Sentences with phrase «photographic art practice»

Amy's work has a basis in photography, but drawing has become a significant and meaningful extension of her photographic art practice.

Maud Sulter: Passion includes key chapters in her multilayered photographic art practice: works from the critically acclaimed Zabat (1989), and for the first time since their initial exhibitions across Britain, several works from each of the projects Hysteria, Syrcas and Les Bijoux.

Not exact matches

The first book to examine the practice of Sara Rahbar, including her early installations for the Queens Museum of Art, a photographic series made in Tehran, and the politically inspired textile - based works, all which use historically charged materials and forms.Essay by Catherine Grenier, adjunct director of Centre Pompidou, and interview with Elaine W. Ng.

The artist's seemingly distinct activities — the severe black abstractions, the prolific and caustic social and political graphic work, and the color slides of historical monuments, temples, and buildings that showed his equally prolific world travels and keen sense of photographic record keeping — were received in coexistence by jubilant viewers, especially young artists and art students (during the artist's lifetime it would have been career suicide to show all simultaneously practiced sides together).

The films and photographs that James Collins produced in the 1970s were very much of their moment: like other proponents of so - called Story Art (an overlooked movement that deserves more attention) such as Bill Beckley, Mac Adams and Peter Hutchinson, he created explicitly narrative images in a photographic - based practice.

While this practice came to define much 1980s postmodern art, its legacy for the 1990s was essentially the license to indulge in photographic fantasy, image construction, and cinematic narrative.

The exhibition will feature Aguiñiga's «AMBOS (Art Made Between Opposite Sides)» series alongside seven other projects from her ongoing design and artistic practice in photographic documentation, radio broadcasts, ephemera, data and an installation.

Lyle Ashton Harris to Receive David Driskell Prize This year's David C. Driskell Prize is being awarded to Lyle Ashton Harris, whose diverse practice includes photographic media, collage, installation and performance art.

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.

Haunted: Contemporary Photography / Video / Performance examines the myriad ways by which photographic imagery is incorporated into recent art practices, and in the process underscores the unique power of reproductive media — while documenting a widespread contemporary obsession with accessing and retrieving the past.

Hovsepian's new series of assemblages continues her practice of combining photographic work with varied studio art disciplines.

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.

Undergraduates establish strong photographic practices and discourses through the study of analog and digital processes, the history and theory of photography, and the development of critical thinking and writing skills through required and elective courses in photography, other creative disciplines, and the liberal arts.

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

David's photographic practice stands between street photography, documentary and fine art.

Her interests have turned recently to post apartheid culture and art as well as the history of photographic practices in Southern Africa.

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.&raqArt, 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.&raqart 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.&raqArt Conference (CAA) in Los Angeles (2012), entitled «Conceptual Art as Comedic Practice.&raqArt as Comedic Practice.»

While this practice came to define much of the 80s postmodern art, its legacy for the 90s was essentially the license to indulge in photographic fantasy, image construction, and cinematic narrative.

Thompson did not stop making art; text work, performative photographic pieces, objects and large - scale sculptural installations which were widely exhibited, but he did not return to painting until he retired from education and was able to devote himself to â $ the day - to - day involvement that a serious painting practice requiresâ $.

Her work has been presented in many solo and group exhibitions such as For An Experience of Wholeness (2013) at the Digital Media Gallery, Lycoming College in Williamsport; Contemporary Photographic Practice and the Archive (2013) at the Harry Ransom Center at the University of Texas at Austin; X Y Z — The Geometric Impulse in Abstract Art (2012) at the Torrance Art Museum; and Perspectives 168 (2010) at the Contemporary Arts Museum Houston.

For the upcoming session we have invited artists Lucas Blalock and John Kelsey; Matthew Biro, Professor and Chair, Department of the History of Art, University of Michigan; Alex Klein, The Dorothy and Stephen R. Weber (CHE» 60) Program Curator, Institute of Contemporary Art, University of Pennsylvania; and Carol Squiers, Curator, International Center of Photography to lead a discussion about material and conceptual experimentation in contemporary photographic practices.

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.

He held teaching positions at Black Mountain College, the Art Institute of Design in Chicago and the Rhode Island School of Design, and was a founding member of the Society for Photographic Education, a non-profit membership organization that provides and fosters an understanding of photography as a means of diverse creative expression, cultural insight, and experimental practice.

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.

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.

The exceptional photographic practice of the artists, recent graduates from the Academy of Visual Arts, Leipzig, is linked by a studied objectivity and conceptual rigor which runs alongside an in ‐ depth knowledge and active questioning of the photographic medium.

Moreover, because the images are now thirteen to twenty years old, the relevant issues in the current exhibition are less about recent artistic production and more a matter of curatorial practice, art history, and the history and generative possibilities of the photographic image itself.

Published in conjunction with the exhibition of a selection of photographs recently acquired by the Mildred Lane Kemper Art Museum, this brochure presents historical works by photographers who defined the standards of photographic practice as well as an international array of contemporary practitioners who examine and expand the parameters of the medium, including Doug Aitken, Sophie Calle, Louise Lawler, and John Stezaker.

Celebrating individual mediums whilst recognising the richness of interdisciplinary practice, the 2015 selection was distributed across the categories of Photographic and Digital Art; Painting and Drawing; Three Dimensional Design and Sculpture, and Video, Installation and Performance.

Despite the cultural and geographic discrepancies, this selection will exhibit common threads and shared politics in feminist art practices across Western Europe, as well as exploring the different usages of the photographic medium.

A selection of different practitioners will engage these questions at LA > < ART, advancing discussions surrounding photographic practices today, as well as issues of image production more broadly.

The World in the Stedelijk,» Stedelijk Museum, Amsterdam «In Context: The Portrait in Contemporary Photographic Practice,» Ruth and Elmer Wellin Museum of Art, Hamilton College «In Plain Sight,» Smack Mellon Gallery, New York «In the Aftermath of Trauma,» Kemper Museum, St Louis «L'ange de l'histoire,» Centre d'Art Contemporain Walter Benjamin, Perpignan «Les désastres de la guerre, 1800 - 2014,» Louvre - Lens, Lens «Literary Devices,» Fisher Landau Center for Art, New York «Manifesto!

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.

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.

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.