Sentences with phrase «how photographic images»

It doesn't necessarily mean erasure, but it does complicate the connection between perception and intellection — something that deeply thoughtful painters like Gerhard Richter have taken advantage of in order to make us reflect on how photographic images represent history and structure memory.

The exhibition showcases ten local and international contemporary artists, many showing in Vancouver for the first time, whose works call into question how photographic images speak to us.

Ten renowned local and international contemporary artists reflect on how photographic images speak to us in this exhibition assembled by Canadian curator Christopher Eamon exclusively for Capture Photography Festival.

Because of how photographic images are understood to function, as a system of pointers with indexical qualities that suggest things outside the frame, Linwood's use of the grid format points to parallel events, skewed timelines, cultural constructs, his own orchestration, and, other images which are simultaneously presented, albeit in amusingly slippery states of action and focus.

Drawing on the legacies of Conceptualism and invested in exploring the processes and techniques of photography, they are also deeply interested in how photographic images circulate.

It's a dichotomy that continues to stump even the illustrious Benjamin Buchloh, who laments while writing, at great length, in the latest Artforum: «The question posed over and over again (and which has basically remained unanswered) was how these photographic images could be related to the emerging works of abstraction.»

How a photographic image is cropped can make a huge difference in the visual impact, the same way that filmmakers will film from a distance or use closeups to bring the viewer closer to the actors and actresses.

Not exact matches

Anyone who has spent the Christmas season travelling among the sickbeds of parents and relatives, whilst surrounded by photographic images of unreal Christmases celebrated only by models and actors, knows how hard the «commercial Christmas» is on those who have no means for it.

Years of careful measurement of photographic images of the sky led Henrietta Leavitt to a discovery that is fundamental to how astronomers measure the scale of the Universe.

«She aims to reveal the shortcomings of how we read photographic images, what constitutes as accurate, and how we construct narratives of history.

By merging the photographic image with monumental and synthetic materials, she expands the boundaries of how a photograph can be physically engaged.

Beyond a metaphorical understanding of this idea, the question of how much the photographic image functions as an index of a subject's exterior and how much information beyond the surface is recorded or evoked, is also of interest to Alexi - Meskhishvili.

Examples include Julia Margaret Cameron's soft - focused and reverential Herbert Wilson (1868), which helped to move photographic portraiture from pure documentation to artistic intention; and Edward Curtis's field - printed cyanotype of an American Indian (c.1900 - 1930), which also shows how early photographers checked the quality of their images before digital photography.

It happened when he visited Andy Warhol's studio and learned from him how to silk - screen photographic images onto canvas.

Greenfield - Sanders» artistic process involves pushing and pulling a photographic image through different iterations, changing the color, scale and medium of the work to see how this process alters the end composition.

Aptly titled «Why Pictures Now,» after a 1981 photograph by the artist, the exhibition features Lawler's photographic investigations into how pictures function: Charming images of Jasper Johns paintings adorning the walls of collectors» homes, Richters being moved from one museum to another, or an in - museum shot of a Thomas Struth photograph of museum crowds surrounding ruins within a museum (you'll get it once you see it).

Image: (L - R) Shari Mendelson, Glitter Vessel with Blue Neck with Semicircles, 2016, recycled plastic, resin, acrylic polymer, glitter, paint, 19.5 x11x12 (photo: Polite Photographic); cover of Samantha Hunt's Mr. Splitfoot; cover of Zina Saro Wiwa's Did You Know We Taught Them How To Dance?

Instead Shirreff mines the vexed questions of how images mean and matter to us, and how we negotiate the distance between an object and its photographic representation, or between a photographic representation and our memory of what it shows.

The selection highlights the extensive study of material, shape, and style in Artschwager's work, while revealing how the artist's unrelenting investigation of art objects and images has been informed by the equalizing lens of photographic reproduction in the 20th century.

The show features fifty photographic works that depict how the circle plays an integral role in composition, form, design, and / or subject matter of the image.

Keeping in mind the peculiar conditions of production, distribution, and consumption of the images, Mapping Sitting also investigates how these photographic practices reveal characteristics of nascent national identities.

Paris Photo Los Angeles, the United States edition of the acclaimed art fair for photographic works, will take place at Paramount Pictures Studios on April 25th - 27th offering the ideal setting to explore how artists have been and are using photography and moving image in their work in the 20th and 21st centuries.

The collection, then, is not only a photographic document of the last hundred years, but also a catalogue of how images are consumed.

The exhibition, The weakened eye of day, explores how light manifests as a metaphor in our thoughts, obsessions and pursuits, and includes text works, sculpture, ceramics, drawings, paintings and a photographic image.

They share an interest in the characteristics of photography and its history and how one can use and be influenced by the photographic image.

The artists have developed innovative methods to disrupt how we «read» photographic images, often through techniques that retool the very mechanisms of print production.

The title of the exhibition is adapted from the 1980 photography handbook How to Control and Use Photographic Lighting, which demonstrates how different lighting drastically affects how details appear in an imaHow to Control and Use Photographic Lighting, which demonstrates how different lighting drastically affects how details appear in an imahow different lighting drastically affects how details appear in an imahow details appear in an image.

We begin with images of the pre-modern idyll, when Magic did not yet know how to hide from the photographic mechanism.

Framing the profound questions posed by these artists, authors Gary Garrels, Jim Lewis, Christopher Phillips, Sandra Phillips, Robert Riley and Abigail Solomon - Godeau analyze how the use and manipulation of photographic images shape our culture.

The Business of Prints Rembrandt and Goya are among the great artists in this survey of how images were reproduced before the photographic age, from the Renaissance to the early 19th century.

Instead they mine the vexed questions of how images mean and matter to us, and how we negotiate the distance between an object and its photographic representation, or between a photographic representation and our memory of the things it represents.

Also during his residency, Manchee plans to shoot new images of bookstores and of personal photographic archives as a further exploration of how we catalog and preserve our visual history.

The exhibition — which contextualizes drawing as part of her broader consideration of photographic and film representation — shows how drawing can revisit, question and change images used for personal, cultural and national identity.

Her photographic works questions how we subscribe to the traditional modes of production and places of functioning through the poetic ambiguities and fractures harmonies, created by the disparate arrangement of images on a single plane.

How do photographic images influence the way painters see the world?

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.

Presenting a stark reminder of how the past repeats itself, Henderson says, «we can't see the future but with photographic images we can certainly see the past.

This approach artfully chips away at past frameworks of photographic expression and offers the possibility of a fresh approach to how we interpret photographs and images.