Sentences with phrase «color photographic series»

Here a color photographic series was included titled Breaking Waves.

Not exact matches

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.

Traces of Spaces is a photographic series of 11 large - scale color photographs of four closed Paris metro lines (St. Martin, Champ de Mars, Arsenal, Croix - Rouge), which ran underneath the current functioning metro in Paris and closed in early 1939.

The cassini series of 2008 was based on photographic captures of Saturn with its candy - colored moons and rings.

The former — an abstract collection of images created by inputting a series of numbers corresponding to frequencies, amplitudes, and color values into a custom - designed program — plays with the role technology plays in photographic representation; the latter, staged scenes from a imaginary emergency situation of power loss in New York City, explores what happens to human emotions in such scenarios.

The photographic series retains it's mediumal float while positions to the digital photography color model: RGB

On view at Kunsthalle Basel are «Sculpture Project Echo» (2009), a series of color photographs related to the «Echo» - installation; the video work «Conversations in the Studio 3» (2010); two installations of sculptural works using crowd - control barriers titled «Double Monuments for Flavin and Tatlin» (2010) and «Blackout» (2007 - 2010); the ongoing «World Time» series (2008 --RRB-, photographs of clocks on public buildings in different cities of the world; the photographic series «THe Hetley Suite» (2008); the two early video works «Ocularis» (1999) and «Double Empire» (2000).

Running counter to what he perceives as a tendency toward embellishment, his photographic series The Geometry of Color, on view at Lehmann Maupin in New York, depicts simple yet vibrant large - scale geometric wall paintings.

The colourful photographs of abstracted forms and planes are reminiscent of Los Angeles - based artist Walead Beshty's Color Curl and Black Curl series of photograms, in which he exposes photographic paper to different coloured lights.

In addition to premiering a series of color photographs, the exhibition includes two new aluminum sculptures based on his 2004 photographic series «Conceptual Forms.»

In a career of more than fifteen years, they have become known for their picturesque, color - saturated photographic series and their deliberately slow - paced video installations, which feature slow pan shots, endless loops, and puzzling plot lines.

Unique offerings from Andy Warhol include the recently acquired Polo, a silkscreened outlined image on a collage of colored papers from a delightful series revolving around various incarnations of the photographic subject, created by the artist in 1985.

Other highlights include Edgar Arceneaux's nine - channel video installation «The Alchemy of Comedy... Stupid» (2006), featuring a performance by comedian David Alan Grier; Tammy Rae Carland's «I'm Dying Up Here» (2011), a series of large - scale color photographs of female stand - up comedians captured mid-act, emphasizing the vulnerability of performance; Stanya Kahn's absurdist, pathos - filled video «Lookin Good, Feelin» Good» (2012), shown alongside a selection of her humorous line drawings; and an installation of Sara Greenberger Rafferty's visceral photographic works, for which she manipulates images from the history of late 20th century comedy.

The exhibition includes around 400 works and presents the entire range of his work, from his first photographic series in black and white taken in the «60s and «70s up to the work in color and the exploration of new artistic languages of his later years.

The small photograph Night Jam, 2013, is a study in color contrast, depicting gently creased strips of variously hued photographic paper arranged on top of a paper guillotine, bringing to mind series such as «Lighter,» 2005 — , for which Tillmans turns flat pictures into three - dimensional objects by bending, folding, or creasing photographic prints and exhibiting them in Plexiglas boxes; or the famous «paper drops,» 2001 — , for which he takes pictures of photographic paper gently furled into drop - like forms.

For her «New Nature» photographic series, Baggett creates armatures for artificial plants, propping them up with the aid of everyday objects such as a jar, hanger and colored tape.

Alina Senchenko, Untitled (The hope was there), from the series Color Revolution, 2013, Photographic banner

Internationally acclaimed, New York - born artist Elia Alba's The Supper Club is a multifaceted art project comprising an ongoing series of dinners in which artists engage in meaningful conversation about art, pop culture, socio - political events and race; photographic portraits of nearly 60 artists of color; and a book to be published in late 2018 featuring the portraits and text related to the dinners / conversations.

In this new lightbox series, Yass continues her signature technique of laying a photographic color transparency over a blue negative transparency, taken about 5 seconds apart.

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.

Over the next 20 years, she created a series of prints that translated her textile innovations and her Bauhaus sensibility into this medium, introducing Mexican colors into her palette and exploring new lithography techniques, offset printing, photographic processes and silkscreen.

Experimenting with her stash of gelatin silver print photographic paper, used thirty years ago to create a series evoking Cuban surrealist painter Wifredo Lam, she adds subtle gradations of color, from lavender and peach to silver.

However, something quite different comes to light in Collier's richly toned and large color photographic prints, especially in the recent «Women Crying» series.

The broad range of vision engages one with its formal and narrative authority — from elegant self - contained cerebral works like On Kawara's «Today» series, in which the artist paints only a date of the year against a background of color, and Roni Horn's wall - sized photographic series composed of 36 progressive clown portraits of perceptual ambiguity, both artists neatly isolating individual permutations of life's sequential narrative, to Peter Fischli and David Weiss» collaborative film, «Der Lauf der Dinge (The Way Things Go),» in which the unconstructed imagery is punctuated by bursts of random narrative that addresses life's impermanence.

Showing a range of works and series — including many newer color photographs never exhibited before — the exhibition reveals how this persistently creative artist has returned to a photographic vocabulary as a source of great inspiration.

This includes images from his «Freischwimmer / Greifbar» series, abstract pieces that are the result of light exposed onto color photographic paper.