Sentences with phrase «color photography series»
She has received a Certificate of Excellence and a Muse Medallion from the Cat Writers Association for her color photography series that appeared in the Fall 2003 issue of the ASPCA's Animal Watch.
http://www.animalalliancenyc.org/ Not exact matches
In 2011, for instance, Pryde produced It's Not My Body, a series of digitally retouched scans of a fetus that superimposed an MRI scan onto desert - like landscapes and introduced psychedelic colors, constructing final images that were stylistically fluent with certain tendencies present in fashion photography.
Part of Arcangel's Photoshop Gradient Demonstration series, it encapsulates the long - cherished desire to put photography on par with painting and the accelerating democratization of new media; at 72 - by - 110 inches, its scale and vivid hues evoke Color Field painting.
Tokyo Color highlights Moriyama's long engagement with color photography, featuring a slideshow of his early explorations with color film, alongside a series of his recent color prColor highlights Moriyama's long engagement with color photography, featuring a slideshow of his early explorations with color film, alongside a series of his recent color prcolor photography, featuring a slideshow of his early explorations with color film, alongside a series of his recent color prcolor film, alongside a series of his recent color prcolor prints.
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.
A manifestation of the artist's «democratic» view of the camera, the series offers prime examples of his timeless aesthetic and mastery of color photography, through visions of unsuspecting architecture and infrastructure.
Recently published, «Carrie Mae Weems: Kitchen Table Series,» explores one of the photographer's early and most acclaimed bodies of work, and the exhibition catalog «Carrie Mae Weems: Three Decades of Photography and Video,» coincided with her mid-career survey at the Guggenheim Museum and includes full - color images of works from throughout her career and contributions by Henry Louis Gates Jr., Franklin Sirmans, Robert Storr, and Deborah Willis.
In her Light Leaks series, the color banding, overexposure, and light leaks found in 35 mm film photography serve as inspiration for the artist.
Informed by her «Rear Screen Projection» series from the early 1980s (the artist's first foray into color photography), these gigantic self - portraits bring to mind the scale of Hollywood as well as the artistic movements that have continually mined its grandiose clichés.
She began her «Film Stills» series at the age of 23, gaining early recognition, and has followed it with remarkable experiments in color photography.
In her later series with large - format color photographs, Sherman takes up such themes as fashion photography, fairytale figures, horror scenes and high - society ladies.
A pioneer of conceptual photography, Laurie Simmons is at work on a new series of staged compositions using images of online porn that refer to photographs she made 25 years ago of women in color - coordinated domestic interiors.
Among a selection of work that deals with the practice of image making — looking closely at color, pattern, texture, and materials — photographer Matt Lipps combines personal history with the history of photography in his collaged «Library of Photography» series; Sean Raspet fuses the optical with the tactile in wall - mounted lenticular lenses; and cyanotypes by Barbara Kasten, produced in 1974, offer some of the contemporary photographer's earlphotography in his collaged «Library of Photography» series; Sean Raspet fuses the optical with the tactile in wall - mounted lenticular lenses; and cyanotypes by Barbara Kasten, produced in 1974, offer some of the contemporary photographer's earlPhotography» series; Sean Raspet fuses the optical with the tactile in wall - mounted lenticular lenses; and cyanotypes by Barbara Kasten, produced in 1974, offer some of the contemporary photographer's earliest works.
His steady output of far - flung series has ranged from street photography to landscapes to interiors, black - and - white to color, regional to foreign, closeup to panoramic, wealthy to homeless subjects, urban to desert terrain, and from stark realism to formal near - abstraction.
The photographic series retains it's mediumal float while positions to the digital photography color model: RGB
While his teacher is noted for his black - and - white images, Epstein is a master of color photography, capturing on film the American experience as well as images from countries throughout the world — he has traveled extensively and realized series on locales including Vietnam, India, Berlin, and his hometown of Holyoke, Massachusetts, among others.
His series of exhibitions at Light Gallery in New York in the early 1970s sparked new interest in color photography and in the use of the view camera for documentary work.
Over the past forty years I have produced five portfolios, including several series of sculpture - relief paintings, paintings on canvas and paper, and photography series both in color, B&W gelatin silver and platinum palladium prints.
Early Color was followed by a series of monographs and international exhibitions highlighting the depth and scope of his work in photography and painting, beginning with «In Living Color» (2006), his first major retrospective at the Milwaukee Museum of Art.
These days, she's exploring candid photography while working on a series of decorated human and animal skulls, a juxtaposition of morbid subjects and flashy colors inspired by Dia de los Muertos festivals and vintage tattoo art.
Tugendhat House from the L.M.V.D.R., Ludwig Mies van der Rohe Series Color c - print mounted on aluminum - dibond 23 x 27 1/2 inches 14 x 21 1/2 inches (image size) Edition of 40 Signed in pen and numbered in pencil by Thomas Ruff on a Label attached to the verso Pristine condition unframed, never framed, hinged or matted Literature Matthias Winzen, Thomas Ruff Photography 1979 to the Present, DAP, Cologne, 2001, p. 242, another impression reproduced in cColor c - print mounted on aluminum - dibond 23 x 27 1/2 inches 14 x 21 1/2 inches (image size) Edition of 40 Signed in pen and numbered in pencil by Thomas Ruff on a Label attached to the verso Pristine condition unframed, never framed, hinged or matted Literature Matthias Winzen, Thomas Ruff Photography 1979 to the Present, DAP, Cologne, 2001, p. 242, another impression reproduced in colorcolor.
Nude on Couch, from Nudes series Color iris print on rag paper 29 1/2 x 23 1/2 inches 10 1/4 x 13 inches (image size) Edition of 50 Hand signed and numbered in pencil by Thomas Ruff verso Pristine condition unframed, never framed, hinged or matted Literature Matthias Winzen, Thomas Ruff Photography 1979 to the Present, D.A.P., New York, 2003, p. 239 Catalogue Reference tos03, larger version reproduced in cColor iris print on rag paper 29 1/2 x 23 1/2 inches 10 1/4 x 13 inches (image size) Edition of 50 Hand signed and numbered in pencil by Thomas Ruff verso Pristine condition unframed, never framed, hinged or matted Literature Matthias Winzen, Thomas Ruff Photography 1979 to the Present, D.A.P., New York, 2003, p. 239 Catalogue Reference tos03, larger version reproduced in colorcolor.
William Eggleston's series of fifteen images depicting the celestial Zenith is another exercise in exploring color photography from the pioneer who is responsible for legitimizing the form as a fine art.
Titled Some New Painting (and Photography), the exhibition shows Hockney's latest works, series of joyful, vibrantly colored pictorial explorations of human figure which were created in his LA studio with artist's friends, colleagues and dancer posing as models.
New York gallery Foxy Production flanks the entrance to the auditorium, with Petra Cortright wriggling around in a striped shirt, exploiting the disorientation of a fun house mirror - like distortion effect in her video i feel u (2015), and Sara Cwynar showing us manipulations of vernacular photography and a new series of color grids melting beyond their neat black borders.
According to «Carrie Mae Weems: Three Decades of Photography and Video,» Weems returns to this metaphor in her May Days Long Forgotten series: «Through photographs, both color and black and white... she links a seemingly innocent celebration of spring with a call to social action.
Gradients was a series of works that explored the intersection of photography and sculpture, and referenced and distilled the color of the various locales in which they were installed.
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.