Imbued with unadulterated glee, Lartigue's
early photographs record and reflect the joie de vivre of fashionable upper class French society during the Belle Epoque.
Not exact matches
«It is clear that even McGinley's
earliest images are not as «documentary» in their nature as initially perceived -LRB-...) In place of reality, he explains that his «
photographs are in truth closer to a
record of (his) imaginary life.»
The
earliest piece, I Am Sitting in a Room (1969), is a slide - and - sound installation created with composer Alvin Lucier, where duplication of analogue, audio
recordings, and Polaroid
photographs compromise media integrity.
Whenever Stieglitz exhibited his
photographs of New York City made in the late 1920s and
early 1930s, he grouped them into series that
record views from the windows of his gallery, An American Place, or his apartment at the Shelton Hotel, showing the gradual growth of the buildings under construction in the background.
Trained originally as a sculptor, in the
early 1990's Demand began to use photography to
record his elaborate and ephemeral, life - sized paper and cardboard constructions of existing or formerly existing environments and interior spaces, and soon started to create constructions for the sole purpose of
photographing them.
Additional
photographs of the singer Morrissey, who Linder met in 1976,
record their enduring friendship and form the basis of her book Morrissey Shot (1992), an intimate portrait of his life on tour in the
early 90s.
He draws inspiration for his figurative work from
photographs, newspaper clippings, movie scenes,
record album covers, the work of
earlier artists like Edvard Munch.
The exhibition traces the artist's evolution over a five - decade - period and brings together more than 200
photographs, including his iconic images of familiar, everyday subjects in addition to lesser - known,
early black - and - white prints and provocative video
recordings.