Sentences with phrase «photographic materials as»

Some artists dig deep into photographic materials as though searching for the locus of memory, while others incorporate found snapshots into their work as virtual talismans of recollection.

Since the early 1970s Billy Sullivan has accompanied New York's underground, art and fashion scenes with his camera, using the resultant photographic material as templates for oil paintings, pastel drawings and elaborate multi-part slideshow installations, according to Edition Patrick Frey.

In the works Scrapped (Paint Storage Room) and Markings (from Paint Storage Room) Saban scrapes the chromogenic emulsion from the photographic paper, manipulating photographic material as pigment.

Not exact matches

Danone is also trailing materials in crèches and seeking mothers and babies as photographic models at the present time.

These materials which will be identified as «Proprietary» include but are not limited to our logos and trademark, certain photographic and video images, sound recordings, and the design, layout and appearance of and graphics contained within this Site.

The ESSC reserves the right to make any decision on the choice of the photographic material it uses on an individual basis, or as and when photographic material is required, sourced or submitted by invitation or independently.

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.

Reproductions of the centre's material can be made for research purposes, and this includes photocopies and photographic services such as scanning and digital prints.

This is the first major exhibition to consider the persistence of the sun as a visual metaphor and material in contemporary photographic practices.

Tillmans has become increasingly interested in the chemical foundations of photographic material, as well as its haptic and spatial possibilities, creating works without a camera in the darkroom that present photography as a self - referential medium.

Using both digital and analogue techniques to create an immersive cinematic experience, he now presents the work alongside large scale, silver gelatine photographic pieces, as well as archival material.

Deconstructing those mechanisms, Tonsfeldt creates work which isolates, emphasizes, or disrupts both analog and digital components of the medium, including the frame, and materials such as printer inks, photographic papers, and the optical films used in LCD screens.

Through this approach, the process itself becomes source material, as Oppenheim gives photographic images new forms and new contexts.

These are aspects that are visible in her exploration of well - established photographic genres such as film stills, fashion photography or classic portraits, as well as in series where she explores a more abject material related to themes like fairytales, catastrophes, pornography, war and surrealism.

With Fersini's equal focus on the photographic image and its lustrous surface, the eye flits between recognizing the original photograph's perceptual depth — what it depicts — and the image as a physical / material object.

While embracing traditional photographic material (photo paper, chemical developers, etc.), Robertson creates photographs that are often seen as doppelgängers for paintings.

Storytelling, or the narrative structure itself, has served as a medium in its own right, providing artists with a new kind of raw material with which to craft their photographic and filmic imagery.

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.

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.

ZERO, encompasses a diverse range of media including painting, sculpture, works on paper, installations, and archival materials such as publications and photographic and filmic documentation.

Perceptually deceitful, or even illusionistic, solid material travels back and forth between sheer obscurity and physical presence: as with Kasten's photographic work, the scale and materiality are interchangeable and thus become co-dependent.

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.

The archival collection consists of photographic material and documentation of Draper's career as a fine arts photographer, teacher and photojournalist and comprises approximately 20 linear feet of material and includes 1,791 prints, 36,216 negatives, 557 proof sheets, about 2,477 color slides, 16 transparencies and computer art.

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.

Twisted pieces of paper, toothpaste swashes and soap scum, were just a few of the odd findings and castoff materials Brassaï used as subjects in a 1932 photographic series he coined, «Involuntary Sculptures.»

Fragments of his parents» 1970s curtain material are rendered in photographic works that return them to framed, window - like settings, despite the fabrics clearly being discarded as drop cloths for subsequent domestic re-decoration.

Yet the book also shows how many of these photographs re-main photographic, as coequal pictures in their own right, upending the simpler notion of source material versus final product.

Doty Glasco's photographic silk prints depict the landscape as a symbol of geologic time embedded into an ethereal material that ripples with the viewer's movements.

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.

Please do not send additional catalogues, photographic or other material in support of your application to the Gallery as it can not be reviewed.

He also enjoys periodic extensive road trips across the U.S. which provide him painting inspiration and photographic reference materials as well as refreshing my perspective.

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

Baldessari is best known for works that blend photographic materials (such as film stills), take them out of their original context and rearrange their form, often including the addition of words or sentences.

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.

Now, as then, The Uncanny brings together a wide range of figurative sculptures, mannequins, dummies and sex - dolls, animatronic puppets, body - casts and anatomical body fragments and models, religious statuary, stuffed animals, photographs, film stills and photographic archive material; as well as Kelley's own oddball collections of ephemera, which he calls his «harems», and which are now in the possession of another Los Angeles collector.

These representations include photographic archives and related artifacts, which she treats as material to produce new images and installations.

Using common photographic sources, such as mass market posters, Williams continues to expand idea of mark - making and materials.

In 2003 observation into the field of photograph conservation as a volunteer at the Metropolitan Museum of Art led to a profound appreciation of the history of photographic materials.

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.

Materials include exhibition announcements, press releases and other promotional material, as well as exhibition reviews and photographic documentation.

The exhibition explores issues of history and ideology, as well as the specifics of form and material, in the photographic image.

In her black and white photographs Atterbury creates abstract photographic compositions of humble, familiar materials such as sand or cut cardboard.

His photo - based paintings are photographs used as source material but the artist paints over them to give the painting a photographic and yet blurred appearance.

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.»

The whole exhibition is structured as a catalyst, each work capturing or transmitting different energies and stories, through their materials (rubies, silver, fabric), their processes (photographic paper, embalmment, music, electricity, codification): the viewer is caught in a net of stories, symbolism and images which she / he asked to complete.

The studio began as a painting darkroom, crossing photographic fluids with ink, and over the years the range of materials, supports and surfaces has broadened significantly.

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.

They make use of newspapers, books, magazines and turn - of - the - century photographic archives as source material.