Sentences with phrase «photographic image of its surface»

Not exact matches

In dialogue with photographic pioneers such as William Henry Fox Talbot, Eugène Atget and Anna Atkins, Fuss distills the essence of photography — light interacting with a sensitized surface — to create evocative, startlingly beautiful images of the natural world.

Depicting ex-military sites, industrial warehouses and transportation routes, the flat surface of the photographic image is expanded, incorporating light, metal framing and manipulated colour schemes.

His fascination with technological methods for producing paintings is also evident in the 2001 television program Secret Knowledge, in which Hockney posited that the Old Master painters used camera obscura techniques to project images of their subjects onto their paintings» surfaces, leading to the photographic quality of Renaissance painting.

Beyond a metaphorical understanding of this idea, the question of how much the photographic image functions as an index of a subject's exterior and how much information beyond the surface is recorded or evoked, is also of interest to Alexi - Meskhishvili.

A slippery formula loosens the markings on the surface of each initial print and mediates the transfer of the photographic image onto a blank panel.

Here it comes in the form of a pale, 1960s Wallace Berman image of the moon's remote surface overlaid with cryptic writing; a black - and - white Vija Celmins screen - print of the vast, horizonless ocean that appears to carry a faint «X,» as if the printing plate had been canceled; a ragged piece of fiberglass painted with a Tiepelo - like sky by Joe Goode, who seems to have ripped it from either the actual heavens above or a movie - studio set; and a photographic close - up of shifting desert sand, over which actual sand and colored pigment has been applied by David Benjamin Sherry, as if reality were a veil obscuring camera - created truth in our mediated universe.

On a political level and also on a formal level, the idea of the «archaeology» of a photographic image — trying to get below the surface — is key to both projects.

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.

Viewing becomes a spatial, physical experience that compresses the geologic time implied by the surface details of the stones, a hint of some past process of erosion or eruption, the photographic moment at which each object was recorded and the transitory duration in which the images are presented and seen.

A wall - sized aerial view of the Sahara desert has almost infinite detail due to the high resolution capacities of digital imaging, but it remains an enigmatic landscape; an image of women playing cards on an evening street in Hong Kong taken without flash would have been impossible without recent advances in photographic technology; a still life of aquatic plants and animals reveals what is otherwise hidden beneath the ocean surface; and images of border crossings depict territorial differences that are materially invisible.

The surface of the photograph itself is a persistent subject of interest for Tillmans, and his careful combination of small and large formats, and framed and unframed prints, serves to underscore the notion of the photographic image as an object — subjective and idiosyncratic.

When the paintings are viewed together in the gallery, optically dense geometric patterns are seen in relation to flat monochromatic surfaces, photographic images, or faint contours disappearing under layers of luminescent diamond dust.

Marco Breuer uses various tools to alter the surface and sensitivity of photographic papers, creating abstract images that question the basic nature of the medium.

Last December PaceWildenstein exhibited his «Scenarios,» a suite of totemic, 7 - by -10-foot paintings of vaguely thematic photographic images transferred to a plasterlike surface to resemble frescoes.

Leaning against the far wall are a series of canvases screen printed in cyan, magenta, yellow and a range of grays to black, each with the same flattened photographic image of lichen on the surface of a rock.

Cheim & Read's new solo show of Adam Fuss's work, the first at the gallery since 2003, showcases the artist's iconic photographic images, most often created by flashing light toward a sensitized surface onto which objects have been arranged.

After a few minutes of exposure to the projected image, the powder retains a faint green image of the two faces on its surface, something akin to the «latent image» of photographic film or the veil of memory.

Similarly, McAlpine's fidelity to «origin» is palpable in the way she retains the grainy aggregate of the paving surfaces through an exploration into the fibrous qualities of the photographic image.

Whereas Gerhard Richter's gray photorealist paintings create photographic effects, the surface of Lutter's images have the physical presence of oil paint loaded with lead and aluminum.

This sculpture consists of an aluminium cube with a pixelated photographic image adhered to the surface.

Ackroyd responds to the gallery's architecture through a series of sculptures in the form of window shutters, cast in graphite gray Jesmonite with their surface partially collaged with photographic images.

Both the depicted and the «real» reflections take on the same characteristics of the horizontal waviness of the glossy enamel surface, making these shapes borne of the panels rather than being of a standard photographic image.

His application of thick vinyl onto the surface of the frame, and his use of saturated color materials to obscure portions of images, significantly comment on the photographic images underneath.

With the introduction of three dimensionality as a self - evident addition, the photographic image is not always limited to a flat surface.

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.

More recently, Bremer has complicated this process of alteration, cutting and carving away sections of emulsion to create etchings on the photographic surface and using collage techniques to create hybrid images.

I use these objects to speak of human involvement with this landscape and create images on their surfaces through a labor - intensive 19th century photographic process known as wet - plate collodion.