The same year, Baldessari moved to Santa Monica, where he met many artists and writers, and began to collect
photographic images from films and other commercial sources that he would use in his work; during the same period, he photographed himself in deliberately amateurish compositions, and employed local sign painters to execute text - based works.
Not exact matches
Whereas Bazin never mentions Caravaggio in his essay on «The Ontology of the
Photographic Image» (1945), the French critic refers to the baroque style as a proto - cinematic and pictorial term of reference: «The
film delivers baroque art
from its convulsive catalepsy.»
How a
photographic image is cropped can make a huge difference in the visual impact, the same way that filmmakers will
film from a distance or use closeups to bring the viewer closer to the actors and actresses.
Employing a range of techniques, including collage, hand - drawn rotoscoping — a technique that involves tracing
from frames of live
film footage — interlaced still
photographic images, and live 16 mm
film footage, Breer composes lively, nimble
films that present an intimate, modest, and personal portrait of slices of shared lives and eras.
The
images shown are
from early performances,
films and
photographic and graphic works
from Ms. Schneeman's «Life Book 3,» 1970 - 1990s, and «Life Book 2,» 1970 - 1990s.
As part of an ongoing series of works on paper collectively entitled Perceptual Ecology, Mat Chivers has been making drawings that result
from the mirroring and combination of self - made and found
photographic images,
film and CAD renderings.
By appropriating
images from the mass media — including iconic
film posters, album covers, magazine pages,
photographic test plates, and simple notebooks — and re-photographing them, Collier creates her own personal lexicon of popular culture.
As both an artist and an academic, Bright utilizes a keen historical and pop - culture eye to illustrate an intriguing fantasy: created between 1989 and 1990, the
photographic series has Bright's own
image superimposed onto stills
from classic
films like
Over time, my production has evolved
from black and white
photographic portraits and narrative videos to creating hybrid «sites»,
images and installations employing photographs, videos and
film, archives and found materials, projected sounds and reflective surfaces, works focusing on the individual's role in history and in time.
Having recently worked on conserving and restoring Looking for Langston
images from his extensive archive, he exhibited of
photographic works at Victoria Miro Gallery, London (2017), Jessica Silverman Gallery, San Francisco (2016) and Ron Mandos Gallery, Amsterdam (2016) with a screening of the
film in its original 16 mm print at Tate Britain.
The resultant abstract drawings are then enframed over a 30 by 40 inch
photographic print of a still
image from the
film.
The
photographic images and
films that result
from their practices are presented through the lens of a personal reflective awareness of the body.
Doig paints
from photographic sources, such as his own pictures of landscapes,
film stills, and
images from newspapers and magazines.
From her early staged
images with vaguely intimated story lines to her recent, structuralist - influenced
films, Sharon Lockhart's work has consistently staked out an ambiguous territory between the
photographic and the cinematic - a location where the flow of narrative and the stasis of repetition intersect.
Cmelka's practice spans
from her early experimental
films through
photographic reworkings of
film stills, ad
images, and production shots to her performances — known as «microdramas» — which act as reflexive commentaries on the poles of art and life by blurring the line dividing staging
from reality.