Sentences with phrase «documentary form with»
The watch - list creates a divide in taste on music and documentary form with Brett Morgan's Montage of Heck.
http://www.rowthree.com/ Not exact matches
Helmed by Chapman Way and MacLain Way and featuring multiple appearances by their uncle and former Maverick himself Kurt Russell, the docu launched in the Documentary Premiere section of this year's Sundance Film Festival on January 20... In play right now with several buyers at Sundance, according to sources close to the film, Battered Bastards chronicles how in 1973 Bonanza actor Bing Russell formed what at the time was America's sole independent baseball team.
You can also find me spending time in bed cuddled up with my iPad binge - watching television shows on Netflix (currently watching The Good Wife and any form of documentary I get my hands on)!!
As with almost every documentary, the final scenes invite one to form one's own conclusions while hinting at exactly what conclusions to form.
He has gone on to reinvent himself as a centrist media figure, forming an unlikely double act with Labour MP Diane Abbott on BBC 1's This Week, hosting his own discussion show (Dinner with Portillo) and fronting documentaries on capital punishment and mental health.
«In my view, unless it can be seen that the person who is the subject of such an investigation is capable of interfering with the investigation process in terms of suspected cases of concealment of documentary or other forms of information, otherwise I think those persons can still occupy their position,» he said on Eyewitness News.
The tale of French acrobat Philippe Petit's 1974 attempt to walk a tightrope between the Twin Towers already formed the basis of an Oscar - winning documentary, Man on Wire, so we assume Zemeckis has a strong shot with this fictionalized retelling featuring a heavily accented Gordon - Levitt.
Thus, we not only have the fourth and final installment of the «Animator's Corner» documentary, but also two more Blu - ray exclusives in the form of interviews with the cast and a look at the fun technology that made this sequel possible.
Operating on several levels at once — as fiction, as documentary, as investigation into the documentary form, as historical excavation and as exploration of the process of a talented and committed actor --» Kate Plays Christine» which won Greene the Documentary Writing award, even finds time to be beautiful, with Sean Price Williams «cinematography giving the film an aesthetic that is as unique as idocumentary, as investigation into the documentary form, as historical excavation and as exploration of the process of a talented and committed actor --» Kate Plays Christine» which won Greene the Documentary Writing award, even finds time to be beautiful, with Sean Price Williams «cinematography giving the film an aesthetic that is as unique as idocumentary form, as historical excavation and as exploration of the process of a talented and committed actor --» Kate Plays Christine» which won Greene the Documentary Writing award, even finds time to be beautiful, with Sean Price Williams «cinematography giving the film an aesthetic that is as unique as iDocumentary Writing award, even finds time to be beautiful, with Sean Price Williams «cinematography giving the film an aesthetic that is as unique as its premise.
While Porterfield's aesthetic gambit with Putty Hill — utilizing documentary techniques to convey a fictional narrative — resulted in a remarkable hybrid form of experiential cinema, I Used To Be Darker arguably ups the ante by pairing a similarly observational naturalism (sans interviews) with more traditionally - plotted melodrama.
A real - life documentary interview with Harding's mother formed the basis for scenes when she talks directly to the camera with a small pet bird on her shoulder.
The second disc houses the abovementioned documentary along with recent interviews and reminiscences featuring the surviving Pythons in fine form, going on candidly about disappointments (Cleese had wanted to play Brian) and tensions, although the highlight is archival footage of a British chat program wherein the Pythons score points on a pair of Catholic assclowns.
Lo and Behold: Reveries of a Connected World (Werner Herzog, 2016) proves the German auteur back to his documentary top form, poking and prodding scientists and entrepreneurs with his trademark enlightening inquisitiveness about the future of our digitized world.
Varda has experimented with all forms of filmmaking from shorts to documentaries to narrative feature films during her more than 60 - year career, including such works as the New Wave classic Cleo from 5 to 7, and Le Bonheur.
Even more risky was Marília Hughes Guerreiro and Cláudio Marques's A Cidade do Futuro (2016), with a language of its own mixing footage, documentary style and fiction to reveal the antagonism of social transformation and new form of human bonds.
The first picture was of simple, nightmarish thrills that Book of Shadows prefers to comment on rather than top — its scares are hooked on the hype surrounding the fictitious original, so that the mass hysteria The Blair Witch Project supposedly caused (I don't recall any «War of the Worlds» - type panic in the streets) returns in the form of distrust between the tourists; Berlinger, one half a gifted documentary team (he co-directed the acclaimed Paradise Lost films with Bruce Sinofsky), should've opted to write a FILM COMMENT piece instead.
Robert Greene's form - breaking «Kate Plays Christine» was one of the best films of Sundance 2016 and he returns to the U.S. Documentary Competition with another daring project this year.
Thanks to leading online short - form platform ShortsTV, this year's nominees for best live action, animated and documentary short are available for download via Amazon Video — and it's a compellingly varied pick - and - choose buffet, with a number of titles of interest to more than just obsessive Oscar completists.
He met with the mountain climber in 2006 seeking permission, but at the time, Ralston was looking to convey the story in documentary form.
This has much in common with Steve James's award - winning documentary Hoop Dreams as it pursues and records the moment - to - moment responses of young people struggling to improve their lot, and in doing so reveals a penetrating socio - cultural study of contemporary America through a competition described by one parent as «a form of child abuse».
«Exploiting the free access to an incredible local learning environment (in the form of the island, including 12th Century priory, beaches, sand dunes, castle, and harbour) the children regularly produce video documentaries, plays and films, which are edited and then produced with the help of parents.
Mursion CEO Mark Atkinson, a pioneer of new technologies to support teaching and learning and an Emmy - award winning documentary television producer, expressed his enthusiasm about the collaboration: «Mursion is thrilled to join with ASCD to develop the technologies to deliver new forms of professional learning for school leaders.
We utilize original programming such as The Lonesome Losers comedy series, author interview programs, documentaries, industry news shows, production partner project programs and any other forms of online entertainment that have anything to do with books and / or reading.
DIGITAL COLLECTOR»S EDITION: This adds a digital «Making of Wildman» development and art book; a digital novella set in the world of Wildman; a 720P digital version of the «Making of Wildman» documentary; early exclusive access to the Beta for Wildman; a backer exclusive in - game «Consumables Pack;» a unique Wildman form with special abilities, and 1 additional copy of the DIGITAL EDITION, for a grand total of 2 extra copies.
DIGITAL COLLECTOR»S EDITION: This adds a digital «Making of Wildman» development and art book; a digital novella set in the world of Wildman; a 720P digital version of the «Making of Wildman» documentary; early exclusive access to the Beta for Wildman; a Kickstarter exclusive in - game «Consumables Pack;» a unique Wildman form with special abilities, and 1 additional copy of the DIGITAL EDITION, for a grand total of 2 extra copies.
[Continuing his «Sound Current» interview series for GameSetWatch, Jeriaska sits down with video game and music documentary makers 2 Player Productions to discuss their work showcasing Blip Festival — and, notably, this year's Penny Arcade Expo — in cinematic form.]
Ninja Theory mentioned in the accompanying documentary that they were keen to collaborate with those who have psychosis to try and accurately depict the condition in videogame form.
Fowler is a filmmaker who uses photographs, archival images and music, building experimental cinematic collages that ultimately deconstruct conventional thoughts about biography and the documentary; the viewer is drawn in and confronted with their own relationship to history and to film as an art form.
Solo Exhibitions 2015 The Reclining Hippy and the Envelope - Bureau des Realites, Brussels, Belgium Stripes and Dots on the Isle of Portikus: A Story of Sound + Visuals (a small index of contemporary psych)- Portikus - Frankfurt, Germany TBA - In Light of 25 Years - Witte de With - Rotterdam, The Netherlands Solo Show - Nosbaum Reding - Luxembourg, Luxembourg Solo Show - Supportico Lopez - Berlin, Germany Two - person show (with Ute Muller)- Galleria collicaligreggi - Sicily, Italy 2014 Karl?s Body - Kunsthalle Wien Karlsplatz - Vienna, Austria The Illustrator - 1646 - The Hague, The Netherlands Foto / Studio / Zig - Zag - 21er Haus - Vienna, Austria The Tangental Zig - Zag, Kunstraum - London, England Portals (SUN MILK)- Maison Gregoire - Brussels, Belgium Dirt Not Copper - Two - person show with Lorna MacIntyre - 221a - Vancouver, Canada The Story of Stripes and Dots (Chapter 7)- Jessica Bradley Gallery - Toronto, Canada 2013 The Story of Stripes and Dots (Chapter 6)- Southern Alberta Art Gallery - Lethbridge, Canada The Story of Stripes and Dots (Chapter 5)- Fogo Island Arts - Fogo Island, Canada Letterhead - Kunsthal Charlottenborg - Copenhagen, Denmark Alphabet City - MiArt with Supportico Lopez - Milan, Italy Parrot Soup - Supportico Lopez - Berlin, Germany 2012 The Ceremony and The Spirit (with Roe Ethridge)- La Loge - Brussels, Belgium Art Statements - Art Basel - Basel, Switzerland The Story of Stripes and Dots (chapter 2)- Jessica Bradley - Toronto, Canada The Story of Stripes and Dots (chapter 1)- MuHKA - Antwerp, Belgium 2011 The Flute of Sub - The Artist's Institute - New York, USA Growth - KIOSK - Gent, Belgium The Instruments - ABC Berlin - Berlin, Germany The Five Arms of Supportico - Supportico Lopez - Berlin, Germany The Units - Ursula Blickle Stiftung - Kraichtal, Germany The Voids - Galerie Vidal Cuglietta - Brussels, Belgium 2010 The Nine Fingers of Malakoff - Pavilion Projects / Les Maison des Arts de Malakoff - Malakoff, France The Bakery of Blok (first arrangement)- Front Room - Contemporary Art Museum St Louis, St Louis, USA 2009 The Bakery of Blok and the Three Forms of Unit - Miguel Abreu Gallery - New York, USA The Bakery of Blok - Jessica Bradley - Toronto, Canada 2008 The Crystal Ship - BELvue Museum, Brussels, Belgium / Etablissement d?en Face Projects - Brussels, Belgium 2007 The Flute of Sub - Galerie Isabella Bortolozzi - Berlin, Germany Put Your Eye in Your Mouth: a conversational documentary recording Martin Kippenberger?s Metro - net Station in Dawson City, Yukon - Etablissement d?en Face Projects, Brussels, Belgium Who Named the DWith - Rotterdam, The Netherlands Solo Show - Nosbaum Reding - Luxembourg, Luxembourg Solo Show - Supportico Lopez - Berlin, Germany Two - person show (with Ute Muller)- Galleria collicaligreggi - Sicily, Italy 2014 Karl?s Body - Kunsthalle Wien Karlsplatz - Vienna, Austria The Illustrator - 1646 - The Hague, The Netherlands Foto / Studio / Zig - Zag - 21er Haus - Vienna, Austria The Tangental Zig - Zag, Kunstraum - London, England Portals (SUN MILK)- Maison Gregoire - Brussels, Belgium Dirt Not Copper - Two - person show with Lorna MacIntyre - 221a - Vancouver, Canada The Story of Stripes and Dots (Chapter 7)- Jessica Bradley Gallery - Toronto, Canada 2013 The Story of Stripes and Dots (Chapter 6)- Southern Alberta Art Gallery - Lethbridge, Canada The Story of Stripes and Dots (Chapter 5)- Fogo Island Arts - Fogo Island, Canada Letterhead - Kunsthal Charlottenborg - Copenhagen, Denmark Alphabet City - MiArt with Supportico Lopez - Milan, Italy Parrot Soup - Supportico Lopez - Berlin, Germany 2012 The Ceremony and The Spirit (with Roe Ethridge)- La Loge - Brussels, Belgium Art Statements - Art Basel - Basel, Switzerland The Story of Stripes and Dots (chapter 2)- Jessica Bradley - Toronto, Canada The Story of Stripes and Dots (chapter 1)- MuHKA - Antwerp, Belgium 2011 The Flute of Sub - The Artist's Institute - New York, USA Growth - KIOSK - Gent, Belgium The Instruments - ABC Berlin - Berlin, Germany The Five Arms of Supportico - Supportico Lopez - Berlin, Germany The Units - Ursula Blickle Stiftung - Kraichtal, Germany The Voids - Galerie Vidal Cuglietta - Brussels, Belgium 2010 The Nine Fingers of Malakoff - Pavilion Projects / Les Maison des Arts de Malakoff - Malakoff, France The Bakery of Blok (first arrangement)- Front Room - Contemporary Art Museum St Louis, St Louis, USA 2009 The Bakery of Blok and the Three Forms of Unit - Miguel Abreu Gallery - New York, USA The Bakery of Blok - Jessica Bradley - Toronto, Canada 2008 The Crystal Ship - BELvue Museum, Brussels, Belgium / Etablissement d?en Face Projects - Brussels, Belgium 2007 The Flute of Sub - Galerie Isabella Bortolozzi - Berlin, Germany Put Your Eye in Your Mouth: a conversational documentary recording Martin Kippenberger?s Metro - net Station in Dawson City, Yukon - Etablissement d?en Face Projects, Brussels, Belgium Who Named the Dwith Ute Muller)- Galleria collicaligreggi - Sicily, Italy 2014 Karl?s Body - Kunsthalle Wien Karlsplatz - Vienna, Austria The Illustrator - 1646 - The Hague, The Netherlands Foto / Studio / Zig - Zag - 21er Haus - Vienna, Austria The Tangental Zig - Zag, Kunstraum - London, England Portals (SUN MILK)- Maison Gregoire - Brussels, Belgium Dirt Not Copper - Two - person show with Lorna MacIntyre - 221a - Vancouver, Canada The Story of Stripes and Dots (Chapter 7)- Jessica Bradley Gallery - Toronto, Canada 2013 The Story of Stripes and Dots (Chapter 6)- Southern Alberta Art Gallery - Lethbridge, Canada The Story of Stripes and Dots (Chapter 5)- Fogo Island Arts - Fogo Island, Canada Letterhead - Kunsthal Charlottenborg - Copenhagen, Denmark Alphabet City - MiArt with Supportico Lopez - Milan, Italy Parrot Soup - Supportico Lopez - Berlin, Germany 2012 The Ceremony and The Spirit (with Roe Ethridge)- La Loge - Brussels, Belgium Art Statements - Art Basel - Basel, Switzerland The Story of Stripes and Dots (chapter 2)- Jessica Bradley - Toronto, Canada The Story of Stripes and Dots (chapter 1)- MuHKA - Antwerp, Belgium 2011 The Flute of Sub - The Artist's Institute - New York, USA Growth - KIOSK - Gent, Belgium The Instruments - ABC Berlin - Berlin, Germany The Five Arms of Supportico - Supportico Lopez - Berlin, Germany The Units - Ursula Blickle Stiftung - Kraichtal, Germany The Voids - Galerie Vidal Cuglietta - Brussels, Belgium 2010 The Nine Fingers of Malakoff - Pavilion Projects / Les Maison des Arts de Malakoff - Malakoff, France The Bakery of Blok (first arrangement)- Front Room - Contemporary Art Museum St Louis, St Louis, USA 2009 The Bakery of Blok and the Three Forms of Unit - Miguel Abreu Gallery - New York, USA The Bakery of Blok - Jessica Bradley - Toronto, Canada 2008 The Crystal Ship - BELvue Museum, Brussels, Belgium / Etablissement d?en Face Projects - Brussels, Belgium 2007 The Flute of Sub - Galerie Isabella Bortolozzi - Berlin, Germany Put Your Eye in Your Mouth: a conversational documentary recording Martin Kippenberger?s Metro - net Station in Dawson City, Yukon - Etablissement d?en Face Projects, Brussels, Belgium Who Named the Dwith Lorna MacIntyre - 221a - Vancouver, Canada The Story of Stripes and Dots (Chapter 7)- Jessica Bradley Gallery - Toronto, Canada 2013 The Story of Stripes and Dots (Chapter 6)- Southern Alberta Art Gallery - Lethbridge, Canada The Story of Stripes and Dots (Chapter 5)- Fogo Island Arts - Fogo Island, Canada Letterhead - Kunsthal Charlottenborg - Copenhagen, Denmark Alphabet City - MiArt with Supportico Lopez - Milan, Italy Parrot Soup - Supportico Lopez - Berlin, Germany 2012 The Ceremony and The Spirit (with Roe Ethridge)- La Loge - Brussels, Belgium Art Statements - Art Basel - Basel, Switzerland The Story of Stripes and Dots (chapter 2)- Jessica Bradley - Toronto, Canada The Story of Stripes and Dots (chapter 1)- MuHKA - Antwerp, Belgium 2011 The Flute of Sub - The Artist's Institute - New York, USA Growth - KIOSK - Gent, Belgium The Instruments - ABC Berlin - Berlin, Germany The Five Arms of Supportico - Supportico Lopez - Berlin, Germany The Units - Ursula Blickle Stiftung - Kraichtal, Germany The Voids - Galerie Vidal Cuglietta - Brussels, Belgium 2010 The Nine Fingers of Malakoff - Pavilion Projects / Les Maison des Arts de Malakoff - Malakoff, France The Bakery of Blok (first arrangement)- Front Room - Contemporary Art Museum St Louis, St Louis, USA 2009 The Bakery of Blok and the Three Forms of Unit - Miguel Abreu Gallery - New York, USA The Bakery of Blok - Jessica Bradley - Toronto, Canada 2008 The Crystal Ship - BELvue Museum, Brussels, Belgium / Etablissement d?en Face Projects - Brussels, Belgium 2007 The Flute of Sub - Galerie Isabella Bortolozzi - Berlin, Germany Put Your Eye in Your Mouth: a conversational documentary recording Martin Kippenberger?s Metro - net Station in Dawson City, Yukon - Etablissement d?en Face Projects, Brussels, Belgium Who Named the Dwith Supportico Lopez - Milan, Italy Parrot Soup - Supportico Lopez - Berlin, Germany 2012 The Ceremony and The Spirit (with Roe Ethridge)- La Loge - Brussels, Belgium Art Statements - Art Basel - Basel, Switzerland The Story of Stripes and Dots (chapter 2)- Jessica Bradley - Toronto, Canada The Story of Stripes and Dots (chapter 1)- MuHKA - Antwerp, Belgium 2011 The Flute of Sub - The Artist's Institute - New York, USA Growth - KIOSK - Gent, Belgium The Instruments - ABC Berlin - Berlin, Germany The Five Arms of Supportico - Supportico Lopez - Berlin, Germany The Units - Ursula Blickle Stiftung - Kraichtal, Germany The Voids - Galerie Vidal Cuglietta - Brussels, Belgium 2010 The Nine Fingers of Malakoff - Pavilion Projects / Les Maison des Arts de Malakoff - Malakoff, France The Bakery of Blok (first arrangement)- Front Room - Contemporary Art Museum St Louis, St Louis, USA 2009 The Bakery of Blok and the Three Forms of Unit - Miguel Abreu Gallery - New York, USA The Bakery of Blok - Jessica Bradley - Toronto, Canada 2008 The Crystal Ship - BELvue Museum, Brussels, Belgium / Etablissement d?en Face Projects - Brussels, Belgium 2007 The Flute of Sub - Galerie Isabella Bortolozzi - Berlin, Germany Put Your Eye in Your Mouth: a conversational documentary recording Martin Kippenberger?s Metro - net Station in Dawson City, Yukon - Etablissement d?en Face Projects, Brussels, Belgium Who Named the Dwith Roe Ethridge)- La Loge - Brussels, Belgium Art Statements - Art Basel - Basel, Switzerland The Story of Stripes and Dots (chapter 2)- Jessica Bradley - Toronto, Canada The Story of Stripes and Dots (chapter 1)- MuHKA - Antwerp, Belgium 2011 The Flute of Sub - The Artist's Institute - New York, USA Growth - KIOSK - Gent, Belgium The Instruments - ABC Berlin - Berlin, Germany The Five Arms of Supportico - Supportico Lopez - Berlin, Germany The Units - Ursula Blickle Stiftung - Kraichtal, Germany The Voids - Galerie Vidal Cuglietta - Brussels, Belgium 2010 The Nine Fingers of Malakoff - Pavilion Projects / Les Maison des Arts de Malakoff - Malakoff, France The Bakery of Blok (first arrangement)- Front Room - Contemporary Art Museum St Louis, St Louis, USA 2009 The Bakery of Blok and the Three Forms of Unit - Miguel Abreu Gallery - New York, USA The Bakery of Blok - Jessica Bradley - Toronto, Canada 2008 The Crystal Ship - BELvue Museum, Brussels, Belgium / Etablissement d?en Face Projects - Brussels, Belgium 2007 The Flute of Sub - Galerie Isabella Bortolozzi - Berlin, Germany Put Your Eye in Your Mouth: a conversational documentary recording Martin Kippenberger?s Metro - net Station in Dawson City, Yukon - Etablissement d?en Face Projects, Brussels, Belgium Who Named the Days?
Luke Fowler is a filmmaker who uses photographs, archival images and music, building experimental cinematic collages that ultimately deconstruct conventional thoughts about biography and the documentary; the viewer is drawn in and confronted with their own relationship to history and to film as an art form.
Frazier's documentary practice is a form of visual propaganda that is deeply concerned with how power can be identified, claimed, and redirected.
Deron Albright (Pew Fellow, 2012) has been a filmmaker since 1994, with work spanning documentary, installation, poetic animation, and short - and long - form narrative.
The project combines my documentary photographs and photomontage with a long - form essay written by Sarah Dohrmann.
They range from postwar experiments with darkroom processes, such as photograms and photomontages; to 1970s feminist performances conceived for the camera; to political and documentary engagements with themes of labor history and globalization in the 1980s; to post-appropriative forms of archival and historical reconstitution since 2000.
Depending on the materials I am working with, my projects take the form of documentary films, series of drawings or painting installations.
A vanguard of Abstract Expressionism in the Bahamas with over five decades of evolving form in his retinue, Kendal Hanna's recent career achievements include last year's art documentary Brigidy Bram.
The text is grounded in her ongoing research into how one might begin to repair documentary media's association with form.
He is renowned for innovating with the boundaries of the documentary form and the format of the film essay.
As a national organization (Riks Fotograficentrum), its main goal was to promote and distribute information on photography as an artistic form with a pronounced engagement in sociopolitical and documentary issues.
New Directions in the Art of the Moving Image, Smithsonian Museum of American Art, Washington D.C., US Images of the Mind, Deutsches Hygiene - Museum, Dresden, DE The Art of Deceleration, Kunstmuseum Wolfsburg, DE Space Invaders, Nikolaj Kunsthal, Copenhagen, DK Jihlava Documentary Film Festival, Jihlava, CZ Celebrazione Vasariane, Firenze Arti Visive, Florence, IT Ensemble 20/21, Auditorio Nacional de Música, Madrid, ES MMK 1991 - 2011: 20 Years of the Contemporary, MMK, Frankfurt, DE Oslo Chamber Music Festival 2011 - Gamle Logen, Oslo, NO Pino Pascali: Return to Venice / Apulia Contemporary Art, Palazzo Bianchi Michiel, Venice, IT The Missing Peace: Artists Consider the Dalai Lama, San Antonio Museum of Art, Texas, US Portraits de la Pensée, Palais des Beaux - Arts de Lille, FR Paradise Lost, Istanbul Museum of Modern Art, TR The Quintet of the Unseen, Blain Southern London, UK art / tapes / 22 a Santa Teresa (1972 - 76), Forno San Ferdinando, Follonica, IT Tout ouïe, Sans Canal Fixe, Tours, FR 2011 Images and Views of Alternative Cinema, Theatro Ena, Nicosia, CY New contemporary galleries featuring the John Kaldor Family Collection, Art Gallery New South Wales, Sydney, AU The Promised Land, Staatliche Kunstsmmlungen Dresden, DE Don't Look Now, Kunstmuseum Bern, CH Figuratively Speaking: A Survey of the Human Form, Bellagio Gallery, Las Vegas, US Happy Tech: machines with a human face, Palazo Re Enzo (1/29 -2 / 13) & La Triennale / Bovisa, Milan, IT La Candela Festival 2011, Valls, ES The Unbearable Lightness of Being, Yvon Lambert Gallery, Paris, FR San Sebastian, una iconografia comtemporánea, Kubo - Kutxa, Donostia - San Sebastian, ES When Painting Moves... Something Must Be Rotten, Stenerson Museum, Oslo, NO Knock on wood: Tales from the forest, Virserums Konsthall, SE Space, Foundazione MAXXI, Rome, IT Lust and Vice: The Seven Deadly Sins from Dürer to Nauman, Zentrum Paul Klee, Bern, CH When Eve Meets Adam, Museum of Fine Arts, Strasbourg, FR A Million and One Days, Lithuanian National Gallery of Art, Vilnius, LT The Missing Peace: Artists Consider the Dalai Lama, Nobel Museum, Stockholm, SE Tong, Haeinsa Temple, Chiin - ri, KR Esplanade — The Recital Studio, SG Video, An Art, A History 1965 - 2010: A Selection from the Centre Pompidou and Singapore Art Museum Collections, SG Déserts (1994), Tokyo Symphony Orchestra, Suntory Hall, Tokyo, JP Shan Shui, Beijing Center for the Arts, CN Environmental Day, ikono.tv / MELD, Television Broadcast, Arabsat: Menasa Region, Etisalat, AE Selected works from the Centre Pompidou's New Media Collection, Herzliya Museum of Contemporary Art, IL
They range from postwar experiments with darkroom processes (such as photograms and photomontages), to 1970s feminist performances conceived for the camera, to political and documentary engagements with labor history and globalization in the 1980s and 1990s, to forms of archival and historical reconstitution made since 2000.
Each tree has its unique form, but there is a looseness that frees the artist from the purely documentary aspects often associated with landscape painting.
From early works such as Dziga Vertov's silent documentary Man with a Movie Camera (1929) through to later practitioners including Chris Marker, Harun Farocki and Chantal Akerman, there exists in the form of the essay film a continuum of attempts to understand the self - consciousness of images, and their relationship to the world in which they are made.
Kirstein describes in his text the importance of «simple clarity in documentary form» and «the contemporary consciousness of time» the camera offers, but he wants to show as well with his selection of photo artists that the artistic use of the camera has reached a new quality, that of eqaul status with other contemporary arts.
Lincoln Kirstein describes in his text the importance of «simple clarity in documentary form» and «the contemporary consciousness of time» the camera offers, but wants to show as well with the artists in his exhibition that the artistic use of the camera has reached a new quality.
As with many of Campbell's works The Welfare of Tomás ó Hallissy questions the validity of documentary form as historical representation, blurring fact, and fiction, recording and interpretation.
Born 1982, Auckland, New Zealand Education 2009 Meisterschule, Städelschule HFBK, Frankfurt am Main 2005 BFA, Elam School of Fine Arts, University of Auckland Solo exhibitions 2018 «Games of Decentralized Life» Galerie Buchholz, Cologne 2018 «The Founder's Paradox», MOCA Museum of Contemporary Art, Cleveland 2017 «The Founder's Paradox», Michael Lett, Auckland 2017 «The Founder's Paradox», Michael Lett, Auckland 2017 «Shenzhen Entrepreneurial Form», Fine Arts, Sydney 2017 «FaaS — Feedback as a Service: Reflecting on messaging, debate and criticality inside a parliamentary discussion on internet governance», Bozar, Brussels 2017 «Simon Denny: Real Mass Entrepreneurship», C2 Space, OCT - LOFT, OCAT Shenzhen 2017 «Hammer Projects: Simon Denny», Hammer Museum, Los Angeles 2016 «Secret Power», Museum of New Zealand Te Papa Tongarewa, Wellington 2016 «Blockchain Future States», Petzel Gallery, New York 2016 «Business Insider», WIELS, Brussels 2015 «Products for Organising», Serpentine Sackler Gallery, London 2015 «Secret Power», New Zealand Pavilion, 56th Venice Biennale 2015 «The Innovator's Dilemma», MoMA PS1, New York 2014 «The Personal Effects of Kim Dotcom», Adam Art Gallery, Victoria University, Wellington 2014 «New Management», Portikus, Frankfurt am Main 2014 «The Personal Effects of Kim Dotcom», Firstsite, Colchester 2014 «TEDxVaduz redux», T293, Rome 2014 «Disruptive Berlin», Galerie Buchholz, Berlin 2013 «The Personal Effects of Kim Dotcom», mumok, Wien 2013 «All You Need is Data — The DLD 2012 Conference REDUX rerun», Petzel Gallery, New York 2013 «All You Need is Data — The DLD 2012 Conference REDUX», Kunstverein München 2012 «Full Participation», Aspen Art Museum, Aspen 2012 «Envisaging Vocational Rehabilitation» (with Joanna Fadyl), Westfälischer Kunstverein, Münster 2011 «Corporate Video Decisions», Friedrich Petzel Gallery 2011 «Corporate Video Decisions», Michael Lett, Auckland 2011 «Cruise Line», NAK Neuer Aachener Kunstverein, Aachen 2011 «Chronic Expectation: CFS / ME Documentary Restoration», T293, Rome 2011 «7 Unreachable Elevators», IMO, Copenhagen 2010 «Negative Headroom: the broadcast signal intrusion incident», Contemporary Art Museum, St. Louis 2010 «Negative Headroom: the broadcast signal intrusion incident», Halle Für Kunst, Lüneburg 2010 «Remote Tutorial: hate poems for travelers», Landings Project Space, Vestfossen 2010 «Introductory logic tutorial video», Artspace, Sydney 2009 «Celebrities» houses at night: a projection», Standard Oslo, Oslo 2009 «Starting from behind», Michael Lett, Auckland 2009 «Deep Sea Vaudeo», Galerie Daniel Buchholz, Cologne 2009 «Watching Videos Dry», T293, Naples 2009 «7 Drunken Videos `, Luettgenmeijer, Berlin 2008 «Aquarium Paintings (with Nick Austin)», Center, Berlin 2008 «Ruined by Sheer Confidence», Caribic Residency, Frankfurt am Main 2008 «Alexandra Bircken / Simon Denny», Ursula Blickle Stiftung, Kraichtal 2008 «Recent Haircuts», Uplands Gallery, Melbourne 2008 «Recent Haircuts», Gambia Castle, Auckland 2007 «Compression Club», Michael Lett, Auckland 2007 «Monthly Cowards», Gambia Castle, Auckland 2007 «Paltry Motion», Dunedin Pubic Art Gallery, Dunedin 2006 «Old Entertainment System», Window, Auckland 2006 «Scape», Art & Industry Biennial, Christchurch 2006 «Old Things», Michael Lett, Auckland 2005» Arranging Sympathies», Volume Series, The Physics Room, Christchurch
Photographs make up 30 % of the collection, with many of these works made in the late 1980s and early 90s, a period in which some artists used the documentary form of photography and related mediums to develop powerful portraits of themselves and their communities, while others highlighted the violence done to such communities.
2755 miles is primarily based on video research and forms of experimental documentary practice that engages with issues of migration and displacement by concentrating on the cultural and communal worlds of clandestine Pakistani refugee workers residing at the outskirts of Athens.
It would be conducted online rather than on paper, designed primarily for use by litigants in person, investigatory rather than purely adversarial, with conciliation (including mediation and ENE (early neutral evaluation)-RRB- as a mainstream rather than only alternative form of resolution and face - to - face hearings for resolution only if documentary, telephone or video alternatives are unsuitable.