Sentences with phrase «from photographic imagery»

In contrast, much of the figurative painting shown was derived from photographic imagery.

It becomes evidently clear, that through the very nature of Tuymans» process of appropriating from photographic imagery, abstracting it and then re-working it through mind and hand, he draws upon a lack of sincerity and belief in photographic imagery today.

Not exact matches

Arguably — and often labeled — the greatest painter of his generation, Luc Tuymans signals in every canvas the necessary limits of the medium, even the coda to its drawn - out death: his reliance on fleeting photographic and filmic imagery, his refusal to spend more than one day on a canvas, and perhaps most of all, his indifference to craft bring the Belgian artist into head - on confrontation with painting, and endow his subjects — from the untouchable (the Holocaust) to the pedestrian (flowers, pigeons)-- with an unmistakable air of violence inflicted.

Complementary exhibitions focus on early film and photographic imagery from the same era and on the iconic graphic design work of one of Israel's most important practitioners during the mid-1960s.

This photographic series combines imagery from four disparate sources: neoclassical sculpture, west of Ireland landscapes, found images and the studio setting.

This experience informs much of his work, which questions the meaning of photographic imagery within popular culture and draws from snapshots, advertising, news photographs, and public and corporate archives.

Julia Riddiough is a Margate based artist creating vivid film & photographic essays that combine fact & fiction using found imagery often from the archive.

This pronounced collection is extensive and ranges from: the photographic imagery of Wardell Milan; the sculptural paintings of Radcliffe Bailey; and the powerful photographic imagery of Xaviera Simmons, among others.

In the works exhibited this year she explores alignments of olychrome abstract watercolor monotypes with monochrome photographic imagery printed from polyester plate lithos.

The Latvian - born, New York — based artist has been rendering nature imagery from black - and - white photographic sources since the 1960s, exploring the same subjects repeatedly in paintings, drawings and prints.

I'd seen still imagery from them in some photographic works, like from the bear baiting film he made in Afghanistan.

Forsyth's work explores a breadth of themes, reflected in the range of techniques he employs: analogue and digital exposures taken by the artist exist in his work, alongside computer generated imagery, photograms, and photographic collages from historic magazines and vintage postcards.

The bright psychedelic color, either disembodied or coupled with vivid imagery, bounces around the gallery's main room: from Nancy Shaver's wooden blocks covered with paint and fabric and Victoria Fu's abstract photographic prints, to Mathew Zefeldt's metaphysical paintings and Jose Lerma's whimsical diptych consisting of a painted carpet in front of a painted mirror.

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.

The imagery in these prints derives from one of two little known and rarely seen photographic series that Booker produced in the mid-1990s.

Together they are a virtual encyclopedia of modern - day imagery, made by transferring photographic reproductions from magazines or newspapers onto the drawing surface.

It includes Albers's early drawings of country churches and cathedrals; «Rosa Mystica,» his stained glass window for St Michael's Church, and other glass works containing religious imagery; his abstractions of crosses and geometric abstractions with spiritually themed titles, from his Black Mountain years; his prints of Mexican gods; photographic interpretations of the theme of angels; and a selection from the Homage to the Square series.

In her wall works, many of which play, sleight - of - hand - style, with the shifts between two - to three - dimensionality — inviting the viewer to enter their world while at the same time sealing themselves off from engagement — Rafferty prints photographic imagery on thin, clear film, often mixed with paint and solvents, and attaches these to irregularly rectangular clear acrylic sheets.

These were the artist's first attempts to capture and repurpose mass media imagery, created by taking photographic images from newspapers and magazines and impressing them, in reverse, directly onto paper by hatching and rubbing with a dry pen nib.

The transference of photographic imagery to canvas oscillates in its clarity and topically the exhibit also ranges, from the seemingly mundane, such as a fuchsia amalgamation of spilled tea and wax, to the extremely intimate: an abstracted male in the act of frenzied masturbation.

Pattern and excerpts from popular culture are superimposed onto oil painting and photographic imagery.

Since the 1960s Celmins has been rendering nature imagery from black and white photographic sources, exploring the same subjects repeatedly in paintings, drawings, and prints.

Pairing a figurative style with self - generated imagery and formal composition appropriated from her photographic practice, Cedar's paintings combine painterly gestures with articulated surfaces, oblique perspective shifts with flatness — the scenes wavering between depiction, memory, and fantasy.

In the same West 22nd Street building, Yancey Richardson also shows a wide range of photographic imagery, from Julius Shulman's straightforward documentation of midcentury modernist architecture to Mitch Epstein's large - format color photographs of the contemporary social landscape.

Rooted in her longstanding interest in photography and photographic collage, Simpson's recent paintings incorporate found imagery, often taken from AP photographs and vintage magazines, which the artist overpaints and divides across several panels.

For the past ten years, Dawn Mellor has been painting portraits of celebrities; consciously misrepresenting, sexualising and violating imagery culled from photographic portraits, gossip magazines, film stills and the internet.

In addition to the traditional live models she works from, Stump has begun incorporating found imagery as source material, focusing specifically on deconstructing the male gaze present in the photographic imagery of vintage men's magazines.

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.

Yutaka Sone used photographic reproductions, imagery from Google Earth, and several helicopter rides to render Manhattan with its Central Park, skyscrapers, streets, avenues, and the bridges to the east and west to scale.

Drawing inspiration from a commemorative publication celebrating the assassination of Osama bin Laden, Hume's new compositions isolate and fragment the photographic source imagery to near total abstraction.

Using photographic images from newspapers or snapshots as a starting point, Peter Doig recasts everyday imagery to make imaginary landscapes and figure scenes.

The artist studied photography at Manchester Polytechnic, from 1970 to 1973, and has developed an international reputation for his innovative imagery, his oblique approach to social documentary, and his input to photographic culture within the UK and abroad.

The broad range of vision engages one with its formal and narrative authority — from elegant self - contained cerebral works like On Kawara's «Today» series, in which the artist paints only a date of the year against a background of color, and Roni Horn's wall - sized photographic series composed of 36 progressive clown portraits of perceptual ambiguity, both artists neatly isolating individual permutations of life's sequential narrative, to Peter Fischli and David Weiss» collaborative film, «Der Lauf der Dinge (The Way Things Go),» in which the unconstructed imagery is punctuated by bursts of random narrative that addresses life's impermanence.

McCarney's carefully hand - bound editions and found - altered books incorporate photographic imagery and utilize the space of the gallery to explore reading as display (on pedestals and shelves, hanging from the ceiling, mounted on the wall).

For example, there is the evocative imagery that can result from Maine's own process of stamping carpet textures onto canvas; or the «acrylic, stains, and spray paint on wood panel» by Jaq Chartier that somehow come to resemble photographic emulsion; or the acrylics on canvas by Thomas Pihl of subtly gradated color that seem like translucent screens of light.

Meditating on the power of photographic representation, Kate Steciw assembles imagery taken from social media, stock photography and iPhone cameras, which she then collages, prints and cuts into miscellaneous, generic shapes of aluminum mounted on Sintra PVC.

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.

Nicholas Middleton: When you are in the middle of the process it's hard to separate out those decisions that go into making a piece... when I started painting after I left college, I didn't... well, I suppose I fought against the idea of just making a painting from photographic sources which looked like a photograph, so I used lots of strategies to disguise it, or to confuse it in a sense, making paintings which were more like collages, or reducing imagery to... well, I borrowed things from pop art to, I suppose, to complicate things, for a few years it felt like I was fighting against what I seem to be naturally quite good at, and then it reached a point where I just felt I didn't want to tie myself in too many knots in terms of the thinking which was going on behind the pictures and then just let myself just paint fairly directly from photographic sources.

He works from a plethora of found sources, usually photographic; mid twentieth - century magazine cut - outs, Americana and biker imagery among others.

a. Ability to put on realism to photographic works ranging from traditional to fantastic imagery and congruous appositions ideas b. Impressive skills with the usage of color scheme control and retouching strategies c. Deep understanding of cinematography, marketing or promotional photography, and digital imaging tactics d. Appreciating abilities with the any type of camera usage like positioning the subject in the exact frame, examining and catching impeccable feelings, regulating the lens, lightning, and much more.

From concept to photo shoot, through website design and marketing, I provide photographic imagery for use in print and on the web.

Into the woods The colours and textures of the woodland landscape are influencing designers too, with lots of forest - inspired homewares in rich autumnal tones, from painterly prints and photographic imagery to tactile whittled woods, woodgrains and glossy ombre glaze ceramics.