Sentences with phrase «exhibition uses of photography»

In 2001, Grinblatt mounted the solo exhibition Uses of Photography at the Museo de Arte Moderno de Buenos Aires (MAMBA) in Buenos Aires, Argentina.

Not exact matches

Out of Eden Walk Photography Exhibition Project: Introduction Pulitzer Center Education This project outline uses Paul Salopek's Out of Eden Walk to engage students in reflections and analysis of how a «slow approach» to journalism in their own communities can enlighten larger issues facing their cities.

In terms of interesting facts: I collect video game art books, have developed a gaming art book resource for use at public expos and events, recently created and curated a game photography exhibition at PAX AUS 17, and one of my triplets (my daughter) is named after a video game character.

Opening: Eva O'Leary «Happy Valley» at Meyohas This exhibition features new photographs from Eva O'Leary, a young artist who uses the tricks and tactics of high - end commercial photography to explore a range of subjects and narratives.

Double Take is an exhibition which looks at the theme of appropriation and how it has been explored by different generations of artists using photography.

The exhibition includes over twenty - five examples of Mapplethorpe's early use of instant photography.

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It has often appeared in debates about photography's status as index or trace, in exhibitions about abstraction and the use of impoverished materials, and even in discussions of landscape imagery.

Reflections and Almost Black & White are the two recent bodies of work showcased in this exhibition, the former a continuation of Chou's notable Water series, the latter using colour photography to create surprising monochromatic effects.

Image credit: Copyright Alex Katz; Courtesy Timothy Taylor Gallery, London 4 November — 13 December 2009 Jerwood Space, 171 Union Street, London, SE1 0LN Passing Thoughts and Making Plans is an exhibition that brings together artists who use photography as part of their thought process; as a tool for working out, following and shaping ideas that will develop into a finished work.

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.

Another powerful exhibition using the medium of photography to document, and also to instigate social change, is «A Fire That No Water Could Put Out»: Civil Rights Photography curated by Erin Nelson, a curatorial assistant at the High Museum (November 4, 2017 — Mayphotography to document, and also to instigate social change, is «A Fire That No Water Could Put Out»: Civil Rights Photography curated by Erin Nelson, a curatorial assistant at the High Museum (November 4, 2017 — MayPhotography curated by Erin Nelson, a curatorial assistant at the High Museum (November 4, 2017 — May 27, 2018).

By submission for jurying, artists whose submissions are chosen for the exhibition grant The Center for Fine Art Photography the right to use their images for the purpose of promoting the artist, promoting the Center's programs, promoting exhibitions and subsequent display on the Center's website of current and past exhibitions.

Prior to his first exhibition at the Museum of Modern Art (New York) in 1976, fine art photography was typically black and white, while color photography was used commercially.

An exhibition at Tate Britain makes forceful claims for the imaginative use of memory in both art and photography

Using a range of analogue techniques, Deschenes creates minimal, seemingly abstract photographs that investigate the histories of photography and film as well as architecture and exhibition display.

By submission for jurying, artists whose submissions are chosen for the exhibition grant The Center for Fine Art Photography the right to use their images for the purpose of promoting exhibitions, promoting the Center's programs, promoting the artist and subsequent display on the Center's website of current and past exhibitions.

The curator Okwui Enwezor's provocative 2008 exhibition at the International Center of Photography «Archive Fever: Uses of the Document in Contemporary Art» (the title of which references philosopher Jacques Derrida's 1995 book, Archive Fever) highlighted numerous examples of artists who employ archival documents in their work.

SARAH CHARLESWORTH: DOUBLEWORLD, the 2015 New Museum exhibition of this leading neo-conceptualist who «made subversive use of photography in order to show how images shape our perception of the world,» is on view at LACMA through the beginning of 2018.

The exhibition explores the development and evolution of Frank's characteristic style — including his use of low light, pioneering focal strategies, and unconventional cropping — which revolutionized contemporary photography and understanding of the photographer's relationship with the larger world.

Using sculpture, photography, painting, and installation, the artists in this exhibition each uniquely engage the genre by expanding our perception of what a landscape is, and how the story of the United States is told through this representation.

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.

Thematic group exhibitions include Audible Imagery: Sound and Photography; The Furtive Gaze, works by artists who use the camera as an instrument of surveillance; Camera / Action: Performance and Photography; and Anticipation, exploring strategies of slowness and suspense in time - based art.

Prior to that, Fogle was a curator at the Walker Art Center in Minneapolis from 1994 to 2005, where he initiated a series of exhibitions with emerging artists as well as a number of group exhibitions, including: Andy Warhol / Supernova: Stars, Deaths, and Disasters, 1962 — 1964 (2005); The Last Picture Show: Artists Using Photography 1960 — 1982 (2003) which traveled to the Hammer; Painting at the Edge of the World (2001); and solo exhibitions with Catherine Opie and Julie Mehretu.

This exhibition linked two key trends: the use of photography to document performances or projects, and the use of other media — including newspapers, magazines, and film — to circulate work.

Among other similarities, the works in this exhibition all explore particular qualities of light, or hard light (a film / photography term used to describe a lighting situation that casts a sharp, clearly defined shadow), that contribute to the development of fragmented, or broken, ambient narratives.

The first edition of the LUMA Award took the form of an exhibition featuring fifteen artists, all using the medium of photography as a central part of their practice.

Covering 9,000 square feet of gallery space, this immersive exhibition explores how artists have used the sun to reflect on the historical, social, and technological conditions of photography since its invention.

Critically this exhibition highlights how Parks» photography informed the sense of responsibility he felt and the way he used his position to provide both agency and voice for his people.

The mission of Whitespace is to expand and introduce the viewer to current trends in contemporary art by creating international exhibitions by major mid-career contemporary artists using various mediums: including painting, sculpture, photography, drawing and video.

A new exhibition, on view April 9 — August 21, 2011, entitled Unsettled: Photography and Politics in Contemporary Art, in the Julien Levy Gallery in the Ruth and Raymond G. Perelman Building of the Philadelphia Museum of Art presents work by nine artists who used photography to address some of the most salient political and social issues of the late 1970s through the early 1990s, including feminism, racism, the AIDS crisis, and gaPhotography and Politics in Contemporary Art, in the Julien Levy Gallery in the Ruth and Raymond G. Perelman Building of the Philadelphia Museum of Art presents work by nine artists who used photography to address some of the most salient political and social issues of the late 1970s through the early 1990s, including feminism, racism, the AIDS crisis, and gaphotography to address some of the most salient political and social issues of the late 1970s through the early 1990s, including feminism, racism, the AIDS crisis, and gay activism.

The Hayward Gallery's ambitious exhibition «The Painting of Modern Life», the first curated by its recently appointed director, Ralph Rugoff, gave us an account of how painters have made use of photography since that pivotal moment in the early 1960s when the canvas confronted the photograph in all its brute, beautiful ubiquity.

Further, in an age when cameras are incessantly used, this exhibition — which has been organized by Roxana Marcoci of the Modern; Matthew S. Witkovsky of the Art Institute of Chicago, where it was first seen; and Mark Godfrey of the Tate Modern, in London — can also read as a swan song for old - time photography in all its fastidious gorgeousness and endless minutiae, as art, craft, science and commerce.

May 6 — June 25, 2010 Curated by Jim Osman, Print is an exhibition of Hill's recent digital prints that use photography, painting and printmaking to investigate surface and light and their role in the formation of images.

In this multimedia exhibition, artists explore the use of three dimensions, painting, photography, collage, and printmaking.

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.

Print is an exhibition of Daniel Hill's recent digital prints that use photography, painting and printmaking to investigate surface and light and their role in the formation of images.

A group of Pratt Institute students recently used images from the New York Public Library (NYPL) Picture Collection to curate The Naming of Things, an interactive exhibition on view at the Pratt Photography Gallery this...

Many of the artists in the exhibition use photography as a means to document ephemeral moments.

Join us in celebrating the publication of Re-Framing the Feminine, Girls» Club's second exhibition catalog, with a public launch and informal panel discussion about the works in the exhibition and the role of female artists using the mediums of photography and digital imaging.

Saturday, September 15, 6 - 9 pm Join us in celebrating the publication of Re-Framing the Feminine, Girls» Club's second exhibition catalog, with a public launch and informal panel discussion about the works in the exhibition and the role of female artists using the mediums of photography and digital imaging.

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 prints are a fitting acquisition for the Royal Museums Greenwich: the Royal Observatory was the first to use astrophotography to monitor the sun; and in 2013 the National Maritime Museum staged the photography exhibition «Visions of the Universe», to which Tillmans contributed.

The exhibition will be arranged chronologically, presenting the epic scale of his artwork and the breadth of media he has used throughout his career, including painting, sculpture, photography and installation.

«Each of these exhibitions take a particular theme in the history of photography and explore it from the beginnings to the present, using NOMA's incredible and vast permanent collection.»

Explore this special exhibition, which showcases American artist Nan Goldin's use of photography as a means of communication, self - reflection, and poetic expression.

From famous locations such as Versailles to the simplest home vegetable garden, from worlds imagined by artists to food production recorded by journalists, the subjects in this exhibition broaden our understanding of photography and how it has been used to record the cultivated landscape.

A photography M.F.A. thesis exhibition by Tianran Qin, who uses photography to reveal the layered complexity of capitalist consumption through deliberate photographic technical and formatting choices.

The mission of Vermont Center for Photography is to promote the photographic arts through exhibitions and education, and to stimulate dialogue, encourage inquiry, and communicate ideas using the photographic medium as its focus.

The artist permits and encourages photography of the artwork in this exhibition for educational and non-commercial uses only.