Sentences with phrase «artist altered the image»

Not exact matches

18) The fact that there is a later punk - driven attempt to democratize rock fame (and not in the fatuous way that Andy Warhol's «15 - minutes of fame» comment suggested) or that pop / disco artists like Michael Jackson and Madonna will pick up on Bowie's fame - playing and image - emphatic example, in Madonna's case overtly subordinating the music to the prerogatives of notoriety, do not alter what ALMOST FAMOUS is showing us, that rock can be thought of as a social phenomenon / scene that one might belong to («you're too sweet for rock and roll» is said not by a musician to a musician, but by a groupie to a rock writer), that is as fame - focused as it is music - focused.

Nvidia is launching a new feature in Ansel that allows you to alter your your images so that they take on the style of an artist of your choosing.

Scottish - born artist Stuart McAlpine Miller has just launched these interesting pieces that make up his new collection entitled Altered Images.

New York - based artist KEVIN BEASLEY presents mixed - media sculptures inspired by two very different cultures and time periods — Bernini's 17th century Baroque alter piece in Rome and an iconic image of Black Panther Huey P. Newton.

Often, he pushes the pictorial plane to its limit, overloading the sedimented surface to the point that medium and image migrate to other supports: table tops, baking paddles and altered produce boxes that the artist has collected in Rome.

Gestures of cultural understanding are performed by a number of artists whose images reveal complex narratives: Kent Monkman's alter ego Miss Chief Eagle Testickle reclaims a controversial headdress; Aida Muluneh speaks to the struggles and achievements of the African diaspora across history; and Caroline Monnet's scene of women in the film industry highlights an emerging sense of power and self - determination.

The artist aims to capture content, specifically in search of «giving narrative life to objects, to alter their course, utility, and to amplify their charm; inscribing meanings and stories to these same objects, removing their varnish so as to not be perceived as «the [immutable] originals»; provoking collisions between images and assembling vernacular history with fantasies; fomenting a contemporary prosopopoeia, where a simple leather cushion, a tennis racket, or a lid of a tin biscuit box bare faces and voices.»

Yayoi Kusama, ever interested in the proliferation and repetition of image and self - image, contributes surprising new works from a recent body of portrait paintings, while Grayson Perry's ceramic portrait Transvestite looking in a Mirror depicts the artist as his alter ego Claire.

For many artists the questions, diversions, doubts and decisions of the painting process become ways of altering an image's rhythm, narrative and meaning.

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.

Each of these artists has their own personal obsession in their search for images in reality to record, capture or alter and then transform into their own reality.

By partially altering these found images of artworks by artists such as Katharina Fritsch and Sherrie Levine with cuts and manipulations, or replacing these images with photographs of scale replicas, Henriquez lends a fully transformative experience.

Ten days after the Women's March artist Jonathan Horowitz exhibited a pile of free posters at Petzel Gallery — an altered image of Trump photographed from behind playing golf, in all white except for his red MAGA hat.

Books - Forewords / Catalogue Essays Reduced Shakespeare Company «Reduced History of Art» project, AAF, 2014 Alan Gouk, New Small Paintings, 2014, HSoA Kelvin Okafor, Albemarle Gallery, 2014 Deborah Azzopardi, Cork Street, 2014 McAlpine Miller «MIRROR MIRROR» 2014 & «Altered Images» 2013, Washington Green Castle Fine Art Jane McAdam Freud «Family Matters», Gazelli Gallery, Mayfair, 2012 Simon Gudgeon, Isis sculpture Serpentine Hyde Park, 2012 Martin Yeoman, Petleys Gallery Mayfair, 2011 Izabella Kay, Cork Street, 2011 Henry Moore at Work Noa Lidor «Doubting Thomas», Madrid Osvaldo Mariscotti, New York Hampstead Artist» Council 50thAnniversary Learn As You Colour Modern Art for Children

This silent icon of media art provides both an interesting sonic experience within Cloud and a fitting historical reference: the work operates with audio generators, an audio amplifier, and an altered TV monitor, marking one of the first instances in which an artist employed live interaction between a sound system and an electronic image.

The show focuses on several prominent bodies of work from each artist's oeuvre, including Warhol's «Ladies and Gentlemen» series (1975), Christopher Makos's «Altered Images» series of Warhol in drag, Mapplethorpe's photographs of Patti Smith, Lisa Lyon, Bob Colacello, Candy Darling, and Grace Jones.

In his photographic transparencies, Golub manipulates and alters existing images of the same dramatic and tragic subjects which, after being photocopied and photographed, are transferred by the artist onto transparent sheets that emphasize the rough realism of his work.

Bound by a dedication to alter the ways in which women's bodies are represented in both fine art and media, these artists worked independently of one another to create images that unabashedly portray the vagina as a locus of power.

«While many contemporary artists employ the tools of digital technology to alter photographic images, Diggory stands out for using photography and Photoshop as the catalyst for painting.

For his «Steganogram» series, Bismuth entangles text and image not to complement or illustrate one another (as is often the case in advertising, journalism and even art) but rather so that digitally — and then physically — the text permanently alters the very structure of the image, distorting it according to a level of visibility selected by the artist.

An exploration into the possibilities of what the artist calls «New Photography,» Latente is a post-photographic project inviting viewers to discover the latency of images comprised within the series of Alter - portraits.

I was once really annoyed by Forever 21 selling shirts with our slightly altered images on them, but an artist?

Pratt Institute's Department of Film / Video and Photography will present a solo show of two bodies of work by artist Fred Camper titled «Figments,» that feature digitally altered images of increasingly low resolutions based on original single photographs.

Virtually all are manipulated somehow, either through advance digital processes, crude Microsoft Paint - like effects, or in - camera techniques, filters, dyes, and mirrors with which Samaras established his early reputation as proto - Photoshop artist and kind of define his career - long probing of his psyche and identity through altered images.

Pratt Institute's Department of Film / Video and Photography will present a solo show of two bodies of work by artist Fred Camper titled «Figments,» that feature digitally altered images of increasingly low resolutions based on original...

Opening: Lucas Samaras at Pace Gallery Greek artist Lucas Samaras began manipulating rainbow - tinged Auto - Polaroid photos back in the 1960s, and this autobiographical show will feature 700 of his digitally altered photos of mostly recent self - portraits but also personal family photos and childhood images of himself.

By deliberately blurring the photograph, the artist makes the viewer aware that this is an altered image, contrasting with the crispness and apparent objectivity of the original.

Guise & Dolls focused on several prominent bodies of work from each artist's oeuvre: Warhol's «Ladies and Gentlemen» series (1975) of drag queen portraits, Christopher Makos's «Altered Images» series of Warhol in drag, Mapplethorpe's photographs of lifelong friend and longtime muse Patti Smith that range from masculine to feminine and Mapplethorpe's photographic series and book Lady: Lisa Lyon (1983) of the female bodybuilding champion in numerous gender - bending guises.

Traveled to: Musée de l'Elysée, Lausanne; Victoria and Albert Museum, London; Hamburger Kunsthalle; Museo de Arte Contemporáneo de Caracas, Venezuela, 1988 — 1989 Three Decades; The Oliver Hoffmann Collection, Museum of Contemporary Art, Chicago, December 17, 1988 — February 5, 1989 (Catalogue) Identity: Representations of the Self, Whitney Museum of American Art, Downtown at Federal Reserve Plaza, New York, December 14, 1988 — February 10, 1989 (Catalogue) Gianfranco Gorgoni: Altered Images, The Penson Gallery, New York, November 15 — December 10, 1988 (Catalogue) Drawing on the East End: 1940 — 1988, The Parrish Art Museum, Southampton, New York, September 18 — November 13, 1988 (Catalogue) The Instant Likeness: Polaroid Portraits, National Portrait Gallery, Washington, D.C., August 27 — December 4, 1988 Aldo Crommelynck, Master Prints with American Artists, Whitney Museum of American Art at the Equitable Center, New York, August 3 — November 7, 1988 (Catalogue) Fifty - Second National Midyear Exhibition, The Butler Institute of American Art, Youngstown, Ohio, June 26 — August 21, 1988 (Catalogue) Life Like, Lorence Monk Gallery, New York, June 4 — 25, 1988 1988, The World of Art Today, Milwaukee Art Museum, May 6 — August 28, 1988 (Catalogue) Self As Subject, Katonah Gallery, New York, January 24 — March 6, 1988

Whilst the resultant images were beautifully intricate alter - realities, the artist was amazed by their apparent realism — «I actually believed that the rooms I was shooting could be mistaken for real places».

These small scale works, the largest of which is 11 x 13 inches (28 x 33 cm), are composed of altered found images, and texts either culled from the media or invented by the artist.

The second chamber, «Life Struggle: An Affirmation», displayed Robert Gober's Untitled (1992 — 96): a self - portrait by way of an altered New York Times advertisement, in which an image of the artist dressed as a beautiful bride takes the place of the female model.

The artist then alters it using Photoshop tools (hue / saturation and selective color), and as adjustments are made, various parts of the image come forward or recede.

Sherrie Levine stands at the forefront of a group of artists, such as Cindy Sherman, Richard Prince, and Barbara Kruger, whose work has altered the way we distribute, perceive, and study representational images.

The artist composites, recrops and refocuses them, using the altered digital image as the paintings» modulo (using personal supplementary life references as necessary).

While hardly unified in style and content, the artists» works in «Altarations» blend photographic images and processes to produce works that celebrate, contradict and undermine photographic traditions through altered images and references.

In this earlier moment, artists as diverse as Dan Graham, Peter Campus, Bruce Nauman, and Joan Jonas established feedback loops of live cameras and monitors into which viewers could wander: Sometimes their images were replayed to themselves in altered form, as in Campus's works, and sometimes spectators encountered their displaced projections on a short delay or in kinesthetically disorienting environments, as in installations by Nauman and Graham.

His vehicle: ghostly still images plucked from films that shaped him as a kid — Superman, The NeverEnding Story, Psycho, Space Camp — altered in the vein of such artists as Sigmar Polke, Konrad Lueg, Ed Ruscha, Barbara Kruger and Jenny Holzer.

Traveled to New Orleans Museum of Art; Museum of Contemporary Art San Diego, La Jolla, CA; and Blanton Museum of Art, The University of Texas at Austin; Phoenix Museum of Art Darren Almond, Katharina Fritsch, Martin Honert, Gary Hume, Paul Sietsema, Rebecca Warren, Terry Winters, Matthew Marks Gallery, Los Angeles The Shock of the News, National Gallery of Art, Washington D.C. 2011 All of This and Nothing, Hammer Museum, Los Angeles (catalogue) Drawn from Photography, The Drawing Center, New York (catalogue) 2010 Selections from the Hammer Contemporary Collection, Hammer Museum, Los Angeles A Selection of Works From MOCA's Permanent Collection, Museum of Contemporary Art, Los Angeles Hauntology, Berkeley Art Museum and Pacific Film Archive, University of California, Berkeley The Artist's Museum, Museum of Contemporary Art, Los Angeles The More Things Change, San Francisco Museum of Modern Art 2009 Collection: MOCA's First Thirty Years, Museum of Contemporary Art, Los Angeles Second Nature: The Valentine - Adelson Collection at the Hammer Museum, Hammer Museum, Los Angeles 2008 Progress, Whitney Museum of American Art, New York Life on Mars: 55th Carnegie International, Carnegie Museum of Art, Pittsburgh (catalogue) Inside Architecture: Selections from the Permanent Collection, Museum of Contemporary Art at the Pacific Design Center, Los Angeles (catalogue) When things cast no shadow: 5th Berlin Biennial for Contemporary Art, Berlin (catalogue) 2007 From Close to Home: Recent Acquisitions of Los Angeles Art, Museum of Contemporary Art, Los Angeles USA: American Video Art at the Beginning of the 3rd Millennium, Second Moscow Biennale (catalogue) Live / Work: Performance into Drawing, The Museum of Modern Art, New York Radio Daniele, broadcast by Citta del Capo Radio Metropolitana, in collaboration with Museo d'Arte Moderna di Bologna, Italy 2006 Uncanny Nature, Australian Centre for Contemporary Art, Victoria, Australia (catalogue) Le Mouvement des Images, Centre Pompidou, Paris (catalogue) 2005 Recent Acquisitions, Museum of Contemporary Art, Los Angeles Ecstasy: In and About Altered States, Museum of Contemporary Art, Los Angeles (catalogue) Uncertain States of America, Astrup Fearnley Museum of Modern Art, Oslo.

Also featured in this exhibition is a selection of Tomaselli's New York Times collages, an ongoing series the artist began in 2005 in which he scans the front pages of the newspaper, prints them onto watercolor paper, and alters the central images.

Abstraction becomes both the artist's signature and a means to elevate the altered image to an object of its own and of independent value, or better, to a work of art.