Sentences with word «indexicality»

British sculptor Antony Gormley utilizes the human form as the basis for his investigations navigating the subjectivity and indexicality of one's physical presence in the world.

The digitization of culture, and the juggernaut of image circulation it launched, has essentially thrown the status of representation, truth and indexicality into a kind of mélange (rather than crisis) of indeterminacy.

As photography has become the ultimate digital commodity, there remains a complicated relationship with indexicality.

At the same time, its literal, one - to - one indexicality anticipates both the copy - and - paste re-presentational logic of the Pictures generation and all the digital peregrinations that have followed.

N. Greene, The Rhythm of Glue, Grease, and Grime: Body and Indexicality in the Works of Romare Bearde, David Hammons, and Renée Stout, diss.

He was indebted to the Surrealist idea of chance and automatism as well as Barthes» critique of photographic indexicality.

Although digital video no longer inscribes temporality through the indexicality that marked early cinema, mashup is based upon an archival desire to hold on to moments of screen time that have already passed.

In his fourth solo exhibition at Andrew Rafacz Gallery, Opera continued his contemplation of the indexicality and materiality of photography.

Sarah Roberts, Introduction Meredith George Van Dyke, Robert Rauschenberg and the Optical Device Beth Bird, The Cinematic in the Work of Robert Rauschenberg: Indexicality, Contingency, Temporality, and the Archive

Great Critics and Their Ideas: Charles Sanders Pierce on the indexicality of Stefan Simchowitz's art - flipping practices, interviewed by Matthew Collings.

In a process that involves burying unexposed film in potentially radioactive soil, Bolen peels off layers of mediation and plays with the criteria of the photographic document; indexicality and chemical processes working across a surface are coupled with dirt from the site smeared across the surface of the finished print.

Evincing Bradford's equal commitment to indexicality and erasure, Helter Skelter I combines text and image, as well as flatness and depth, in such a way that our attention is constantly pulled between the materiality of the work and its representational and expressive content — a tension famously brought to the fore by Jasper Johns some decades earlier.

Welding the indexicality of the photographic to the archetypal of theatre, «A country road, a tree, evening» elegantly manifests the complexities of historical conjecture within paradoxical photographic images.

Since photography was invented, it has carried with it this elemental condition of «indexicality.»