Sentences with phrase «commercial moving images»

Not exact matches

Jeremy Wilker, owner of TWEAK Digital, loves making moving images and has created works, in documentary, commercial, narrative, and political forms, for businesses and organizations near (Golden Valley) and far (Hong Kong).

The commercial won the award in the category «Moving Image Craft — Direction Single», which rewards entries that show «exemplary overall artistic vision of commercial spots or branded content».

Allison Schulnik, Arin Rungjang, art fair, artist studio, Australian Centre for the Moving Image, Boyd Webb, Callum Innes, Charles Lim, collectors, commercial, contemporary art, creativity, culture, Digital Art, discussions, exhibition, fair, Future Perfect, Galeria AFA, galleries, gender, Gene Sherman, global, Google Creative Lab, Ian Hamilton Finlay, Ingleby Gallery, installation, Joachim Bandau, Joana Vasconcelos, Jonathan Owen, Josh Azzarella, Katie Paterson, Mark Moore Gallery, Moving Image, Pearl Lam Galleries, performance, Peter Liversidge, post internet, public program, Qin Yufen, Richard Forster, Sandra Vasquez de la Horra, studio visits, Su Xiaobai, Sydney Art Week, Sydney Contemporary, Tim Etchells, Two Rooms, video art, Yinka Shonibare Mbe, Zhu Jinshi

In 2005, the artist opened lesser new york in her Williamsburg loft, which was a response to Greater New York (2005) but it was lesser; it was a greater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greater.

On March 5, 2015, Moving Image art fair will open again in New York to offer its visitors a unique viewing experience and the vitality of a fair by featuring a selection of international commercial galleries and non-profit institutions presenting single - channel videos, single - channel projections, video sculptures, and other large video installations.

The works of Patrick Nichols, official photographer for the Dream Warriors, European tour, move between commercial and conceptual, as his images continually interweave hip hop artists into a variety of settings.

They may do it slowly, like Sini Pelkki (with AV - arrki) with a pan across a garden and Patty Chang (with Creative Capital and Moving Image) with a decomposing beached whale — or frenetically, like Aaron Garber - Maikovska (with Greene) in ASL and Zach Nadar (with Microscope) in a cascade of car commercials.

It is in reality an experimental space at the margins of a much bigger culture of the moving image — a place for talented film - makers to mess around with a freedom they could never enjoy in commercial cinema or mainstream television, but which the true artists among them hunger to apply in those bigger, more important arenas.

The same year, Baldessari moved to Santa Monica, where he met many artists and writers, and began to collect photographic images from films and other commercial sources that he would use in his work; during the same period, he photographed himself in deliberately amateurish compositions, and employed local sign painters to execute text - based works.

Digital reproductions and frame enlargements from the Moving Image Stills, Posters, and Paper Collection are available to commercial and nonprofit institutions and to individuals.

However this may apply to Takeshi's work specifically, for an artist basing his career upon the effect of digital media and moving images on viewers, the incorporation of narrative is an interesting move and additional visceral experience for a genre that once separated itself from commercial media by eschewing plot entirely — truly something «new» in New Media.

Elle Burchill and Andrea Monti, both practicing digital media artists, opened their space with the intent of exhibiting artists they felt were underrepresented by commercial galleries — namely, those working with moving image and time - based arts, including sound, performance, video, and other digital technologies.

A screening of select films and reels produced by Goldsholl and Associates — whose films, television ads and other moving image work innovated «designs - in - film» — will be on view at the / Dialogues Stage, as an interlude to the final conversation in the Symposium on Chicago's Mid-Century impact on the advertising and commercial industry at large.