Sentences with phrase «contemporary image production»
Thus, it aimed to examine contemporary image production by exploring how images shape and challenge our understanding of reality.
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«The exhibition featured works that commented on contemporary image production through interventions related to history, narrative, memory, and experience.
Each part of the process will be open to visitors both as behind - the - scenes exposition and exhibition; an examination and ambivalent exemplar of contemporary image production.
Works in the exhibition address changing relationships between media, subject and cliché in contemporary image production by inhabiting familiar — and thus commercial — forms.
New Forms for Contemporary Image Production, the inaugural series of exhibitions at the LUMA Foundation's Parc des Ateliers, Arles, France.
The complexity of these paintings, their embrace of ambiguity and detachment, is at odds with the prevailing shift towards the iconic, the graphic and the sensational in contemporary image production, and is among the reasons that Tuymans is revered by his peers.
Not exact matches
Although a renowned political dissident, the contemporary artist's eccentric, Tate - friendly image may be shared by many in this country who are unaware of the horrors he experienced at the hands of the Chinese government, when detained in 2011 for the 81 excruciating days starkly dissected in this production.
Is it simply to modernize the production values, add some contemporary faces to the story, and try to catch our society's doom's day zeitgeist (images of 9/11 and the Asian Tsunami are thrown in to add a perverse relevance to the end - time theory)?
... Syms shows how identity production and image production are intertwined activities in contemporary life.»
The question remains relevant in responding to the thinning effects of digital fatigue that increasingly condition our time — constantly updated information, the flatness of visual compression and image production, ever widening abstractions of finance, the atomizing nature of networked communication — distanceless aesthetics have indeed come to dominate swaths of contemporary life.
Call me only if you are in the gutter, Grice Bench, Los Angeles, CA Exalted Position, curated by Vlad Smolkin, Peter Blum Gallery, New York, NY Pipe Dream, presented by Night Gallery and Rachel Uffner Gallery, 170 Suffolk Street New York, NY Gallery Artist Group Show, Rachel Uffner Gallery, New York, NY TDW: Three Way Weekend, Blum & Poe, Art Los Angeles Contemporary, and ROGERS, Los Angeles, CA 2015 The John Riepenhoff Experience, Misako & Rosen, Tokyo, Japan Intimacy in Discourse: Unreasonable Sized Paintings, School of Visual Arts Chelsea Gallery, New York, NY Let's Be Real, Projekt 722, New York, NY 2014 The Crystal Palace, Rachel Uffner Gallery, New York, NY QUALIA, FJORD Gallery, Philadelphia, PA 2013 The Room and its Inhabitants, organized by Patrick Howlett, Susan Hobbs Gallery, Toronto, Canada The 2013 deCordova Biennial (with Dushko Petrovich), deCordova Sculpture Park and Museum, Lincoln, MA 2012 Love, curated by Stephen Truax, One River Gallery, Engelwood, NJ Art on Paper 2012, curated by Xandra Eden, Weatherspoon Art Museum, Greensboro, NC Take Shelter in the World, curated by Dushko Petrovich, Boston University Art Gallery, Boston, MA In Plain Sight, organized by Nicole Russo and Lumi Tan, Mitchell - Innes & Nash, New York, NY 2011 The Idea of the Thing That it Isn't, curated by Rachel Uffner, Halsey McKay, East Hampton, NY Channel to the New Image, Friedrich Petzel Gallery, New York, NY Exhibition of Work by Newly Elected Members and Recipients of Honors and Awards, American Academy of Arts and Letters, New York, NY Paper A-Z, Sue Scott Gallery, New York, NY Invitational Exhibition of Visual Arts, American Academy of Arts and Letters, New York, NY Battle of the Brush, organized by Corporate Art Solutions at Bryant Park, New York, NY 2010 The Pencil Show, Foxy Production, New York, NY ITEM, Mitchell - Innes & Nash, New York, NY S (l) umm (er) ing on Madison Avenue, curated by Jo - ey Tang, The Notary Public, New York, NY Kristin Calabrese, Andy Parker, Mary Weatherford, Roger White, Kathryn Brennan Gallery, Los Angeles, CA 2009 What's Bin Did and What's Bin Hid», curated by Ryan Steadman, 106 Green Gallery, Brooklyn, NY Cave Painting: Installment # 2, organized by Bob Nickas, Gresham's Ghost, New York, NY The Audio Show, organized by Seth Kelly, Friedrich Petzel Gallery, New York, NY 2008 The Merits of Silence, Gallery Min Min, Tokyo 2007 Heralds of Creative Anachronism, D'Amelio Terras, New York, NY The Price of Nothing, EFA Gallery, NY 2006 Mystic River, Southfirst, Brooklyn, NY / Arcadia University, Glenside, PA 2005 Kevin Bruk Gallery, Miami, FL You Are Here, Ballroom Marfa, Marfa, TX The Most Splendid Apocalypse, PPOW Gallery, New York, NY Crits» Pix, Black and White Gallery, Brooklyn, NY 2004 Halloween Horror Films,, Southfirst Gallery, Brooklyn NY Summery Summary, 58 N3, Brooklyn, NY 2003 Dreamy, ZieherSmith Gallery, New York, NY Escape from New York, New Jersey Center for Visual Arts, Summit, NJ Late to Work Everyday, Dupreau Gallery, Chicago, IL 2001 Learnedamerica, P.P.O.W. Gallery, New York, NY Tirana Bienalle 1, National Gallery, Tirana, Albania 2000 Columbia University M.F.A. Thesis Show, Brooklyn, NY 1999 All Terrain, Friedrich Petzel Gallery, New York, NY Wight Biennial, UCLA Wight Gallery, Los Angeles, CA 1998 Episode 1, Gair Building, Brooklyn, NY
«It's the perfect moment to revisit Rauschenberg's career, given that his impact continues to gain momentum as more and more contemporary artists pay homage to, and are influenced by, various facets of his creative practice and artistic production — from his technology - based artworks and the reuse of images to international collaborations that demonstrated the power of art to spark dialogues between various cultures,» stated Christy MacLear, CEO of the Rauschenberg Foundation.
While some Pop artists use photography to react to consumer culture, Robert Heineken repurposes found magazine imagery to talk about the media's role in objectifying women, Richard Prince and Sarah Charlesworth of the Pictures Generation push the boundaries of image appropriation, Christopher Williams talks about means of image production and contemporary artist Lucas Blalock confuses subject and backdrop through Photoshop.
The museum's unique collection of international contemporary art is a selective collection of works created by artists who occupy key positions in the field, either because they have created a distinctive visual language, objects and images with great originality and quality, or because they have reinvented important aspects of cultural production.
no.w.here formed as a space for film production alongside a critical dialogue about contemporary image making.
These works trace Syms's decade - long investigation of how identity production and image production intertwine in contemporary life, with high production values widely accessible and everyone acutely aware of the potential for their own imaging, whether through the lens of social media or surveillance.
Her projects examine the evolving relationship between memory in contemporary culture and the technologies of photographic image production.
, Museion — Museum of modern and contemporary art Bolzano, Bolzano, IT The Library of Babel, 176 Collection, London, UK The Boy Who Cried Wolf (Lefty Loosey, Righty Tighty), gb Agency, Paris, FR Exhibition, Exhibition, Castello di Rivoli — Museo d'Arte Contemporanea, Turin, IT Les Belles Images: Second Scenario, La Box, Bourges, FR FAX, Para / Site Art Space, Hong Kong, CN Artprojx Presents, Wimbledon College of Art, London, UK The Library of Babel / In and Out of Place, 176 Gallery, London, UK Répétition dans l'Épilogue, Super # 11, Galerie Lucile Corty, Paris, FR Gallery, Galleria, Gallerie, Norma Mangione Gallery, IT Production Site: The Artist's Studio Inside - Out, MCA, Chicago, US The Storyteller, Anna - Maria and Stephen Kellen Gallery, New York, US
Warhol and his contemporaries sought to eradicate the notion of the «genius artist» and downplay the role of originality in art, adopting mechanical means of generating images, such as screen - printing, which theoretically allowed for an endless production of images.
By employing contemporary art as a medium for the production of knowledge and education and presenting it along with objects of visual culture, the initiative seeks to open up an experimental sphere of activity for the epistemic value of images and objects within the university.
Huguenot Editions offers the opportunity for artists to make original prints using the techniques traditionally associated with the production of etchings along with all the contemporary aspects of digital image production that are now available.
Spanning a decade of artistic production including installation, print, photography and film, the exhibition follows Baudelaire's sustained attempts to find a form that accommodates the catastrophic complexity of contemporary life, interweaving fiction with considerations on fear, the media and the power of words and images.
Capturing an exhilarating year of cultural production and the furious pace of the fig - 2 programme creating 50 projects hosted at ICA Studio in 2015, in association with Outset Contemporary Art Fund and Art Fund — the publication includes curatorial texts, excerpts from artists interviews, preparatory drawings, images of commissioned artworks from the exhibition programme, talks, events as well as offsite projects at Bicester Village.
This emphasis on latent production is a response to and a reconsideration of the immediacy of the contemporary moving image.
Along with other Western European photographers such as Thomas Struth and Thomas Ruff, Dijkstra has been a leading innovator in the production of large - scale color images, which came to define contemporary photography in the 1990s and have transformed it ever since.
A new exhibition curated by internationally renowned Dutch photographer and film director Anton Corbijn shows the work of twelve artists who employ artisanal photographic processes to create contemporary work, part of a countermovement responding to the present - day digitalization and mass production of images.
With this provocation, Fontcuberta manages to conceive a critical reflection on the authorship and production methods of contemporary artworks whist pointing at the current trend of image over consumption.
The curators are: Sally Tallant, Director, Liverpool Biennial Dominic Willsdon, Curator of Education and Public Practice, San Francisco Museum of Modern Art Francesco Manacorda, Artistic Director, Tate Liverpool Raimundas Malasauskas, curator and writer Joasia Krysa, Head of Research, Liverpool Biennial and Director, Exhibition Research Centre Rosie Cooper, Head of Programmes, Liverpool Biennial Polly Brannan, Education Curator, Liverpool Biennial Francesca Bertolotti - Bailey, Head of Production and International Projects, Liverpool Biennial Ying Tan, Curator, Centre for Chinese Contemporary Art (CFCCA) Sandeep Parmar, Co-Director, Centre for New and International Writing Steven Cairns, Associate Curator of Artists Film and Moving Image, ICA
To this end the author undertakes case studies of image production by Auguste Chevallier, Camille Flammarion, and Anton Giulio Bragaglia during the years 1860 to 1913, here and there opening the discussion of photographic «time stores» to contemporary artistic practice.
The group exhibition Somethin's Written which explored the merging of the written word and image in contemporary art production was accompanied by a published exhibition catalogue in Slovene, which is now also available online.