Sentences with phrase «of image production»

Using my personal archive as source material, the work questions the nature of image production, circulation, and distribution.

He rather advocates for the understanding of image production as something that is fluid and a constant negotiation between producers, regulators and consumers.

She's a master of the science of image production, an authority on designing the perfect visual.

Taken together, the impression of the entire show was that of a set or production studio, a general environment of image production and mediated forms of identity.

It attempts to address the status of image production at present.

By incorporating mediums and processes from multiple disciplines, the resulting works show a vast range of image production possibilities outside of usual genre parameters.

As an artist working with and on photography, Kriemann is especially attuned to the politics of image production in the so - called «age of the post-medium condition».

With this new body of work, Deschenes furthers her inquiry into the history of image production techniques and the conditions of viewing developed in previous series, such as Zoetropes and Stereographs.

Doris Lasch (b. 1972, DE, lives and works in Basel) investigates forms of image production in her first major solo institutional...

the problem with doors the problem with doors reflects on the conventions of image production through modes of stylistic mimicry, re-photography, appropriation, and image exchange.

To this end the author undertakes case studies of image production by Auguste Chevallier, Camille Flammarion, and Anton Giulio Bragaglia during the years 1860 to 1913, here and there opening the discussion of photographic «time stores» to contemporary artistic practice.

While painting remains the backbone of Phillips» work, his most recent works explore other modes of image production - through short films, photographic stills and sculptures.

Many works in the show rely on a fully hybrid model of image production; utilizing practices of photography, painting and drawing in equal measures has allowed the artist to explore the myth of image - making in pursuit -LSB-...]

The works focused on three different kinds of image production: photographs taken of the artist's studio on his camera phone, screenshots of web pages captured on the artist's computer, and details of bitmap files.

Since anyone with a smartphone has become an accelerated source of image production, distribution and alteration, the questions posed by the artist about the futility of authorship are increasingly urgent.

To produce a kind of rupture in this endless loop of image production and apprehension of nature, Opie uses different cameras — the portraits are shot with a digital 35 mm, Hasselblad, and the landscapes with a wider - angle, Canon DS — and then allows the focus to blur.

Though their media and practices vary, all «employ representation to question the vitality and veracity of image production and reproduction today.»

The profusion of images surrounding Carl Beam's The Columbus Boat, 1992, collapsed and consumed historical stereotypes, creating an ahistorical rhetoric of image production through intensely personal and condensed references.

As an artist, Rasiel is not interested in the spectacle of image production.

We examine the historical, technical, and philosophical aspects of image production and perception

Dudek's use of abstraction to deal with these questions amplifies the labor, anxiety and compulsive approach that characterize his process of image production.

The artists selected for this exhibition deal with this subject in different ways ranging from the limits of the social borders marked by society's fictions, to the conceptual limits of image production and recalling the political and geographical border limitations observed in the ever so present relationship between borders, security and sovereign power.

«Image in the Aftermath» (5/18 — 7/16) explored the complexities of image production in the wake of violence.

In these works, the uncanny effect of virtuosic painterly technique results from an otherwise systematically deskilled procedure of image production.

Hannah Sawtell's newly commissioned exhibition for Art Sheffield 2016 explores the boundaries of image production, creative commons and economics.

Inspired by the poetry of the Japanese modernist Sagawa Chika, from whom the exhibition borrows its title, Matheson explores his uncertainty towards the pressures of image production and studio practice with a lyrical sensitivity.

The group show presents conceptual and picture - based practices since the 1960s by 45 artists who have questioned the nature of the image in mass circulation and reimagined the generic image and the art world's role in the economy of image production.

Lucy Raven's work focuses on the marginal spaces at the edges of image production, what happens behind the camera or between the frames of a film or animation.

The exhibitions was developed to complement and run simultaneously with the first international showing of Tacita Dean «s acclaimed 2012 Tate Turbine Hall Commission Film, an homage to classic analogue cinema which also dwells on montage, transformation and the physicality of image production.

From such a perspective, James's art can be seen as resisting the dominant narratives of abstract painting by repurposing the affective qualities of perception, and in so doing, her work allows for a new understanding of how identity functions within the field of image production.

For this exhibition, Alejo highlights his methods of image production by representing objects in an ambiguous space, between the artistic practice and the catalog execution or the editorial photography.

Martine Syms works with images and texts from personal and popular archives, as well as with apparatuses of image production.

The politics of image production and circulation become both unravelled yet get more tangled as she examined the «overload of communications» happening in the the digital age.

Though sources of inspiration and information are varied and include kabuki, Apocalypse Now, and reality television such as The Swan, The Palace at 4 A.M. ultimately speaks to the history of image production and representations of warfare.

As the crew encounters numerous obstacles preventing them from obtaining the panorama shots, Hugonnier's voice details each directorial decision, which further emphasizes the subjective nature of image production.

While some Pop artists use photography to react to consumer culture, Robert Heineken repurposes found magazine imagery to talk about the media's role in objectifying women, Richard Prince and Sarah Charlesworth of the Pictures Generation push the boundaries of image appropriation, Christopher Williams talks about means of image production and contemporary artist Lucas Blalock confuses subject and backdrop through Photoshop.

His work is engaged with the pressing and urgent reassessment of a contemporary understanding of image production and image distribution, through a multidisciplinary practice which involves C - types,... More

Though sources of inspiration and information are varied and include reality television such as «The Swan», kabuki, and Apocalypse Now, The Palace at 4 A.M. ultimately speaks to the history of image production and representations of warfare.

Working primarily in video since 2000, the artist remained deeply engaged with the politics of image production and reception, using stock footage from Hollywood films, television, and advertising to point to the exhaustion built into much of postwar cultural production.

From 2000 onwards, Sturtevant focused primarily on video, using her own footage alongside stock clips from films, television and advertising to explore the politics of image production and circulation.