Sentences with phrase «between photographic images»

It is a dynamic, indexical account of the pasts, presents, and futures of mental and physical landscapes as sweeping as Art History and memoir or as specific as the variable dimensions found between the photographic image as sculpture or the sculpture as photographic.

Now he was interested in exploring the relationship between the photographic image and painting, producing some of his first works to use techniques of blurring in 1963, like the piece titled Alster.

The artist uses kitsch imagery to explore his interest in the difference between the photographic image and its handmade counterpart, as well as the limitations of both the artist and the viewer.

Richter's continuing influence can be found today in the work of painters who investigate the relationship between the photographic image and painting, and its reproduction in painting, including Halinka Orszulok, Tony Lloyd, Victoria Reichelt and Sam Leach.

Rather than attempting a definitive history, the publication posits an alternative approach to the myriad questions and debates associated with representation, presenting its technological history as inextricable from the social history of media, and staging this through the complex and multivalent relationship between the photographic image and the body, whether it be the body of the viewer, or that of the depicted.

His film stages a confrontation between the photographic image and the forms of representation that it supplanted and raises questions as to what comes next.

Ahmet Elhan will give a speech about the integrated relationship between the photographic image and «space and time».

His practice explores the relationship between the photographic image and object, between photography and narrative, and the slippery nature of archives.

Not exact matches

What we see when we illuminate only a small area of the photographic plate is not a partial image but a whole image somewhat less sharply defined in detail, There is no one - to - one correspondence between object and image.

But the drive to create virtual characters that are indistinguishable from human characters has also given rise to complex forensic and legal issues, such as the need to distinguish between computer - generated and photographic images of child pornography, says senior author Hany Farid, a professor of computer science and a pioneering researcher in digital forensics at Dartmouth.

In order to produce the color image seen here, I worked with data coming from 8 different photographic plates taken between 1988 and 1997.

This color image is based on data coming from 33 photographic plates taken between 1987 and 1995 through the Palomar Observatory's 48 - inch (1,2 - meter) Samuel Oschin Telescope as a part of the second National Geographic Palomar Observatory Sky Survey (POSS II).

Similarly, you would be hard pressed to visually tell the difference between 640x480 and 2048x1536 photographic images of a (Granny Smith) Apple.

«The humble aim of our exhibition together with this printed matter is to offer an interdisciplinary platform: a dialogue stage that, prompted by the fruitful dichotomy between text and image, gathers photographic works together with written contributions around the notion of formalism.

Curated in collaboration with Mark Sealy and Renée Mussai of Autograph ABP, whose co-founder and first Chair was Rotimi Fani - Kayode, the exhibition features a selection of his most important photographic works produced between 1985 - 1989, including large - scale color works and arresting black and white images.

The whole process was thus based on photographic images, while the issue at stake was the difference between a painting (an artwork) and a press photo.

The works that brought her to international attention, the series Ground and Field, presented photographic blurs caused by focusing the camera on an unoccupied foreground; these lushly colored images tested connections between the descriptive clarity of photography and the haze of memory.

Over the semester students will learn to think critically about the relationship between history and cultural representations, particularly through the international circulation of photographic images.

With Fersini's equal focus on the photographic image and its lustrous surface, the eye flits between recognizing the original photograph's perceptual depth — what it depicts — and the image as a physical / material object.

Her projects have explored themes around looking and seeing; the relationship between camera and subject; the circulation and consumption of images and the complex nature of photographic representation.

Following on from years of hang - anywhere, self - reflexive installations that would jump between images of quickly caught instances and concrete colour tests with photographic paper, here Tillmans returns to the body.

Esopus 23 presents specially - commissioned projects exclusive to this issue including a series of images printed on translucent and metallic stocks by Marilyn Minter, a portfolio of die - cut works by Mickalene Thomas, a collection of images and documentation by Jody Wood relating to her ongoing «Beauty in Transition» series, a new series of paintings by Stefan Kürten; drawings by Karo Akpokiere dealing with the challenges of living and working between Berlin and Lagos, and a series of abstract photographic «landscapes» created in the darkroom by master black - and - white printer Chuck Kelton.

Simone Rocha Simone will launch a collection of special T - shirts in her space which feature an image from the photographic series «Flowers and Cars» — a long - running collaborative project between Simone Rocha and Jacob Lillis.

Entitled Shelf Life — read between the lines: a visual poem, a family portrait, a collision of mementos, this expansive and thoughtful photographic piece spans a 63 - foot wall presenting a sequence of images that poetically address increased anxieties over the current political climate.

Scanning (1963) is part of an extended series of works Robert Rauschenberg produced between 1962 and 1964 that combine silkscreened photographic images with lush, gestural passages of paint.

Shown only in black - and - white, the images paint a picture of the rich photographic community practicing together at the Lexington Camera Club between 1954 and 1974.

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.

Ganesh's use of photographic images from mass media activates the relationship between antiquated historical figures with contemporary media.

YinHua uses photography as medium to explore different ways of seeing, treating the photographic image as a fragment frozen and extracted from the flow of time, and the camera as a bridge between mental image and visual perception.

Curated in collaboration with Mark Sealy and Renée Mussai of Autograph ABP, whose co-founder and first Chair was Rotimi Fani - Kayode, the exhibition features a selection of his most important photographic works produced between 1985 - 1989, including large - scale color works and arresting black and white images.

With the skillful manipulation of his brush, Richter achieves a blurred image that moves in and out of focus, constantly shifting between its photographic source and painterly depiction.

Instead Shirreff mines the vexed questions of how images mean and matter to us, and how we negotiate the distance between an object and its photographic representation, or between a photographic representation and our memory of what it shows.

Through her precise films and photographic works, Lockhart explores the relationship between still and moving images and the productive space between the choreographed and natural gesture.

Greg Stimac's photographic images reference the space between fiction and documentary, remarking upon the simple delineations of tone that evokes minimalist landscape.

In the «70s Polke explored the relationship between photography and painting, and developed his interest in challenging the objectivity of the photographic image.

Penelope Umbrico is known for her photographic works exploring the relationship between modern technology and professional photography, the widespread availability and consumption of internet images, and for repurposing images from catalogs and websites like Flickr to reflect the fluidity and mutability of photography in the digital age.

As both an artist and an academic, Bright utilizes a keen historical and pop - culture eye to illustrate an intriguing fantasy: created between 1989 and 1990, the photographic series has Bright's own image superimposed onto stills from classic films like

Theo Mercier (b. 1984, France) creates tongue - in - cheek sculptural and photographic assemblages of collaged images and found objects that playfully collapse the boundaries between high and low art, craft and industry, past and present, Western and non-Western cultures.

In this wide - ranging meditation on the relationship between photography and race, the artists continue to scrutinise the photographic medium, leading viewers through a convoluted history lesson; a combination of found images, rescued artifacts and unstable new photographic works.

Her projects examine the evolving relationship between memory in contemporary culture and the technologies of photographic image production.

Speaking of his work, he said: «I create my images by studying the expression of the hazardous interactions that can arise between my photographic subjects and the different light sources that I decide to put in my scenes.

Fuelled by comments regarding the parallel between his paintings and photographic images, Martin developed the ethos that his...

Images of Algeria» shows the photographic works of Pierre Bourdieu, taken during his fieldwork between 1958 and 1961, in the period of the war of liberation in Algeria.

Authenticity, the photographic point of view and its relation to embodied experience, identificatory projection, as well as the complex relation between photograph and image all find their place within this framework.

Founded in 1980 as a non-profit venue for photographic practices, TPW is committed to a media - specific but expanded mandate, addressing the vital role that images play in contemporary culture and exploring the exchange between photography, new technologies and time - based media.

While it interests me that working this way speaks directly to technical and historical photographic processes, I'm most excited by the accidents of the resulting images: the movement in between my three frames, and the mis - registered overlapping... Outside of the reasons this process was originally developed, mainly a solution to reproduce the world's color, I'm looking for: unseeable squirming, shifting, and growth, arms flailing in ecstasy, or light slowly moving across our walls.

In recent years her focus has been on creating works that bridge the gap between her abstract paintings and her photographic images.

The artists in the exhibition — Lothar Hempel, Leslie Hewitt, Elad Lassry, Marlo Pascual, Eileen Quinlan, Mariah Robertson, John Stezaker, Sara VanDerBeek, and Letha Wilson — create works that engage a porous relationship between analog and digital practices while raising crucial questions about visual strategies and the materiality of the photographic image.

It doesn't necessarily mean erasure, but it does complicate the connection between perception and intellection — something that deeply thoughtful painters like Gerhard Richter have taken advantage of in order to make us reflect on how photographic images represent history and structure memory.

For the works in the Shiner series, created between 1986 and 1993, the artist silkscreened his own photographic images onto steel or mirrored aluminum plates alongside three - dimensional metal objects.