Sentences with phrase «photographic material from»

The film and photographic material from his «building cuts» projects is combined with the experimental roughness of the architectural cuts, constituting a denunciation of the function of conventional architecture.

photographic material from the archive of the Martin Wong Papers at Fales Library New York University, NY

Not exact matches

Dyes came first, soon followed by paints, solvents, aspirin, sweeteners, laxatives, detergents, inks, anesthetics, cosmetics, adhesives, photographic materials, roofing, resins, and the first primitive plastics — all synthetic and all derived from coal tar, the fountainhead of commercial chemistry.

Many industries already carefully recycle their valuable «waste» materials — photographic silver and catalysts from the fine chemicals industry are good examples.

Handcrafted in Brooklyn from recycled materials, there are hundreds of trendy photographic designs to choose from.

Confidential material should remain protected from unauthorised access from the point of collection to complete destruction and should only be collected by uniformed and suitably trained staff carrying photographic identification.

Bringing together newly commissioned essays from leading activists, curators, and humanitarians, extensive photographic documentation, and an array of archival materials, the catalogues will serve as the comprehensive record for this groundbreaking exhibition and provide readers with an expanded historical and political context for the project.

These photographic self - portraits present Perry camouflaged in a space made from the materials taken from other bodies of her work, such as collections of cereal boxes, takeout containers, and aluminum foil.

He uses unconventional materials in traditional photographic techniques to produce unique photographic prints with a conceptual twist; for example his «dust» series, which uses collected dust and adhesive in place of the usual photographic chemicals to print delicate, gossamer images; or his photographs of lakes and rivers that are developed in liquid collected from the bodies of water themselves.

Muniz's elaborate material creations - in this case the magazine collages - are ephemeral; it is his masterly photographic documentation that is the final work of art, which is intentionally many steps removed from the original image that inspired it...

Victoria Miro is delighted to announce the publication of Isaac Julien: Looking for Langston, a lavishly illustrated, limited edition book by the internationally acclaimed artist and filmmaker, featuring newly - conceived photographic works, texts by the artist and Pulitzer Prize winning critic Hilton Als, in addition to storyboards from Julien's seminal 1989 film, Looking for Langston, never before published contemporary Polaroids and rare archival material including storyboards by artist John Hewitt.

Since then, Quinn has gained fast fame for his incredibly distinct portrait style in which he uses photographic source material to rebuild his human subjects from within.

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.

Principally drawn from materials gathered in Japan in the 1890s by Edmund Buckley, a professor of Comparative Religion at the University of Chicago, this exhibition included prints and photographic views of temples and cities, as well as images of religious objects, ceremonies, and deities.

The bulletin boards that Tom Burr has been arranging since the late 1990s reference not only art historian Aby Warburg's Mnemosyne Atlas strategy of employing a black panel backdrop in order to heighten thematic arrangements of photographic images — including reproductions from books, and visual materials from newspapers and popular culture — but also reflect a setting typical of early cinematic and photographic motion studies.

Bob and Roberta Smith creates brightly coloured text - based paintings with powerful social messages; Yinka Shonibare clads figures in colourful batik to create politically loaded sculptural or photographic tableaux; Thomas Heatherwick is one of the world's leading designers, whose Olympic Cauldron fired the imagination of viewers in the opening ceremony in 2012; Rebecca Warren fuses everything from the ideas of conceptual artist Joseph Beuys to the cartoons of Robert Crumb, creating vitrines and lumpy sculptural figures; Conrad Shawcross brings engineering and sculpture into collisions of mechanics, sound, light and space; and Louisa Hutton, of architects Sauerbruch Hutton, designs buildings with a flair for colour and material richness.

The exhibition will also include additional Command Records album covers designed by other artists, such as Charles E. Murphy, Barbara Brown Peters, and Gerry Olin, as well as photographic reproductions of materials from The Josef & Anni Albers Foundation's archives.

Tseng Kwong Chi: Performing for the Camera spotlights more than 80 photographic works, as well as archival materials, by the Hong Kong - born Canadian artist, who died at the age of 39 from AIDS - related complications.

At the core of the exhibition are a selection of paintings by Francis Bacon set against some unfinished works by the artist - on display in Italy for the very first time - and a selection of photographic and archival material from the artist's studio, presented thanks to a collaboration with the Dublin City Gallery The Hugh Lane.

Selections from Ruff's own extensive collection of archival photographic materials were exhibited as well.

The exhibition allies a range of highly varied works; Reza Aramesh's critical reconfiguration of postures of oppression taken from the documentary photographic record of the late 20th century within the context of high - cultural legacy of the Enlightenment, Jake & Dinos Chapman's attack of those same Enlightenment spawned delusions of cultural progress, Desiree Dolron's exquisite, dense, almost painterly rendering of light and shadow within the photographic medium, Terence Koh's white - on - white neon declaration of Eternal Love, Wayne Horse's lighter - lit display of sub-cultural, cul - de-sacs articulated in a trash aesthetic, Dawn Mellor's radical portraits of female film stars, re-contextualized from the objectifying gaze of cinematic light into the critical, imaginative space afforded by painting, Gino Saccone's loose but formal play of material, surface and light in his multi-media, sculptural assemblages, Peter Schuyff's abstract, shaded path from ambient light into a dark portal and finally Conrad Shawcross» beautiful and austere kinetic work that emanates an ever shifting pattern in shadow and light.

Collier's exhibition includes recent works from her ongoing series «Women Crying»; two text - based photographic works based on printed materials originally used in group - therapy and self - analysis; works from her latest series «Crying (Comic)» and «Tears (Comic)»; and a 35 mm slide projection piece «Women With Cameras (Self Portrait)».

Some artists consider photography and video as unreliable and unstable media: Josh Brown's images of racecars point to the imperfect nature of both the photographic medium and the spectator's vision, and Justin Phillipson employs video compression to distort his source material to varying degrees, thereby disengaging the images from their original source.

Victoria Miro is delighted to announce the publication of Isaac Julien: Looking for Langston, a lavishly illustrated, signed, limited edition book by the internationally acclaimed artist and filmmaker, featuring newly - conceived photographic works in addition to storyboards from Julien's seminal 1989 film, Looking for Langston, never before published contemporary Polaroids and rare archival material.

Isaac Julien: Looking for Langston, is a lavishly illustrated, signed, limited edition book by the internationally acclaimed artist and filmmaker, featuring newly - conceived photographic works in addition to storyboards from Julien's seminal 1989 film, Looking for Langston, never before published contemporary Polaroids and rare archival material.

This exhibition is a survey of the artist's oeuvre — from images that are the product of experimentation with various materials and photographic processes, to portraits of friends and strangers and still lives of his environment, to book page collages, to more recent hyperreal digital works.

Isaac Julien: Looking for Langston is a lavishly illustrated, limited edition book by the internationally acclaimed artist and filmmaker, featuring newly - conceived photographic works in addition to storyboards from Julien's seminal 1989 film, Looking for Langston, never before published contemporary Polaroids and rare archival material.

Victoria Miro is delighted to announce the publication of Isaac Julien: Looking for Langston, a lavishly illustrated, limited edition book by the internationally acclaimed artist and filmmaker, featuring newly - conceived photographic works in addition to storyboards from Julien's seminal 1989 film, Looking for Langston, never before published contemporary Polaroids and rare archival material.

Hirose picks up things dissolved within our daily life and recomposes them like poems: such as in the «Sky» series in which he took photographs of sky on his actual travels; the «Night» series whereby he traveled in the image of photographic clippings from printed matters; and the «Beans Cosmos» series in which he encloses various materials such as pasta, maps, beans and gold in acrylic cubes.

David Walsh, Elizabeth Pearce, Jane Clark 2013 ISBN 9780980805888 Lindsay Seers, George Barber, Frieze, January 2013 One of Many, Adrian Dannatt, Artist Comes First, Jean - Marc Bustamante (ed), Toulouse International Art Festival (exhibition catalogue), June 2013 All the World's a Camera: Notes on non-human photography, Joanna Zylinska, Drone ISBN 978 -2-9808020-5-8 (pg 168 - 172) 2013 Lindsay Seers, Artangel at the Tin Tabernacle - Jo Applin, ArtForum, December 2012 Lindsay Seers, Martin Herbert, Art Monthly, October 2012 Exhibition, Ben Luke, Evening Standard, (pg 60 - 61) 20 September 2012 Lindsay Seers @ The Tin Tabernacle, Sophie Risner, Whitehot Magazine, September 2012 Artist Profile: Lindsay Seers, Beverly Knowles, this is tomorrow, 12 September 2012 Dream Voyage on a Ghost Ship, Richard Cork, Financial Times, (pg 15) 11 September 2012 Nowhere Less Now, Amy Dawson, Metro (pg 56) 7 September 2012 Voyage of Discovery, Helen Sumpter, Time Out, (pg 42) 6 - 12 September 2012 Nowhere Less Now, Rachel Cooke, The Observer, (pg 33) 2 September 2012 Divine Interventions, Georgia Dehn, Telegraph Magazine, 25 August 2012 Eine Buhne fur das Ich, Annette Hoffmann, Der Sonntag, 25 March 2012 Das Identitätsvakuum - Dietrich Roeschmann, Badische Zeitung, 27 March 2012 Ich ist ein anderer - Kunstverein Freiburg - Badische Zeitung, 21 March 2012 Action Painting - Jacob Lundström, FLM NR.16, March 2012 Dröm - fabriken - Peter Cornell, Kultur, 21 February 2012 Vita duken lockar Konstnärer - Fredrik Söderling, Dagens Nyheter (pg 4 - 5) 15 February 2012 Personligen Präglad - Clemens Poellinger, SvD söndag, (pg 4 - 5) 12 February 2012 Uppshippna hyllningar till - Helena Lindblad, Dagens Nyheter (pg 8 - 9) 9 February 2012 Bonniers Konsthall - Sara Schedin, Scan Magazine, (pg 48 - 9) Febuary 2012 Ausstellungen - Monopol, (pg 120) February 2012 Modeprovokatörer plockas up par museerna - Susanna Strömquist, Dagens Nyheter (pg 8 - 9) January 2012 Promosing in Kabelvåg - Seers» «Cyclops [Monocular] at LIAF, Kjetil Røed, Aftenposten, 10 September 2011 Reconstructing the Past - Lindsay Seers» Photographic Narrative, Lee Halpin, Novel ², May / June 2011 Lindsay Seers, Oliver Basciano, Art Review, May 2011 Lindsay Seers, Jen Hutton, ArtForum Picks (online), April 2011 Lindsay Seers: an impossibly oddball autobiography, Murray Whyte, The Toronto Star, 13 April 2011 The Projectionist, David Balzer, Eye Weekly, 6 April 2011 dis - covery, exhibition catalogue, 2011 Lindsay Seers: It has to be this way ², Paul Usherwood, Art Monthly, April 2011 Lindsay Seers: Gateshead, Robert Clark, Guardian: The Guide, February 2011 It has to be this way ², 2011, novella published by Matt's Gallery, London Neo-Narration: stories of art, Mike Brennan, modernedition.com, 2010 Steps into the Arcane, ISBN 978 -3-869841-105-2, published 2010 It has to be this way1.5, novella 2010, published by Matt's Gallery, London Jarman Award, Laura McLean - Ferris, The Guardian, September 2009 Top Ten, ArtForum, Summer 2009 Reel to Real - On the material pleasure of film, Colin Perry, Art Monthly, July / August 2009 Remember Me, Tom Morton, Frieze, June / July / August 2009 It has to be this way, 2009, published by Matt's Gallery, London Lindsay Seers at Matt's Gallery, Gilda Williams, ArtForum, May 2009 Lindsay Seers: It has to be this way — Matt's Gallery, Chris Fite - Wassilak, Frieze, April 2009 Lindsay Seers: it has to be this way, Rebecca Geldard, Art Review, April 2009 Review of Altermodern - Tate Triennial 2009, Jorg Heiser, Frieze, April 2009 Tate Triennial: «Altermodern» — Tate Britain Feb 3 — April 26, 2009, Colin Perry, Art Monthly, March 2009 Lindsay Seers: It has to be this way (Matt's Gallery, London), Jennifer Thatcher, Art Monthly, March 2009 No sharks here, but plenty to bite on, Tom Lubbock, The Independent, 6 February 2009 Lindsay Seers: Tate Triennial 2009: Altermodern, Nicolas Bourriaud, Tate Channel, 2009 «Altermodern» review: «The richest and most generous Tate Triennial yet», Adrian Searle, The Guardian, Feb 2009 Critics» Choice for exhibition at Matt's Gallery, Time Out London, January 29 — February 4 2009 In the studio, Time Out London, January 22 — 28 2009 Lindsay Seers Swallowing Black Maria at SMART Project Space Amsterdam, Michael Gibbs, Art Monthly, Oct 2007 Human Camera, June 2007, Monograph book Published by Article Press Lindsay Seers, Gasworks, London, Pil and Galia Kollectiv, Art Papers (USA), February 2006 Review of Wandering Rocks, Time Out London, February 1 — 8, 2006 Aften Posten, Norway, Front cover and pages 6 + 7 for show at UKS Artistic sleight of hand — «Eyes of Others» at the Gallery of Photography, Cristin Leach, Irish Times, 25 Nov 2005 There is Always an Alternative, Catalogue (Dave Beech / Mark Hutchinson) 2005 Wunderkammer, Catalogue, The Collection, October 2005 Lindsay Seers» «We Saw You Coming»;» 20,000 Leagues Under the Sea»; «Apollo 13»; «2001», Lisa Panting, Sphere Catalogue (pg 46 - 50), Presentation House Gallery, 2004 Haunted Media (Site Gallery, Sheffield), Art Monthly, April 2004 Miser and Now, essays in issues 1, 2 + 3 Expressive Recal l - «You said that without moving you lips», Limerick City Gallery of Art, Dougal McKenzie, Source 37, Winter 2003 Braziers International Artists Workshop Catalogue, 2002 Review of Lost Collection of an Invisible Man, Art Monthly, April 2003 Slade - Hannah Collins, Chris Muller, Lindsay Seers, Elisa Sighicelli, Catherine Yass, (A journal on photography, essay by John Hilliard), June 2002 Radical Philosophy, 113, Cover and pages 26/30, June 2002 Elle magazine, June 2002, page 92 - 93 Review, Dave Beech, Art Monthly, June 2002 Nausea: encounters with ugliness, Catalogue Lindsay Seers, Artists Eye, BBC Programme by Rory Logsdail The Fire Station, a film by William Raban and a catalogue by Acme The Double, Catalogue from the Lowry, Lowry Press, July 2000 Contemporary Visual Arts, Roy Exley, June 1999 Hot Shoe, Chris Townsend.

In the final section, «New Romantics,» artists incorporate images of sunrises and sunsets to highlight issues of aesthetic taste and the material conditions of photographic technologies, from postcards and tourist snapshots to magazines and cell phones.

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.

He also leverages unorthodox materials in his work, ranging from using ordinary household objects to firing a shotgun into a box of photographic paper.

The exhibition presents a new series of large - scale, silver gelatine photographic pieces which have sprung from this work, as well as archival material, and explores «artistic expression, the nature of desire and the reciprocity of the gaze.»

Though he frequently experiments, Opera usually opts for one of two photographic processes: the Cyanotype, which yields a cyan - colored print, or the Anthotype, which employs photosensitive materials from plants.

Playfully framing the potential fact / fiction merger of the selection, two photographic images show the material of a padded cell from a psychiatric hospital in Inside Out and Outside In (both 1999).

Drawn from the MCA's extensive holdings of artist's correspondence, photographic documentation, catalogues, models, and exhibition materials, the work in Record Times ranges from the artists» multiple created for the MCA's first exhibition, Pictures to be Read / Poetry to be Seen (1967); to the Art by Telephone (1969) phonograph, which served as both the exhibition and catalogue for the exhibition; to diagrams, maquettes, and out - of - print exhibition catalogues.

For this body of work, Nelson selects excerpts from her experiments with photographic materials, then creates hi - res scans to capture the highly toxic and constantly changing state of the material.

In addition to the traditional live models she works from, Stump has begun incorporating found imagery as source material, focusing specifically on deconstructing the male gaze present in the photographic imagery of vintage men's magazines.

Not an unusual response from a jeweler, except that most of Speckner's work involves mediation of psychologically super-charged photographic images, preciously worked materials, and carefully considered comments on adornment.

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

Feintuch's process of preparing for a painting has often combined hand drawing from life with drawing using photographic material on a computer.

These works will be accompanied by selections from Ruff's extensive personal collection of photographic materials, including an 1885 study of a spark by Trouvelot; electrocardiograms from 1909; nude studies from 1923, and two majestic photograms by Arthur Siegel from the 1940s.

Thomas Ruff: Object Relations brings together for the first time — and for his first major Canadian museum exhibition — the series from Ruff's oeuvre where he works from found or collected photographic materials.

Drawing from diverse photographic genres such as landscape, forensic, Victorian memento mori, occult, and camera-less photography, she investigates the ways in which the material conditions and specialized languages of the photographic medium shape our relations to history, power, and the production of images.

Reflecting Ruff's own deep engagement with the history of photography, selections from his extensive personal collection of photographic materials will be included in the show, including an 1885 study of a spark by Trouvelot; electrocardiograms from 1909; nude studies from 1923, and two majestic photograms by Arthur Siegel from the 1940s.

Varagnolo began gathering books and catalogues from Italy and abroad and contacted artists requesting documentation and photographic material of their work.

Activating her work is an iconography of historical material drawn from a range of primary sources: photographic archives, antique books, vestiges, and an infinite variety of found objects.

The expansion will house the Royal Photographic Society collection, comprising four hundred thousand prints and other materials, which the V&A acquired from the Bradford Media Museum.

Open for browsing during gallery hours, our Bookshop stocks a range of thought provoking photographic, arts and social sciences titles, while our Reading Room provides welcoming space for study and research, with access to an extensive collection of books and reference materials, and a selection of almost 2,000 images from our archive has been digitised and made available for browsing on an iMac.