Sentences with phrase «media forms of image»

While her contemporaries staged the relations between painting and photography, Sillman chose instead to look at other mass media forms of image making, selecting the diagram as her lever to open the historical nature of painting to the present.

Not exact matches

Images of the cancellation form for Model 3 reservations, like this one below, have been circulating on social media:

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In our times the «word» also becomes image, colors and sounds, acquiring varied forms from the diverse media of social communications (Medellin Conference, 1968).

It is highly ironic that most media are not more sensitive to the images of aging that they portray, for the elderly are among the greatest users of all media forms.

The grandeur of their productions, the images of «success,» their «positive thinking» messages, and their offering of gifts and goods in return for donations translates the Christian message into an attractive consumer package that reflects a cultural form similar to that of media consumerism.

Almost every department of theological study is involved at this level, and this means not only attention to the symbols and images of the Christian faith; it also means attention to the symbols and images and art forms of the contemporary world, as they are encountered in literature and the fine arts, but also in popular expressions, community rituals, social ideologies, and not least in the mass media of the time.

Utilising three forms of media — video, images and text — football fans must submit a short piece outlining their passion for anything related to their team.

«We've long known that exposure to traditional forms of media, such as fashion magazines and television, is associated with the development of disordered eating and body image concerns, likely due to the positive portrayal of «thin» models and celebrities,» said lead author Jaime E. Sidani, Ph.D., M.P.H., assistant director of Pitt's Center for Research on Media, Technology and Hemedia, such as fashion magazines and television, is associated with the development of disordered eating and body image concerns, likely due to the positive portrayal of «thin» models and celebrities,» said lead author Jaime E. Sidani, Ph.D., M.P.H., assistant director of Pitt's Center for Research on Media, Technology and HeMedia, Technology and Health.

Despite this history, finding a mate through some form of media has maintained a «desperate» image - as if the person seeking is unable to find someone to have them locally.

Arts - based approaches extend the five art forms of Dance, Drama, Media, Music and Visual Art, to include all aspects of visual culture, such as, images, films, video gaming, advertising, and creative literature, such as poems, lyrics, and some story forms.

During the Gaza «Pillar of Defense» conflict, both the Israeli and Palestinian side were making ample use of social media to disseminate propaganda in the form of images such as altered photos or inflammatory cartoons, videos and even meme's were widely used.

Using the image on social media would be considered a form of advertising, which is commercial use.

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Luxe member hotels that wish to supplement the images distributed by Luxe corporate with more and / or richer forms of media (virtual tours, video, interactive maps, Flash presentations) must do so by obtaining a license to VFM Leonardo's VBrochure Online Merchandising System.

The beginning of this push to shift its image from media - centric to gamer - centric, came in the form of E3 Live, a new public event that aimed to give gamers a taste of what E3 offered in the LA Live square.

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.

Her paintings and drawings, often devoted to depictions of the human form, are typically culled from a vast archive of images collected by the artist, including art historical materials, mass media sources, and personal snapshots of friends and family.

In the 1980s, Sherman and her cohort in New York, including Jack Goldstein, Sherrie Levine, and Robert Longo, formed what has been called the «Pictures Generation» on account of their critical appropriation of everyday images of consumer and media culture.

Sherman and her cohort in New York in the 1980s, including Jack Goldstein, Sherrie Levine, and Robert Longo, formed what has been called the «Pictures Generation» on account of their critical appropriation of images of consumer and media culture.

She continued to explore new ways of combining media in the 1970s; Baron developed a sculptural technique for making monotypes by shaping copper into cut - out forms (i.e. heads, figures, birds) and then inking both sides to result in mirror image printing.

Therefore, it includes Andy Warhol's silkscreens from the early 1960s associated with violence and death, the new form of painting that reflects the reality of the consumer society demonstrated in the works by Roy Lichtenstein, James Rosenquist or Tom Wesselmann, and Robert Longo's recasting of media images as subjective events.

Artists are often highly attuned to infrastructural change, perhaps because the practice of art requires the continual circulation of data, images and objects, as well as the constant negotiation of changing media standards and forms.

This screening series, which forms part of a larger research process, focuses on artists who engage with the infrastructural through the moving image, while also often working with other media.

Using a diverse range of media spanning moving - image, text, performance and assemblage, she has formed a body of work that responds to the social and historical context found in the public and private spaces we inhabit.

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.

The current form has a clause which on the face of it says that the Tate retains rights to potentially use images taken by media organisations for its own purposes in the future.

The collection of works in this exhibition question this logic through a variety of media — from the vaguely violent forms of Noelle Allen's sculptural installation, to the collaged camouflage in Jordan Martins» images, new video work from Theodore Darst, and the swarm of drones in Nicholas Sagan's installation.

German artists Giulia Bowinkel & Friedemann Banz «generate scenarios of the juxtaposition of nature, texture, body and space, mass, form and substance,» comments Christina Irrgang, a freelance writer in Düsseldorf who studied art science and media theory at the Hochschule für Gestaltung Karlsruhe, where she currently promotes the photographer Heinrich Hoffmann in the context of political image strategies.

If Mirren often plays on her Russian heritage in interviews, and draws on her British working class background in other contexts — in what has become a polarised form of role play to manipulate the media's perception of her — then the images used in this exhibition represent her corresponding parts for film and television that show issues of domination, subjugation and control, such as in The Queen, Caligula and Prime Suspect.

Exploring the conventions and rhetoric of the images in the mass media, operating both on the gallery wall and the printed page in poster, book and magazine form, Burgin revels in straddling the boundaries between «visual art» and «theory», «image» and «narrative», in a way that makes reader and text interact, work together and create constant and engaged dialogue.

David Reed, born 1946 in San Diego and a resident of New York since the 1970s, has in his good forty creative years developed an oeuvre that, with all its concentration on specific forms of painting, also maintains relationships to other, more recent image media, especially to film and video art.

The Help examines the roles of the artist, the muse and the «help,» mixing found objects with abstract forms; Incidents of Travel in Yucatan is a mixed - media installation including a wall of pedestals, autonomous sculptures and video; and the Sunset Series comprises 31 photographs of a single source image, a photograph of a sunset.

Copenhagen based artist Torben Ribe's practice offers possible solutions and situations contextualizing media and advertising images in his work, addressing the potential of these forms.

Turning to anonymous online imagery as a form of orphan media, we see Kingsley Ifill collect photographs documenting acts of vandalism found through Google Image searches.

Her electroacoustic compositions are created for a variety of forms, including multichannel and mixed media installations, moving image soundtracks, live performance and dance.

Her project, Landscape Sublime, presents hybridized scenes of tabletop collages, and forms a distinct and multi-layered interrogation of photographic aesthetics, online media, and our image saturated culture...

Works such as those by Jens Ullrich examine the poster as a medium of political protest, while artists such as Julius von Bismarck or Mark Flood deal with the manipulability of media images and new, primarily medial forms of political participation and production of opinion.

The Hirshhorn Museum's description for the show is very punctual and poetic at the same time: «In a world conditioned by the frantic, 24/7 flow of information and the ephemerality of digital media, many moving - image artists are countering these tendencies with works that emphasize slower, more meditative forms of perception.

Spanning a decade of artistic production including installation, print, photography and film, the exhibition follows Baudelaire's sustained attempts to find a form that accommodates the catastrophic complexity of contemporary life, interweaving fiction with considerations on fear, the media and the power of words and images.

Showcasing Chodzko's fascination with the individual, the «crowd» and the network of relationships that form in society, the show focuses upon image moderator character, Laarni, who streams images across Western social media networks, checking for the most extreme content shifting across the technological waves.

Monotypes, a more immediate form of printmaking that's a favored media of Mr. Johns, are made by drawing or painting on a hard plate and then transferring the image onto paper by pressing the two together, usually in a printing press.

New Directions in the Art of the Moving Image, Smithsonian Museum of American Art, Washington D.C., US Images of the Mind, Deutsches Hygiene - Museum, Dresden, DE The Art of Deceleration, Kunstmuseum Wolfsburg, DE Space Invaders, Nikolaj Kunsthal, Copenhagen, DK Jihlava Documentary Film Festival, Jihlava, CZ Celebrazione Vasariane, Firenze Arti Visive, Florence, IT Ensemble 20/21, Auditorio Nacional de Música, Madrid, ES MMK 1991 - 2011: 20 Years of the Contemporary, MMK, Frankfurt, DE Oslo Chamber Music Festival 2011 - Gamle Logen, Oslo, NO Pino Pascali: Return to Venice / Apulia Contemporary Art, Palazzo Bianchi Michiel, Venice, IT The Missing Peace: Artists Consider the Dalai Lama, San Antonio Museum of Art, Texas, US Portraits de la Pensée, Palais des Beaux - Arts de Lille, FR Paradise Lost, Istanbul Museum of Modern Art, TR The Quintet of the Unseen, Blain Southern London, UK art / tapes / 22 a Santa Teresa (1972 - 76), Forno San Ferdinando, Follonica, IT Tout ouïe, Sans Canal Fixe, Tours, FR 2011 Images and Views of Alternative Cinema, Theatro Ena, Nicosia, CY New contemporary galleries featuring the John Kaldor Family Collection, Art Gallery New South Wales, Sydney, AU The Promised Land, Staatliche Kunstsmmlungen Dresden, DE Don't Look Now, Kunstmuseum Bern, CH Figuratively Speaking: A Survey of the Human Form, Bellagio Gallery, Las Vegas, US Happy Tech: machines with a human face, Palazo Re Enzo (1/29 -2 / 13) & La Triennale / Bovisa, Milan, IT La Candela Festival 2011, Valls, ES The Unbearable Lightness of Being, Yvon Lambert Gallery, Paris, FR San Sebastian, una iconografia comtemporánea, Kubo - Kutxa, Donostia - San Sebastian, ES When Painting Moves... Something Must Be Rotten, Stenerson Museum, Oslo, NO Knock on wood: Tales from the forest, Virserums Konsthall, SE Space, Foundazione MAXXI, Rome, IT Lust and Vice: The Seven Deadly Sins from Dürer to Nauman, Zentrum Paul Klee, Bern, CH When Eve Meets Adam, Museum of Fine Arts, Strasbourg, FR A Million and One Days, Lithuanian National Gallery of Art, Vilnius, LT The Missing Peace: Artists Consider the Dalai Lama, Nobel Museum, Stockholm, SE Tong, Haeinsa Temple, Chiin - ri, KR Esplanade — The Recital Studio, SG Video, An Art, A History 1965 - 2010: A Selection from the Centre Pompidou and Singapore Art Museum Collections, SG Déserts (1994), Tokyo Symphony Orchestra, Suntory Hall, Tokyo, JP Shan Shui, Beijing Center for the Arts, CN Environmental Day, ikono.tv / MELD, Television Broadcast, Arabsat: Menasa Region, Etisalat, AE Selected works from the Centre Pompidou's New Media Collection, Herzliya Museum of Contemporary Art, IL

In this show he asks the big question hovering over contemporary photography: «whether the world can be seen anew in an era characterised by a deluge of media images, and whether a sense of the whole can be formed».

«[Levine's] work is generally concerned with the issue of appropriation, how the repetition or adjustment of an image or form by an artist who was not the creator of the work can challenge ideas of authenticity and originality in a world of easily replicated printed media.»

Her electroacoustic compositions are created for a variety of forms, including multichannel and mixed media installations, moving image soundtracks, and live performance.

For Julia Stoschek, the art of moving images is her generation's primary cultural form of expression and she is keen to promote it, preserve it and subject it to scholarly study — covering the entire spectrum from classic data media to the latest web - based and digital technologies.

Using collage as a form of interpretation and critique, Hirschhorn presents intellectual history and philosophical theory much as he does everyday objects and images, and poses questions about aesthetic value, moral responsibility, political agency, consumerism, and media spectacle.

Solis creates collaged mixed media paintings that incorporate organic forms cut out of hand - dyed paper, plastics, her own paintings and images from vintage magazines.

Tim Portlock and Shuli Sadé have created digital and mixed media works that transform the visible through technology; the painters Michael Bartmann and Bruce Garrity have used color and form to create vibrant and engaging images; the photographer Ken Hohing is revisiting a photographic project from the 1980s documenting Camden to highlight how differently we see photography and its objects; and the designer and photographer Eric Porter inventoried striking visual images that the textures and colors of the city of Camden offer the attentive viewer.