Sentences with phrase «as photographic subjects»

Acknowledging how most public art is experienced through the lens of a camera, Ross - Ho deliberately treats her sculptures as photographic subjects and actively seeks to make viewers aware of their role as photographers.

The chronicle of the history of African Americans as photographers and as photographic subjects, based on the book «Reflections in Black» by Deborah Willis, will be shown on Thursday, March 19, at the Wadsworth Atheneum Museum of Art.

© Robert Adams, courtesy Fraenkel Gallery, San Francisco, and Matthew Marks Gallery, New York New Topographics is significant to the history of photography primarily because it marked a dramatic shift in attitude towards landscape as a photographic subject.

Not exact matches

Jersey Standard executives are properly proud of their unique photographic venture as a public service, but sometimes they are not quite sure what the company is getting out of it, times when they wonder if «documentary» pictures of such subjects as tombstones in New Orleans or cockfights in Venezuela are not merely irrelevant.

On the subject of colour, our photographic car was painted in a red metallic said to be as near as dammit the same as that of the latest Ferrari F1 cars.

As an artist, Tillrock takes a unique approach, capturing the essence of his automotive subjects in pencil, and he is best known for his detailed, almost photographic depictions of go - fast vehicles and iconic car - culture scenes.

If, as Richard Avedon said, «a photographic portrait is a picture of someone who knows he's being photographed and what he does with this knowledge is as much a part of the photograph as what he's wearing or how he looks,» do photos of unaware subjects still qualify as portraits?

Join Thomas Struth and Tobia Bezzola as they interrogate Struth's photographic subjects, technique and influences.

His earliest photographic works recreated historical subjects, such as self - portraits, still lifes and mythological scenes.

All of Cooke's subjects stem from real life — his autobiography, live models or photographic and literary sources — but metamorphose away from these everyday referents as they become realized in paint and enmeshed in the landscape of the work.

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.

As an artist, Ms. Dooley's photographs and photographic essays covering subjects that include AIDS, breast cancer, African - American Women, and Asia, parallel her daily life and her travels.

The exhibition moves on to explore practices that are close to Appropriation Art, such as Sturtevant's Duchamp Man Ray Portrait (1966), who reclaims a photographic portrait of Marcel Duchamp realized by Man Ray, substituting both the author and the subject of the photograph with herself.

Today, the digitization of imagery breaks into both the conceptual and impressionistic areas of fine art, where experimentation is even more pronounced, and nonconcrete subjects such as the «digital sphere» can be explored and visualized using the photographic medium.

-LRB-...) Whatever the motivations behind the original Voynich illustrations, Ruperto and Heltoft's pictures manifest a delicious paradox as photographic records of imaginary subjects, indexical traces of fictions.

Beyond a metaphorical understanding of this idea, the question of how much the photographic image functions as an index of a subject's exterior and how much information beyond the surface is recorded or evoked, is also of interest to Alexi - Meskhishvili.

As a proactive member of the feminist art movement, she began adopting the photographic techniques and subject matter used in pornography to create a series of paintings that presented a different narrative from the fetishized one promoted by the porn industry.

The «Fact» paintings have taken various other photographic themes as their subject matter since 2000, including: details from Hirst's own work, personal photographs of the birth of the artist's son; famous diamonds; and biopsies.

It's a subject that's as easy to satirize as it is to romanticize, and it's this prickly theme that American artists Sasha Bezzubov and Jessica Sucher tackle in their photographic series «The Searchers» (2006).

Through these mediums she explores her identity as a subject and her interaction with the photographic machine.

The work adheres to Ariella Azoulay's concept of the civil contract of photography, which asserts the photographic image as a relational encounter between subject, photographer and spectator; that in the moment of looking, photographing and being photographed, each party has a responsibility to the informed participation of the other two.

Misty Keasler is a Dallas - based artist whose immersive photographic projects explore intriguing and probing subjects such as orphanages, Japanese love hotels, garbage dumps in developing countries, taxidermy, and her own familial roots.

Twisted pieces of paper, toothpaste swashes and soap scum, were just a few of the odd findings and castoff materials Brassaï used as subjects in a 1932 photographic series he coined, «Involuntary Sculptures.»

Borrowing subjects from traditional photographic genre, Kydd's storefronts, urban landscapes and studio - based images function as still lifes which propagate the familiarity and generality of photographs while allowing them to hover in a temporally enigmatic zone.

The fluidity women experience as both subjects and objects in the photographic field is significant.

The paintings have taken various other photographic themes as their subject matter since 2000, including: details from Hirst's own work, personal photographs of the birth of the artist's son such as «Self - Portrait as Surgeon», which depicts Hirst in the hospital; famous diamonds; scientific photo library pictures of butterflies; and biopsies.

The surface of the photograph itself is a persistent subject of interest for Tillmans, and his careful combination of small and large formats, and framed and unframed prints, serves to underscore the notion of the photographic image as an object — subjective and idiosyncratic.

As Ludovico Pratesi notes, these subjects are rendered in detail, similarly to photographic close - ups, showing awareness and a critical use of the advertising visual practices of the time.

The Shifting Subjects exhibition brings two iconic photographic self - portraits by Sarah Lucas created in the 1990's as part of the then emergent Young British Artists movement, to be considered alongside recent autobiographical artworks by contemporary women artists.

The poem, or as Ebner refers to it, «the photographic sentence,» seeks to enliven the image by subjecting it to various challenges that ask the photograph to perform outside its usual function of reporting or depicting events, people, places, and things of our time.

Subject matter and photographic medium vary greatly, but stand together as a symbol of their communal dedication to the photographic medium.

As subject matter, the tripod challenged traditional conceptualizations of the photographic process.

The Los Angeles artist's «Designer» photographs of shop windows, taken with a cheap hand - held camera and then blown up to a just barely decipherable resolution, at once evoke 20th - century abstract painting and the photographic tradition of shop windows as subject matter that goes back to Eugene Atget and Brassaï.

With historical ties to Impressionism and Fauvism to its credit, Maison Levanneur is hosting five artists who represent a form of contemporary continuation with their examination of pictorial and photographic subjectivity and the use of landscapes and cities as full fledged subjects.

The artist himself sheepishly peers out from one of the few oil paintings in the show, Bob's Sebring (2011), next to a silver convertible a bit too snazzy for his outfit, in front of a square garage... The paintings are furnished from a Kodachrome, sun - bleached palette, and a seemingly interminable supply of time... The supposed subject matter lingers at the edge of the well - measured composition, perfectly skewed to avoid approaching the edge of motion... The photographic qualities of this work are apparent, but the shutter's ability to capturing fleeting moments is irrelevant as time itself seems to be immobile anyway.»

For his recent paintings, Sarabia uses photographic snapshots as a palette to paint larger paintings, obscuring the original subject by the blobs of paint — the final result is a palimpsest of experiences altered, reminding us how the past is shaped over time.

Her subjects are drawn from her personal life, as she relies on photographic snapshots that capture posed and unguarded moments of married couples (two paintings depict the artist with her estranged former husband).

Volume 1 includes a focused presentation of 35 images, bringing together 37 years of Stipe's practice of creating and collecting photographic materials, in addition to posing as a subject in the photographs of others.

Works on view include 24 x 20 - inch large - format, single - image Polaroids Ray, 1979, and Self - Portrait, 1979 Known for depicting images of friends and family in his paintings, Close expanded his subject interests in his photographic work to include people he has met throughout his career, such as artists, dancers, actors, or politicians: Jasper, 1997 (Jasper Johns); Robert, 1997; Hillary Rodham Clinton, 1999; Renée, 2007; Bill T.Jones, 2008, and Alec Baldwin, 2010, among others.

Goldin curated an exhibit at Artists Space called Shy, featuring works by friends who were her photographic subjects and artists, as well.

Even with Ross's official status as an employee of the Jewish Council (Judenrat) in the Department of Statistics, the subject matter of his photographic work was restricted and scrutinized, and he took many risks while capturing images of what he called the «total destruction of Polish Jewry.»

Similarly, Sam Falls» romantic and reverential rubbings made directly from his studio walls, lovingly acknowledge the structure and take the artist's studio as their quite literal subject, and are transplanted here as proto - photographic image - maps.

The photographic works of James Casebere explore architectural subjects such as domestic settings, flooded corridors of grand mansions, bare spaces of prison interiors, Moorish and Islamic architecture, ancient water tunnels in Bologna, or the Jewish Ghetto in Venice.

Photographs are presented in multiple formats, to emphasise their status as objects, not as mimetic devices merely depicting their subject: there are large scale, unique silver gelatin prints, with the inky, seductive, saturated blacks that are characteristic of Beasley's hand - printed method; there is a stack of litho - prints that you can help yourself to, and there are photographic postcards on the kind of dumb, commercial rotating stand that ought to threaten a fine art practice but has instead been co-opted by Beasley to extend her meditation on the currency of the photographic image.

Photogram, as a medium, has existed since the late - 19th century and is a photographic method where an artist records his or her subject matter with light.

From Louise Bourgeois's massive, brown member, Fillette (Sweeter Version)(1968 — 99), a dangling sculpture that seems to rot in real time; to Lynda Benglis's photographic depictions of the ambiguous boundaries between gender / sexuality identification in Secret 3 (1974); to EJ Hauser's gestural shrine and Whitman's brilliance, Big Whitman (2012), each artist has adopted the male body as their subject, immortalizing them into objects married with sweeping sentiments.

The photo comes as a welcome reprieve near the end of Freed's life during which in his photographic career he tackled serious subjects for which he became known as one of the best social documentary photographers of his time.

Photographic portraiture — of the self as much as subjects choreographed for the camera — is a central offering at the newly launched Zeitz Museum of Contemporary Art Africa (Zeitz MOCAA), a one - hundred - gallery, nine - floor private museum that opened at a harborside address in Cape Town, South Africa's leisure capital, and focuses exclusively on twenty - first - century art from Africa and its diaspora.

Warhol was one of the first artists to see the photographic image as the subject of a work of art.

Sugimoto is known for his elegant photographic series depicting subjects as diverse as seascapes, movie theaters and natural history dioramas.