Sentences with phrase «early color photography»

Leiter is now held to be a pioneer of early color photography, and is noted as one of the outstanding figures in post-war photography.

Not exact matches

Color is a core concern for Brennan and his paintings reflect his deep interest in abstraction, monochrome painting, historical photography, and early film.

His use of color film in the early 1980s, at a time when British photography was dominated by traditional black - and - white social documentary, had a revolutionizing effect on the genre.

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.

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.

Liz Nielsen's work joins and adds to the historical tradition of the photogram — one of the medium's earliest processes - but one which has enjoyed a renaissance in the worlds of contemporary art and color photography.

Throughout her career, she has explored a variety of light - sensitive materials from the earliest cyanotype process to the latest technology in digital color photography.

In fact, it looks very much like silvery color fields by Jacqueline Humphries or an evocation of early photography by Marco Breuer.

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.

Be sure not to miss the solo shows such as Back - Drop by Alain Bublex presented by Georges Phillippe & Nathalie Vallois from Paris; Message to the Future by Danny Lyon presented by Etherton from Tucson; Twenty Photographic Pictures by David Hockney by David Hockney presented by Galerie 1900 - 2000 from Paris; solo show by François - Xavier Gbre presented by Fakhoury from Abidjan; Fred Herzog: Early Color Street Photography by Fred Herzog presented by Equinox from Vancouver; but also duo shows Creative Destructions by Stephanie Syjuco and Nina Katchadourian presented by Catherine Clark from San Francisco and No Joke by Roger Ballen and Asger Carlsen presented by DITTRICH & SCHLECHTRIEM from Berlin and V1 GALLERY from Copenhagen, among others.

From the softly focused, romantic images the Pictorialists made in the early 1900s to the casual color polaroids Andy Warhol took of the celebrities around him in the early 1970s, these works also trace the evolving styles and functions of photography as it documented artistic movements and increasingly served as a primary artistic medium in itself.

Since he was never able to satisfactorily make prints from his slides, the recent possibilities of digital inkjet printing have enabled him to finally print and exhibit this important body of early color street photography.

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.

As an early advocate of color photography (mid-60's), Meyerowitz was instrumental in changing the attitude toward the use of color photography from one of resistance to nearly universal acceptance.

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.

The «little book,» as he humbly spoke of it, became an overnight sensation with worldwide distribution and firmly established Leiter as an early pioneer in the history of color photography.

The «little» book became an overnight sensation with worldwide distribution and firmly established Leiter as an early pioneer in the history of color photography.

This book, first published to mark the first major retrospective of Leiter's work in 2012, features for the first time, in addition to his early black and white and color images, his fashion photography, the overpainted nudes, as well as his paintings and sketchbooks.

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.

The inaugural exhibition highlighted prominent veins running through the collection with rooms dedicated to portraiture, contemporary Bay Area photographers, historical images of San Francisco, early American color photography, and works produced through the Farm Security Administration (FSA).

The exhibition is devoted to the iconic American photographer William Eggleston (born 1939) who emerged in the early 1960s as a pioneer of modern color photography.

Other significant additions include key works by artists from the 1970s and 1980s who were early practitioners of color photography, such as a group of 27 photographs by William Eggleston, along with pictures by Jo Ann Callis, William Christenberry, Jan Groover, and Barbara Kasten.

Changing Colors: a workshop on toning black and white photographs; Crow Shadow Institute, Pendleton, OR, April, 1999 What Geologists Call an «Explanation» - Terry Toedtemeier: on his photography, Portland Community Colleges, Rock Creek, Sylvania, and Cascade campuses, Portland, OR Peculiar to Photography, slide lecture for the exhibition, «Seeing Through Photography,» Sheehan Gallery, Whitman College, Walla Walla, WA, March 5, 1999 About Photographing Basalt, slide lecture at Blue Sky Photography Gallery, Portland, OR February 11, 1999 Hope Photographs: Thought from an Historic Perspective, slide lecture at the University of Oregon Museum of Art, Eugene, OR, February 17, 1999 Framing the Frontier - 19th Century Photography in the American West, slide presentation at Cheney Cowles Museum of Art, Spokane, WA, November, 1998 Photography and Censorship, slide presentation, Portland State University, Portland, OR, March, 1998 Mysteries on a Plate Glass - Early Photography of Egypt, slide presentation, the Portland Art Museum, Pphotography, Portland Community Colleges, Rock Creek, Sylvania, and Cascade campuses, Portland, OR Peculiar to Photography, slide lecture for the exhibition, «Seeing Through Photography,» Sheehan Gallery, Whitman College, Walla Walla, WA, March 5, 1999 About Photographing Basalt, slide lecture at Blue Sky Photography Gallery, Portland, OR February 11, 1999 Hope Photographs: Thought from an Historic Perspective, slide lecture at the University of Oregon Museum of Art, Eugene, OR, February 17, 1999 Framing the Frontier - 19th Century Photography in the American West, slide presentation at Cheney Cowles Museum of Art, Spokane, WA, November, 1998 Photography and Censorship, slide presentation, Portland State University, Portland, OR, March, 1998 Mysteries on a Plate Glass - Early Photography of Egypt, slide presentation, the Portland Art Museum, PPhotography, slide lecture for the exhibition, «Seeing Through Photography,» Sheehan Gallery, Whitman College, Walla Walla, WA, March 5, 1999 About Photographing Basalt, slide lecture at Blue Sky Photography Gallery, Portland, OR February 11, 1999 Hope Photographs: Thought from an Historic Perspective, slide lecture at the University of Oregon Museum of Art, Eugene, OR, February 17, 1999 Framing the Frontier - 19th Century Photography in the American West, slide presentation at Cheney Cowles Museum of Art, Spokane, WA, November, 1998 Photography and Censorship, slide presentation, Portland State University, Portland, OR, March, 1998 Mysteries on a Plate Glass - Early Photography of Egypt, slide presentation, the Portland Art Museum, PPhotography,» Sheehan Gallery, Whitman College, Walla Walla, WA, March 5, 1999 About Photographing Basalt, slide lecture at Blue Sky Photography Gallery, Portland, OR February 11, 1999 Hope Photographs: Thought from an Historic Perspective, slide lecture at the University of Oregon Museum of Art, Eugene, OR, February 17, 1999 Framing the Frontier - 19th Century Photography in the American West, slide presentation at Cheney Cowles Museum of Art, Spokane, WA, November, 1998 Photography and Censorship, slide presentation, Portland State University, Portland, OR, March, 1998 Mysteries on a Plate Glass - Early Photography of Egypt, slide presentation, the Portland Art Museum, PPhotography Gallery, Portland, OR February 11, 1999 Hope Photographs: Thought from an Historic Perspective, slide lecture at the University of Oregon Museum of Art, Eugene, OR, February 17, 1999 Framing the Frontier - 19th Century Photography in the American West, slide presentation at Cheney Cowles Museum of Art, Spokane, WA, November, 1998 Photography and Censorship, slide presentation, Portland State University, Portland, OR, March, 1998 Mysteries on a Plate Glass - Early Photography of Egypt, slide presentation, the Portland Art Museum, PPhotography in the American West, slide presentation at Cheney Cowles Museum of Art, Spokane, WA, November, 1998 Photography and Censorship, slide presentation, Portland State University, Portland, OR, March, 1998 Mysteries on a Plate Glass - Early Photography of Egypt, slide presentation, the Portland Art Museum, PPhotography and Censorship, slide presentation, Portland State University, Portland, OR, March, 1998 Mysteries on a Plate Glass - Early Photography of Egypt, slide presentation, the Portland Art Museum, PPhotography of Egypt, slide presentation, the Portland Art Museum, Portland, OR

His use of color film in the late 1970s and early 1980s, at a time when British photography was dominated by traditional black - and - white social documentary, had a revolutionizing effect on the genre.

The collection, featuring more than 240 works by 171 artists from 22 countries, includes paintings of geometric forms and pure colors by Victor Vasarely, Josef Albers, and Max Bill, early computer art by Manfred Mohr, virtual sculptures by Gerhard Mantz, and recent works of Concrete photography.

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.