Sentences with phrase «artistic use of photography»

On view are iconic works from key moments of his career, from his student days in the 1960s to the present, including his large - scale double portraits of the celebrity friends of his youth; the collaged Polaroids through which he examined new possibilities within Cubism as well as the artistic use of photography; his later forays into painting the landscape on location in his native Yorkshire; and finally, his experimental works using iPad apps.

Not exact matches

Multilingual, well traveled, and sharp - witted, Cameron was curious about not only the scientific process of photography but also the artistic composition of portraits, using classical paintings as her model.

Making use of the technical and iconic potential of photography in its various forms, Pryde creates visually arresting and conceptually precise images that play upon the relationship between two dominant historical uses of the camera: scientific analysis and artistic endeavor.

We discuss, among other topics, about photography in the Middle East with Peggy Sue Amison, artistic director at East Wing; net art and networked cultures with Josephine Bosma, Amsterdam - based journalist and critic; urban digital art and criticality in the media city with curator and researcher Tanya Toft; art and technology with curator Chris Romero; the politics of surveillance and international security with political scientist David Barnard - Wills; art and architecture with Maaike Lauwaert, visual arts curator at Stroom, an independent centre for art and architecture in the Netherlands; the intersections of art, law and science with curator and cultural manager Daniela Silvestrin; the architecture of sacred places with curator Jumana Ghouth; the historical legacy of feminism today with Betty Tompkins and Marilyn Minter; hacktivism and net culture with curator and researcher Tatiana Bazzichelli; culture, place and memory with Norie Neumark, director of the Centre for Creative Arts in Melbourne; anthropology and the tactical use of post-digital technologies with artist and philosopher Mitra Azar; or feminism and the digital arts with curator Tina Sauerländer.

We strongly encourage experimentation, the use of traditional and contemporary approaches, innovation, and the dialogue between photography and other artistic mediums.

The interdisciplinary nature of their interventions is echoed by an expanded use of the artistic medium that includes performance, sculpture, sound, video and photography.

In the seventies, painters and sculptors began using the medium of photography to enlarge their realm of artistic expression.

Cecil McDonald Jr. uses photography, video, and text to explore masculinity, familial relations, and the artistic pursuits of Black culture.

Cecil McDonald Jr. uses photography, video, and text to explore the intersections of masculinity, familial relations, and the artistic and intellectual pursuits of Black culture.

On the verge of multimedia experimentation back in the 60's, Knoebel was one of the first Beuys students to use photography as an independent artistic medium.

Cecil McDonald, Jr. uses photography, video, and text to explore the intersections of masculinity, familial relations, and the artistic and intellectual pursuits of black culture.

Burroughs used photography extensively throughout his career, both as a recording medium in planning his writings, and as a significant dimension of his own artistic practice, in which photographs and other images feature as significant elements in cut - ups.

Abrahamik's loosely autobiographical photography practice speaks to this past, as artist and sitter embark on a shared use of illusory substances during artistic production.

The eleven artists juxtapose divergent approaches in conversation with each other, reflecting on primal questions consuming artists over the millennia: Elliot Arkin's conceptual use of web - based commerce spins an absurdist view on the commodification of artists; Babette Bloch's stainless steel reassessments of nature and artistic precedent limn positives and negatives through light; Christopher Carroll Calkins's street photography captures moments of under - the - radar narratives; Valentina DuBasky's acrylic and marble dust works on paper and plaster are a contemporary comment on the prehistory of art; Gabriel Ferrer's performance - like in - the - moment sumi - ink drawings on handmade paper reflect on memory and personal narrative; Christopher Gallego's realist, pure light - filled oil painting elevates the ordinariness of an artist's space to visual poetry; Ana Golici, in pergamano and collage, takes inspiration from 17th Century female naturalist, entomologist and botanical illustrator Maria Sibylla Merian to explore questions of science, nature and objective truth; Emilie Lemakis's monumental amplification of an ancient Greek krater employs scale to upend perceptions for the viewer's reconsideration; Mark Mellon's bronzes address the oppositions of movement and stillness; the alchemy of Michael Townsend's uncontrolled poured acrylic paintings equate the properties of materials with the turbulence of the universe; Jessica Daryl Winer's engagement with luminous color and choreographic line reflects in visual resonance the sonic history of a musical instrument.

Although painting is the dominant artistic form of Stuckism, artists using other media such as photography, sculpture, film and collage have also joined, and share the Stuckist opposition to conceptualism and ego - art.

Selections from the permanent collection of the Museum will illustrate the development of photography and illuminate the tools and techniques photographers have used to express their artistic visions.

His research at the Institute looked at overlaps between sculpture and photography - locating sculptors who have used photography as part of their artistic practice and photographers whose work has sculptural characteristics.

Examining artistic process, photography is also used to illustrate the construction of Yves Klein's 1960 Leap into the Void — a performance made for the photographic medium — and Anthropometries of the Blue Period, for which the artist had body - painted women pressing themselves to canvas.

Using these photographs as a starting point, the artist probes the impact of displacement and draws a connection between the societal upheaval of postwar years and the rise of photography as a popular artistic medium.

These works are in concordance with Hockney's inclination to the use of new technologies in artistic creation, something he's been working on since the emersion of fax machine, just to arrive to the recent iPad drawings, and consequently, drawing and photography combination.

They go on to say that, the artist strives to create a «new form of thought» by transforming conventional language with the use of images that «at times... explosively ignite the world of language and concepts,» proving that the relationship between language and photography is central to Nakahira's artistic practice.

Unlike many other Pictures - affiliated artists who use photography, James Welling established a deep and remarkably sincere commitment to his primary medium even as he undertook an extensive investigation of its long - standing intermediary role in other artistic practices: Abstract and representational painting and sculpture along with film, architecture, and, more recently, dance have all crucially informed the artist's oeuvre.

Featuring a diverse range of work spanning several years of her artistic career, the exhibition highlights Alshaibi's conceptual approach to photography and the layered and collapsing signs that are integral to her distinctive aesthetic, particularly her use of the body as a metaphor for spatial and temporal transgressions.

Here Cuevas, whose artistic practice makes use of painting, video, sculpture, photography and installations, uses images and objects from everyday consumption and life, which she deliberately changes through critical interventions and actions in the public space.

Through the use of painting, film, photography and collage, inspired by the introduction of new, electronic media that dominated the artistic landscape of the 1970s, Colmer challenged the disciplinary boundaries in which he worked.