Sentences with phrase «between documentary work»

Photography that toes a line between documentary work and fine art may intrinsically contain half - truths, but that does not strip it of its sincerity, nor of its power.

Not exact matches

Pat Janssen is a writer, actor and stand - up comedian shuttling between New York and Los Angeles, with stops in between to work on his documentary in Nebraska.

Nestling somewhere between a documentary and an art film, between a Crimewatch re-enactment and the work of Mike Leigh, it is extremely difficult to pigeonhole it or to compare it readily with any film on a similar subject.

This fast - paced documentary offers a view into the enormous amount of work that goes into running a restaurant kitchen, and a glimpse into a young mind struggling to maintain balance between artist and madman.

These comprehensive juxtapositions between on - the - scene and off - the - cuff moments reveal an inherent contradiction between filmmaker and subject; while the team members claim they work from evidence first, then reach conclusions, Chevigny and Kauffman have set out to make a hagiographic observational documentary that is more interested in putting a human face on an organization than it is operating with a more rigorous, journalistic precision.

She makes comparisons between this film and her documentary work.

The Austrian filmmaker, who regularly works in the documentary mode, discusses The Dreamed Ones, a narrative film that metatextually stages the correspondences between authors Paul Celan and Ingeborg Bachmann during their romance.

From the point of view of someone who started working in theatrical features when computers were completely absent, to now 45 years later when they are omnipresent, Murch will explore the constants that nonetheless remain after the «bones» of celluloid and sprockets have dissolved away, and examine the salient technical, artistic, and philosophical differences between the post-production of a theatrical scripted film and a feature - length documentary.

The inaugural New Works - in - Progress Forum sparked a new format of conversation between filmmakers, audience, and industry with two narrative and two documentary features in the midst of their creative process.

The most personal documentaries are the most involving for viewers because the film works in two ways, one as an exploration into a subject or subjects, and another as a special relationship between subject and filmmaker.

From Lorrie Moore's earliest reviews of novels by Margaret Atwood and Nora Ephron, to an essay on Ezra Edelman's 2016 O.J. Simpson documentary, and in between: Moore on the writing of fiction (the work of V. S. Pritchett, Don DeLillo, Philip Roth, Joyce Carol Oates, Alice Munro, Stanley Elkin, Dawn Powell, Nicholson Baker, et al.)... on the continuing unequal state of race in America... on the shock of the shocking GOP... on the dangers (and cruel truths) of celebrity marriages and love affairs... on the wilds of television (The Wire, Friday Night Lights, Into the Abyss, Girls, Homeland, True Detective, Making a Murderer)... on the (d) evolving environment... on terrorism, the historical imagination, and the world's newest form of novelist... on the lesser (and larger) lives of biography and the midwifery between art and life (Anaïs Nin, Marilyn Monroe, John Cheever, Edna St. Vincent Millay, Eudora Welty, Bernard Malamud, among others)... and on the high art of being Helen Gurley Brown... and much, much more.

The work she does for animals: She was an associate producer for the documentary film «How I Became an Elephant,» which attempts to illustrate the connection between elephant abuse in America and elephant abuse in Asia.

This play between documentary and staged images, usually shot using a large - format camera, is what Wall has become known for, and, with this exhibition of new work, Wall will continue to mess with what viewers believe to be the truth in his pictures.

PEET's work — whether painting, sculpture, drawing, video, or performance — actively engages with the social and political realities of our time and fluctuates between documentary and subjective approaches.

His experimental documentary, Joined by Divisions, investigates deeply entrenched schisms between African - American and Caucasian working - class communities.

Through Ahwesh's camera work, PixelVision's gritty close - ups give an intimate and unnerving view of addiction and intoxication that troubles the conventional separation between documentary and fiction.

Bildmuseet is showing a selection of documentary projects from the 60s and 70s, as well as newer works that display the boundary - transcending way in which Agnès Varda moves between the cinema theatre and the gallery showroom.

Elliot Caplan's documentary chronicles the 50 - year collaboration between two of the country's most influential artists, the choreographer Merce Cunningham and the composer John Cage, examining their integration of Buddhism into their work and their lives together.

Pairs have been chosen for the dynamic interplay between the two selected works, and based on similar or contrasting themes, formal motifs, or geographic interests, as well as topics endemic to photography's discretely defined history: social documentary, performative, and formal modes will be explored within the expanded discourse of film and video.

Curated by Manu Park, the solo exhibition (22 February - 30 April 2017) includes PLAYTIME (Seven Screen Installation), 2014, which explores the dramatic and nuanced subject of capital, Kapital, 2013, a two - screen documentary, which includes the artist in conversation with leading academics such as David Harvey and Stuart Hall, and The Leopard, 2007, which brings together baroque pageantry and metaphor in a work that, referring to journeys made across the Mediterranean by Asians and Africans trying to enter Europe by sea, experiments with notions of cultural entanglement and the dissent between aesthetics and politics.

Her work explores the potential of the film medium, weaving an intricate web of references — between film and theater, painting and poetry, fiction and documentary.

Typically for Zaatari the Stockholm exhibition involves found photographic archives, multimedia installations, and film and video, both documentary and fictional (and works that sit somewhere between the two).

Oscillating in tone between documentary and mythology, Fallah's works speak to the paradoxical placelessness that frequently defines the immigrant experience.

Philip - Lorca diCorcia, known for creating images poised between documentary and theatrically staged photography, has had a dynamic career with acclaimed international exhibitions, including a major survey of» his work organized by the Schirn Kunsthalle Frankfurt in 2013 that traveled to the De Pont Museum in Tilburg, Netherlands, and The Hepworth Wakefield in England.

New York — On Thursday, October 19, Swann Auction Galleries» sale of Art & Storytelling: Art & Photobooks combined works spanning the lifetime of the medium into an auction intended to «highlight the interrelationships between fine art, documentary and vernacular photographs,» according to Daile Kaplan, Vice President and Director of Photographs & Photobooks at Swann Galleries.

Working under the sign of Benjamin, «Storyteller» curators Claire Gilman and Margaret Sundell grouped together fourteen artists who employ the story form as a documentary mode, setting aside Benjamin's distinction between the subjectivity of oral communication and the assumed veracity of mechanical broadcast in order to investigate the use of narrative across a swath of contemporary art.

The body of work itself is the convergence of these three roles — a series of photographic collages that vacillate between dualities or contradictions: the public and private, the rational and emotional, and the documentary and interpretive.

He creates multi-channel site - specific installations as well as single channel works that often blur the line between narrative, experimental, and documentary film modes.

· John Akomfrah (b. 1957 Accra, Ghana; lives London) will select works from the Arts Council Film Collection (c.1960 - 90s) to curate an exhibition which looks at the space between cinema and TV, documentary and educational film, avant - garde and experimental film, dance and performance art.

The works in the exhibition deconstruct, question and criticise the relationships between gender and society through theatrical performance, documentary filmmaking, and experimental film that blur the lines of male - female binary conformity.

One of the most influential photographers working today, diCorcia is known for creating images that balance precariously between documentary and staged photography, fact and fiction.

The ambiguity in Lê's work blends the lines between documentary and staged, functioning as observations of the representation and theater of war.

From what I had time to preview, the film selections include at least two of the show's major works: Frederick Wiseman's 2010 excursion into unnarrated documentary, «Boxing Gym,» and Thom Andersen's three - hour «Los Angeles Plays Itself,» a meditation on the discrepancy between movies and real life in largely architectural terms that is as enthralling as it is dispiriting.

Wolfgang Tillmans» work, which engages with contemporary culture, was noted for the way he challenges the boundaries between art and photography and between the genres of portraiture, documentary and still life.

Robin Graubard's work, over the past 40 years, has explored and blurred the boundaries between documentary and autobiographical narratives.

Drawing upon folklore, masquerade traditions, religious practices, food, and Nigerian popular aesthetics, Saro - Wiwa's work shuttles between documentary and performance, testing art's capacity to transform and to envision new concepts of environment and environmentalism.

Curated by Manu Park, the solo exhibition includes PLAYTIME (Seven Screen Installation), 2014, which explores the dramatic and nuanced subject of capital, Kapital, 2013, a two - screen documentary, which includes the artist in conversation with leading academics such as David Harvey and Stuart Hall, and The Leopard, 2007, which brings together baroque pageantry and metaphor in a work that, referring to journeys made across the Mediterranean by Asians and Africans trying to enter Europe by sea, experiments with notions of cultural entanglement and the dissent between aesthetics and politics.

Stevenson Gallery, a Cape Town space with a consistently incisive programme, has given its booth over to the protean Dutch photographer Viviane Sassen, whose work swings between documentary scenes of Senegal and Uganda and near - abstract shadow plays.

His work explores the ambiguities between illusion and fact as well as the role photography has traditionally played as an objective, documentary medium.

One of his most well - known works, a re-creation of a battle between pickets and police during the miner's strike in the north of England in 1984, was subsequently made into a documentary by Mike Figgis called The Battle of Orgreave and was broadcast internationally.

After successful editions of 2012 and 2014, this year's theme will be Photography, the Undocument, gathering works of art that question the documentary character of photography and exploring the boundaries between facts and fabrications.

Since the early 1970s his work bridged the gap between conceptual art and documentary practices, focusing on economic and social themes ranging from family life, work and unemployment, to schooling and the military industrial complex.

The works also reveal the diversity of approaches artists are now taking to the medium, using various animation techniques, as well as borrowing from the language of cinema, performance, and YouTube to produce work that weave between documentary and fiction.

Brennan's practice — exemplified by previous work such as Jerusalem Pink, 2015, which considered the relationship between the role of stone in Palestine and her great - grandfather's occupation there as an architect during the British Mandate — merges serious investigative documentary practices with a sensitive and poetic relationship to using moving image as a means to create subjective and / or staged moments: footage meets fiction.

About Alinka Echeverria Alinka Echeverría is a Mexican visual artist whose photography and video work lies at the crossroads between documentary and fine art.

Chong Kwan works with photography, video, sound, installation, and performance and weaves together documentary and fantastical approaches to explore ideas of collective and individual memory, history and expanded notions of and frustration between the senses.

John Wynne «s diverse, research - led practice includes large - scale sound installations, delicate sculptural works, flying radios and award - winning «composed documentaries» that hover on the borders between documentation and abstraction.

All of the works represent the innovative way in which he plays with the relationship between the staged and documentary photograph.

Adam Chodzko works in the poetic spaces between documentary and fiction, public and private space.

Often combining fictional narration with seemingly archival or documentary footage, the works in the exhibition employ a range of tactics to blur the line between fiction and reality, weaving fragmentary stories around elusive or even entirely absent centers.