Sentences with phrase «moving images reflected»

Not exact matches

Like moving photographs, its images reflected consummate sensitivity to chiaroscuro, the play of steam and patterns of light on water, creating a haunting sense of mystery.

It's fascinating how the passing of fourteen years has downgraded the perception of Rosie O'Donnell from beloved talk show host to angry lesbian celebrity, a move reflected in her shift from focal and singled - out cast member of poster / box art to being relegated to merely a small rear cover image on the new DVD.

Site - specific installations, moving images, and theater prevailed in this exhibition, which reflected Raqs's ongoing concern with geopolitics, the history of colonialism, and the individual in late capitalist society.

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.

The perpetual movements of an ocean, or the endless variations of a skyscape, reflect in Bianchi's work our shifting internal gestures and motions — in a constant movement from still to moving images where the eternal is reconciled with the quotidian.

Mellors proposes to write, produce and direct New Preston & Cannibal Cinema Tech, an ambitious moving image work reflecting on the state of the UK through an experimental, absurdist fiction, realised using locations and production facilities specific to Preston.

In this way, Antunes creates a situation in which the viewer is always looking beyond the surface immediately in front of her, which both reflects an image of the self and captures the infinity of space that lies beyond, inviting her to move from one space to another.

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.

This reflected not only the move towards non-figuration but also influenced the approach to real life, social issues and images of modern life.

Exhibitions she organized include Realisms, the second part of The Cinema Effect: Reality, Illusion, and the Moving Image (2008); Refract, Reflect, Project: Light Works from the Collection (2007); and The Uncertainty of Objects and Ideas: Recent Sculpture (2006) as well as solo presentations with Terence Gower, Amy Sillman, and Jim Lambie.

Among the moving portraits of Monk's family is a slideshow that magnifies one image of them 80 times over, through which the artist is reflected in his child's gaze — as titled, Monk is literally Searching for My Father in My Sister's Eyes (2002)-- while a series of childhood or holiday snaps, Same Time In A Different Place, are each juxtaposed with a vintage invitation card, for shows by the likes of Dan Graham, Sol LeWitt or On Kawara, sourced from the same date.

The exhibition was conceived to allow visitors to reflect upon the material and political nature of images in the digital age and a globalised world, a concept largely influenced by the extremely different biographies and artistic experiences to move into the pavilion.

The whole setting of the exhibition is incredibly Mad Max-esque, with this most reflected in her piece Seasons End (2016)-- an immobile car that Henderson has built, complete with a projector in the front displaying moving images of the desert.

Since 2008, Cinthia Marcelle and Tiago Mata Machado have produced a suite of moving image works that reflect on notions of confrontation, order and chaos in contemporary society.

The impasto of modern and contemporary painters — particularly those moving into abstraction or creating fully abstract images, like Vincent van Gogh, Jackson Pollock, or Willem de Kooning — reflect an emphasis on gesture and the physical presence of paint itself.

Untitled (Debris) creates a place to reflect on the destruction halfway across the world that usually only circulates as images and headlines but does little to move us.

The project and its peripheries will be recorded / reflected through my artistic practice comprising making video / moving image works, drawing and sculpture / installation but also will end up as a DIGITAL BOOK (pdf publication) containing some sort of the following documentation: journal, report, art, artworks, texts, interviews, profiles of people involved, etc..

The works themselves explore and expand on this idea through the moving image, reflecting forward - thinking experimental tactics as well as more familiar aspects of filmmaking; represented artists and galleries include Chris Burden (Massimo De Carlo), Carolee Schneemann (Hales Gallery / P.P.O.W), and Christian Jankowski (Lisson Gallery).

the overall atmosphere reflects the viewer and the exterior of the US pavilion's context within the giardini pubblici, intersected by moving images.

Reflecting on the urgent themes seen in the exhibition, the film program features some of the most exciting voices working in moving image today.

With a mission to become a key global destination for all those interested in the medium, Photo London will bring together galleries that will showcase early photographic gems, the latest work by established masters and work that reflects new directions in the development of the form, including moving image and virtual reality, as well as works featuring high levels of technical experimentation.

One of the major technical hurdles for light fields in relation to VR, is not just the capturing of how light reflects in a single image, but how those light reflections change and move within a 3D environment when a person moves, which is why the more advanced camera rigs are needed.