Sentences with phrase «between early photography»

Tate Britain, London, 11 May — 25 September This exhibition at Tate Britain is the first major one of its kind to consider the significant dialogue between early photography and British art over the course of a 75 - year period.

Not exact matches

Deschenes (b. 1966, Boston), is known for her lushly beautiful and meditative work in photography and sculpture, and since the early 1990s has produced a singular and influential body of work that probes the relationship between the mechanics of seeing, image - making processes, and modes of display.

The exhibition features work that deals with issues of race, sex, gender, redefine constructionism, new minimalism, early photography, nostalgic meditations, and the interplay between nature and the man - made.»

The exhibition features works that deal with issues of race, sex, gender, redefinitions of constructionism, new minimalism, early photography, nostalgic meditations, and the interplay between nature and the man - made.»

«Painting with Light» at Tate Britain 11 May Currently on view at Tate Britain, «Painting with Light: art and photography from the Pre-Raphaelites to the Modern Age» is an expansive new exhibition spanning over 70 years and exploring the symbiotic and sympathetic early relationship between photography and art.

On the event of the exhibition David Milne: Modern Painting, running at London's Dulwich Picture Gallery from 14 February — 7 May 2018, fellow Canadian artist and Photo London Master of Photography 2018 Edward Burtynsky discussed with exhibition co-curator Sarah Milroy the extraordinary legacy of Milne's work and the relationship between the painter's pictures and Burtynsky's early photographs.

Between the late 1930s and the early 1960s a group of young photographers living and working in New York City redefined street photography.

At the talk on the day of the press preview, Bajac spoke about the parallels between the Post-Internet age and the cinematic culture of Germany in the 1920s and»30s, the context in which the early film critic Siegfried Kracauer called still photography an «outmoded medium.»

The publication draws connections between recent works, including those on view at the SITElab exhibition, and earlier series including animated films The Simpson Verdict (2002) and The Unbearable Lightness of Being (2005), as well as his ongoing drawing series The History of Photography Remix.

A range of techniques including painting, sculpture, graphic arts and photography will be showcased thematically rather than chronologically, aiming to highlight dialogue between eras, revealing how certain artists have been prompted to reinterpret earlier works.

Ranging from photography to drawing to installation, the more than four dozen works in the exhibition include: critically acclaimed videos by Marilyn Minter (Green Pink Caviar, 2009) and Kate Gilmore (Between a Hard Place, 2008), who credits Minter for teaching her to «be bold, honest and to never, ever relax»; a new large - scale sculpture by Marianne Vitale (Double Decker Outhouse, 2011), who says seeing Hungarian flimmaker Bela Tarr's 7 - hour epic Sátántángó confirmed her need to be an artist early in her career; and the latest project from Lisa Kirk (Backyard Adversaries (Ashes to Ashes), 2011), who sees a «sublime level of alchemy, the act of making work that is not only inspiring, but is revolutionary» in David Hammons» Fly Jar (1996).

In the early 1990s, the cinema theorist Raymond Bellour coined the expression «between - images,» using the term to approach the hybrid images between photography, film and video.

At the front of the gallery, a group of 16 silver gelatine prints by artist George Platt Lynes — who became American Ballet Theater's official photographer in 1934 — reveal the exhibition's most explicit interchange between a clandestine visual language of homosexual erotics and the cool formalism of early ballet photography.

This companion volume to the artist's largest exhibition to date is a feast taken from countless visual documents of Kelley's early formation, such as his involvement with the experimental band Destroy All Monsters (DAM), which also featured Jim Shaw, Cary Loren, and Niagara (born Lynn Rovner) in 1973 while Kelly and Shaw were students at the University of Michigan in Ann Arbor; early performative sculptures and objects; drawings; paintings; handmade dolls and stuffed animal sculptures; photography; videos; and endless inventive installations in various forms and shapes that explore and deal with the themes of self - destruction, repression, class relations, sexuality, religion, politics, and whatever else lies between the grotesque and the sublime, the sacred and the profane.

German - born Tillmans, who has worked and exhibited in London in recent years, has smashed the boundary between commercial photography and art: much of his early work was for fashion magazines, including a famous image of four of his friends sitting in the branches of a tree, not wearing any clothes at all.

Even early on in his career his embrace of change marked him out, allowing him to break down all the existing divisions between painting, sculpture, printing, photography, dance, and forming endlessly inventive ways of forging them together.

In the early 1990s, the cinema theorist Raymond Bellour coined the expression «entre - images» or «between - images», using the term to approach these hybrid images between photography, film and video.

The symposium coincided with the O'Keeffe Museum's presentation of «Shared Intelligence: American Painting and the Photograph,» an exhibition that developed from our 2006 symposium, which addressed the dialogue between painting and photography that has been constant and ongoing since the invention of the latter in the early decades of the nineteenth century.

Artists: Becky Beasley, Paul Caffell, Attila Csörgő, Michael Dean, Liz Deschenes, Raphael Hefti, Corin Hewitt, Ode de Kort, Laura Lamiel, Oliver Laric, Marie Lund, Justin Matherly, Fabio Sandri, Luca Trevisani, Viola Yeşiltaç, and a selection of early publications on the work of Medardo Rosso Exhibition title: The Camera's Blind Spot II Curated by: Simone Menegoi Venue: Extra City Kunsthal, Antwerp, Belgium Date: March 28 — July 19, 2015 Photography: © We Document Art and © Fabio Sandri, images courtesy of the artists and Extra City Kunsthal «The Camera's Blind Spot II» focuses on the relationship between sculpture and photogrPhotography: © We Document Art and © Fabio Sandri, images courtesy of the artists and Extra City Kunsthal «The Camera's Blind Spot II» focuses on the relationship between sculpture and photographyphotography today.

«One and One Is Four: The Bauhaus Photocollages of Josef Albers,» which opens Wednesday, Nov. 23, at the Museum of Modern Art, focuses on his early experiments with the ways in which photography did and did not render reality, the interplay between its flat shapes and its instantaneous representation of the three - dimensional world before the lens.

, introduces the notion of the «stereoscopic» from early photography: that is, the pairing of two separate images, which, in her words, «unleashes an ambivalence between the observer and the world».

Her text, Double Lives, introduces the notion of the «stereoscopic» from early photography: that is, the pairing of two separate images, which, in her words, «unleashes an ambivalence between the observer and the world».

St Ives paintings from the Collection are hung side by side with large scale Roger Mayne works from the 1960s to allow a dialogue between the two, showing him questioning early on the distinction between painting and photography.

Allusions to the relationships between sculpture, photography, and painting re-emerged in Lins's recreation of a section of the early twentieth - century sculptor Constantin Brancusi's studio.

Since early 2000 the artist develops work on the verge between sculpture, architecture, photography, painting and film, radically dismantling our strategies of perception.

Also at Tate Britain, Art and Photography from the Pre-Raphaelites to the Modern Age will explore the relationship between pioneering early photographers and Pre-Raphaelite, Aesthetic and Impressionist artists, including works by John Everett Millais, John William Waterhouse, James Abbott McNeill Whistler, Julia Margaret Cameron and Henry Fox Talbot.Conceptual Art in Britain 1964 - 79 will trace the course of conceptual art from its genesis in the early 1960s and through the 1970s, showing the origins of a movement that was profoundly influential on later generations of artists.

Printed on highly textured watercolour paper, the images offer dialogues between contemporary photography and early Japanese artwork, creating an aesthetic narrative that spans centuries and across continents.

Her early work was initially in dialogue with minimalism but quickly spiraled out into ideas about hybridity and what has come to be known as the «post-medium» condition, a blurring of traditional distinctions between media such as painting, sculpture, and photography.

A shift came in the early twentieth century with the emergence of two related innovations: the so - called Neues Sehen, a tendency in photography and visual art propelled by the development of modern camera technology, and the Neues Bauen in architecture and urban design; the nexus between them is exemplified by the work of László Moholy - Nagy, who taught at the Bauhaus.

An introduction to the volume as a whole sets out the historical relationship between art and photography from the early nineteenth century forward, and covers the art world's embrace of the medium in recent decades.

Frazier, assistant professor of photography at the School of the Art Institute of Chicago, talks about the trio of artists who influenced her work early on when she was finding her voice — Larry Clark, Eugene Richards and Carrie Mae Weems — and the difference between «taking» and «making» pictures.

Frustrated and bored with that what he saw as the tedious constraints of that idiom, Baldessari scrapped it early on in his career, turning his efforts instead to «phototext» works that muddy the distinction between photography and painting, questioning the relationship between visual and verbal language.

The exhibition, comprised of reclaimed ephemera, film, photography, sound, and more, links these early migrations with the movement of more than 80 Asian, Black, and Latinos from America to Cuba between 1968 and 1971 — a time typically associated with Cuban exile into the US.

The former, using a vibrant color palette and complex patterns, can be seen as an extension of his 1993 series, Early Product Paintings, while the latter evokes a contrast between painting and photography through singular subject, black - and - white paintings.