Sentences with phrase «conceptual uses of photography»

Not exact matches

Drawing upon the descriptive power of photography and the ease with which it can be accessed, duplicated, and recombined, Ethridge orchestrates visual fugues, collapsing distinctions between commercial, conceptual, and personal uses of photography.

Since the 1980s, Mike and Doug Starn's conceptual approach to photography, and use of unorthodox techniques, has broadened notions of what is accepted as a photograph.

Strategies that emerged earlier in the circles of the surrealists and New Vision photographers — the untutored «photographic mistake,» photography as a form of literary pointing — adopted by the artists in this exhibition have subsequently been absorbed by the contemporary generation using photography as conceptual art, from Gabriel Orozco to Hank Willis Thomas.

Through independent and collaborative projects I curiously explore a wide range of conceptual material using photography and video, often in combination with machine driven and hand - crafted fabrication of wood and acrylic.

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.

Many of his early works took the form of conceptual photography, though Johnson eventually expanded his practice to include wall - based works that engage the legacy of painting, sculptural installation, and assemblage using manufactured materials like shea butter, books records, and incense.

Other works in the exhibition include Jorge Pardo's handcrafted wooden palette and modernist designed furniture that question the nature of the aesthetic experience; pioneering conceptual artist Joseph Kosuth's discourse on aesthetics in neon, An Object Self - Defined, 1966; Rachel Lachowicz's 1992 row of urinals cast in red lipstick, which delivers a feminist critique of Duchamp's readymade; Richard Pettibone's paintings of photographs of Fountain; Richard Phillips» recent paintings based on Gerhard Richter's highly valued work; Miami artist Tom Scicluna's neon sign, «Interest in Aesthetics,» a critique of the use of aesthetics in Fort Lauderdale's ordinance on homelessness; the French collaborative Claire Fontaine's lightbox highlighting Duchamp's critical comments about art juries; Corey Arcangel's video Apple Garage Band Auto Tune Demonstration, 2007, which tweaks the concept of aesthetics in the digital age; Bernd and Hilla Becher's photographs, Four Water Towers, 1980, that reveal the potential for aesthetic choices within the same typological structures; and works by Elad Lassry and Steven Baldi, who explore the aesthetic history of photography.

Chapter 1: Things Must be Pulverized: Abstract Expressionism Charts the move from figurative to abstract painting as the dominant style of painting (1940s & 50s) Key artists discussed: Willem de Kooning, Barnett Newman Jackson Pollock, Mark Rothko Chapter 2: Wounded Painting: Informel in Europe and Beyond Meanwhile in Europe: abstract painters immediate responses to the horrors of World War II (1940s & 50s) Key artists discussed: Jean Dubuffet, Lucio Fontana, Viennese Aktionism, Wols Chapter 3: Post-War Figurative Painting Surveys those artists who defiantly continued to make figurative work as Abstraction was rising to dominance - including Social Realists (1940s & 50s) Key artists discussed: Francis Bacon, Lucien Freud, Alice Neel, Pablo Picasso Chapter 4: Against Gesture - Geometric Abstraction The development of a rational, universal language of art - the opposite of the highly emotional Informel or Abstract Expressionism (1950s and early 1960s) Key artists discussed: Lygia Clark, Ellsworth Kelly, Bridget Riley, Yves Klein Chapter 5: Post-Painting Part 1: After Pollock In the aftermath of Pollock's death: the early days of Pop, Minimalism and Conceptual painting in the USA (1950s and early 1960s) Key artists discussed: Jasper Johns, Robert Rauschenberg, Frank Stella, Cy Twombly Chapter 5: Anti Tradition - Pop Painitng How painting survives against growth of mass visual culture: photography and television - if you can't beat them, join them (1960s and 70s) Key artists discussed: Alex Katz, Roy Lichtenstein, Gerhard Richter, Andy Warhol Chapter 6: A transcendental high art: Neo Expressionism and its Discontents The continuation of figuration and expressionism in the 1970s and 80s, including many artists who have only been appreciated in later years (1970s & 80s) Key artists discussed: Georg Baselitz, Jean - Michel Basquiat, Anselm Kiefer, Julian Schnabel, Chapter 7: Post-Painting Part II: After Pop A new era in which figurative and abstract exist side by side rather than polar opposites plus painting expands beyond the canvas (late 1980s to 2000s) Key artists discussed: Tomma Abts, Mark Grotjahn, Chris Ofili, Christopher Wool Chapter 8: New Figures, Pop Romantics Post-cold war, artists use paint to create a new kind of «pop art» - primarily figurative - tackling cultural, social and political issues (1990s to now) Key artists discussed: John Currin, Peter Doig, Marlene Dumas, Neo Rauch, Luc Tuymans

Can Pekdemir is an Istanbul - based conceptual artist working on deformation and abstraction of body forms using various methodologies and focused on isolated urban spaces, city and nature relationship using photography as a tool of documentation.

During that seminal period, Rauschenberg established an ongoing interest in grasping the full range of art - making mediums, including printmaking, painting, photography, drawing, sculpture, and conceptual modes, often blurring categorical distinctions by using multiple techniques and materials in combination.

The exhibition at the Walther Collection, which took place from the beginning of May 2015 until the fall of 2016, investigated the production and use of serial portraiture, conceptual structures, vernacular imagery, and time - based performance in photography from the 1880s to the present, bringing together works from international artists.

The Order of Things investigates the production and uses of serial portraiture, conceptual structures, vernacular imagery, and time - based performance in photography from the 1880s to the present, bringing together works by artists from Europe, Africa, Asia, and North America.

Belgian artist David Claerbout (b. 1969) explores the conceptual impact of the passage of time through his use of video and digital photography.

Based in New York, Hank Willis Thomas is a conceptual artist who uses the medium of photography to focus on themes of perspective identity, history, race, commodity, popular culture and class.

The eleven artists juxtapose divergent approaches in conversation with each other, reflecting on primal questions consuming artists over the millennia: Elliot Arkin's conceptual use of web - based commerce spins an absurdist view on the commodification of artists; Babette Bloch's stainless steel reassessments of nature and artistic precedent limn positives and negatives through light; Christopher Carroll Calkins's street photography captures moments of under - the - radar narratives; Valentina DuBasky's acrylic and marble dust works on paper and plaster are a contemporary comment on the prehistory of art; Gabriel Ferrer's performance - like in - the - moment sumi - ink drawings on handmade paper reflect on memory and personal narrative; Christopher Gallego's realist, pure light - filled oil painting elevates the ordinariness of an artist's space to visual poetry; Ana Golici, in pergamano and collage, takes inspiration from 17th Century female naturalist, entomologist and botanical illustrator Maria Sibylla Merian to explore questions of science, nature and objective truth; Emilie Lemakis's monumental amplification of an ancient Greek krater employs scale to upend perceptions for the viewer's reconsideration; Mark Mellon's bronzes address the oppositions of movement and stillness; the alchemy of Michael Townsend's uncontrolled poured acrylic paintings equate the properties of materials with the turbulence of the universe; Jessica Daryl Winer's engagement with luminous color and choreographic line reflects in visual resonance the sonic history of a musical instrument.

After photography's initial gains, artists used the medium to serve conceptual ends, as in Ed Ruscha's foldout book Every Building on the Sunset Strip, 1966, where the images running horizontally along the tops and bottoms of the pages mimic the experience of glancing out a car window.

She is a conceptual artist who has primarily expressed herself through photography and video, using the human figure and pairing images with text to explore and challenge conventional views of gender, culture, identity, history, and memory.

Throughout his career, the Belgian artist David Claerbout has investigated the conceptual impact of the passage of time through his use of video and digital photography.

Despite the fact that his work occasionally takes the form of text, collage or photography, everything in Gabriel Kuri's work reflects sculptural research — the formal and conceptual possibilities of sculpture — in a fascinating to - and - fro between the abstractions of forms, the codifications connected to them and their potential uses.

Consuelo Castañeda (b. 1958, Cuba): A conceptual artist who often uses photography in her work, Castañeda is a student of French thinkers such as Derrida and Baudrillard.

Using an array of media including video installation, performance, sculpture, and photography, Bruce Nauman is known for conceptual works that explore space, language, and the body.

His work uses a variety of media including painting, drawing, photography, installation, video and graffiti all within a conceptual frame that utilizes the Universal notions of place, human attachment and relationship to one's environment.

Light Years: Conceptual Art and the Photograph, 1964 — 1977 is the first exhibition to explore how artists of this era used photography as a hybrid image field that navigated among painting and sculpture, film, and book arts as well as between fine art and the mass media.

The photo conceptual artist uses photography, film, sculpture and other media to comment on the underlying racism and exploitation at the core of professional sports in America and addresses the ways in which advertising and popular culture create and perpetuate stereotypes about race and gender.

Emphasizing the elements of painting and removal, the artist questions the medium through repetition, elements of minimal and conceptual art, adaptation of photography and the use of different techniques, such as spray painting, silk screen, and digital reproduction.

Belgian artist David Claerbout (born 1969) is known for investigating the conceptual impact of the passage of time through his use of video and digital photography.

The pervasive use of photography by Conceptual artists — and a generation later by artists of the so - called Pictures Generation — effectively ended any debate about the validity of photography operating legitimately within the sphere of contemporary art.

Featuring a diverse range of work spanning several years of her artistic career, the exhibition highlights Alshaibi's conceptual approach to photography and the layered and collapsing signs that are integral to her distinctive aesthetic, particularly her use of the body as a metaphor for spatial and temporal transgressions.

We welcome a wide range of photo - and image - based approaches, including documentary photography, conceptual photography, video art, video installation, social practice, archival or aggregated projects, interactive and emerging media (including virtual and augmented reality), and information art (using photography and / or associated data).

It will be filled with paintings by Keith Sklar and Gage Peer, while the 3 - D studio will be used by Conceptual artist Mary Ellen Carroll to work in a variety of mediums, including printmaking, photography, video, and fabrication.