Sentences with phrase «archiving historical works»

Partner with an Institution that specializes in archiving historical works (for example, in Michigan, we partnered with the Clarke Historical Library at Central Michigan University; and in Minnesota we partnered with the Minnesota Historical Society);

Not exact matches

I would recommend looking at his archives to see the historical context of his work.

It's important to him that fifth generation Bill Seppelt, who Randall first met when he was packaging manager for the company in the 1980s, is now back in the fold, working on the winery's enormous, priceless archive of historical documents, signing the certificates of authenticity for the old Para tawnies.

It often is more akin to historical detective work than to climatology and can involve long searches in dusty archives, the ability to read archaic scripts and handwriting, and even Latin translations (for instance, when going through the archives of the Paris Observatory)(sounds like a recent bestseller, only less lucrative, no?).

Mary will be working with Shaun Hardy on historical projects in the GL and DTM archives.

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).

Steven Spielberg Honored by Foundation for the National Archives for His Work in Historical Filmmaking

Content: Brought to you by The National Archives, DocsTeach allows students to work with and learn from primary sources — in this case, historical documents.

Connor McLaughlin previously worked as the Dr. Kathy A. Agard Fellow in Community Philanthropy with Our State of Generosity project at the Dorothy A. Johnson Center for Philanthropy, conducting research on the history of Michigan's philanthropic infrastructure by archiving historical documents and oral history interviews.

Situating itself within current art historical and political debates, the exhibition considers work by self - taught, spiritually inspired and incarcerated artists, alongside other projects based in performance, socially engaged practice and the archive, as well as painting, drawing, sculpture and assemblage, that make insistent reference to place.

Addressing the Ektachrome Archive in relation to the historical period in which it was produced and in light of contemporary political and social concerns, this series of talks examines how the archive has expanded from a personal document of a historically significant period to a contemporary living document, and how this work serves to complicate our collective Archive in relation to the historical period in which it was produced and in light of contemporary political and social concerns, this series of talks examines how the archive has expanded from a personal document of a historically significant period to a contemporary living document, and how this work serves to complicate our collective archive has expanded from a personal document of a historically significant period to a contemporary living document, and how this work serves to complicate our collective memory.

Combining photography, historical archives, found objects, and interviews, the work spans the pre-history of the building, its spectacular decline, and recent attempts at its transformation.

We see the responsibility of the gallery as threefold: to work for the long - term development of each artist's career, acting as a liaison to international galleries and museums as well as placing works in collections; to create an historical archive for each artist; and to act as an accessible public space in which the exhibitions become an exemplary gesture of the power of subjectivity to the audience at large.

Subotzky and Waterhouse combine photography, historical archives, found objects, and interviews to create a body of work that spans the pre-history of the building, its spectacular decline, and the recent attempts at its transformation.

Baechler has often referred to himself as collector, of imagery and references — biographical, art historical, visual ephemera — forming a rich archive in his work over the years.

Following this, he spent a summer interning at Electronic Arts Intermix (EAI) in New York, doing filing all morning in return for free afternoons in which to pillage EAI's vast archives of historical and current video works by artists.

Weighted Words includes works from the Zabludowicz Collection and a loaned archive of historical audio recordings.

Through performance, video, and installation, Bambitchell (Sharlene Bamboat and Alexis Mitchell) has developed an expansive research practice working with national archives and historical narratives, informing the duo's rigorous yet playful approach to querying power.

The works presented here take many forms, including physical archives arranged by peculiar cataloguing methods, imagined biographies of fictitious persons, collections of found and anonymous photographs, film versions of photographic albums, and photomontages composed of historical photographs.

This week, we speak to Tiona McClodden (2016), a visual artist and filmmaker whose work explores gender, race, historical archives, and social change, driven by an interest in, she says, «contemporary renderings of the works of underrepresented figures in Black American history.»

His recent work questions the relationship between humans and objects; exploring links between cinema, technology and museology through archives of historical film props.

It also has the conceptual art archives, and it will also have historical Asian works on paper.

These inherently fragile works point to a process of investigative re-enactment, responding to research from African visual archives to challenge inherent biases in historical records.

The archive of Still's personal artifacts provides an excellent historical context for his work.

An avid researcher of archives and historical narratives, Red Star seeks to incorporate and recast her research, offering new and unexpected perspectives in work that are both witty and unsettling.

Price's artwork often recreates environments or draws from historical archives and for this residency Price worked with Dr Mortimer; exploring his research and video footage and photographs in the Rutherford Appleton Space archive.

Known for the breadth of her art historical knowledge and her exceptional collaborations with artists such as Richard Artschwager, Barry LeVa, Karen Kilimnik, Maira Kalman, and Anne Tyng, Schaffner's work often coalesces around themes of archiving and collecting, photography, feminism, and alternate modernisms — especially Surrealism.

Four artists in A Modernist in the Colony and Infinite Archive explore historical narratives within the collection and respond with new work through a contemporary lens.

They see the responsibility of the gallery as three fold; to work for the long term development of each artists career, acting as a liaison to international galleries and museums as well as placing works in collections; to create an historical archive for each artist; and to act as an accessible public space in which the exhibitions become an exemplary gesture of the power of subjectivity to the audience at large.

CURRENT: LA Water is produced by the City of Los Angeles Department of Cultural Affairs and the Office of Mayor Eric Garcetti Graphic and Web Design by Still Room Web development by El Bug Farm Historical Photos Courtesy of Los Angeles City Archives, Public Works Right of Way Collection All Other Photos Courtesy of City of Los Angeles Department of Cultural Affairs, Public Art Division unless otherwise noted.

The show encapsulates the work of six international artists probing the meaning of archive, edifice, and historical idiosyncrasy through play with document and display.

10.1 Donation to the Archives Directors and producers of the films presented at the Venice Film Festival are invited to donate a copy of their work, to be stored in the Biennale's Historical Archives of Contemporary Arts (ASAC), destined solely for the purposes of research and documentation, and excluding all commercial use in order to protect the interests of the filmmakers and the producers.

In What We Ask Is Simple, Thomas turns to international activism, sourcing iconic protest photographs from «libraries, historical archives, and years of online research,» 1 to undergird this impressive new body of work.

Set within an immersive wall painting the installation «Ahy - kon - uh - klas - tik» combines a trans - historical selection of works from the Van Abbemuseum's collection, sculpture and assemblages by Brook Andrew, rarely seen documents and publications from the museum's library as well as the artist's own extensive archives that focus on popular and official documents relating to colonial and stereotyped agendas of the global south.

The exhibition features works that respond to the historical comic novel and media archive The Imaginary 20th Century, by Klein and Bistis.

Featured works: Roberto Chabet (courtesy of the Asia Art Archive), Bonita Ely, Rana Hamadeh, Irene Kopelman, Tejal Shah, Lawrence Weiner, Terue Yamauchi and archival materials from the Tropenmuseum (Amsterdam), the North Stradbroke Island Historical Museum (Dunwich), the Biodiversity Heritage Library and the David Rumsey Map Collection.

The «Beyond GRAMMATRON: 20 Years into the Future» symposium and exhibition features presentations and panels focused on the convergence of net art and electronic literature as well as the curation and archiving of historical works of digital art.

Activating her work is an iconography of historical material drawn from a range of primary sources: photographic archives, antique books, vestiges, and an infinite variety of found objects.

According to the Baltic in Gateshead, where her work is currently on show, «she draws upon historical film, photographic archives and collections of artefacts to generate fantasy episodes».

Beasley's work has an archival impulse and rather than a recovering of a priori historical fact, her excursions «into the archive» are about uncovering lost possibilities, a reason why the fictional mode assumes such dominance in her practice.

Filmed at the Mary Queen of Scots Bower, Chatsworth, Derbyshire — where Mary was detained by Elizabeth I — to create the work the artist also delved into the library's extensive archive, responding to artefacts including 1970s copies of Sappho («The only lesbian magazine in Europe»), historical texts on the persecution of «witches», and a collection of misogynist cartoon postcards depicting women as serpent - tongued nags.

When I encountered Hayes's video installation at the Whitney Biennial this past spring, Parole, I thought that it was by far the most accomplished work in the show, and that the ways it grappled with questions of the archive, historical representation, and collective vs. personal experience were both subtle, multi-faceted, and complex.

Based on these works, Knigin was given full access to historical archives and journeyed twice to Anne Frank's attic in Amsterdam.

«Magic Show» features work by 24 international artists, with new commissions and an archive of historical posters, curious props and off - beat ephemera from the world of theatrical magic.

In September the gallery is publishing the first monograph on Suellen Rocca's work, featuring full - color reproductions of more than fifty works, essays by Dan Nadel and Sarah Lehrer - Graiwer, and a narrative chronology illustrated with historical photos and ephemera from the artist's personal archive.

AA&R's work is backed by a deep knowledge of the most appropriate analytical approaches and our extensive research archives of historical materials and painters» methods.

Some works incorporate stylistic devices and subject matters that seem dated, passé or quasi-extinct; others capture traumatic moments of the historical past; some are recreations of previous works, creating the sensation that they are pursued by a lost or distant original; there are ghostly images and morbid symbols of the past as ruins and apocalyptic landscapes; and, finally, there are creations that analyze the role that archives play in collective memory and personal obsession.

In his video work, Koester uses strategies of montage, archiving and storytelling to illuminate historical events.

It often is more akin to historical detective work than to climatology and can involve long searches in dusty archives, the ability to read archaic scripts and handwriting, and even Latin translations (for instance, when going through the archives of the Paris Observatory)(sounds like a recent bestseller, only less lucrative, no?).

On the question of studying the primary literature: pre-hockeystick, the historical multi-century temperature record compiled by Hubert Lamb was based (I believe) on archive records of such things as the date of grape harvests, and the classic work was the massive «Histoire du climat depuis l'an mil,» (1967) by Emmanuel le Roy Ladurie.