Sentences with phrase «from photographic sources»

Rail: You both were credited as being among the first contemporary artists to make paintings from photographic sources, as well as for your use of the grid.

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.

From these photographic sources, the artist renders each historic visual into highly realistic hand - drawn illustration.

Doig paints from photographic sources, such as his own pictures of landscapes, film stills, and images from newspapers and magazines.

Conjured from photographic sources - snapshots, film stills, album sleeves, and advertisements — the artist's melancholic, often...

Working from photographic sources granted Schönebeck new creative freedom and allowed him to avoid the painful uncertainty and self - doubt inherent in a process that begins with abstract randomness.

During the»80s her explorations took the form of large grids of small landscape vignettes appropriated from photographic sources and then restructured to form larger pictographic panoramas.

This new realism draws largely from photographic sources obtained via the internet, television, cell phones, newspapers and family albums.

The work was originally derived from a photographic source image depicting a figure, caught in motion, approaching the building on a busy street.

The first painting is 9 × 12 and painted from the photographic source, and the next is 16 × 20 and painted from the painting of the photographic source.

With my recent figures and portraits, painted from photographic source materials, I am exploring and expanding my content while continuing my desire to connect the present to the past.

These sanitized images of limp - dicked men are taken from photographic source material.

Not exact matches

They reveal a new model of representation: not through indexical photographs but through automated data collection from a myriad of different sources constantly updated and endlessly combined to create a seamless illusion; Google Earth is a database disguised as a photographic representation.

«Teachers benefit from building a lesson with primary sources because these photos are artifacts created during the time period under investigation,» says Elizabeth Lay, a retired English teacher from Oakland, California, and now content editor of Picture This, an online photographic archive created by the Oakland Museum of California History.

Rodriguez sourced these images, which are created to monitor an embryo's health, from a fertility clinic, then transferred the digital files to create photographic negatives, which she then used to produce silver gelatin prints.

Vintage images of black representation from Ebony and Jet magazines were the source of inspiration for several photographic collage series.

«In and Out of the Studio: Photographic Portraits from West Africa» @ The Metropolitan Museum of Art New York, N.Y. Sourced from the museum's collection, this exhibition explores a century of West African portrait photography spanning the 1870s to the 1970s.

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

All of Cooke's subjects stem from real life — his autobiography, live models or photographic and literary sources — but metamorphose away from these everyday referents as they become realized in paint and enmeshed in the landscape of the work.

To make her pictures, Nielsen cuts, shapes, layers, draws on, and assembles transparent color gels into a handmade «negative» through which she projects varied light sources onto photographic paper — from an enlarger light to lasers to cellphone lights (and everything in - between).

Naida Osline is a Los Angeles - based artist who combines and manipulates images sourced from both analog and digital processes, in which she blends conceptual and documentary photographic practices with an abiding interest in the transformative, mythical, and ethereal nature of existence.

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.

Since then, Quinn has gained fast fame for his incredibly distinct portrait style in which he uses photographic source material to rebuild his human subjects from within.

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 seven - part sculptural series What It's Like, What It Is # 2 (1991), commissioned by the Hirshhorn Museum and not exhibited since 1992, breaks from Piper's Conceptual use of the frame and grid, confronting the viewer with photographic cut - out figures both iconic and anonymous sourced from movements in American History, from the civil rights era to the early 1990s.

The main gallery spaces will feature examples of large - scale works featuring evocative photographic images from various sources such as books about experimental theater or puppetry, as well as Japanese textile designs, all screen - printed onto different fabrics that are layered and stitched together.

The works depict animals glimpsed in natural settings — a pair of birds, a fox, a fish, or a woodpecker extending its head from a hole in a tree trunk — each reproduced in the subdued grisaille or faded colour of Stingel's photographic sources.

Some artists consider photography and video as unreliable and unstable media: Josh Brown's images of racecars point to the imperfect nature of both the photographic medium and the spectator's vision, and Justin Phillipson employs video compression to distort his source material to varying degrees, thereby disengaging the images from their original source.

David Walsh, Elizabeth Pearce, Jane Clark 2013 ISBN 9780980805888 Lindsay Seers, George Barber, Frieze, January 2013 One of Many, Adrian Dannatt, Artist Comes First, Jean - Marc Bustamante (ed), Toulouse International Art Festival (exhibition catalogue), June 2013 All the World's a Camera: Notes on non-human photography, Joanna Zylinska, Drone ISBN 978 -2-9808020-5-8 (pg 168 - 172) 2013 Lindsay Seers, Artangel at the Tin Tabernacle - Jo Applin, ArtForum, December 2012 Lindsay Seers, Martin Herbert, Art Monthly, October 2012 Exhibition, Ben Luke, Evening Standard, (pg 60 - 61) 20 September 2012 Lindsay Seers @ The Tin Tabernacle, Sophie Risner, Whitehot Magazine, September 2012 Artist Profile: Lindsay Seers, Beverly Knowles, this is tomorrow, 12 September 2012 Dream Voyage on a Ghost Ship, Richard Cork, Financial Times, (pg 15) 11 September 2012 Nowhere Less Now, Amy Dawson, Metro (pg 56) 7 September 2012 Voyage of Discovery, Helen Sumpter, Time Out, (pg 42) 6 - 12 September 2012 Nowhere Less Now, Rachel Cooke, The Observer, (pg 33) 2 September 2012 Divine Interventions, Georgia Dehn, Telegraph Magazine, 25 August 2012 Eine Buhne fur das Ich, Annette Hoffmann, Der Sonntag, 25 March 2012 Das Identitätsvakuum - Dietrich Roeschmann, Badische Zeitung, 27 March 2012 Ich ist ein anderer - Kunstverein Freiburg - Badische Zeitung, 21 March 2012 Action Painting - Jacob Lundström, FLM NR.16, March 2012 Dröm - fabriken - Peter Cornell, Kultur, 21 February 2012 Vita duken lockar Konstnärer - Fredrik Söderling, Dagens Nyheter (pg 4 - 5) 15 February 2012 Personligen Präglad - Clemens Poellinger, SvD söndag, (pg 4 - 5) 12 February 2012 Uppshippna hyllningar till - Helena Lindblad, Dagens Nyheter (pg 8 - 9) 9 February 2012 Bonniers Konsthall - Sara Schedin, Scan Magazine, (pg 48 - 9) Febuary 2012 Ausstellungen - Monopol, (pg 120) February 2012 Modeprovokatörer plockas up par museerna - Susanna Strömquist, Dagens Nyheter (pg 8 - 9) January 2012 Promosing in Kabelvåg - Seers» «Cyclops [Monocular] at LIAF, Kjetil Røed, Aftenposten, 10 September 2011 Reconstructing the Past - Lindsay Seers» Photographic Narrative, Lee Halpin, Novel ², May / June 2011 Lindsay Seers, Oliver Basciano, Art Review, May 2011 Lindsay Seers, Jen Hutton, ArtForum Picks (online), April 2011 Lindsay Seers: an impossibly oddball autobiography, Murray Whyte, The Toronto Star, 13 April 2011 The Projectionist, David Balzer, Eye Weekly, 6 April 2011 dis - covery, exhibition catalogue, 2011 Lindsay Seers: It has to be this way ², Paul Usherwood, Art Monthly, April 2011 Lindsay Seers: Gateshead, Robert Clark, Guardian: The Guide, February 2011 It has to be this way ², 2011, novella published by Matt's Gallery, London Neo-Narration: stories of art, Mike Brennan, modernedition.com, 2010 Steps into the Arcane, ISBN 978 -3-869841-105-2, published 2010 It has to be this way1.5, novella 2010, published by Matt's Gallery, London Jarman Award, Laura McLean - Ferris, The Guardian, September 2009 Top Ten, ArtForum, Summer 2009 Reel to Real - On the material pleasure of film, Colin Perry, Art Monthly, July / August 2009 Remember Me, Tom Morton, Frieze, June / July / August 2009 It has to be this way, 2009, published by Matt's Gallery, London Lindsay Seers at Matt's Gallery, Gilda Williams, ArtForum, May 2009 Lindsay Seers: It has to be this way — Matt's Gallery, Chris Fite - Wassilak, Frieze, April 2009 Lindsay Seers: it has to be this way, Rebecca Geldard, Art Review, April 2009 Review of Altermodern - Tate Triennial 2009, Jorg Heiser, Frieze, April 2009 Tate Triennial: «Altermodern» — Tate Britain Feb 3 — April 26, 2009, Colin Perry, Art Monthly, March 2009 Lindsay Seers: It has to be this way (Matt's Gallery, London), Jennifer Thatcher, Art Monthly, March 2009 No sharks here, but plenty to bite on, Tom Lubbock, The Independent, 6 February 2009 Lindsay Seers: Tate Triennial 2009: Altermodern, Nicolas Bourriaud, Tate Channel, 2009 «Altermodern» review: «The richest and most generous Tate Triennial yet», Adrian Searle, The Guardian, Feb 2009 Critics» Choice for exhibition at Matt's Gallery, Time Out London, January 29 — February 4 2009 In the studio, Time Out London, January 22 — 28 2009 Lindsay Seers Swallowing Black Maria at SMART Project Space Amsterdam, Michael Gibbs, Art Monthly, Oct 2007 Human Camera, June 2007, Monograph book Published by Article Press Lindsay Seers, Gasworks, London, Pil and Galia Kollectiv, Art Papers (USA), February 2006 Review of Wandering Rocks, Time Out London, February 1 — 8, 2006 Aften Posten, Norway, Front cover and pages 6 + 7 for show at UKS Artistic sleight of hand — «Eyes of Others» at the Gallery of Photography, Cristin Leach, Irish Times, 25 Nov 2005 There is Always an Alternative, Catalogue (Dave Beech / Mark Hutchinson) 2005 Wunderkammer, Catalogue, The Collection, October 2005 Lindsay Seers» «We Saw You Coming»;» 20,000 Leagues Under the Sea»; «Apollo 13»; «2001», Lisa Panting, Sphere Catalogue (pg 46 - 50), Presentation House Gallery, 2004 Haunted Media (Site Gallery, Sheffield), Art Monthly, April 2004 Miser and Now, essays in issues 1, 2 + 3 Expressive Recal l - «You said that without moving you lips», Limerick City Gallery of Art, Dougal McKenzie, Source 37, Winter 2003 Braziers International Artists Workshop Catalogue, 2002 Review of Lost Collection of an Invisible Man, Art Monthly, April 2003 Slade - Hannah Collins, Chris Muller, Lindsay Seers, Elisa Sighicelli, Catherine Yass, (A journal on photography, essay by John Hilliard), June 2002 Radical Philosophy, 113, Cover and pages 26/30, June 2002 Elle magazine, June 2002, page 92 - 93 Review, Dave Beech, Art Monthly, June 2002 Nausea: encounters with ugliness, Catalogue Lindsay Seers, Artists Eye, BBC Programme by Rory Logsdail The Fire Station, a film by William Raban and a catalogue by Acme The Double, Catalogue from the Lowry, Lowry Press, July 2000 Contemporary Visual Arts, Roy Exley, June 1999 Hot Shoe, Chris Townsend.

Working from anecdotal photographs, each painting is deliberately built up through multiple layers of translucent pigment, a crucial aspect to the recontextualization of these images, a process which effectively dissolves the spatial / temporal specificity of the photographic source, while retaining its pictorial trace.

Based in Bali for more than two decades, the Italian artist Filippo Sciascia is widely known for Lux Lumina, an ongoing series of almost black and white figurative paintings, based on photographic and cinematic sources; their impasto surfaces heavily worked by the painter, who runs a dazzling gamut of painterly techniques, to the point the painting's skin cracks and tears so skillfully by intuitive calculation that its disintegration seems to be instigated from the inside out.

The same year, Baldessari moved to Santa Monica, where he met many artists and writers, and began to collect photographic images from films and other commercial sources that he would use in his work; during the same period, he photographed himself in deliberately amateurish compositions, and employed local sign painters to execute text - based works.

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.

The original photographic source is from another space we have lived in but is transferred by the making into another space» (quoted in Rippner 2002, p. 16).

The table objects, glazed display tables specially developed by Wolfgang Tillmans, contain cuttings from journals, magazines and similar sources which the artist has collected and photocopied and arranged along with his own photographic works.

We know from a surviving two - page photographic spread that Warhol ripped from a magazine and annotated with instructions to his studio assistants that his source for the series was Moore's photographs from Life (figure 16).

Although lacking a representative photographic collection, IMMA has to date sought to compensate for this by presenting a number of significant photographic exhibitions drawn from external sources.

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.

(1) In the late 1980s Goldstein turned from photographic to digital sources, producing colorful, amorphous abstractions that he called «nuclear,» whose referents are nearly impossible to divine.

Activating her work is an iconography of historical material drawn from a range of primary sources: photographic archives, antique books, vestiges, and an infinite variety of found objects.

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.

[1] Almost all of Marlene Dumas's paintings can be traced back to a photographic source, either collected from the media or taken by the artist herself.

photographic source either collected from the media or taken by the artist herself cite book title marlene dumas measuring your own grave face of a notable writer death of the author or the artist herself self portrait at noon the personal and the historical collide (3 words, 18 characters)

The artist does not use photographic source material, so when he paints, he paints from memory»» his pre-sketches are almost unrecognizable as fish.

The extraordinary versatile painter Rochelle Feinstein hovers at the edge of abstraction, drawing from photographic, text, or other found sources to create lavishly beautiful compositions that tend to surprise.

For Dana Schutz, who doesn't paint from observation or photographic sources, the process of visualizing events no one has ever seen before begins in her imagination and involves both asking a lot of questions and methodically developing answers.

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

Dumas's art was never a literal rendition of a photographic source, but rather a cropped image of some of the details from the photos she uses.

«Before printers like the new entry - level HP P - 100 Digital Photo Printer came along, digital camera users were hard pressed to find a source where they could get true photographic - quality prints from their digital images,» says Mark Parsons, business development manager for Hewlett Packard's Small / Medium Business Group.