Sentences with phrase «from photographic documents»

Not exact matches

For his second solo exhibition in New York, the Australian photographer presents three new large photographic works documenting interventions directly undertaken onto foreclose homes, which, from the outside, perfectly embody the ideal of the suburban dream.

Documenting the nocturnal city and its residents, from nightclubs to its covert brothels, the photographer created one of the most evocative photographic memoirs ever published.

The exhibition will feature sculptures, drawings and photographic documentation of his fieldworks from the 1970 and 1980s, a film documenting «activation», and installation views of his recent solo exhibitions at Pirelli foundation's HangarBicocca in Milan and Dia: Chelsea in New York.

Utilising a range of source materials from found imagery, film stills and the internet, the new works featured in this exhibition raise narratives and juxtapositions regarding the history of the painted canvas and the photographic medium as visual document.

Aside from those previously listed, high - profile installations, his work — shown by Alexander Levy since 2012 — often manifests itself in photographic form, whether documenting that car crash, a fake tree imperceptibly placed in an unknown forest, or natural landscapes that he's literally painted over.

In a series of «America» photographic portraits from 2001 - 2004 displayed at the Galerie Nathalie Obadia booth, Andres Serrano sought to document identity in the United States, post 9/11.

Taryn Simon's exhibition at the architecturally distinguished Milwaukee Art Museum offered up a generous and inquisitive photographic archive that spanned ten years and three distinct projects: «The Innocents,» 2002, portraits of people wrongfully convicted of violent crimes; «An American Index of the Hidden and Unfamiliar,» 2007, images of sites and holdings generally inaccessible to the public; and «Contraband,» 2010, a series that documents, with clinical precision, items seized over a given week from airline passengers entering the United States.

Aujourd» hui is happy to present an exclusive selection of pictures from Galerie Valentin's archive, that documents not only the gallery's program throughout the last two decades, but also the evolution of an exhibition's photographic documentation.

Aujourd» hui is happy to present an exclusive selection of pictures from Galerie Valentin's archive, that documents not only the gallery's program throughout the last 20 years, but also the evolution of an exhibition's photographic documentation.

This exhibition features a selection of images from Segregation Story, Parks's powerful 1956 photographic series, which documented an extended African American family in segregated Alabama.

The photographic images housed within explore abstracts, a fragmented index of information from the beginning of known documented knowledge pertaining to surgical knots.

In Noémie Goudal's large scale photograph Cascade (waterfall), a plastic sheet replaces the pouring water; Tania Kovats» glass and water sculpture Where Seas Meet is made with sea water from three places around the world where seas visibly meet; in David Buckland's photographs of Ice Texts, words of warning are projected on to icebergs; Susan Derges captures the continuous movement of water by immersing photographic paper directly onto rivers or shorelines; and Martin Parr candidly documents the English at the seaside.

George Hallett's original 1970s and 80s photographic compositions for Heinemann's African Writers Series and his portraits of African writers are presented alongside rare editions of the series, and books from the curator's collection documenting the 1976 Soweto Uprising.

Hershman Leeson meticulously documented the scenes, clothes, objects and paperwork involved in this performance and, in doing so, summoned a human being into existence from photographic evidence.

Utilising a range of source materials from found imagery, film stills and the internet, the new works featured in this exhibition raise new narratives and juxtapositions regarding the history of the painted canvas and the photographic medium as visual document.

In more recent photographic work, Frazier documents Braddock from the skies in full - color aerial shots that record the extensive transformations of a community after years of economic collapse.

From a journey that began when Bruno went to find his father's family, Bruno created a photographic diary recording his thoughts and feelings, and documenting the living conditions of the Algerian people he encountered along the way to make this body of a work in which he pays tribute to Frantz Fanon.

Prompted by the absence of folk art in Witte de With's exhibition history, Decorations by Kasper Bosmans also features documents taken from artist Asger Jorn's photographic archive 10,000 Years of Nordic Folk Art, a project part of his Scandinavian Institute for Comparative Vandalism, founded in 1961 as an interdisciplinary institute aimed at «vandalizing» art history.

Esopus 21 includes artists» projects by Stephen Eichhorn, Penny McCarthy, Thomas Nozkowski and Leslie Wayne; an essay on the design of the 9/11 Memorial by architect Michael Arad; poems by Chantal Bizzini; a new installment of the «Modern Artifacts» series, copresented with the Museum of Modern Art Archives, and featuring documents related to the never - published second issue of Possibilities (edited by Robert Motherwell and Harold Rosenberg); photographer Dennis Stock's images of the 1954 world premiere of Judy Garland's A Star Is Born; an interview with playwright / filmmaker Kenneth Lonergan relating to his childhood fascination with science fiction; pages from the late Austrian artist Otto Meuhl's sketchbook featuring drawings based on Cézanne paintings; and several perspectives on the African art collective Invisible Borders: an essay by Emmanuel Iduma accompanied by a photographic portfolio; and a downloadable audio compilation of music and sounds curated by Emeka Okereke that relates to the collective's 2012 road trip.

In his first exhibition at Galerie Thomas Schulte David Hartt will present a new photographic series alongside a new film whose genesis began with a series of photographs by Robert Rauschenberg, who in the fall of 1980 had documented his journey along the East Coast of the United States from Long Island to Captiva, Florida.

Tim Portlock and Shuli Sadé have created digital and mixed media works that transform the visible through technology; the painters Michael Bartmann and Bruce Garrity have used color and form to create vibrant and engaging images; the photographer Ken Hohing is revisiting a photographic project from the 1980s documenting Camden to highlight how differently we see photography and its objects; and the designer and photographer Eric Porter inventoried striking visual images that the textures and colors of the city of Camden offer the attentive viewer.

Prompted by the absence of folk art in Witte de With's exhibition history, Decorations also features documents taken from artist Asger Jorn's photographic archive 10,000 Years of Nordic Folk Art, a project part of his Scandinavian Institute for Comparative Vandalism, founded in 1961 as an interdisciplinary institute aimed at «vandalizing» art history.

From March 26 to September 6, 2010, the Solomon R. Guggenheim Museum presents Haunted: Contemporary Photography / Video / Performance, an exhibition that documents this obsession, examining myriad ways photographic imagery is incorporated into recent practice.