Sentences with phrase «photographic practice in»

Beshty refuses a model of photographic practice in which the artist's «process, how he's thinking materially, is kept mostly out of view, (as) something only people who are involved in photography can begin to understand».

Among other issues, these exhibitions have explored contemporary photographic practice in color photography and representations of gender.

Nakahira bases his photographic practice in the act of seeing and attempting to capture «pieces of reality cut out by means of the camera,» a statement made by Nakahira and critic, Kōji Taki in the first issue of Provoke.

These include Czech Modernism: 1900 — 1945 (1989), the first major museum exhibition in the United States to chart the explosion of creativity in pre - and postwar Eastern Europe; The History of Japanese Photography (2003), which illuminated the rich legacy of photographic practice in Japan; and the currently touring WAR / PHOTOGRAPHY: Images of Armed Conflict and Its Aftermath (2012), an unprecedented exploration of war through the eyes of photographers.

«The final room is given over to contemporary abstraction and, perhaps inevitably, reflects the dilemma of current photographic practice in our profligate image culture.

Daniel Seth Kraus» work blends historical research with photographic practice in an effort to deepen our understanding of people and places.

Her interests include childhood agency, photographic practices in school, and visual sociology / image - based research.

Her interests have turned recently to post apartheid culture and art as well as the history of photographic practices in Southern Africa.

The exhibition anti-retrato mediates on portraiture in photographic practices in Latin America within the past ten years.

The talk addresses the implicatedness of photographic practices in the culture of capitalism, be it through consolidation or critique.

Akram Zaatari Akram Zaatari is an artist whose work is tied to collecting and exploring photographic practices in the making of social codes and aesthetic forms.

Not exact matches

In her creative practice, she cuts photographic prints to form woven diptychs, which are pinned in place and flow over a surfacIn her creative practice, she cuts photographic prints to form woven diptychs, which are pinned in place and flow over a surfacin place and flow over a surface.

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.

The artist's seemingly distinct activities — the severe black abstractions, the prolific and caustic social and political graphic work, and the color slides of historical monuments, temples, and buildings that showed his equally prolific world travels and keen sense of photographic record keeping — were received in coexistence by jubilant viewers, especially young artists and art students (during the artist's lifetime it would have been career suicide to show all simultaneously practiced sides together).

The films and photographs that James Collins produced in the 1970s were very much of their moment: like other proponents of so - called Story Art (an overlooked movement that deserves more attention) such as Bill Beckley, Mac Adams and Peter Hutchinson, he created explicitly narrative images in a photographic - based practice.

Together, the photographic pairings in Saints and Sinners offer the possibility of seemingly endless personal interpretations of the work and a fresh perspective on Mapplethorpe's practice and his fearless contribution to contemporary photography.

How to Flatten a Mountain is an exciting 12 days residency opportunity presented by PhotoIreland Foundation & Cow House Studios, and with the support of OPW, open to emerging and mid-career visual artists whose artistic practice in whole or part, makes use of digital and / or analogue photographic processes.

In my artistic practice, the relationship with the photographic apparatus is complicated and ambiguous.

Florian Maier - Aichen, Der Spaziergang (Green, White, and Blue), 2011 C - print 15 x 12 inches April 29 — June 25, 2011 With the works in this exhibition, Maier - Aichen continues his practice of picking apart and expanding notions of photographic representation.

She often employs wit and humour in her practice as tools to communicate her photographic inquiries.

Featuring original scholarship by Alexander Nemerov, this notable presentation of The Democratic Forest provides historical context for a monumental body of work, while offering newcomers a foothold in Eggleston's photographic practice.

While this practice came to define much 1980s postmodern art, its legacy for the 1990s was essentially the license to indulge in photographic fantasy, image construction, and cinematic narrative.

Eisler will also discuss wider aspects of her photographic practice as well as previous projects including Eurydice in Providence (2017), Searching for Eve in the American West (2016), and her upcoming solo exhibition The Sublime Feminine.

Recognized for her photographic works including «A Prime» (1997 --RRB-, «Color of the Planet» (2004), «In the Desert» (2007 --RRB- that convey a unique sense of distance to the subject and appears to freshly recapture the given world replete with convention, Noguchi's gaze that is expressed through her practice is critically described as «the stranger's eyes» at work.

In response to this partial view that overlooks the complexities of daily life across a vast continent of over fifty nations, Snap Judgments: New Positions in Contemporary African Photography forces a recognition of the contradictory and varied forms of photographic practice that are now arising across AfricIn response to this partial view that overlooks the complexities of daily life across a vast continent of over fifty nations, Snap Judgments: New Positions in Contemporary African Photography forces a recognition of the contradictory and varied forms of photographic practice that are now arising across Africin Contemporary African Photography forces a recognition of the contradictory and varied forms of photographic practice that are now arising across Africa.

Suzanne Lacy is a visual artist whose prolific career includes performances, video and photographic installation, critical writing and public practices in communities.

The exhibition will feature Aguiñiga's «AMBOS (Art Made Between Opposite Sides)» series alongside seven other projects from her ongoing design and artistic practice in photographic documentation, radio broadcasts, ephemera, data and an installation.

Respini has been a champion of photographic and new media practices since the early years of her career in MoMA's curatorial department, when she organized the 2012 blockbuster mid-career retrospective of Cindy Sherman.

The sixty - nine black - and - white images in Untitled Film Stills construct and reiterate stereotypes of postwar femininity, and were Sherman's seminal foray into her now - signature photographic practice.

An eponymous new show, opening tomorrow at Boston's Institute of Contemporary Art, represents the first full North American survey of his practice, exploring Raad's focus on investigations into distinctions between fact and fiction, especially in relation to «the veracity of archives and photographic documents in the public realm [and] the role of memory and narrative within discourses of conflict».

Naida Osline is a Los Angeles - based artist who combines and manipulates images sourced from both analog and digital processes, in which she blends conceptual and documentary photographic practices with an abiding interest in the transformative, mythical, and ethereal nature of existence.

For almost three decades Lyle Ashton Harris has cultivated a diverse artistic practice, ranging from photographic media, collage, installation and performance, to explore the impact of desire, ethnicity, and gender in the contemporary social and cultural dynamic.

Since moving to Georgia from her native Chicago in 2012, artist Kelly Kristin Jones has distinguished herself with her thoughtful photographic explorations of space and prolific, dynamic practice.

, discussing directions in which photographic collections could or should develop, Discussing Provoke, a cross-analysis of the cult Japanese photo magazine, its historical context and its ties to the emergence of performance art in Japan in the 1960s, Photography Beyond the Image, on techniques used to produce photographic works that seek to go beyond the production of an image; Photography & Cinema in Practice, discussing vernacular photography in cinematic production and the role of still photography in the history of art; and The Artist As..., discussing the different roles that artists undertake.

A final year student in Photographic Practice at the University of Northampton, Kay has a particular passion for traditional photographic methods, and is also concerned with the photograph as object in itPhotographic Practice at the University of Northampton, Kay has a particular passion for traditional photographic methods, and is also concerned with the photograph as object in itphotographic methods, and is also concerned with the photograph as object in its own right.

Shown only in black - and - white, the images paint a picture of the rich photographic community practicing together at the Lexington Camera Club between 1954 and 1974.

Samira Yamin's practice explores systems of knowledge production through systematic interventions at various points in the life of the photographic image.

Adrià Julià, born in Barcelona and based in Los Angeles, is a multidisciplinary artist whose practice encompasses film, video and photographic installations.

Of course, a good part of the artist's wideranging, amiable practice lends itself very neatly to reproduction, from the transient «One - Minute Sculptures,» 1988 - 97, that brought his work to the attention of a wider public beginning in the late 1980s to his more recent photographic «instructions» for being idle or politically incorrect.

Prager, whose practice often explores the figure in relation to its surroundings, will exhibit recent photographic work that evokes a sense of ambiguity about time and place.

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 photographs include some of Hopper's most iconic work, arranged in evocative narrative groupings that encapsulate his unique and conceptual photographic practice.

She has always taken photographs, but began taking the practice seriously when she entered and won a competition held by the London Photographic Association in 2008.

Haunted: Contemporary Photography / Video / Performance examines the myriad ways by which photographic imagery is incorporated into recent art practices, and in the process underscores the unique power of reproductive media — while documenting a widespread contemporary obsession with accessing and retrieving the past.

With a practice inspired by Romania's majestic Peles Castle, artist duo Katharina Stöver and Barbara Wolff investigate ideas of originality in their newest show — a site - specific concert of bespoke wallpaper, Jesmonite sculptures, and photographic rugs.

Participants will have a role in determining the form of the book and its contents, which may include photographic documentation, scholarly texts and interviews that contextualize McCabe's residency and the practice of «social sculpture».

The photographic object often involves an intersection of process and invention, as does the practice of photography itself, and in traditional photography both the process and the invention are «transparent,» in that they are understood to be a means to an end, namely, to produce a picture as a representational object.

This is echoed in her wide - ranging practices and media: drawings, books, photographic installations, sculptures etc..

In a current series, titled Material Gesture, Hovsepian introduces wall - based assemblage to her photographic practice.