Sentences with phrase «image work cinema»

Not exact matches

What to say of a work that, for all its rapture with the sheer possibilities of the image, wholly retools the typical workings of cinema's less - heralded half, such that the act of listening is elevated to a level of immersive engagement that has perhaps been lacking in theaters, again, since Sunrise?

One of my favourite things to happen in the cinema this year may not have even been a film itself, but, as the aspect ratios of «moving image art works» are stretched, until they seem boundless, what does it matter any more?

Although its overwhelming logic is hence from video games — «I've never made it this far,» Cage tells his followers at one point, when asked what comes next — Edge of Tomorrow works best as a gleeful riff on the narrative tricks endemic to the cinema, an art defined more by editing than by images.

Midway through Catherine Pancake's video on citizen surveillance of the natural - gas fracking industry, Bloodland (all works cited, 2015), a female voice - over quotes Hito Steyerl's 2009 essay «In Defense of the Poor Image,» on the cultural implications of highly circulated, low - resolution digital artifacts online: «The imperfect cinema is one that strives to overcome the divisions of -LSB-...]

That includes Talbot's Pencil of Nature (1844), the first published book of photographic images in her photographic work Law of the Series # 1 (2012), and 1950's American cinema in From Here to Eternity (2013).

The group challenged the traditional parameters of moving image in the 1980s, working across television, cinema and gallery spaces as a way of examining the multiple identities of diaspora in Britain.

For this special presentation, Aitken and Vergne discuss Aitken's uniquely immersive aesthetic; the work's relationship to 20th - century avant - garde art, cinema, and experimental music; the nature of creativity in the 21st century; the possibilities for artmaking within our ever - mobile, ever - changing, image - based contemporary world; and other ideas central to the artist and the exhibition.

Ranging from the television monitor to the cinema screen, and from the intimacy of the smartphone to the communal experience of immersive images and soundscapes, the exhibition charts the ways in which Rist's work fuses the biological with the electronic in the ecstasy of communication.

Since 1990, they have gained a national and international reputation as artists working with photography and the moving image, installation in an expanded form of cinema and lens - based media.

Occupying a space between sculpture, cinema and drawing, his work's historical importance has been internationally recognized in such exhibitions as Into the Light: the Projected Image in American Art 1964 - 77 at the Whitney Museum of American Art, New York (2001 - 2); The Expanded Screen: Actions and Installations of the Sixties and Seventies at the Museum Moderner Kunst, Vienna, Austria (2003 - 4); The Expanded Eye at the Kunsthaus Zurich, Switzerland (2006); Beyond Cinema: the Art of Projection at Hamburger Bahnhof, Berlin, Germany (2006 - 7); The Cinema Effect: Illusion, Reality and the Projected Image at the Hirshhorn Museum, Washington, DC (2008); The Geometry of Motion 1920s / 1970s at the Museum of Modern Art, New York (2008); and On Line at the Museum of Modern Art, New York (2010 - 11).

Ranging from the television monitor to the cinema screen, and from the intimacy of the smartphone to the communal experience of immersive images and soundscapes, this survey charts the ways in which Rist's work fuses the biological with the electronic in the ecstasy of communication.»

The profile of artists working in moving image has been elevated in recent years by those who've made the leap into cinema — Steve McQueen, Sam Taylor - Wood, Gillian Wearing — and those taking over leading gallery spaces — Tacita Dean at Tate Modern, Pipilotti Rist at The Hayward.

Martin's work often raises questions about what it means to be «touched» by cinema and alternates playfully between luring the viewer through sensuous images and lush archetypes, and pushing them back into an awareness of artifice.

It will be presented by 25 high - contrast black and white photographs, which are from editorial images of the 90's for VOGUE, HARPER»S BAZAAR, INTERVIEW and many other international magazines, to his personal work inspired by modern dance, landscapes, early German and East European cinema and photography.

From cinema and television to smartphones, immersive images and soundscapes, this presentation showcases how Rist's work merges the electronic with the biological to create dialogues with her audience.

Silvia Maglioni and Graeme Thomson are filmmakers whose work interrogates potential forms and fictions hidden in the ruins of cinema and moving image.

Film makers whose work interrogates potential forms and fictions hidden in the ruins of cinema and moving image, Maglioni's and Thomson's works have been presented at FID - Marseille, Bafici, Jihlava, Serralves, Tate Britain, Centre Pompidou, Anthology Film Archives, REDCAT, MACBA and Castello di Rivoli.

Here, curator Eric Crosby situates Klein's iconic late work Suaire de Mondo Cane (Mondo Cane Shroud) between the surface of painting and the projected image of cinema.

Scott» s 1969 film portrait of Richard Hamilton continued this collaborative formula, with Hamilton musing about cinema, art, and celebrity while images of his works, their original source materials, and related elements from pop culture flash by in rapid succession.

Artprojx is the default brand for artists, galleries and institutes to work with to promote and exhibit the best contemporary art moving image made by artists - generally in the context of the cinema.

Artprojx is now a leading brand for artists, galleries and institutes to work with to promote and exhibit the best contemporary artists moving image, generally in the context of the cinema.

Moving from the television monitor to the cinema screen, and from the intimacy of the smartphone to the communal consumption of images and soundscapes, this survey will chart the ways in which Rist's work has fused the biological with the electronic in the ecstasy of communication.

«Ezawa's work references images in popular culture, cinema, television and art history.

Stan Douglas builds his staged images around recognisable themes from literature and cinema, borrowing from such genres as the Wild West or murder mystery, or the work of Beckett and Kafka.

2007 LA CASA ENCENDIDA, CENTRE FOR CONTEMPORARY ARTS screening - retrospective various works, every Tuesday in September 2007, Madrid CINEMATEXAS, Austin, Texas Return of the Black Tower THE HORSE HOSPITAL, Bloomsbury, London Return of the Black Tower screened at the Book Launch of Subversion — the definitive history of underground Cinema CUBE CINEMA Double Dummy & Return of the Black Tower screened as part of OMSK IMAGES 20TH INTERNATIONAL MEDIA FESTIVAL TORONTO, Because of the War NEW YORK UNDERGROUND FILM FESTIVAL, Anthology Film Archives, The Truth and the Pleasure ANN ARBOUR 23RD INTERNATIONAL FILM FESTIVAL screens Because of the War and Sharony!

Isaac Julien is joined by Giuliana Bruno, Professor of Visual and Environmental Studies, Harvard University and author of the upcoming book Surface: Matters of Aesthetics, Materiality, and Media, for a discussion of Julien's prolific and diverse moving - image work, and its active migration from cinema screen to gallery installation in such recent works as Vagabondia (2000) and Baltimore (2003), both of which take as their subject the space of the museum; the immersive video installation Ten Thousand Waves, on view in the Museum's atrium through February 17; and his most recent installation, the seven - screen PLAYTIME.

Santos works with photography, video, sculpture and painting whose references go back to the history of cinema, and also thrives on media, advertising, appropriation, collage, found images and the current social situation.

Other works on view include a suite of watercolors by Guo Hongwei, combining his renderings of American iconography with his father's calligraphy of Chinese classical poems; Chen Wei's staged photographs in the traditions of Gregory Crewdson and Cindy Sherman; a thick - imexhibitionso floral - patterned diptych by Liang Yuanwei, exhibitionsly featured in the Chinese pavilion at the 54th Biennale di Venezia; Cheng Ran's romantically staged photos of the Hollywood sign, commenting on the role cinema has played in shaping the image of America in the psyche of younger Chinese generations; the American premiere of Sun Xun's 21 Grams, a four - year long animation project reflecting on history, social struggles and dystopia; and Hu Xiangqian's Art Museum, a video presentation of the «collection» of Western artworks that have inspired the artist's creative language but that he's never seen in person or fully understood.

While an exhibition can be a space for critical reception, the usual modes of presentation for video works tend to evoke cinema spaces and position audiences in the role of passive beholders of the image.

Working with strategies of feminist cinema, science fiction symbolism and social utopianism, No Man's Land proposes alternative images of freedom and autonomy to the lone ranger or intrepid explorer.

In his work Cokes samples and subverts modes of representation and cultural fragments from the media — in particular news, advertising, and Hollywood cinema — reframing the images and ideas that are designed to construct our habits and identities.

This work of expanded cinema will deploy video projection, objects, and still images in architectural arrangements, and will be similar to the work he exhibited as a 2016 Nohl Fellow.

His work responds to the rapid changes in how moving images are created and experienced in the 21st century, affirming the traditional space of experiencing cinema while also exploring the implications of new media.

Combining text and image, Raymond Pettibon's work exists at the intersection of various cultural phenomena — from cinema and literature to comics and television — and different historical and cultural contexts.

Their work invites suggestive, open - ended reflections on place and cinema and is «propelled by the artists» fascination with the open circuits of social life, memory, and history that sit just outside the frame of moving images.»

Cut to Swipe, comprised primarily of recent acquisitions by the Department of Media and Performance Art, features works that appropriate and manipulate images and sound drawn from electronic media like television, cinema, the recording industry, and the Internet.

Noel - Tod, who also works with experiential moving image — often employing the act of reframing by referencing past thinking on cinema in philosophy in his films — recently paid tribute to Le Grice's seminal expanded cinema work «Castle 1» with his video, «Castle 3.0 «in 2013.

First, they projected a selection of images of his earlier work onto a black cinema screen.

Next up, they'll present a group show focused on «expanded cinema» and, in January, their third solo with Lisa Gwilliam & Ray Sweeten (DataSpaceTime), who incorporate coding into a range of media, including print, moving image, and sound works.

His work also deals with the technology of the image, television aesthetics and the historical authenticity of cinema.

Ranging from the television monitor to the cinema screen, and from the intimacy of the smartphone to the communal experience of immersive images and soundscapes, this survey will chart the ways in which Rist's work fuses the biological with the electronic in the ecstasy of communication.

The Institute of Contemporary Arts London announced a new Independent Film Council that will «advise and advocate for cinema dedicated to independent film and artists» moving image works.»