Sentences with phrase «photographic representation in»

While early photographers pushed the boundaries of the medium to represent a Black world of hope and dignity, contemporary artists celebrate and extend that legacy, engaging in a dialogue about the nature of memory and photographic representation in relation to personal history.

: Images in Transition: Photographic Representation in the Eighties, Kyoto 1990 Centre Pompidou (Ed.)

Engaging what Siskind famously described as «the drama of objects,» Rauschenberg would continue to examine the tension between the characteristics of an actual object and its photographic representation in later works.

Not exact matches

An eye - opening, original collection of gorgeous, never - before - seen photographic representations of the 118 elements in the periodic table.

Additional highlights include Helen Frankenthaler's Belfry and February Turn (both 1979), which mimic the look and feel of Abstract Expressionism yet in truth represent a rupture with that tradition through the use of a staining technique that seemingly minimizes the artist's role in the process; Frank Stella's Double Scramble (1978), whose nested squares, color contrasts, and pulsing optical effects bridge the artist's early minimalism and later illusionism; and Robert Rauschenberg's Golden Chalice (1989) which, insofar as it marries abstraction and representation and juxtaposes gestural brushwork and photographic media, affords a crucial link to late 20th - century abstraction.

Of the two, Sherman's work is more familiar thanks to its sheer ubiquity and the art - world celebrity that has chased the reclusive artist since her breakout Untitled Film Stills (1977 - 80), shown in their entirety here, established her themes of identity and photographic representation.

On view will be works from two recent series, DCT (2016 — ongoing) and Blackout (2017), that together illustrate the artist's overarching interest in the nature of photographic representation and its relationship to reality.

Through the photographic medium, the exhibition explores the ways in which Indigenous artists represented in the Monash University Collection have reclaimed representations of Aboriginality.

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.

Catherine Opie's, «Divinity Fudge» hangs next to «Vaginal Davis» which both form part of the «Portrait» photographic series, formed from 1993 to 1997 while she was exploring the representation of the figure in gender politics and the sado - masochistic leather subculture in California.

Taking female roles in photographic representations as her starting point, Sherman creates recognizable pictures that mirror the human condition in its many nuances.

Actual objects, photographic representations, and painted surfaces co-exist without hierarchy on and in a single picture plane.

Narrative Fantasy After decades of conceptually oriented art, much of which interrogated codes of photographic representation, a generation of artists emerged during the 1990s that incorporated pure fantasy in their work.

As UCLA Professor Anthony Vidler writes «Casebere's «spatial unconscious» is in photographic representation, an opening through vision into the psychopathology of lived space, a space that blurs all the traditional distinctions between the space and the space represented».

Lee will also create a new series of photographic images that will be installed in relationship to the wallpaper that directly address ideas surrounding cultural exchange, fetish and aesthetic representations of power.

As Anthony Vidler Dean of The Cooper Union School of Architecture writes, «Casebere's «spatial unconscious» is in photographic representation, an opening through vision into the psychopathology of lived space, a space that blurs all the traditional distinctions between the space and the space represented».

The multi-layered manner in which she combines these interventions, while experimental and often intuitive, converges on a conceptual logic of choreographing and staging not just surfaces, but the conditions of photographic representation.

Andrea Geyer Spiral Lands / Chapter 2 (2008) is a multi-media installation that utilizes a dual construct of an enacted discourse and photographs taken by the artist in 2008 of the Chaco Canyon, a National Historic Park in New Mexico.Spiral Lands / Chapter 2 is constructed as a pairing of excerpts from post-colonial and postmodern discourse with a sequence of photographic representations of landscape from the Southwest.

Mass Recording (To Be Read From Right to Left) is a recent photographic work by Erik Blinderman that continues the artist's inquiry into the intersection of representation, media, and politics in contemporary life where an increasing number of individuals have the means to record, manipulate, and circulate information.

From Andy Warhol to Richard Prince, these artists open up the question of what it means to utilize the photographic medium for representation, as well as in the creation of form.

The former — an abstract collection of images created by inputting a series of numbers corresponding to frequencies, amplitudes, and color values into a custom - designed program — plays with the role technology plays in photographic representation; the latter, staged scenes from a imaginary emergency situation of power loss in New York City, explores what happens to human emotions in such scenarios.

His works question any assumed differences between abstraction and representation, between modes of presentation... Welling's photographs are objects in themselves, beautiful compositions that also gloss and comprise a history of photographic practices.

Instead of relying on photography as a technology of representation, the works in the exhibition push the photographic frame to its edges, to its built - in cutting and fragmentation.

There are endless variations on the theme of the human face in contemporary art — prominent examples include Thomas Schütte's supra - personal sculpted figures, Cindy Sherman's role - playing photographic images, the portraits of Marlene Dumas, Candice Breitz and Tony Oursler, Bruce Nauman's experiments with his own body, Rosemarie Trockel's family portraits, Julian Opie's schematic facial representations and Thomas Ruff's passport - style photographs.

Curated by Christine Eyene, Residual: Traces of the Black Body responds to the theme of FORMAT FESTIVAL 2015: Evidence, and aims to take on a dialectical approach to the notion of photographic evidence through engaging with the dual positioning of discourse and counter-discourse in the field of black visual representation.

The show — her first in the UK — showcases a new body of work all based around photographic representations of Washington State's Picture Lake, so called for being so photogenic it's become familiar to everyone through its ubiquity as screensavers and computer desktop backgrounds.

However, the paired concepts prove redundant of both the realism in photographic representation and the abstraction in nonfigurative painting.

She uses disposable cameras to deemphasize the authority of photographic representation and presents her prints in multipleiterations, each with a different tone — showing us the simple but profound ways in which photographic processes can alter the way people are represented.

Since the artist's acclaimed series featuring Tupperware in the 1990s, Richard Caldicott has continually challenged photographic codes of representation in favor of new aesthetic and symbolic intentions.

Brian Weil, 1979 - 95: Being in the World brings forward the work of this powerful artist whose practice resonates in contemporary debates about the politics of sexuality, activist aesthetics, and photographic representation.

While the expanse of the mine is vast, calling attention to the massive excavation, recreated in the platinum used to make the photographic print, a kind of doubling recurs through the material and its representation, both here and throughout Starling's method.

She also reflects on the nature of the photographic medium, the perception of images, history, and representation in museums.

In the new paintings, several planes of visual information collide: the abstract application of paint on the surface and a photographic representation of another place and time masked in the background, each layer obliterating the lasIn the new paintings, several planes of visual information collide: the abstract application of paint on the surface and a photographic representation of another place and time masked in the background, each layer obliterating the lasin the background, each layer obliterating the last.

Presented for the first time in London, Natalia LL's TAK comprises photographic assemblages of female lips pronouncing «tak» (the Polish word for «yes») alongside a visual representation of the written word.

This course explores the history of photographic portraiture as well as the work of contemporary artists working in a post-modern age where representation and identity are deconstructed.

Since the 1970s, Gaines has used self - determined rules in order to translate photographic information; he has said: «I use systems in order to provoke the issues around representation.»

Pinkas's latest body of work analyzes the advertising world and explores cheap objects and goods, which become elevated in the semantic space of culture through photographic representation.

Since the 1970s, he has used self - determined rules in order to translate photographic information; he has said: «I use systems in order to provoke the issues around representation.»

This work is executed in exacting detail, a near photographic representation of the high peaks of the Alps.

Many of the pictorial works in the exhibition reference photographic images rather than direct reality, thereby drawing attention to a multilayered process of representation.

In these artists» hands, the traditional practice of drawing is transformed into an exploration of time and space manifest in forms beyond traditional linear representation in photographic, painterly, and sculptural work.&raquIn these artists» hands, the traditional practice of drawing is transformed into an exploration of time and space manifest in forms beyond traditional linear representation in photographic, painterly, and sculptural work.&raquin forms beyond traditional linear representation in photographic, painterly, and sculptural work.&raquin photographic, painterly, and sculptural work.»

Burning through the cold with Charlotte Patterson's upcoming solo exhibition, 99 cents Plus Gallery explores the principles of time and representation in her photographic works.

Jo Spence (b. 1934 — d. 1992) was a key figure on the UK photographic scene from the mid-seventies and was a crucial voice in debates on photography and the critique of representation.

Stan Douglas immerses himself in the circumstances of photographic production at various points in history, investigating in his own work how modes of representation and narratives become iconic.

Jo Spence (b. 1934 — d. 1992) emerged as a key figure in the mid 1970s from the British photographic left, crucial in debates on photography and the critique of representation.

Past artists who have created work for Rivington Place's window include Philomena Francis who used piped black treacle in her artwork mo» lasses III to raise questions about identity and viewing the black female body, and most recently Nilbar Güres» Beekeeper, a photographic composition examining representations of femininity and cultural identity.

Her show gained increased focus and relevancy when she turned her sights on the representation of black women in Hollywood in her new photographic series Scenes & Take.

Her show gained increased focus and relevancy when she turned her sights on the representation of black women in Hollywood in her new photographic series

Opie is interested in reality, not a photographic record of a past moment, but a full reality of reference, memory, sensory experience and representation.

The exhibition title thus points to a specifically photographic representation of darkness, and simultaneously suggests a thematic tendency in young, Scandinavian photography.