Sentences with phrase «in photographic sources»

This work expands our awareness of the manipulation in photographic sources while also bringing attention to the saturation of constructed imagery in contemporary society.

Carving into a painted MDF surface with a router, Aaron Williams recreates graffiti imagery in photographic sources, expanding the idea of mark marking and materials.

Not exact matches

Those remaining questions, Christensen said, include determining the source of water at the gully sites, and making in - depth spectral analyses to confirm the photographic evidence of liquid water.

With stunning images of men and women who caught Scott's eye in traditional fashion locales like New York, London, and Milan, as well as newer ones including Peru, India, Dubai, and South Africa, The Sartorialist: X celebrates the many cultures of pattern and color found across the world, making it a thrilling source of photographic inspiration.

Henry's has long been known in the Canadian photographic industry as the source for the best and newest products, informed Imaging Experts, award - winning customer service and competitive pricing.

And, seen in this way, those of my paintings that have no photographic source (the abstracts, etc.) are also photographs.

«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.

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.

A pioneer in what could be called photographic abstract expressionism, Nielsen audaciously experiments with photographic process, expressing her individual psyche while attempting to tap into universal sources of imagination.

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 subtlety of tone mimics that of the photographic source, an extremely difficult feat in this medium.

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.

While considerable attention has been given to the decade through artists» use of appropriated imagery and photographic sources, the exhibition examines this moment specifically through the lens of painting, considering the ways in which the medium was reinvigorated throughout the decade at a time when its relevance was fundamentally challenged...

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.

Multiple canvases with in - progress works line his walls, all of them surrounded by litanies of photographic source material.

Claiming imagery typically referenced through our daily interaction with media sources, Kahrs builds on the diversity of photographic images infused with the seductive palette of artists such as Richter and Tuymans, but invests them with a grotesque, bodily relationship to the viewer seen in the work of Jenny Saville.

The paintings are faithful to their photographic sources yet freely recreated, the artist's meticulous technique introducing an aura of individualized craftsmanship into images that in most cases are as deeply familiar and as widely circulated as memes.

With the skillful manipulation of his brush, Richter achieves a blurred image that moves in and out of focus, constantly shifting between its photographic source and painterly depiction.

Most often, however, his work originates in some sort of cinematic of photographic sources.

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

The self - portraits are also based on photographic images that have been screenprinted onto canvas; in both groups of paintings, the varying tones of black, gray, and brown enamel are often overprinted several times, simultaneously accentuating and obliterating the contours of the source imagery.

Yet the book also shows how many of these photographs re-main photographic, as coequal pictures in their own right, upending the simpler notion of source material versus final product.

By sourcing existing images, employing analog methods and digital interventions, the works in the show disrupt the expectations of straight photography, examining its limits with images that exist at threshold of photographic formulation.

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.

It was here that he became immersed in the relationship between painting and photographic sources, trailblazing a course that was to prove integral to both his own practice and the direction of post World War II painting.

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 Townsenin 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 TownsenIn 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 Townsenin 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.

Speaking of his work, he said: «I create my images by studying the expression of the hazardous interactions that can arise between my photographic subjects and the different light sources that I decide to put in my scenes.

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).

On the occasion of The Kitchen's celebration of Robert Longo, the artist presents two special limited - edition prints featuring photographic source images for his legendary «Men in the Cities» series.

New «machine paintings» - digitally retouched photographic images printed on vinyl - hang in various rooms, sometimes lending context to, and revealing the sources for, the obscured imagery in the paintings proper.

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 magazineIn 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 magazinein 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.

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.

His deep, long steeping in the history, technical procedures and culture of photo - making richly informs his images but does not turn up in his work in overt or intrusive ways, such as self - conscious quoting of photographic sources or studied fussiness in his presentation images.

(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.

In Hiller's series, she presents a collection of reworked internet - sourced portraits of people who have been scanned for their auras by photographic means.

This tour will examine the use of the photographic image as source, inspiration and icon in contemporary painting.

The publication is introduced by a set of photographic archive images representing the formal and iconographic sources of the paintings, which are then shown in a chromatic sequence highlighting the artist's deep research on colors, light and space.

These paintings include a single grayscale canvas that due to its chromatic verisimilitude with the photographic source material demonstrates in a visual form what the exhibition as a whole encapsulates conceptually.

Since he started showing in the mid-nineties, Gonzales has largely taken photographic images as his sources, investing them with renewed psychological depth.

Born and raised in Nigeria but living now in the United States, Akunyili Crosby layers paint, fabric, and photographic source imagery that she transfers or collages onto her surfaces.

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.

Based on photographic source images, her immersive paintings of diverse scale have more recently moved into figurative works rendered in rich hues of oil paint.

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.