Sentences with phrase «between photography and video»
This expanded documentary is a dialogue between photography and video.
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Not so much the idea of full - blown video but a crossover between photography and video attracts me... and my clients.
Not exact matches
Spanning painting, photography, graphic work, drawing, sculpture, video, documents, and the critical responses generated, the joint exhibition explores the idea that there are no clean boundaries between art, culture, and geography, and deconstructs how such notions are formed and disputed.»
The artist's practice, which encompasses painting, collage, photography, video, sculpture, and performance art, often centers around a mythical cast of human, animal, and hybrid characters, who live in a world that exists somewhere between fantasy and reality.
Living somewhere between still photography and video, her images explore the way we interact with never - ending moments in the age of the 15 - second clip.
During the last couple of years Leander Djønne has been engaged in an art practice that moves between multiple mediums — film, video, text, performance, installation, photography and teaching.
Based between Berlin, Oslo and Paris, Khalili's work explores the broad topics of migration and displacement through the mediums of film, video, installation, photography and prints.
Between the Devil and the Deep Sea represents the culmination of five years of study in Fine Arts and displays a wide range of practices and ideas, including performance art, sculpture, photography, drawing, painting, audio and video.
Through poetic meditations in video and photography she explores transitional conditions — of being in and between continents, languages, remembered pasts and imagined futures.
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.
* The categories include: — Painting — Photography — Sculpture and Installation Art — Performance — Video & New Media Art * Timeline: May 17, 2017: Close submissions Between June and December 2017: Young Korean Artists Show Series 2017 March 1, 2018: Expected publication date of «CICA Young Korean Artists # 1» * How to submit your work: — Please send us up to 10 JPG portfolio images and / or up to 3 direct links to video / web / interactive art, your artist statement, andVideo & New Media Art * Timeline: May 17, 2017: Close submissions Between June and December 2017: Young Korean Artists Show Series 2017 March 1, 2018: Expected publication date of «CICA Young Korean Artists # 1» * How to submit your work: — Please send us up to 10 JPG portfolio images and / or up to 3 direct links to video / web / interactive art, your artist statement, andvideo / web / interactive art, your artist statement, and bio.
This exhibition will be the first comprehensive North American museum survey of the internationally recognized artist Walid Raad (b. 1967, Lebanon), whose work in photography, video, sculpture, and performance in the last 25 years investigates the distinctions between fact and fiction and the ways we represent, remember, and make sense of history.
The artist's sculpture, video and photography extrapolate the consequences of testing her body between authenticity and artifice; improvisation and folklore; cultural rupture and embedded practices.
The ongoing dialogue between the digital and physical worlds provides the backdrop for Data Deluge, an exhibition that presents a selection of sculpture, furniture, painting, photography, video, sound and works on paper by artists who shape Web - based and software - generated data into art.
Erin Shirreff deftly uses photography, sculpture, and video to interrogate the relationship between an object and it's representation.
Hershman Leeson is an internationally known artist who has done groundbreaking work in video, film and photography that combines art with social commentary, particularly on the relationship between people and technology.
Barjeel Art Foundation collection: Part 3 26 April — 14 August 2016 In the third presentation, photography and video works made between 1990 — 98 go on display.
Three artists — Mauro Maugliani, Gonzalo Orquín and Luis Serrano — took an exploration between painting, photography and video art, realizing...
Her projects combine a variety of media including video, photography, performance and the use of archive material to explore the relationship between sound, memory and identity through interwoven narratives.
If the 1970s ended with a unprecedented maturation in the visual arts spectrum and the foundations for increasing infrastructural support, the 1990s ended with increased visual and intellectual traffic between mediums: painting was informed by issues and innovations in photography, video and digital technologies, and in return, artists working in technological mediums addressed painting in many different and unexpected ways.
Her work playfully dismantles systems of power between the US and China through performance, installation, video, and photography.
The exhibition brings together a great range of artistic practices and languages (photography, video, painting, sculpture, installation...), cultures, geographic origins, generations and experiences, to establish a tension between extremely different artistic approaches: melancholy of vanity, ironic play with identity, political biography and existential questioning, the body as sculpture, effigy or fragment of its symbolic substitute.
Passages: Walking in Contemporary Art,» Perlman Teaching Museum, Carleton College, Northfield, MN «Photography and Film Constructs,» Ringling College of Art and Design, Sarasota, FL «Another Landscape,» Yang Art Museum, Beijing, China «Dust,» SKPxPQA art showcase, Beijing, China 2015 «Jimei X Arles: Encounters Between East and West — International Photo Festival,» Yuanbo Garden, Tan Kan Kee Art Center, Three Shadows Art Center Xiamen, China «Real / Unreal,» The First edition of Changjiang International Photography & Video Biennale, Chongqing Changjiang Museum of Contemporary Art, China «The Persistence of Images,» Redtory Art and Culture Organization, Guangzhou, China «It's not right, but it's okay,» Ucca Store, Beijing, China «The 2nd Three Shadows Experimental Image Open Exhibition,» Three Shadows Photography Art Centre, Beijing, China
2004 Between Past and Future: New Photography and Video from China, International Center of Photography, NYC, NY.
Martin Beck, VALIE EXPORT, Dan Graham, Dorit Margreiter, and the architecture collective Superstudio work variously in film, video, photography, sculpture, and across and between media.
Hovering in a space between video and still photography, the unfixed nature of this work mirrors the uniqueness of its non-binary subject, Mona Ahmed.
All, in one way or another, deal with the following concerns: the contemporary history of Lebanon with particular emphasis on the wars in Lebanon between 1975 to 1991; the representation of traumatic events of collective historical dimensions; and the ways film, video, and photography function as documents of physical and psychological violence.
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).
Gianfranco Foschino's (Chile) videos confront one's perceived distinctions between multiple genres including photography, painting and video.
The photograph is presented alongside two other video works that further interrogate the space between still photography and time - based media.
Jonathan's self - declared medium is the «expanded practice of painting,» blurring the lines between painting, performance, video, and photography.
This catalogue explores the relationship between ideas about space and their physical manifestation in installation, film, video, photography, architecture and design.
These video and video - derived works build on more than a decade of the artist's investigations of the relation between conventional photography and digital technology.
While the artist investigates the complex relationships between form and substance through different artistic practices such as photography, video, sculpture and installation, he is best known for his beguiling marble carving to which he applies his refined craftsmanship in order to create unexpected and light forms, ordinary and yet highly symbolic.
Jenyu Wang interrogates the gap between thinking and feeling by utilizing photography, video, and sculptural installations.
Through performance, video, sculpture, and photography, Surdell questions the boundary between artist and athlete, challenging the internalized and gendered rules that give each meaning.
Sharon Hayes (b. 1970) is a New York — based artist who uses photography, film, video, sound, and performance to examine the nexus between politics, history, speech, and desire.
His publications include The New Vision: Photographs from the Ford Motor Company Collection (with Maria Morris Hambourg, 1989), Photography in the Modern Era: European Documents and Critical Writings, 1913 - 1940 (1989), and Between Past and Future: New Photography and Video from China (with Wu Hung, 2004).
«Seismic Shifts» will showcase artists and architects whose work challenges disciplinary boundaries and raises critical social, environmental and political issues and will include painting, drawing, sculpture, photography, mixed media, video, and architectural models created between 2005 and 2012, with a number of new works featured.
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.
In anticipation of her solo exhibition «Space Between Time» at Wasserman Projects in Detroit's Eastern Market, Shalev - Gerz will speak about her work in photography, video, sound, and sculpture.
German artist Josephine Meckseper's photography, videos and installations deal with the interaction between politics and glamour.
Irish artist Dorothy Cross uses a variety of media including sculpture, photography, video, and installation to explore the relationship between living beings and the natural environment.
Jiang uses video, painting, photography, installation, writing and other mediums, blurring the boundaries between fictional documentary, mediated images and private narratives to reveal the intersections and segmentations between the body, desire and emotion of different individual and its representation or imagination in contemporary society.
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.
Barjeel Art Foundation collection: Part 3 26th April — 14th August 2016 In the third presentation, photography and video works made between 1990 — 98 go on display.
A pioneering artist in painting, film, photography, video art and performance, Indian artist Nalini Malani (born 1946) is a transition figure between the modern and contemporary art of her country.
A Brief History of Pace will include sculpture, painting, photography, video, prints and works on paper made between the 1950s and the present.
He uses film, video, photography, text, sound and architecture to probe the borders between subject and setting.
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.