Sentences with phrase «photographic documenting of»

In this newest body of work the artist explores narratives of recalled personal memories through the construction and photographic documenting of miniature dioramas.

Paul Mpagi Sepuya is known for his extensive photographic documents of domesticated scenes of friends, fellow artists, and lovers.

The collection, then, is not only a photographic document of the last hundred years, but also a catalogue of how images are consumed.

[17] The series of his friends Lutz and Alex, also published in i - D in 1992, are considered important photographic documents of the 1990s.

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.

The Berejiklian government's proposal for a tolled motorway tunnel linking Balgowlah in Sydney's north to the Warringah Freeway has ignited a political Central Pacific Railroad Photographic History Museum - Photographs, stereoviews, engravings, maps, and documents illustrating the history of the first

A novel is an example of a highly sequential document — it typically has a beginning, middle and end — but not all publications are so ordered: a cookbook or collection of photographic images might be considered to be more like a database.

Our photographic holdings include both private and professional images which document area history and include a number of images by local professional photographers, Henry Twidle, Godfrey Baldwin and Archie Waldref.

Horizon Zero Dawn, already a lush and gorgeous world that players (even without extensive photographic backgrounds) took to documenting more lovingly and expertly than a decade of Natural Geographic.

For his second solo exhibition in New York, the Australian photographer presents three new large photographic works documenting interventions directly undertaken onto foreclose homes, which, from the outside, perfectly embody the ideal of the suburban dream.

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.

Deeply rooted in the history of photographic portraiture å la Irving Penn, and early ethnographic studies commissioned by the British Empire, «Marginal Trades» documents the rapidly vanishing street trades, businesses, and professions of India.

In The Day Nobody Died (2008) the pair captured the daily life of the British army in Afghanistan, exposing photographic paper to light during significant events, creating abstract works that challenge journalism's traditional role in documenting war.

The first photographic piece documents the four territories of those huge projects.

Many of the first works, created in the deserts of U.S.A. (Nevada, New Mexico, Utah or Arizona) were ephemeral in nature and now only exist as video recordings or photographic documents.

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.

Zanele states, «I am producing this photographic document to encourage individuals in my community to be brave enough to occupy public spaces, brave enough to create without fear of being vilified, brave enough to teach people about our history and to rethink what history is all about; to reclaim it for ourselves, to encourage people to use artistic tools such as cameras as weapons to fight back.»

Through my lens I document a photographic essay or visual «N (art) rative» that captures the happenings, personalities, collectors, gallerists, artists and the art itself; all elements that form the richly varied and textured fabric of the SoCal art world.

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.

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».

NKA Journal of Contemporary African Art Special Issue: The Black Arts Movement: Testimonials / Documents / Conversations Number 30 Spring 1012 Duke University Press 905 W. Main St. Durham, NC 27701 Copyright 2012, Durham, NC «1 + 1 = 3 «JOINING FORCES, Coreen Simpson's Photographic Suite pg.

The icon then becomes an ornamental signifier of its function as a tool to both document and manipulate photographic images.

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.

Documenting the nocturnal city and its residents, from nightclubs to its covert brothels, the photographer created one of the most evocative photographic memoirs ever published.

The exhibition will feature sculptures, drawings and photographic documentation of his fieldworks from the 1970 and 1980s, a film documenting «activation», and installation views of his recent solo exhibitions at Pirelli foundation's HangarBicocca in Milan and Dia: Chelsea in New York.

During the final «gathering phase» of his practice, he builds a collection of found objects or creates a photographic series that documents a recurring form.

The book documents the CLUI's methodology in a series of interviews and includes a photographic essay on land use in Houston featuring a panoramic, foldout section and a comprehensive chronology of the CLUI's projects and publications over the past 14 years.

In many of the artist's new works, a doubling of object and image occurs when Maisel collages the documented materials to the surface of the photographic print.

Utilising a range of source materials from found imagery, film stills and the internet, the new works featured in this exhibition raise narratives and juxtapositions regarding the history of the painted canvas and the photographic medium as visual document.

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.

In a series of «America» photographic portraits from 2001 - 2004 displayed at the Galerie Nathalie Obadia booth, Andres Serrano sought to document identity in the United States, post 9/11.

The heavy relief of the grid functions as a way to capture the act of painting as a photographic object or a performance - document.

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 exhibition features the photographic opus «The Selected Gifts (1974 — 2015)», a collection of 67 photographs documenting the history of gifts the artist received over a period of 41 years.

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.

Aujourd» hui is happy to present an exclusive selection of pictures from Galerie Valentin's archive, that documents not only the gallery's program throughout the last two decades, but also the evolution of an exhibition's photographic documentation.

Barrada's first internationally shown photographic project documented the urban and psychological transformation of her hometown of Tangier.

The exhibition is composed of a series of photographic portraits that document sculptures made out of animal skin and body parts, using untreated pigskin, raw meat for the lips, and fresh pigs» eyes.

The exhibition is composed of a series of photographic portraits that document sculptures made out of animal skin and body parts, using untreated pigskin, raw meat for the lips, and fresh -LSB-...]

Melic Meeting presents an array of images in the process of being flattened out, abandoning photographic specificity (the photograph as document, as a purported marker of truth) for existence within a confused visual network.

In a photographic project spanning five decades, Bernd and Hilla Becher documented the soon - to - be-forgotten architectural forms of industry — Mine Heads, Blast Furnaces, Water Towers, Coal Bunkers, Cooling Towers, Industrial Facades, Gas Tanks, Grain Elevators, to name but a few.

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.

In total, the archive comprises thousands of negatives, hundreds of photographic contact sheets, and related documents and ephemera.

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.

Joyce's photographic approach to documenting her subject draws not only on her background of documentary photography but also upon the game of baseball itself.

Rather than doing that, Mexico City - born photographer Amanda Gutiérrez seeks to document her surroundings as she ventures through Brooklyn's Sunset Park, focusing both on her «subjective experience as a Mexican woman living and working in New York» and painting a photographic portrait of the neighborhood's Mexican immigrant community.

The large - scale works included in Against the Wall are primarily based on media imagery documenting Israel and Palestine, exploring the tension between the photographic documentation of reality and the constructed space of painting.

Aujourd» hui is happy to present an exclusive selection of pictures from Galerie Valentin's archive, that documents not only the gallery's program throughout the last 20 years, but also the evolution of an exhibition's photographic documentation.