Sentences with phrase «image art installation»

Not exact matches

Visual artist Sophie Clements joins her longtime sound design / music collaborator Jo Wills to discuss their site - specific piece Attempting to Delay the Inevitable, an installation at the Dolby Gallery; the role of sound in her visual art pieces; why computer - graphics images would never work in her art; and how sound and image collaborate to create wonder, awe, and seduction in the audience.

Add text updates or images, like New York - based artist Danielle Durchslag, who posted photos of herself smiling and jumping for joy whenever the funding level for her art installation, «A Wandering Sukkah,» increased by a significant amount.

The Artist's Museum begins with this impulse to collect and connect, bringing together large - scale installations, photography, film, and videos that employ artworks from the past as material in the present, animating existing artworks, images, and histories to reveal art's unexpected relationships and affinities.

Images: James Turrell, Raemar Pink White, 1969, Shallow Space, Collection of Art & Research, Las Vegas, Installation view at Griffin Contemporary, Santa Monica, CA, 2004, © James Turrell, Photo by Robert Wedemeyer, courtesy Kayne Griffin Corcoran, Los Angeles; James Turrell, Breathing Light, 2013, LED light into space, Los Angeles County Museum of Art, purchased with funds provided by Kayne Griffin Corcoran and the Kayne Foundation, M. 2013.1, © James Turrell, Photo © Florian Holzherr.

«Whispering Bayou» @ Contemporary Art Museum Houston Houston, Texas An immersive, multimedia installation, «Whispering Bayou,» uses sounds, voices and images to capture the rich diversity and history of Houston and its citizens.

The historical importance of McCall's work has been recognized in such exhibitions as «Into the Light: the Projected Image in American Art 1964 - 77,» Whitney Museum of American Art (2001 - 2); «The Expanded Screen: Actions and Installations of the Sixties and Seventies,» Museum Moderner Kunst, Vienna (2003 - 4); «The Expanded Eye,» Kunsthaus Zurich (2006); «Beyond Cinema: the Art of Projection,» Hamburger Bahnhof, Berlin (2006 - 7); «The Cinema Effect: Illusion, Reality and the Projected Image,» and Hirshhorn Museum, Washington DC (2008); and «Dreamlands», Whitney Museum of American Art (2017).

Featured Image: The Funk & Wag from A to Z (2012), installation view at The Station Museum of Contemporary Art, Houston, TX

Image: Installation view of Patricia Cronin: Shrine for Girls, New York, at The FLAG Art Foundation, 2016.

Among her groundbreaking exhibitions and publications over the past forty years are The Russian Avant - Garde, 1910 - 1930: New Perspectives; German Expressionist Sculpture; Degenerate Art: The Fate of the Avant - Garde in Nazi Germany; Exiles + Émigrés: The Flight of European Artists from Hitler, Made in California: Art, Image, and Identity, 1900 — 2000, and exhibitions of David Hockney, Ed Kienholz, Ken Price, Maria Nordman, Sharon Lockhart, and Alexander Calder, several of which featured installations designed by Frank Gehry.

In high profile locations, site - specific installations of images transform everyday activity in public space into unique encounters with works of art that resonate with their environment.

Trained in art history and sculpture, her body of work is distinctive in its layering of sound, images and ideas in sophisticated and ethereal multimedia collages, encompassing video, drawing, installation, sound, performance and text.

IMAGE: Suzanne Deal Booth Art Prize Installation view, Rodney McMillian: Landscape Painting, Aspen Art Museum, 2015.

The first mid-career survey dedicated to Deschenes's work, this exhibition will feature 20 years of her art, including explorations of various photographic technologies, rich and nuanced work with photograms (a type of photographic image made without a camera), and sculptural installations that reflect the movements and light within a given space and respond to a site's unique features.

Evan's installation does a pretty good job conjuring the feel of art as it is now experienced, as a ceaseless barrage of image and information and commerce that we're supposed to take as - is, without too much processing or doubt.

Image Credit: Pablo Rasgado, Floorplan, Art Brussels, Installation view, Steve Turner, April 2017.

The collective has been exhibited nationally and internationally, including: Contour the 5th Biennial of the Moving Image in Mechelen, BE; Nuit Blanche, Toronto, CA; 18th Biennale of Sydney in Sydney, AUS; Scottsdale Museum of Contemporary Art in Scottsdale, AZ; 2017 Whitney Biennial, New York, NY; Art in General, New York, NY; documenta14, Athens, GR and Kassel, DE; and their historic land art installation Repellent Fence at the U.S. / Mexico border near Douglas, AZ and Agua Prieta, SArt in Scottsdale, AZ; 2017 Whitney Biennial, New York, NY; Art in General, New York, NY; documenta14, Athens, GR and Kassel, DE; and their historic land art installation Repellent Fence at the U.S. / Mexico border near Douglas, AZ and Agua Prieta, SArt in General, New York, NY; documenta14, Athens, GR and Kassel, DE; and their historic land art installation Repellent Fence at the U.S. / Mexico border near Douglas, AZ and Agua Prieta, Sart installation Repellent Fence at the U.S. / Mexico border near Douglas, AZ and Agua Prieta, SON.

Installation images showing the collection and artwork of Damien Hirst Photo Justin Piperger, Barbican Art Gallery 2015 Artwork: Damien Hirst Last Kingdom, 2012 © Damien Hirst and Science Ltd..

The wall is part of an installation by the Whitney's David Kiehl that privileges interior spaces — as metaphor and as room for sculpture — but the photos suggest a greater continuity in Kusama's self - images and her art.

Allison Schulnik, Arin Rungjang, art fair, artist studio, Australian Centre for the Moving Image, Boyd Webb, Callum Innes, Charles Lim, collectors, commercial, contemporary art, creativity, culture, Digital Art, discussions, exhibition, fair, Future Perfect, Galeria AFA, galleries, gender, Gene Sherman, global, Google Creative Lab, Ian Hamilton Finlay, Ingleby Gallery, installation, Joachim Bandau, Joana Vasconcelos, Jonathan Owen, Josh Azzarella, Katie Paterson, Mark Moore Gallery, Moving Image, Pearl Lam Galleries, performance, Peter Liversidge, post internet, public program, Qin Yufen, Richard Forster, Sandra Vasquez de la Horra, studio visits, Su Xiaobai, Sydney Art Week, Sydney Contemporary, Tim Etchells, Two Rooms, video art, Yinka Shonibare Mbe, Zhu Jinart fair, artist studio, Australian Centre for the Moving Image, Boyd Webb, Callum Innes, Charles Lim, collectors, commercial, contemporary art, creativity, culture, Digital Art, discussions, exhibition, fair, Future Perfect, Galeria AFA, galleries, gender, Gene Sherman, global, Google Creative Lab, Ian Hamilton Finlay, Ingleby Gallery, installation, Joachim Bandau, Joana Vasconcelos, Jonathan Owen, Josh Azzarella, Katie Paterson, Mark Moore Gallery, Moving Image, Pearl Lam Galleries, performance, Peter Liversidge, post internet, public program, Qin Yufen, Richard Forster, Sandra Vasquez de la Horra, studio visits, Su Xiaobai, Sydney Art Week, Sydney Contemporary, Tim Etchells, Two Rooms, video art, Yinka Shonibare Mbe, Zhu Jinart, creativity, culture, Digital Art, discussions, exhibition, fair, Future Perfect, Galeria AFA, galleries, gender, Gene Sherman, global, Google Creative Lab, Ian Hamilton Finlay, Ingleby Gallery, installation, Joachim Bandau, Joana Vasconcelos, Jonathan Owen, Josh Azzarella, Katie Paterson, Mark Moore Gallery, Moving Image, Pearl Lam Galleries, performance, Peter Liversidge, post internet, public program, Qin Yufen, Richard Forster, Sandra Vasquez de la Horra, studio visits, Su Xiaobai, Sydney Art Week, Sydney Contemporary, Tim Etchells, Two Rooms, video art, Yinka Shonibare Mbe, Zhu JinArt, discussions, exhibition, fair, Future Perfect, Galeria AFA, galleries, gender, Gene Sherman, global, Google Creative Lab, Ian Hamilton Finlay, Ingleby Gallery, installation, Joachim Bandau, Joana Vasconcelos, Jonathan Owen, Josh Azzarella, Katie Paterson, Mark Moore Gallery, Moving Image, Pearl Lam Galleries, performance, Peter Liversidge, post internet, public program, Qin Yufen, Richard Forster, Sandra Vasquez de la Horra, studio visits, Su Xiaobai, Sydney Art Week, Sydney Contemporary, Tim Etchells, Two Rooms, video art, Yinka Shonibare Mbe, Zhu JinArt Week, Sydney Contemporary, Tim Etchells, Two Rooms, video art, Yinka Shonibare Mbe, Zhu Jinart, Yinka Shonibare Mbe, Zhu Jinshi

This past year my work has been included in exhibitions at the 2012 New York Photo Festival (Brooklyn, NY), South Hill Park Arts Centre (Bracknell, UK), Artspace New Haven (CT), Galerie Jeanroch Dard (Paris, France) and most recently a solo exhibition, The Dubious Sum of Vaguely Discernable Parts, at the Bindery Projects in St. Paul, Minnesota which included a series of text based drawings, a photo installation and ephemeral print publication of images and writings.

art fair, conceptual, Curator's Office, film, installation, Moving Image, narrative, New York, Nicholas & Sheila Pye, performance, premiere, video art

L: Catalogue image from 1977, featuring the work by Gloria Kisch -LRB-»69 Fine Arts) R: Catalogue image from 2017 featuring work by current MFA student Deb Adams - Welles, responding to Kisch's work with a floor installation.

This publication will feature an introduction to the Meppayil's new work as well as images of the exhibition in New York and of tw / one (2016), her large - scale installation at Art Basel.

Novitskova, whose sculptures reconstruct images sourced from the Internet into a minimalist performative space, is a figure who is particularly at the forefront of installation - based practices in contemporary art.

Image: Installation view of Isaac Julien's Encore II: Radioactive, exhibited in 3», Central Gallery of Contemporary Art, La Coruña, Spain, 2005.

This installation foregrounds a mode of art making Holstad developed and is continually engaged with: clipping images from newspapers and first rubbing areas out, leaving in their place blank, haunting suggestions of forms.

The artists participating at the Grundy Art Gallery are Allison Katz, who displays a trilogy of works comprising painting, sculpture and print; Amy Stephens, whose practice centres on reclaiming objects and images from the native landscape; Ruth Beale with new large - scale works on paper, drawing on the British tradition of satire to critique current events; and Rebecca Birch, who brings an interactive installation investigating the politics of surface.

Image: Installation view from Everything you are I am not: Latin American contemporary art from the Tiroche DeLeon Collection

Widely recognized as the leading video artist of our time, Bill Viola employs sophisticated state - of - the - art technologies to create installations that envelop the viewer in image and sound.

LEARN MORE Press Release IMAGES Installation view from Everything you are I am not: Latin American contemporary art from the Tiroche DeLeon Collection

Image: Installation view of Doug Aitken: Electric Earth, September 10, 2016 — January 15, 2017 at The Geffen Contemporary at MOCA, courtesy of The Museum of Contemporary Art, Los Angeles, photo by Joshua White

Amie Siegel, analysis, archaeology, art, artefact, cinematic, collection, cultural ownership, culture, desire, excavation, exhibition, fetish, film, history, installation, labour, luxury, material, meaning, Moving Image, narrative, object, objecthood, ownership, performance, photography, projection, property, representation, ritual, simulation, South London Gallery, speculative, value, value system, video

* The categories include: — Painting — Photography — Sculpture and Installation Art — Performance — Video & New Media Art * Timeline: May 17, 2017: Close submissions Between June and December 2017: Young Korean Artists Show Series 2017 March 1, 2018: Expected publication date of «CICA Young Korean Artists # 1» * How to submit your work: — Please send us up to 10 JPG portfolio images and / or up to 3 direct links to video / web / interactive art, your artist statement, and bArt — Performance — Video & New Media Art * Timeline: May 17, 2017: Close submissions Between June and December 2017: Young Korean Artists Show Series 2017 March 1, 2018: Expected publication date of «CICA Young Korean Artists # 1» * How to submit your work: — Please send us up to 10 JPG portfolio images and / or up to 3 direct links to video / web / interactive art, your artist statement, and bArt * Timeline: May 17, 2017: Close submissions Between June and December 2017: Young Korean Artists Show Series 2017 March 1, 2018: Expected publication date of «CICA Young Korean Artists # 1» * How to submit your work: — Please send us up to 10 JPG portfolio images and / or up to 3 direct links to video / web / interactive art, your artist statement, and bart, your artist statement, and bio.

Art and craft, image and music, painting and illustration, expression and performance, form and installation, sexuality and gender — themes like these are bubbling up everywhere except at the Whitney.

TOP IMAGE: Installation view of «Toyin Odutola: Untold Stories» at Contemporary Art Museum (CAM) St. Louis.

At a time when we are immersed in a cacophony of media images and sounds, and live in a climate of anxiety often provoked by invisible and abstract adversaries, the four fundamental expressive art forms — painting, sculpture, installation and performance — are amalgamated over the course of the exhibition, with contributions from Philippe Parreno, Adel Abdessemed, Roni Horn, David Hammons, Mark Grotjahn, Marlene Dumas and many more.

Installation shot of Denise Green's paintings at the Whitney Museum of American Art, New York's 1979 exhibition, «New Image Painting» discussed in this interview.

Paolini's belief that a work of art is not just reflective of the «here and now» but is also resonant of earlier traditions, has led him to investigate art's relation to the past, creating intriguing installations deeply rooted in art history from the Renaissance to today - from plaster casts of classical sculptures shattered on the ground, to photographs of iconic paintings by Northern Italian Renaissance painter, Lorenzo Lotto, or inquiries into the construction of the image.

Main image Pipilotti Rist, The Tender Room, 2011 Audio video installation Installation view, Wexner Center for the Arts, The Tender Room, 2011 Photo: Kevin Fitszimons, Courtesy Hainstallation Installation view, Wexner Center for the Arts, The Tender Room, 2011 Photo: Kevin Fitszimons, Courtesy HaInstallation view, Wexner Center for the Arts, The Tender Room, 2011 Photo: Kevin Fitszimons, Courtesy Hauser & Wirth

2003 Annual Student Exhibition Chuck Close Prints: Process and Collaboration Robert Knox: Non-Fiction Paintings Fred Wilson: Objects & Installations, 1979 - 2000 Single Channel: Collaborationg with the Moving Image 25th Master of Fine Arts Thesis Exhibition Angela Grauerholz: Reading Room for the Working Artist and Privation Mads Gamdrup: Renunciation

Main image Lynn Hershman Leeson, Deep Contact, 1984 - 89 Interactive touchscreen installation © Lynn Hershman Leeson Courtesy of the Carl & Marilynn Thoma Art Foundation

All images: Tomoo Gokita «PEEKABOO,» installation view at Tokyo Opera City Art Gallery, through June 24, 2018.

Yael Bartana Wild Seeds 2005 6 min 40 sec, mini DV & DVD, PAL, color, sound Two channel video and sound installation (projection 1: Image, projection 2: subtitles) Courtesy Annet Gelink Gallery, Amsterdam and Sommer Contemporary Art Gallery, Tel Aviv Photo: Matthew Septimus.

Images: Installation view of Hilary Lloyd at Blaffer Art Museum by Pete Molick, © Hilary Lloyd, courtesy Sadie Coles HQ, London; Galerie Neu, Berlin; Greene Naftali Gallery, New York

The nature of the exhibition is such that sculptures, paintings and installations transition from prop to image to art object, staging an enquiry into whether these fictional depictions in mass media ultimately have greater influence in defining a collective understanding of art than art itself does.

Featured Image: Installation view, Interstitial, March 5, 2017 - August 6, 2017, Pasadena Museum of California Art, photo © 2017 Don Milici

1995 Images, Masks, and Models, 11, rue Larrey at Sidney Janis Gallery, New York (booklet) Mario Diacono Gallery, Boston, MA (booklet) Galerie Bruno Bischofberger, Zurich Wall Installation, TZ Art, New York (installation) Exploding Cell, Edition Schellmann and Pace Prints, New York Galerie Thaddaeus Ropac, Paris (installation) Drawings 1977 — 1978, Schmidt Contemporary Art, St. Louis Drawings 1991 — 1995, Frances Lehman Loeb Art Center, Vassar College, Poughkeepsie, NY (catalogue); travelled to Greenberg Van Doren Gallery, St. Louis; Rhona Hoffman Gallery, Chicago; Kohn Turner Gallery, Los Angeles Paintings: 1980 — 1981, Turner, Byrne & Runyon, Dallas (catalogue) Encounters 6, Dallas Museum of Art, Dallas (installatiInstallation, TZ Art, New York (installation) Exploding Cell, Edition Schellmann and Pace Prints, New York Galerie Thaddaeus Ropac, Paris (installation) Drawings 1977 — 1978, Schmidt Contemporary Art, St. Louis Drawings 1991 — 1995, Frances Lehman Loeb Art Center, Vassar College, Poughkeepsie, NY (catalogue); travelled to Greenberg Van Doren Gallery, St. Louis; Rhona Hoffman Gallery, Chicago; Kohn Turner Gallery, Los Angeles Paintings: 1980 — 1981, Turner, Byrne & Runyon, Dallas (catalogue) Encounters 6, Dallas Museum of Art, Dallas (installatiinstallation) Exploding Cell, Edition Schellmann and Pace Prints, New York Galerie Thaddaeus Ropac, Paris (installation) Drawings 1977 — 1978, Schmidt Contemporary Art, St. Louis Drawings 1991 — 1995, Frances Lehman Loeb Art Center, Vassar College, Poughkeepsie, NY (catalogue); travelled to Greenberg Van Doren Gallery, St. Louis; Rhona Hoffman Gallery, Chicago; Kohn Turner Gallery, Los Angeles Paintings: 1980 — 1981, Turner, Byrne & Runyon, Dallas (catalogue) Encounters 6, Dallas Museum of Art, Dallas (installatiinstallation) Drawings 1977 — 1978, Schmidt Contemporary Art, St. Louis Drawings 1991 — 1995, Frances Lehman Loeb Art Center, Vassar College, Poughkeepsie, NY (catalogue); travelled to Greenberg Van Doren Gallery, St. Louis; Rhona Hoffman Gallery, Chicago; Kohn Turner Gallery, Los Angeles Paintings: 1980 — 1981, Turner, Byrne & Runyon, Dallas (catalogue) Encounters 6, Dallas Museum of Art, Dallas (installationinstallation, booklet)

As A.i.A. senior editor William S. Smith pointed out in his essay on Michael Heizer (whose 1970 installation Actual Size: Munich Rotary is on view at the Whitney Museum of American Art through April 10) our April issue, «Land art was photogenic out of necessity... images produced in tandem with the construction of giant earthworks could greatly expand the works» aesthetic and conceptual range.&raqArt through April 10) our April issue, «Land art was photogenic out of necessity... images produced in tandem with the construction of giant earthworks could greatly expand the works» aesthetic and conceptual range.&raqart was photogenic out of necessity... images produced in tandem with the construction of giant earthworks could greatly expand the works» aesthetic and conceptual range.»

Showing Wilson's interest in methods of display is his installation Love and Loss in the Milky Way (2005), previously on view in the Hammer Museum of Art's Take It or Leave It: Institution, Image, Ideology at in Los Angeles.

Being held in the Kuleli Building at the Halic Congress Center, September 25 - 28, 2014, Moving Image Istanbul runs in parallel with ArtInternational art fair, and will present a selection of single - channel videos and installations from across the globe.