Sentences with phrase «photographic image often»

A beautiful photographic image often starts where you'd least expect it: in the mundane.

Not exact matches

Since the mid-1990s, Muniz has been incorporating everyday objects into his photographic process to create witty, bold, and often deceiving images based on photojournalism and art history.

And his large photographic images — many of them based on photos he took during a trip to Afghanistan and Pakistan in the mid-1970s — often seem to have emerged from a mismanaged laboratory experiment.

«While often using images and objects from history and politics, Rødland insists on the openness of meaning in the photographic image,» museum officials wrote in the announcement.

Providing unexpected representations of common objects ranging from bird nests to fabric to crumpled photographic paper, West often provides a deeper look at the details of his subjects while pushing their image to the edge of abstraction.

«Photographic images are often part of a fluid chain of thoughts and notes that cross over into different areas.

Much of the meaning of Liu's painting comes from the way the washes and drips dissolve the documentary images, suggesting the passage of memory into history, while working to uncover the cultural and personal narratives fixed — but often concealed — in the photographic instant.

His recent works take the form of large photographic grids, often including text, archive materials and moving image as multiple, composite forms of examining temporary settlements, sites of corporate development and exclusion, border territories, and geographies of extraction.

Forsyth often uses extensive digital manipulation in editing his images, resulting in a photographic aesthetic that is highly stylised and immediately recognisable.

Recent works often contain text and photographic images which serve to underline her strong sense of Cree heritage and her active participation in mainstream contemporary culture through her art, writing and teaching.

Elizabeth Magill has developed a novel technique for her oil paintings, often starting off with a photographic image on the canvas, which she proceeds to work on, applying and scraping away layers of paint, until she achieves the mood in the painting which she is seeking.

The self - portraits are also based on photographic images that have been screenprinted onto canvas; in both groups of paintings, the varying tones of black, gray, and brown enamel are often overprinted several times, simultaneously accentuating and obliterating the contours of the source imagery.

These large - scale photographs are developed by hand in a spinning drum process that agitates the chemistry over the photographic paper that lines the interior of the drum — a process that often leaves behind traces on the resulting image.

Her photographic practice flowered in the 1980s, becoming famous for its examination of gender and race: her works juxtapose text fragments with images of African - American men and women, their faces often hidden from the lens.

Spare, sublime, and separated from conventional photographic practice, Dean's photo - based works are nonetheless dependent upon the found and often authorless image.

The identities of citizen and consumer became hugely powerful during the 20th Century, often articulated through the photographic image; we can think of news reports, advertising and cinema.

She graduated from the Royal College of Art and works primarily with photographic image and architectural installation, through which she often examines violence present in architectural configurations and trivial interpersonal gestures.

Slawomir Elsner often makes use of photographic originals — for example, he employs images from magazines or photos that he has taken himself — and alienates them, so that usually one can not discern the images» origins or what exactly was the basis behind each piece of work.

The artists have developed innovative methods to disrupt how we «read» photographic images, often through techniques that retool the very mechanisms of print production.

It's a departure in style for 30 - year - old Citarella, whose altered photographic works have often focused on abstract textures or found images — and whose projects on the internet have involved hawking assisted - readymades on Etsy with collaborator Brad Troemel.

The exhibit pairs 54 photographic images (often taken at different times), in 27 pairs that embody the titular theme.

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.

The noted photographer and installation artist, who often turns arrangements of images into wild, immersive environments, will show selections from her extensive photographic archive, which covers the two decades beginning in 1995.

At Claire Oliver, Judith Schaechter presents beautiful but disturbing stained glass lightboxes and kiln - cast glass sculptures about sex and death, and at Bruce Silverstein, Eileen Neff explores perception, mirroring, and memory in an installation of staged and often manipulated photographic images.

His art is figurative and often based on photographic images, but the end effect is to take us into a completely different world of often hallucinatory power.

Returning to the studio with the materials he had gathered, Vitturi created teetering totemic assemblages with a Baroque sense of drama, collaging and overpainting his photographs and materials in high - register colours — and often layering physical objects within the photographic assemblages to create new volumetrically disorientating images.

Since 2008, Stuart has been engaged in creating an inventive photographic output composed of multiple, diverse images that are often presented in the form of large grids.

Visitors who know Wolfgang Tillmans» photographic arrays may think of them at times, but Tillmans nearly always puts breathing space — often a lot of it — between his images.

Anthony Shostak, curator of education for the Bates College Museum of Art, shares that, ``... the images in Starstruck are nothing less than overwhelming — depicting humbling, glorious delights that are often invisible to both the naked eye and even the telescope, and are revealed only through photographic means.»

For Quinlan, the patterns in her photographic images have often resulted out of actions and experiments onto negatives in the darkroom.

By allowing the artists to capture the continent through their own photographic lens, the aim is to highlight the creative energy and cultural diversity rather than the stereotypical images often used to represent Africa.

Comments: Some comments noted that identifiers that accompany photographic images are often needed to interpret the image and that it would be difficult to use the image alone to identify the individual.