Sentences with phrase «image installations by»

The Jerwood / FVU Awards 2018: Unintended Consequences premieres two newly commissioned moving - image installations by Maeve Brennan and Imran Perretta, the recipients of this fifth edition of the Awards.

Not exact matches

The installation at the Amul Dairy represents a step change for the company and the Indian dairy industry by improving productivity while promising to change the image of flavoured milk, drinking yoghurt and milk shakes with young consumers.

-- It takes the form of an installation representing a bleak room in a hospital, with the social and stark installation based on the power of surveillance (the monitor reminds the viewer of CCTV cameras in public spaces) and indoctrination (the patient cured by the image of the leader).

Queens Councilman James Van Bramer is holding a rally against hate at 1 pm at the Museum of Moving Image — which has an ongoing livestream of an installation entitled «HE WILL NOT DIVIDE US,» created by actor Shia LeBeouf.

For instance, American artist Paul Vanouse's installation is a live experiment in which he creates images by running pieces of DNA through...

I pinned this image from a window installation created by Nikki Gabriel years ago.

This camera can also be used as a front camera by simply switching it to a forward looking image on the harness during the installation!

Remember that by installing a factory image you will delete all the data that is currently stored on your device's internal storage, no file will survive installation.

You can learn more about the installation of an Android factory image by looking at our website's Update section.

Begin Android 5.0.2 factory image installation for your 2013 Nexus 7 LTE tablet by launching the «flash - all.

Each original watercolor image is then reproduced and fired onto tiles of the highest quality and durability by renowned local tile artist, Michael King, who personally supervises the installation of each tile image in its permanent floor or wall location of each pedestrian rest area.

As emphatically analogue and even vegetal as it appeared, the installation also spoke to the digital lifestyle; the viewer was surrounded by clusters of images that scrolled and meandered without fixed starting or end points.

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 BMA presents Front Room: Adam Pendleton, a dramatic installation of new and recent work by the New - York based artist that examines the relationship between abstraction and representation through layered and fragmented texts and images sourced from the artist's personal library.

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.

The idea of communities of inspiration will be further carried out via tête - à - tête, an installation curated by Mickalene Thomas of work from photographers and key images which have inspired her.

The exhibition publication includes images of the works, installation views, and a text by Susanne Cotter.

Installation view of «Once (Now) Again,» multi-channel presentation of Ektachrome images and video from the 1980s and 1990s by LYLE ASHTON HARRIS at 2017 Whitney Biennial.

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.

Image Credit: Installation view of Primordial Saber Tararear Proverbiales Sílabas Tonificantes Para Sublevar Tecnocracias Pero Seguir Tenazmente Produciendo Sociedades Tántricas — Pedro Salazar Torres (Partido Socialista Trabajador), curated by Abraham Cruzvillegas and Gabriel Kuri, on the occasion of Pacific Standard Time: LA / LA.

The exhibition features site - specific installations by Nicola López and Lisa Sigal, both of whom deconstruct objects and images to form new worlds and visions.

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.

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.

Horn's installations demonstrate strategies of discontinuity, fragmentation, substitution, and sensitivity toward how images are affected by their contexts.

Image: Willum Geerts thru January 27, 2008 A group exhibition curated by Martijn Lucas Smit of Nieuwe Vide (NL) featuring artists Paul Baartmans (A / V - sculpture), Sema Bekirovic (video), Marissa Evers (drawing), Willum Geerts (video), Jannie Regnerus (film), Robbert van der Horst (audio), Jochem van der Spek (video installation) as well as Ward Denys with a functional sculpture.

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

Her installation will show images captured by scanners, cameras and satellites or rendered by image processing algorithms, displayed as vivid sculptures, and projections.

Melgaard's schizophrenic accumulations of vulgar ephemera might evoke the installations of Thomas Hirschhorn — that is, if Hirschhorn's papery images of war - ravaged, blown - apart bodies and Hellraiser - like mannequins were replaced by cum - dripping penises and self - fisting platypuses; that is, if Hirschhorn were in fact not a heterosexual Swiss man but a sexy, hairy, Australian - born Norwegian gay guy hell - bent, in the abject tradition of Mike Kelley and Paul McCarthy, on figuratively shitting all over mainstream culture.

Four years later I did sound for an installation by Tony Oursler called Crypt Craft (1989), which was a mix of images and voices in a dark room.

Ilit Azoulay's installation at the group exhibition «Ocean of Images», MoMA, is reviewed by Dalia Karpel for Ha'aretz magazine

Hamilton, who is nominated for this year's Turner Prize, creates installations full of unexpected images and objects: blown - up photographs of John Travolta's face, Perspex cut - outs of women's legs, a giant golden bum clasped by two hands, kimonos, rice crackers, pineapples.

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.

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.

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

By arranging the works into large - scale installations throughout 180 The Strand, Strange Days aims to «weave images and sounds into polyphonic, dreamlike compositions, blending the present with memories of the past and premonitions of the future».

Mille images:: pour Le Fresnoy Panorama 19 Le Fresnoy Tourcoing, France 23 September — 31 December 2017 Visual installation by Bruno Nuytten Sound installation Scanner

Zineb Sedira Installation shot Maritime Nonsense and Other Aquatic Tales 2009 3 photographs mounted on aluminium Image by George Torode

In 2005, the artist opened lesser new york in her Williamsburg loft, which was a response to Greater New York (2005) but it was lesser; it was a greater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greater.

His gallery installations are cabinets of curiosities featuring intricate wall paintings of beautiful women, indigenous statues and deities, collages crafted from vintage magazines penned and inked by the artist, human - like insect heads encased in vitrines, dolls that have been transformed into gang members, and images of pin - up girls with full tattoo sleeves.

The exhibition will be accompanied by an illustrated catalog published by Glenstone and distributed by Artbook DAP, featuring an essay by Briony Fer, previously unpublished diary entries by Louise Bourgeois annotated by Philip Larratt - Smith, an introduction by Emily Rales, and installation images of the exhibition.

For another rarity, an entire room recreates a 1955 installation by Richard Hamilton, the English Pop Artist — a dreary frame for images of jet packs, ski jumps, and racers.

«Untitled» (2015) by Borna Sammak — This sculptural installation incorporating digital video animation and consumer - grade hardware features a hypnotic loop of ballistic cartoon images, which are fragmented and collaged together.

Excellent examples of this «experience architecture» are shown in the central hall of the museum, including the complex work Corridor Installation (Nick Wilder Installation) from 1970, where visitors are recorded by a video camera and then confronted with their own image.

Installation images from exhibition can be viewed by clicking here.

Framing Fraktur includes a major new installation in the library's grand staircase by Romanian - born, Germany - based brothers Gert and Uwe Tobias, whose art similarly uses a powerful combination of text and image.

Katharina Gaenssler's Installation at the Group Exhibition «Ocean of Images, MoMA is reveiewd by the New - Yorker Magazine

On March 5, 2015, Moving Image art fair will open again in New York to offer its visitors a unique viewing experience and the vitality of a fair by featuring a selection of international commercial galleries and non-profit institutions presenting single - channel videos, single - channel projections, video sculptures, and other large video installations.

The exhibition presents works by thirty - five artists created between 1860 and today: from a walk - in camera obscura in which the lights of Salzburg's old town are transmuted into a projected image to Hito Steyerl's installation How Not to Be Seen (2013).

Zineb Sedira Floating Coffins 2009 Installation view 14 screen video installation, 8 round speakers and cables Image by GInstallation view 14 screen video installation, 8 round speakers and cables Image by Ginstallation, 8 round speakers and cables Image by George Torode

Images: Installation view, Slavs and Tatars: Mirrors for Princes at Blaffer Art Museum; photos by Nash Baker Photography