Sentences with phrase «photographic document with»

In both series, he overlaid photographic document with the making - visible of imaginative or formal associations, and collapsed different moments of time into a single image.

Not exact matches

Further to a planning meeting in Turin last week with officials of both Clubs, we would like to remind all travelling supporters that entry to the stadium is subject to the production of an official photographic identification document (passport or driving licence) that matches the name details written on your match ticket.

Matching unfamiliar faces with photographic identity documents — such as passports — or trying to spot criminals in a crowd or CCTV footage is a difficult and error - prone task for the majority of the population.

They are provided with written and photographic evidence to produce their documents.

The Museum of Modern Art presents Zoe Leonard's Analogue — a landmark photographic project conceived over the course of a decade — which documents, in 412 color and black - and - white photographs, the eclipsed texture of 20th - century urban life as seen in little bodegas, mom - and - pop stores with decaying façades and quirky handwritten signs, and shop windows displaying a mixed assortment of products.

It includes the debut of Liz Sterry's photographic series Drinking Alone with the Internet, which documents a succession of online performances in which she put out an open call for people online to join her in dressing and drinking like a Star Wars character, creating a virtual party in which everyone is both together but very much alone.

Jules Cahn (1916 - 1995) was a New Orleans businessman with a passionate interest in jazz, who left behind an outstanding photographic legacy that documents marching club parades, Mardi Gras Indian processions, Krewe of Zulu festivities, Preservation Hall, and jazz musicians» funerals.

With their obsessive nature and encyclopedic magnitude, Darboven's visualizations of time and recent history, as well as the collection, selection, and rearrangement of knowledge in form of handwritten excerpts, photographic, literary, and journalistic documents of cultural history, bear witness to the artist's attempt to counter the information flood and the alleged chaos of the (post --RRB- modern world by creating an autonomous classification system and by placing herself in an individual framework of meaning.

In this German - language - only installment of Hans Ulrich Obrist's Conversation Series, the acclaimed curator - conversationalist speaks with the German Pop Surrealist painter Konrad Klapheck, and includes the German conceptual photographer Hans - Peter Feldmann — who was there to document the afternoon's activities with a series of photographic portraits — in the talk.

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.

With the «Landscape series», begun in 1989, Wachtel inserted these cartoon characters into the readymade lexicon of mainstream magazine and newspaper photographic images documenting the contemporary socio - political landscape of the time.

The photographic series has already spanned four decades, during which time he has travelled to natural history museums across the United States, documenting their dioramas with an 8 × 10 large - format camera.

Taryn Simon's exhibition at the architecturally distinguished Milwaukee Art Museum offered up a generous and inquisitive photographic archive that spanned ten years and three distinct projects: «The Innocents,» 2002, portraits of people wrongfully convicted of violent crimes; «An American Index of the Hidden and Unfamiliar,» 2007, images of sites and holdings generally inaccessible to the public; and «Contraband,» 2010, a series that documents, with clinical precision, items seized over a given week from airline passengers entering the United States.

The show opens with striking photographic images that document early performances in which Mendieta enacted dramatic bodily transformations — applying thick make - up, donning wigs, covering her face with a torn stocking — whose similarity to later works by Cindy Sherman has been noted by more than one critic.

This exhibition presents Zoe Leonard's Analogue — a landmark photographic project conceived over the course of a decade — which documents, in 412 color and black - and - white photographs, the eclipsed texture of 20th - century urban life as seen in little bodegas, mom - and - pop stores with decaying facades and quirky handwritten signs, and shop windows displaying a mixed assortment of products.

Edited by Skira and curated by Bruno Corà, the monograph will contain colour images of all the works on display, together with an extensive selection of photographic documents, critical commentary and source material, all of which illustrate Gianfranco Pardi's long and fertile creative career.

With hand - built cameras and vintage photographic paper, McCaw creates unique pieces documenting the sun's movement through illusory land and seascapes.

Inspired equally by children's couch forts and makeshift emergency shelters, the artist used scavenged and natural materials to construct a small, inhabitable hut in the gallery space, presenting it together with a photographic slideshow documenting her initial experiments with similar miniature shelters.

This body of work is the result of Warhol's photographic practice of documenting his interactions with the city and its objects as he moved through and around them.

Megan Koza Young visits Meg Turner's current exhibition at Scott Edwards Gallery, which documents the present with historic photographic processes.

Simmons began to document her photographic relationship with this human scale «girl».

In Noémie Goudal's large scale photograph Cascade (waterfall), a plastic sheet replaces the pouring water; Tania Kovats» glass and water sculpture Where Seas Meet is made with sea water from three places around the world where seas visibly meet; in David Buckland's photographs of Ice Texts, words of warning are projected on to icebergs; Susan Derges captures the continuous movement of water by immersing photographic paper directly onto rivers or shorelines; and Martin Parr candidly documents the English at the seaside.

Exhibition highlights include Muxima (2005), a video work by Alfredo Jaar, featuring fragmented vignettes of landmines, the AIDS crisis, and remnants of colonialism in Angola; Jenny Holzer's large - scale color - blocked painting Water - board 14 U.S. government document (2010), which depicts a redacted, confidential U.S. government document; Omer Fast's film 5000 Feet Is the Best (2011), which grapples with drone warfare; An - My Lê's photographic depictions of war and military culture that play with fact and fiction; and photographs and a film by Eric Gottesman that are inspired by his exploration of the dissident Ethiopian novel Oromaye.

The Speed is also proud to collaborate with the Photographic Archives at the University of Louisville and the Faulkner Morgan Archive on presenting photographs by John Ashley documenting the LGBTQ community of Lexington, Kentucky.

Christine Kozlov: Information endeavours to create a rapport between her sculptures, their exhibition copies, archival material, photographic documentation and contextual documents to addresses sculpture's concern with objecthood, space, encounter, time, duration, and our experience of an object and its imagined conceptual content.

Prompted by the absence of folk art in Witte de With's exhibition history, Decorations by Kasper Bosmans also features documents taken from artist Asger Jorn's photographic archive 10,000 Years of Nordic Folk Art, a project part of his Scandinavian Institute for Comparative Vandalism, founded in 1961 as an interdisciplinary institute aimed at «vandalizing» art history.

Shot with 16 mm black and white film, the narrative unfolds beautifully with provocative angles bringing to life the characters of his iconic photographic series documenting the drugs, sex and youthful aimlessness of Clark's hometown.

For that exhibition George Lappas said «The composition of the exhibits at the Jewish Museum started with the study of photographic documents.

Esopus 21 includes artists» projects by Stephen Eichhorn, Penny McCarthy, Thomas Nozkowski and Leslie Wayne; an essay on the design of the 9/11 Memorial by architect Michael Arad; poems by Chantal Bizzini; a new installment of the «Modern Artifacts» series, copresented with the Museum of Modern Art Archives, and featuring documents related to the never - published second issue of Possibilities (edited by Robert Motherwell and Harold Rosenberg); photographer Dennis Stock's images of the 1954 world premiere of Judy Garland's A Star Is Born; an interview with playwright / filmmaker Kenneth Lonergan relating to his childhood fascination with science fiction; pages from the late Austrian artist Otto Meuhl's sketchbook featuring drawings based on Cézanne paintings; and several perspectives on the African art collective Invisible Borders: an essay by Emmanuel Iduma accompanied by a photographic portfolio; and a downloadable audio compilation of music and sounds curated by Emeka Okereke that relates to the collective's 2012 road trip.

In his first exhibition at Galerie Thomas Schulte David Hartt will present a new photographic series alongside a new film whose genesis began with a series of photographs by Robert Rauschenberg, who in the fall of 1980 had documented his journey along the East Coast of the United States from Long Island to Captiva, Florida.

Akram ZaatariÂ's artistic practice is an ongoing study of historical photographic documents, and their relationship to personal histories — confronting personal with historical political events.

Mark, 2012, digital photographic images transferred to Blu - ray, which runs for 113 minutes 14 seconds on a video screen, is the smallest item in the show and documents an endless series of flat, exterior brick surfaces with Mark, almost but not quite identically scrawled in the middle of each.

The imaginary photojournalist represents a hybrid genre that merges the appearance of straightforward documentary photography with a carefully staged one, in a process that does not require a camera yet mimics a straight photographic document.

Prompted by the absence of folk art in Witte de With's exhibition history, Decorations also features documents taken from artist Asger Jorn's photographic archive 10,000 Years of Nordic Folk Art, a project part of his Scandinavian Institute for Comparative Vandalism, founded in 1961 as an interdisciplinary institute aimed at «vandalizing» art history.

Haunted: Contemporary Photography / Video / Performance, features over one hundred works by sixty different artists who examine myriad ways in which photographic imagery is incorporated into recent art, with the aim of underscoring the unique power of recording technologies and documenting a widespread contemporary obsession with accessing the past, both collective and individual.

Although painting remained at the centre of his art, in 1997, in collaboration with photographer Alan Watson, Callery explored similar themes in a large - scale photographic piece documenting in detail the surface of an archaeological dig supervised jointly by the Oxford University Museum of Natural History and the Pitt Rivers Museum.

• Confer with clients and attorneys to acquire information of committed crime • Analyze facts and ensure that they are documented properly • Conduct investigations to support the legal defense of a wide variety of criminal cases • Contact external agencies and expert witnesses as reference resources for potential testimony • Serve subpoenas on those required to testify or submit evidence before the court • Operate and maintain a variety of photographic and projection equipment to assist in criminal investigation • Handle potentially explosive situations with tact, ensuring the safety and wellbeing of all people involved • Create and submit reports regarding findings such as statements, scene descriptions and analysis of physical evidence

«We would use our own people - no subcontractors - and would document the work we did in writing, along with photographic evidence of the before - and - after roof problem repair.»