[17] The series of his friends Lutz and Alex, also published in i - D in 1992, are considered important
photographic documents of the 1990s.
Paul Mpagi Sepuya is known for his extensive
photographic documents of domesticated scenes of friends, fellow artists, and lovers.
In this newest body of work the artist explores narratives of recalled personal memories through the construction and
photographic documenting of miniature dioramas.
The collection, then, is not only
a photographic document of the last hundred years, but also a catalogue of how images are consumed.
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.