Sentences with phrase «between photographic space»

Not exact matches

Combining elements of the found, the photographic, the cinematic, the architectural, and the social, Gaillard provokes visual or associative connections between ancient ruins and neglected contemporary spaces, attempting to recuperate the past in the name of a devalued present.

The Space in Between, an exhibition featuring the work of Lynn Saville, was recently on display at the Photographic Resource Center at Boston University, and is now on view at the Atlantic Wharf's Waterfront Square Gallery in Boston through March 22, 2013.

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.

As UCLA Professor Anthony Vidler writes «Casebere's «spatial unconscious» is in photographic representation, an opening through vision into the psychopathology of lived space, a space that blurs all the traditional distinctions between the space and the space represented».

As Anthony Vidler Dean of The Cooper Union School of Architecture writes, «Casebere's «spatial unconscious» is in photographic representation, an opening through vision into the psychopathology of lived space, a space that blurs all the traditional distinctions between the space and the space represented».

Beginning with her early photographic series Women of Allah (1993 - 1997), and continuing through her current practice, Neshat has consistently and fluently probed issues of gender, power, displacement, protest, identity, and the space between the personal and the political with a singular and powerful aesthetic.

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.

BETTINA POUSTTCHI (* 1971, Mainz, Germany) lives and works in Berlin, and is known for her large scale photographic interventions and sculpture, exploring the connections between systems of time and space in a transnational perspective.

The large - scale works included in Against the Wall are primarily based on media imagery documenting Israel and Palestine, exploring the tension between the photographic documentation of reality and the constructed space of painting.

Molderings contextualised the ready - made as a «means of experimental space perception», through exhibiting life - size photographic enlargements of Duchamp's New York studios, together with the three «Boxes» — fascimiles of handwritten notes published by the artist between 1934 and 1966.

The photographic installation is juxtaposed with the ride - on electric train that interweaves the gallery spaces, which uses the concept of exchange between her home in Berlin and the context of San Francisco as a point of departure.

Antonio Marras signed the preparation with a scene that can transport you inside the stories that you read on the walls: an experience, in which also the setting becomes a fundamental part of the narrative and creates the relationship between the spaces House and photographic works.

He is an installation artist whose work combines a technical photographic practice and a playful relationship between objects, light, space, and the viewer.

Through her delicate treatment of every scene, Dumas destabilizes preconceived notions about what, in fact, is being pictured — exploring the tension between the photographic documentation of reality and the constructed imaginary space of painting.

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

Christine Kozlov: Information endeavours to create a rapport between her sculptures, their exhibition copies, archival material, photographic documentation and contextual documents to addresses sculpture's concern with objecthood, space, encounter, time, duration, and our experience of an object and its imagined conceptual content.

«American Art Today: Faces and Figures,» The Patricia & Phillip Frost Art Museum (formerly The Art Museum at FIU), Florida International University, Miami, FL, January 17 — March 9, 2003 «The Harlem Renaissance and Its Legacy,» Worcester Art Museum, Worcester, MA, January 18 — April 13, 2003 «A Century of Collecting: African American Art in the Art Institute of Chicago,» Art Institute of Chicago, Chicago, IL, February 15 — May 18, 2003; catalogue «Structures of Difference,» Wadsworth Atheneum Museum of Art, Hartford, CT, February — April 13, 2003 «The Space Between: Artists Engaging Race and Syncretism,» Davis Museum and Cultural Center, Wellesley College, Wellesley, MA, March 18 — June 8, 2003 «Visual Poetics: Art and the Word,» Miami Art Museum, Miami, FL, April 25 — November 16, 2003; brochure «Visualizing Identity,» The Jack S Blanton Museum of Art, University of Texas at Austin, Austin, TX, August 27, 2003 — January 4, 2004 «Drawing Modern: Works from the Agnes Gund Collection,» Cleveland Museum of Art, Cleveland, OH, October 26, 2003 — January 1, 2004; catalogue «Skin Deep,» Numark Gallery, Washington, D.C., March 15 — April 26; brochure «Only Skin Deep: Changing Visions of the American Self,» curated by Coco Fusco and Brian Wallis, International Center of Photography, New York, NY, December 12, 2003 — February 29, 2004; traveled to Seattle Art Museum, Seattle, WA, 2004; Museum of Photographic Arts, San Diego, CA, 2005; catalogue «Supernova,» San Francisco Museum of Modern Art, San Francisco, CA, 2003 «Fast Forward: Twenty Years of White Rooms,» White Columns, New York, NY, 2003; catalogue «Today's Man,» curated by John Connelly, Hiromi Yoshii Gallery, Tokyo, Japan, 2003 «The Disembodied Spirit,» curated by Alison Ferris, Bowdoin College Museum of Art, Brunswick, ME, 2003; catalogue «The Alumni Show,» curated by Nina Felshin, Ezra and Cecile Zilkha Gallery, Wesleyan University, Middletown, CT, 2003; catalogue «Crimes and Misdemeanors,» Contemporary Arts Center, Cincinnati, OH, 2003 «DL: The Down Low in Contemporary Art,» Longwood Art Gallery at Hostos, Bronx, NY, 2003 «The Paper Sculpture Show,» organized by ICI, Sculpture Center, Long Island City, NY, 2003; traveled to Contemporary Art Center of Virginia, Virginia Beach, VA; Hunter Museum of American Art, Chattanooga, TN; Southeastern Center for Contemporary Art, Winston - Salem, NC; Orange County Museum of Art, Newport Beach, CA «An American Legacy: Art from the Studio Museum,» The Parrish Art Museum, Southampton, NY, 2003 «Stranger in the Village,» Guild Hall, East Hampton, NY, organized by the Museum of Modern Art, NY, 2003 «On the Wall: Wallpaper and Tableau,» The Fabric Workshop and Museum, Philadelphia, PA, 2003 «Family Ties,» curated by Trevor Fairbrother, Peabody Essex Museum, Salem, MA, 2003 «Influence, Anxiety, and Gratitude (Toward and understanding of trans - generational dialogue as a gift economy),» curated by Bill Arning, MIT List Visual Arts Center, Cambridge, MA, 2003 «American Art Today: Faces & Figures,» The Art Museum at Florida International University, Miami, FL, 2003

In his recent photographic series, IMG (2012 --RRB-, Heishman creates minimalist glyphs made out of colored tape that generate a slippage between visual flatness and real - space dimensionality.

Filmed in her Syracuse studio, artist Carrie Mae Weems discusses the impetus for her work The Kitchen Table Series (1990), a photographic investigation of a single domestic space in which the artist staged scenes of «the battle around the family» between women and men, friends and lovers, parents and children.

Moulson's film and photographic works occupy odd spaces between.

Visitors who know Wolfgang Tillmans» photographic arrays may think of them at times, but Tillmans nearly always puts breathing space — often a lot of it — between his images.

Wavering between photographic realism and painterly softness, Winstanley's works call into question the quiet psychology of public and private spaces.

The large - scale works included in Against the Wall are primarily based on media imagery and newspaper clippings documenting the conflict between Israel and Palestine, exploring the tension between the photographic documentation of reality and the constructed, imaginary space of painting.

Maine got a lot of mileage out of the indeterminate space between the abstract and the photographic in his recent exhibition at 490 Atlantic, and this picture suggests a different take on that same exploration, here dropping his signature moiré pattern in favor of a more direct approach to the application of paint and a decidedly more aggressive palette.