Sentences with phrase «more photographic series»

Continuing on, one encounters two more photographic series, now from the 1940s, of the mine's day - to - day operations: forty images by William Rittase (provided by Rio Tinto), and a room devoted to the photographs of Andreas Feininger.

This work, along with two recent photographic series, will go on view at Jack Shainman's 20th Street space this week; nearby, at its 24th Street gallery, Weems will debut two more photographic series that deal with the representation of black Americans, often through performance.

Not exact matches

Unspooling more scenes of demolition related to the Pacific Building, the artist's Backwards series presents 18 mirrored photographic transfer images.

These are aspects that are visible in her exploration of well - established photographic genres such as film stills, fashion photography or classic portraits, as well as in series where she explores a more abject material related to themes like fairytales, catastrophes, pornography, war and surrealism.

Accompanying the video installation There's something I must tell you is a new series of more than twenty photographic portraits of women taken over a thirty year period.

Her current exhibition, 6 out of 5 at White Cube Mason's Yard in London, is a broad survey of her work across the decades, including her well - known photographic series from the 70s, frottage drawings from the 80s, and more recent paintings.

The exhibition includes more than 125 paintings, drawings, watercolors, and sculptures by O'Keeffe as well as selected examples of Alfred Stieglitz's famous photographic portrait series of O'Keeffe.

The whiteness, like the grid of Roth's monitors or of the photographic series, in turn takes me to more meditative forms.

William Bergmann and Justin Lee's photographic series titled Journey to Freedom chronicles through black - and - white photography the experiences of people currently taking refuge at Vive, Inc, a non-profit, Read More»

Comprehensive in scope, the exhibition traces the evolution of Weems's career from her early documentary and autobiographical photographic series to the more conceptual and philosophically complex works that have placed her in the forefront of contemporary art.

Accompanying the video installation is a new series of more than twenty photographic portraits of women taken over a thirty year period.

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 exhibition will provide an opportunity to trace the evolution of Weems's career over the last 30 years from her early documentary and autobiographical photographic series to the more conceptual and philosophically complex works that have placed her at the forefront of contemporary art.

In a career of more than fifteen years, they have become known for their picturesque, color - saturated photographic series and their deliberately slow - paced video installations, which feature slow pan shots, endless loops, and puzzling plot lines.

Artist Hélène Amouzou will join the tour to tell us more about her own work in the exhibition; the photographic self - portraits series she took in the attic of her house in Molenbeek, Belgium.

Through a succession of photographic series and more recently video works, Meera has questioned and interrogated cultural, physical, geographical, and emotional ideas of displacement and suspension.

Three black and white prints from the photographic series «Fruitlingerie» (1998), in which women's underwear is wrapped around fruit, are pinned to the walls, with more installed in the basement.

Emma Haugh - Reading Troupe # 04: In conjunction with the More Than One Maker exhibition presented in IMMA's Project Spaces, artist Emma Haugh in collaboration with Louis Haugh produced Love is disturbing, a daylong workshop, wall pasted photographic series and zine, incorporating gestural, performative readings of the cost for love we are not willing to pay by Etel Adnan.

More touching was a photographic series depicting gifts the artist received over 40 years, from a Gonzalez - Torres print to meatballs to The Book of Repulsive Women (twice).

Sarah Charlesworth's recontextualized newspapers, a comparison of The Family of Man by Edward Steichen and Steve McQueen, typologies by the Bechers, Karl Blossfeldt, Dan Graham, and others, the photographic archive as a tool of social control, series - based portraiture by artists August Sander, VALIE EXPORT, Claude Cahun, Bea Nettles, Annette Messager, and Sophie Calle, the passage of space and time in works by Ed Ruscha, Duane Michals, Minor White, William Christenberry, and Atta Kim, photographic documention of artistic process, observation and experimentation, the photobook as a traveling idea, the slide show as performed sequence, Eadweard Muybridge and the illusion of motion, sequential narrative in works by Jan Groover, Eleanor Antin, and Chris Marker, compressing time in video works by Andy Warhol and Paul Pfeiffer, and more...

While poles apart visually, the two series excerpted in Stan Douglas's 14th solo appearance at David Zwirner through April 7 have more in common than may initially appear; both are products of sophisticated processes of manipulation, and both position the photographic medium as an arena in which the staged and the real (however that's defined) are not simply pitted against one another, but are fused into new and confounding wholes.

This fully illustrated catalogue accompanying Charlesworth's first major survey in New York features series such as Stills (1980), a group of 14 large - scale works rephotographed from press images that depict people falling or jumping off buildings; Modern History (1977 - 79), which pioneered photographic appropriation; the alluring Objects of Desire (1983 - 88) and Renaissance Paintings (1991), which continued Charlesworth's trenchant approach to mining the language of photography; Doubleworld (1995), which probes the fetishism of vision in pre-modernist art and marks Charlesworth's transition to a more active role behind the camera; and her final series, Available Light (2012).

Your «Walmart» series is notably different from your other paintings, which range from abstractions to photographic portraits that focus more on the people depicted than their surroundings.