Morgan Lehman Gallery presents Brittany Nelson: The Year I Make Contact, a methodological critique of
photographic material practice, and her first solo show with the gallery.
Not exact matches
The first book to examine the
practice of Sara Rahbar, including her early installations for the Queens Museum of Art, a
photographic series made in Tehran, and the politically inspired textile - based works, all which use historically charged
materials and forms.Essay by Catherine Grenier, adjunct director of Centre Pompidou, and interview with Elaine W. Ng.
This is the first major exhibition to consider the persistence of the sun as a visual metaphor and
material in contemporary
photographic practices.
Although she merges her
photographic and sculptural
practices in immersive installations, she conspicuously transfers the qualities of
materials such as fabric and marble sculpture, into photography, and in the process offer a new, and specifically intermedial, way of framing the past.
Her visual work integrates digital drawing
practices with
photographic material, laser - etching, or specific software.
In a current series, titled
Material Gesture, Hovsepian introduces wall - based assemblage to her
photographic practice.
It focuses on self - referential contemporary
photographic practices addressing their own processes, actions,
materials, and contexts.
Marisa Kriangwiwat Holmes's artistic
practice purposes a range of
materials, but favours the
photographic medium because of its declining competence in communication through indexes and codes.
Her projects have examined the
material practices of photography in the home, hairwork and
photographic jewelry, and the transformation of nineteenth - century relics in the work of contemporary artist Dario Robleto.
Volume 1 includes a focused presentation of 35 images, bringing together 37 years of Stipe's
practice of creating and collecting
photographic materials, in addition to posing as a subject in the photographs of others.
For the upcoming session we have invited artists Lucas Blalock and John Kelsey; Matthew Biro, Professor and Chair, Department of the History of Art, University of Michigan; Alex Klein, The Dorothy and Stephen R. Weber (CHE» 60) Program Curator, Institute of Contemporary Art, University of Pennsylvania; and Carol Squiers, Curator, International Center of Photography to lead a discussion about
material and conceptual experimentation in contemporary
photographic practices.
Celia Perrin Sidarous» ongoing
photographic series Les Choses («things») is an exploration of
material life and the act of understanding the world through objects, spaces, and gestures — both central considerations of her dedicated studio
practice.
In her newest series of mixed media creations, Nicol pushes the bounds of her
practice through the inclusion of fine jewelry and pearls, collaged
photographic negatives, and such unconventional
materials as taffeta, chiffon, and leather.
Authored by exhibition curator Sara Krajewski, the book's chapters trace the development of Warhol's printmaking
practices and his exploration of the
photographic image as his source
material through three time periods: the books and ephemera of the 1950s, the Factory and Factory Additions 1963 - 1974, and Andy Warhol Enterprises, Inc., 1975 - 1987.
Authored by exhibition curator Sara Krajewski, the book traces the development of Warhol's printmaking
practices and his exploration of the
photographic image as his source
material through three time periods: the books and ephemera of the 1950s, the Factory and Factory Additions (1963 — 1974) and Andy Warhol Enterprises, Inc., 1975 — 1987.
Her
practice, which is based on extensive on - site research and an ever - expanding archive of visual
material, primarily deploys photography, video, slide projection and large scale
photographic installations of blown up photocopies or silkscreens, as well as the publication of artists books in the form of
photographic visual essays.