Sentences with phrase «of photograms as»

KM: I've always thought of photograms as a kind of imprint because unlike a photograph, a photogram records a physical encounter between the subject and the material; the mark of an interaction.

«Through an economy of means that yields variation within repetition, Webber's minimalist forms reveal the infinite possibilities of the photogram as both medium and process.

Not exact matches

Since 2005, the artist has been working on a series called The Times, for which he uses front pages from The New York Times as the basis of photograms and collages.

She, too, situates the work between the appearance of poured paint, almost out of Morris Louis, and its origins as photograms.

Her work is easy to consider in art historical terms as we see direct parallels between the amorphous monochromes of the more atmospheric photograms and Helen Frankenthaler's color field paintings.

The image begins with a solar photogram of a figure (s) printed on a contact speed paper known as «printing - out - paper.»

The photographic process of both the gold - toned printing - out - paper photograms as well as the «Type R» prints comprises several steps.

A solid - white photogram by Deschenes shifts in tone as it's exposed to light throughout the duration of the show: another comment on how art changes in a museum setting.

Introducing the aspect of time, Andro's Book is a photograph of a worn Edvard Munch catalogue positioned in a blue - toned studio setting that mimics the blue markings left on the book's cover from partial sun - exposure; Alexi - Meskhishvili describes the catalogue as a «found photogram.»

At just under eight feet, the swirling abstractions have lost any hint of their origins as photograms, beyond their ghostly contrast between black and white.

The collection has grown to represent the full historical range of the medium, including early daguerreotypes, anonymous stereoviews, and cartes de visite; gelatin silver prints by Walker Evans, Robert Frank, and Ansel Adams; Kenneth Snelson's expansive panorama; landscapes by Carleton Watkins; photograms by Man Ray and Lotte Jacobi; and works by a range of contemporary American photographers, such as Robert Mapplethorpe, Cindy Sherman, and Andy Warhol (Polaroids).

In larger - scale works directly mounted to the wall, lengths of black fabric are pinned at four corners, resembling flayed skin and, just as readily, a protective shroud; behind, there are gently suspended rolls of paper cascading down the length of the fabric or a partially unfurled photogram.

Her conceptual expansions of photographic abstraction manifest in series such as Sleight of Hand and Haptic Wonders (both 2011 — ongoing), which primarily focus on the photogram.

A few of the digital negatives of the photograms were accidentally created as positives.

Featuring works by leading artists from the 1960s to the present day, the exhibition takes as its starting point Robert Heinecken's seminal series of photograms Are You Rea, 1964 — 68, as well as works by «Pictures Generation» artists, including Richard Prince, Barbara Kruger and Louise Lawler, who came of age during the media - driven consumer culture of the late 1970s and early 1980s.

Often the result of trial and error in chemical and exposure procedures — including solarizations and photograms — Robertson's images are intensely multi-layered, often standing alone as three - dimensional works.

Andrew Russel Coate's photograms map the pulsing lights of fireflies bouncing inside of mason jars, to record the alchemical and accidental as well as a lyrical abstraction of summer nights.»

The exhibition brings together a series of untitled drawings as well as two unique photogram installations.

He completed a series of eight photograms, and as a result Thomas and Jo - ey decided that each of the following participants would continue to produce eight photograms for the archive.

In this new series he works on the idea of photograms which were played around with by artists such as Man Ray, Moholy - Nagy.

They range from postwar experiments with darkroom processes, such as photograms and photomontages; to 1970s feminist performances conceived for the camera; to political and documentary engagements with themes of labor history and globalization in the 1980s; to post-appropriative forms of archival and historical reconstitution since 2000.

I was inspired to make this photogram by two things: finding in the New York Times a documentary photograph of a house blown apart by a hurricane, and thinking about the notion of shape as form in high Modernist painting.

This volume includes, amongst other series, selections from «Diary / Landscape,» in which Welling matched the writing of his ancestors» letters with Connecticut winter landscapes; «Glass House» a meditation on Philip Johnson's 1949 residence, shot using colored filters; examples from his «Degrades,» pure color photograms created in the darkroom as well as selections from his recent «Wyeth» and «Choreograph» track his early interest in painting and dance.

«The Unphotographable» fascinates not only because it includes coincidences such as the resemblance between Wolfgang Tillmans» 2001 photogram «Mental Picture # 97» and the bit of brain recorded in Carl Wernicke's «Psychiatric Clinic in Wroclaw.

Fotografie als Bühne, Kunsthalle Wien, Vienna, Austria Le Temps Emprunté / The borrowed time, Museum of Modern Art Dubrovnik, Croatia Toward Abstraction: Photographs and Photograms, The de Young Museum San Francisco, USA Zum Strand / To the beach, Galerie Stefan Röpke, Cologne, Germany Photo - OP, Russell Bowman Art Advisory, Chicago, IL, USA en todas as partes.

Rees commissioned Batchen to curate a history of cameraless photography, using the Lye photograms as his starting point.

Her work falls within a tradition of «rayographs», or photograms, established by artists such as Man Ray, and Laszlo Moholy - Nagy, in the 1920's, artists whose work in photography was informed by their painting and sculptural practice.

They range from postwar experiments with darkroom processes (such as photograms and photomontages), to 1970s feminist performances conceived for the camera, to political and documentary engagements with labor history and globalization in the 1980s and 1990s, to forms of archival and historical reconstitution made since 2000.

Everywhere in the twenty - seven works of photography, video, sound, sculpture, and installation were those trace markers that function simultaneously as indicators of presence and ciphers of absence: photograms («that subspecies of photo,» according to Krauss, «which forces the issue of photography's existence as an index») showing hands

Landscape Portraits is a new series of photograms in which Oppenheim uses very thin slices of wood as negatives applied directly to a photosensitive surface.

These forms appear as abstracted bodies and inverted vertical horizons, echoed in the silhouettes of the photogram ridge lines.

MUSEUM OF FINE ARTS It's easy to see Fuss's cameraless photograms and latter - day daguerreotypes as reactions to our digital era, in which photography's ring of truth has a hollow sound.OF FINE ARTS It's easy to see Fuss's cameraless photograms and latter - day daguerreotypes as reactions to our digital era, in which photography's ring of truth has a hollow sound.of truth has a hollow sound...

BOSTON Adam Fuss MUSEUM OF FINE ARTS It's easy to see Fuss's cameraless photograms and latter - day daguerreotypes as reactions to our digital era, in which photography's ring of truth has a.OF FINE ARTS It's easy to see Fuss's cameraless photograms and latter - day daguerreotypes as reactions to our digital era, in which photography's ring of truth has a.of truth has a...

PART 2: LIGHT AND SHADOW The ESSAY «Light and Shadow» discusses... flicker films, Plato's allegory of the cave, H.P. Robinson's allegorical images, working with the absence of light, Tony Conrad's slow emulsions, photography as fairy magic and sun drawings, Adam Fuss's photograms, Hiroshi Sugimoto's feature - length exposures, Cai Guo - Qiang's explosions, light as cancerous radiation, light and shadow in city planning, contrast and lighting in works by Rineke Dijkstra, Jacob Riis, Weegee, Adrienne Salinger, and others, O. Winston Link's environmental light, darkness and light as metaphors for knowledge, morality, and power, pools of light in Expressionism, film noir, and works by Hans Bellmer, Esther Bubley, and Anna Gaskell, Group f / 64, available light in the work of Roy DeCarava, Yinka Shonibare's interpretation of Dorian Gray, public projected images, Indonesian shadow play, Gregory Barsamian's kinetic sculptures, flickering portraits by Christian Boltanski, Kara Walker's silhouettes, and more...

Seeing the totality of Welling's work, in a lucid installation by the architecture firm Johnston Marklee, clarifies connections such as those between the New Abstractions, (1998 - 2000), large photograms of deep black bars on white paper, recalling Franz Kline paintings, and the rigor of his straightforward pictures of modern architecture such as Maison de Verre (2009).

The show revolves around the theme of appropriation; with work that explores / deals with desire, race, sexuality, identity and gender, often via magazine formats and camera-less techniques (such as photograms).

Artist Klea McKenna describes her Rain Studies as «an ongoing series of unique gelatin silver photograms of rain made outdoors at night... I have always paid attention to rainfall and how weather affects the land, but by making this work my awareness has been heightened.

In a self - reflexive process, these photograms can be seen as a physical record of her drawing with the (otherwise intangible) medium of light.