whitney, Nasatir will discuss her practice of hand - manipulated photographic compositions and the resulting, psychologically - charged, final product.

A selection of different practitioners will engage these questions at LA > < ART, advancing discussions surrounding photographic practices today, as well as issues of image production more broadly.

Space out 17 November The worlds of photography and sculptural practice are meeting head on in the site - specific installation «Not the Actual Site», by Dutch photographic artist Marleen Sleeuwit at LhGWR in The Hague this weekend.