Sentences with phrase «on photographic practice»

Not exact matches

Pure abstractions, such as the two huge «Blushes» whose cascading streams of magenta dominate the gallery, refine photographic practice to the barest elements of light on paper.

«Muse,» based on a book of the same name that came out this past fall, focuses on Thomas's photographic practice.

Together, the photographic pairings in Saints and Sinners offer the possibility of seemingly endless personal interpretations of the work and a fresh perspective on Mapplethorpe's practice and his fearless contribution to contemporary photography.

«My artistic practice is essentially focused on the photographic medium, photography as the tension between fiction and the real.

The exhibition moves on to explore practices that are close to Appropriation Art, such as Sturtevant's Duchamp Man Ray Portrait (1966), who reclaims a photographic portrait of Marcel Duchamp realized by Man Ray, substituting both the author and the subject of the photograph with herself.

An eponymous new show, opening tomorrow at Boston's Institute of Contemporary Art, represents the first full North American survey of his practice, exploring Raad's focus on investigations into distinctions between fact and fiction, especially in relation to «the veracity of archives and photographic documents in the public realm [and] the role of memory and narrative within discourses of conflict».

, discussing directions in which photographic collections could or should develop, Discussing Provoke, a cross-analysis of the cult Japanese photo magazine, its historical context and its ties to the emergence of performance art in Japan in the 1960s, Photography Beyond the Image, on techniques used to produce photographic works that seek to go beyond the production of an image; Photography & Cinema in Practice, discussing vernacular photography in cinematic production and the role of still photography in the history of art; and The Artist As..., discussing the different roles that artists undertake.

This body of work continues the artist's practice of printing and collaging photographic experiments on fabric, which are often displayed in a site - specific environment.

It focuses on self - referential contemporary photographic practices addressing their own processes, actions, materials, and contexts.

An essay on photographic portraiture practice is forthcoming in the catalog for Becoming Disfarmer, to be published by The Aldrich Contemporary Art Museum in 2014.

Gil Blank is a photographer and a frequent writer on the social, political, and historical contexts of photographic practices.

She publishes and lectures widely on art and cultural practices involving photographic representation.

His practice has covered subjects of pressing political and social importance since the 1990s, reflecting both directly and indirectly on the power of the photographic image to engage critically with the world around us.

The author of several important books on landscape, Spirn is known for her multi - disciplinary practice that evolves from her photographic work.

Ink on Paper represents a temporary shift in Engman's artistic practice from photographic documentation on environmental installation phenomena — records of processes and the passage of time — to -LSB-...]

Karen's research focuses on the seaside as site of photographic practice and her own photography repeatedly examines coastal communities and shoreline activities and she's exhibited in the UK, Scandinavia and the USA.

[ENG] The third exhibition by Peter Downsbrough at àngels barcelona focuses on the conceptual photographic work that the artist has been consistently producing since 1978 and that has been of major relevance in his multidisciplinary artistic practice which includes sculpture, works on paper, photographs, films and books.

The exhibition anti-retrato mediates on portraiture in photographic practices in Latin America within the past ten years.

She is currently working on the final manuscript for her book The Benefit of the Doubt: Regarding the Photographic Conditions of Conceptual Art, 1966 - 1973, and editing a volume on the critical conjunction between conceptual art and humor, based on a panel she co-chaired at the College Art Conference (CAA) in Los Angeles (2012), entitled «Conceptual Art as Comedic Practice.»

She is a 2013 graduate of the ICP - Bard College MFA in Advanced Photographic Practice and received her B.A. from Sarah Lawrence College with a concentration on photography.

His photographic and sculptural practice draws on his proximity to Alberta's Rocky Mountains, and investigates how western expectations of environments are created and fulfilled through photography and tourism.

Bracketed chronologically by Rosler's well - known photo - text work The Bowery in two inadequate descriptive systems (1974/75) and her highly influential essay In, around and afterthoughts (on documentary photography)(1981), this series takes its place alongside Rosler's photographs of airports, roads, shop windows, and public transportation as part of a career - long photographic practice.

Through the use of a 19th - century photographic process that pre-dates silver - based practices, the artist employs its naturally rich, blue tones to endeavor to express his thoughts on the beauty and mystery of the vast seas and his long - felt fascination with the power and danger of deep waters.

This exhibition looks at two facets of Pindell's practice that have remained consistent through five decades of artmaking: abstract paintings and constructions on canvas, paper, and board; and a body of work Pindell calls «video drawings», an ongoing series of photographic prints that arise from her unique hybridization of photography, video, and drawing.

Walking in the landscape is the basis of Long's practice but over the past 40 years he has extended his concerns to encompass photographic and text - based work, sculptures made in stone and wood, small - scale works using handprints and fingerprints on paper and driftwood, and monumental wall drawings made using mud and clay.

Placing emphasis on stylistic elements instead of the overarching photographic medium, the contemporary collection cites how the conventions of classic genres, such as portraiture, landscapes and architectural, are developed through new practice.

There, it's worth mentioning Cynthia Daignault's photographic and painterly meditation on images of the Matterhorn for New York gallery Lisa Cooley; British artist Merlin James» solo show of his expanded landscape painting practice at Kerlin Gallery, Dublin; London - based Italian artist Salvatore Arancio at Rome's Federica Schiavo Gallery alongside Jay Heikes; and Jacqueline Mesmaeker's beautiful photo - sculptural installations at Nadja Vilenne, Liège.

Photographs are presented in multiple formats, to emphasise their status as objects, not as mimetic devices merely depicting their subject: there are large scale, unique silver gelatin prints, with the inky, seductive, saturated blacks that are characteristic of Beasley's hand - printed method; there is a stack of litho - prints that you can help yourself to, and there are photographic postcards on the kind of dumb, commercial rotating stand that ought to threaten a fine art practice but has instead been co-opted by Beasley to extend her meditation on the currency of the photographic image.

While the wall drawings, which he started in 1968 at the age of 40, constitute LeWitt's most emblematic practice, his oeuvre also includes three - dimensional works (which he referred to as «structures»), innumerable drawings on paper, photographic series and artist's books.

Panelists will discuss the impact of time, context, and objecthood on contemporary photographic practices, especially as they draw attention to the power of perception.

Another part of the fair is Photo50, which provides a critical forum for examining some of the most distinctive elements of current photographic practice, Photography Focus Day that takes place at the Fair on Wednesday 21 January, the Art Projects Film Programme, live performances as well as an extensive program of talks, tours and critical debates.

But their photographic practices thrive on the interplay between a fast - paced downtown subculture with a rigorous studio practice.

Her photographic practice is centered on the «popular body» and its strategies of visibility and subversion between the fields of pop culture and tradition.

He went on to do his bachelor's degree at the Camberwell College of Arts, University of the Arts, London, which helped him expand his artistic practice to construct layers within his photographic narratives to allow for the viewer to question what they see by oscillating between reality and fiction.

Created with the help of artist Almudena Romero is Khadija's beautiful and poignant series Dwelling: in this space, we breathe, reflecting on Gambian spiritual practices, produced using wet plate collodion tintype photographic techniques.

On the occasion of her first solo exhibition at the Whitney, Nasatir will discuss her practice of hand - manipulated photographic compositions and the resulting, psychologically - charged, final product.

Our annual open - submission exhibition seeks to reveal and report on critical themes and trends driving international contemporary photographic practice.

His photographic practice engages the poetics of photography, with a focus on interacting with places and people that often remain overlooked.

Karin's practice as a photographer has resulted in her work being exhibited nationally and internationally, and her earlier photographic work has been featured on record covers and numerous publications.

Hannah has reviewed portfolios and juried exhibitions worldwide for FotoFest, Rhubarb Rhubarb, Photolucida, PhotoVisa, folioPORT and FotoTriennale.dk, among others, and is a frequent lecturer on photography and contemporary photographic practices.

Finnemore locates his photographic and artistic practice within and around visual explorations on the themes of Welsh identity; it's history, culture, landscape and it's psychological and spiritual nuances.

Thompson argues that a focus on light's effects and shine in both popular photographic practices and contemporary art has informed new approaches to visuality, conceptions of value, and types of image - making focused on the skin as a photographic medium.

Her practice, which is based on extensive on - site research and an ever - expanding archive of visual material, primarily deploys photography, video, slide projection and large scale photographic installations of blown up photocopies or silkscreens, as well as the publication of artists books in the form of photographic visual essays.

Cmelka's practice spans from her early experimental films through photographic reworkings of film stills, ad images, and production shots to her performances — known as «microdramas» — which act as reflexive commentaries on the poles of art and life by blurring the line dividing staging from reality.

The program is centred around a conceptually rigorous artistic practice with a main focus on the photographic process.

Space out 17 November The worlds of photography and sculptural practice are meeting head on in the site - specific installation «Not the Actual Site», by Dutch photographic artist Marleen Sleeuwit at LhGWR in The Hague this weekend.

Forming part of the collection's ongoing projects showcasing contemporary photography and video art from Africa, the show focuses on how African photographers are engaging with revolutionary and current photographic practices to respond to ideas and understandings of African diaspora.

He focuses on the camera's consummate power to establish typologies of thought, perception, and feeling, producing images that, in mining the past, come to embody a matrix of issues salient to recent photographic practice.

Image: Cindy Sherman, Untitled, 2010Courtesy the Artist and Sprüth Magers Berlin London For this show Sherman has assembled a cast of uniquely individual characters on large photographic murals, marking a departure within Cindy Sherman's artistic practice from the format of the framed photograph.