Sentences with phrase «moving image media»

Spike Island is a unique centre for the production and exhibition of visual arts ranging from painting, sculpture and printmaking to digital and moving image media.

The persistent vitality of drawing today, developing alongside high tech digital and moving image media, will be emphasized.

Not exact matches

It also wouldn't allow publishers to use what the industry calls «rich media» ads — ads that contain moving images or other flashy, eye - catching gimmicks.

, Syd Garon (CEH15, Outstanding Graphic Design, Jodorowsky's Dune), Eugene Hernandez (Deputy Director, Film Society at Lincoln Center), Eric Hynes (Associate Curator of Film, Museum of the Moving Image), Jason Ishikawa (Head of International Sales, Cinetic Media), Steve James (CEH12 Winner, Outstanding Feature & Direction, The Interrupters), Kirsten Johnson (CEH17 Winner, Outstanding Feature & Cinematography, Cameraperson), John Kusiak (CEH12 Winner, Outstanding Score, Tabloid), Loira Limbal (Vice President, Firelight Media), Elizabeth Lo (CEH16 Winner, Outstanding Nonfiction Short Film, Hotel 22), Michal Marczak (CEH17 Winner, Heterodox Award, All These Sleepless Nights), Marilyn Ness (CEH17 Winner, Outstanding Feature, Cameraperson), Dan Nuxoll (Artistic Director, Rooftop Films), Bill Ross (CEH13 Nominee, Outstanding Direction, Tchoupitoulas; CEH16 Nominee, Cinematography, Western), Kelli Scarr (CEH09 Nominee, Outstanding Score, In a Dream), Mo Scarpelli (CEH16 Nominee, Spotlight Award, Frame by Frame), Jess Search (Chief Executive, The Doc Society), Signe, Byrge Sorensen (CEH16 Winner, Outstanding Feature Film & Production, The Look of Silence), Jean Tsien (Editor of CEH17 Audience Nominee Miss Sharon Jones!)

On Monday, February 27, 2017, Linda DeLibero — Director, Film and Media Studies, Johns Hopkins University — and Christopher Llewellyn Reed (that's me)-- Chair and Professor, Department of Film & Moving Image, Stevenson University — joined Dan Rodricks on his Baltimore Sun podcast, «Roughly Speaking,» where we discussed this year's Academy Awards Ceremony, which ended in an embarrassing mishap when La La Land was mistakenly announced as Best Picture (Moonlight was eventually declared the winner, a well - deserved award).

Currently working as a professor of Film and Digital Media at the University of California: Santa Cruz, Rich has spent much of her career, both within academia and industry, supporting and celebrating the marginalised voices of moving image.

Today, Linda DeLibero — Director, Film and Media Studies, Johns Hopkins University — and Christopher Llewellyn Reed (that's me)-- Chair and Professor, Department of Film & Moving Image, Stevenson University — joined Dan Rodricks on his Baltimore Sun podcast, «Roughly Speaking,» where we discussed the films out in theaters in May and June of this year, with clips from the following six movies:

In a frank and accessible dialogue, Mark Harris, film historian and Vulture columnist, Eric Hynes, critic, journalist, and Associate Curator of Film at the Museum of the Moving Image, talk to FILM COMMENT Digital Editor Violet Lucca about the writers and larger cultural trends (be it the rise of VHS or social media) that have shaped their own approaches to the medium.

In this episode, Nicolas Rapold, FC Editor - in - Chief and Eric Hynes, FC contributor and Curator of Film at Museum of the Moving Image, discuss the social media hell of Bo Burnham's Eighth Grade, Craig William Macneill's ascetic biopic of Lizzie Borden, the vampirism of Sundance, and the economic unhappiness in Paul Dano's Wildlife.

On Friday, April 28, 2017, Linda DeLibero — Director, Film and Media Studies, Johns Hopkins University — and Christopher Llewellyn Reed (that's me)-- Chair and Professor, Department of Film & Moving Image, Stevenson University — joined Dan Rodricks on his Baltimore Sun podcast, «Roughly Speaking,» along with Pulitzer Prize - winning journalist Glenn Frankel (author of The Searchers: The Making of an American Legend), to discuss both the 1952 classic Western movie High Noon and Frankel's new book about its production, entitled High Noon: The Hollywood Blacklist and the Making of an American Classic.

On Friday, December 8, 2017, Linda DeLibero — Director, Film and Media Studies, Johns Hopkins University — and Christopher Llewellyn Reed (that's me)-- Chair and Professor, Department of Film & Moving Image, Stevenson University — joined Dan Rodricks on his Baltimore Sun podcast, «Roughly Speaking,» to discuss the following topics: the ongoing revelations of sexual predation and harassment in both Hollywood and the political realm; what's currently getting Oscar buzz; what is currently out in cinemas that we recommend (including Coco, The Disaster Artist, Lady Bird and the upcoming The Shape of Water); and highlights from the careers of actor Claude Rains (1889 - 1976) and film composer Ennio Morricone (1928 ---RRB-, both of whose birthdays are on November 10, when we originally planned to celebrate them (a podcast we had to cancel for various reasons).

On Friday, September 22, 2017, Linda DeLibero — Director, Film and Media Studies, Johns Hopkins University — and Christopher Llewellyn Reed (that's me)-- Chair and Professor, Department of Film & Moving Image, Stevenson University — joined Dan Rodricks on his Baltimore Sun podcast, «Roughly Speaking,» to discuss our favorites among the plethora of shows available to watch right now on Amazon Prime, Hulu and Netflix, as well as others services.

It discusses how visual literacy encompasses all kinds of mediums — including illustrative content, drawings and paintings, moving images, maps, animations and multimodal media.

Whether you use videos to explore and illuminate core content, or you're teaching about the art and methods of filmmaking and digital storytelling, or you're deconstructing media messages as a key part of learning to think critically, you can find dozens of ways to include the moving image in your classroom.

Ideal for Media or Film studies revision, the resource is also relevant for KS3 pupils and their first introduction to moving image projects.

In order to move the WhatsApp to your SD Card, your phone must be rooted.But rooting your Android phone voids the phone warranty.In this post, I will share how to move the WhatsApp SD card on Android phones.By this method, only the media files, that is images and videos, will be moved to MicroSD card, not the entire App.

Then there was another concept video from the Bonnier Group, a Swedish media company, which went a step further and moved the words and images off a screen and onto a table, allowing you to flick, drag and scroll in thin air.

However, by submitting you hereby grant to Tourism Australia a non-exclusive, royalty - free, worldwide, revocable, non-transferable, perpetual licence to use, modify, delete from, add to, publicly display and / or reproduce, your photo, including editing, compiling and assembling video works, interstitials or the use of photographic works as underlying works compiled into moving image without limitation in any online media formats (including e-newsletters) and through any social media channels, pages or accounts.

Moving images like cinemagraphs or time - lapse can grab people a little more on social media by being different, they surprise people.

Besides new abstract installation work, Holland's «Visual Orgasms» series, a collection of looped moving images that «reflect popular media's pressured attempt to make sex visually consumable,» according to a release, will also be included.

Cinema Remixed and Reloaded: Black Women Artists and the Moving Image since 1970 was nominated by AICA / USA in the «digital media, video, or film» category.

Presented by dinca.org, Vision Quest is a three - day festival celebrating the most innovative contemporary moving image and media art culture.

Mark Leckey's uncanny moving - image work Cinema - in - the - Round, 2008, develops unexpected connections between artworks, media technology, and popular culture across time and space, both real and virtual.

The exhibition surveys the artist's decade - long examination of the aesthetics of emotion with a selection of mixed - media paintings and one moving - image work.

A pioneering advocate for media art and artists, EAI fosters the creation, exhibition, distribution, and preservation of moving image art.

Ann has lectured widely on the preservation and documentation of moving image and electronic media works.

Hosting its first exhibition dedicated to time - based media this past spring, IPCNY joined the bevy of galleries now taking on the moving image.

Art on Paper and Moving Image stake out still other alternatives, by media.

Metabolism and Communication, Zentrum fur Kunst und Medientechnologie, Center for Art and Media, Karlsruhe, Germany 2003 Love, Magazin4 Vorarlberger Kunstverein, Bregenz, Germany Patty Chang, Tracy Emin, Naomi Fisher, Paul McCarthy, The Moore Space, Miami, FL (performance, April 26) Water, Water, curated by Lilly Wei, The Rotunda Gallery, Brooklyn, NY Awakenings, Center for Curatorial Studies at Bard College, Annandale - on - Hudson, NY Feminine Persuasion, The Kinsey Institute and the School of Fine Arts Gallery, Indiana Univeristy, Bloomington, Indiana 2002 Videos in Progress, The RISD Museum, Providence, Rhode Island Le Plateau Frac Ile - de-France (performance only, November 7), Paris, France Mirror, Mirror on the Wall, MASS MoCA, North Adams, MA The Body Electric: Video Art and the Human Body, Cheekwood Museum of Art, Nashville, TN Americas Remixed, La Fabbrica del Vapore, Milan, Italy (performance / exhibition) Extreme Existence, curated by Klaus Ottmann, Pratt Manhattan Gallery, NY (performance / exhibition)(catalogue) Moving Pictures, Guggenheim Museum, New York Fusion Cuisine, Deste Foundation Centre for Contemporary Art, Athens, Greece (performance / exhibition), (Catalog available) Time Share, Sara Meltzer Gallery, NY Le Studio, Yvon Lambert, Paris, France Oral Fixations, curated by Sandra Firmin, Center for Curatorial Studies, Bard College, Annandale - on - Hudson, NY Panorama, curated by Carmen Zita, Room Interior Products, NY Superlounge, curated by Andrea Salerno & Mari Spirito, Gale Gates, Brooklyn, NY About the Mind (Not Everything You Always Wanted to Know), Video Cafe, organized by Hitomi Iwasaki, Queens Museum, NY Mirror Image, curated by Russell Ferguson, UCLA Hammer Museum, Los Angeles, CA Traveled to: Bard College, Center for Curatorial Studies Museum, Annadale - on - Hudson, NY Perspectives: Artists of Chinese Descent in New York, Queens College Art Center, NY Traveled to: Firehouse Art Gallery, Nassau Community College, Garden City, NY, March - April 2003 2001 Bodily Acts, curated by Jennifer L. Gray, Center for Curatorial Studies, Bard College, Annandale - on - Hudson, NY Circus Maximus, BeganeGrond, Center for the Contemporary Arts, Utrecht, Holland Group Show, Hamburg Kunstverein, Germany (performance) Mimic, Gale Gates et al., Brooklyn, NY Casino 2001, 1st Quadrennial of Contemporary Art, Stedelijk Museum Voor Actuele Kunst and the Bijloke Museum, Gent, Belgium (performance / exhibition) Looking for Mr. Fluxus: In the Footsteps of George Maciunas, Art in General, NY La Hijas de la Tierra (The Daughters of the Earth), IODAC Museum of Contemporary, Spain Panic, Julie Saul Gallery, New York Video Jam, Palm Beach Institute of Contemporary Art, Lake Worth, Florida (brochure) 2001 Art + Performance + Technology, in conjunction with the 19th International Sculpture Conference, Wood Street Galleries, Pittsburgh, PA (performance) WET, Luise Ross Gallery, New York Trans Sexual Express Barcelona, Centre d'Art Santa Monica, Barcelona, Spain Smirk: Women, Art, and Humor, curated by Debra Wacks, Firehouse Art Gallery, Nassau Community College, New York 2000 Uncomfortable Beauty, Jack Tilton / Anna Kustera Gallery, New York Cross Female, Kunstlerhaus Bethanien, Berlin, Germany (performance / exhibition): Traveled to: Kunst - und Kunstgewerbeverein Pforzheim, Germany (April / May 2001) The Art of the Screen Saver, Stanford Art Museum / Cantor Art Center, Stanford, CA Traveled to: ICA, London, England (Feb - March 2002) Steamroller, performance festival organized by Galerie MXM, Prague, Czech Republic (Catalog available) Soma, Soma, Soma, The Sculpture Center, New York Performance Festival, Kunstpanorama, Lucern and USINE, Geneva The Standard Projection: 24/7, Standard Hotel, Los Angeles Deja vu, Art Miami 2000, Miami Beach Convention Center, Miami Beach Galerie Fons Welters (two person exhibition with Atelier van Lieshout), Amsterdam ID / y2k, Identity At The Millennium, Castle Gallery, College of New Rochelle, NY 1999 - 2000 Illusion Delusion Denial, 450 Broadway Gallery, New York Mug Shots, Center for Visual Art and Culture, University of Connecticut, Storrs, CT. 1999 IDENDITAT, hat man doch zu viel, Ort halle fur kunst, Feldstr.

The Moving Image Fund is designed to help museums and galleries across the UK collect and share with audiences the work of contemporary artists working with digital media, video and film.

Exquisite Corpse: Moving Image in Latin American and Asian Art embodies the exquisite corpse model as a curatorial framework between three institutions — Asia Society Museum, Mana Contemporary, and Smack Mellon — using video and new media work by contemporary artists who represent perspectives from across Latin America and Asia as the variable contributions.

Previously, he was a key lecturer at Central Saint Martins School of Art (1995 - 2003); a visiting lecturer and researcher at University of Westminster (1997 - 2003) and the Head of Department of Exhibitions, Film and New Media at the Haus der Kulturen der Welt, Berlin (2003 - 2008) where he curated several exhibitions accompanied by publications, including The Black Atlantic; Dreams and Trauma - Moving images and the Promised Lands; and Re-Imagining Asia, One Thousand years of Separation.

She received an MA in Moving Image Archiving & Preservation from New York University in 2007, and is involved in the PBCore metadata dictionary project, Association of Moving Image Archivists (AMIA), and Electronic Media Group of American Institute for Conservation of Historic & Artistic Works (AIC).

As I see it, this means that media art, the moving image, calls for a different approach.

In 2005, the artist opened lesser new york in her Williamsburg loft, which was a response to Greater New York (2005) but it was lesser; it was a greater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greater.

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Participating in the Istanbul edition of Moving Image appealed to us because on a prior visit to Turkey, we found Turkish collectors very open to video and other media.

Site Gallery is Sheffield's leading international contemporary art space, supporting artists specialising in moving image, new media and performance.

The entirety of Mendieta's moving image works were recently retransferred from their original media to digital formats.

Van Meel's practice is situated within and between the media of moving image, sculpture and installation.

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.

Presenting a translation of the artist's imagination into perceptible experience through a combination of moving image, performance, and painting, Warboys» practice spans across a range of media and, intentionally, she has not settled on one fixed mode of working.

His work embraces moving image, sound and other media to create immersive audio - visual installations and performances which emerge from his long - standing investigation of the voice as a sculptural material and a socio - political agent.

Under her leadership, Aurora established the Aurora Award honoring pioneers of moving image art, the Aurora Video Label, the Aurora Video Library, and the annual Media Archeology Festival.

His work has exhibited at the Museum of the Moving Image, NYC; the Serpentine Gallery Marathon, online / London; the Museum of Contemporary Art, Chicago; Doc Films at the University of Chicago; the Ann Arbor Film Festival; Galeria Ze dos Bois, Lisbon, Portugal; The Wrong — New Digital Art Biennale; bubblebyte.org; the Off and Free Film Festival, Seoul, South Korea; the Axiom Center for New and Experimental Media; and at Brown University's Granoff Center for the Creative Arts.

Moderated by Jason Eppink, Assistant Curator of Digital Media at the Museum of the Moving Image.

Provoust's sculptures and installations have an intentionally rough anti-aesthetic and she works across many media, including moving image, installation, signs and performance.

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