Sentences with phrase «photographic source materials»

With my recent figures and portraits, painted from photographic source materials, I am exploring and expanding my content while continuing my desire to connect the present to the past.

Reducing his photographic source material to diagonal lines of pastel - colored pixels that mimic driving rainstorms, Zucker makes inkjet prints and transfers them onto large - scale canvases.

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.

Multiple canvases with in - progress works line his walls, all of them surrounded by litanies of photographic source material.

The painted surface performs a sort of alchemy that transcends the photographic source material, making this symbolic depiction of the contemporary condition more, not less believable and absorbing.

Through the photographic source material of oceans, night skies and deserts she relentlessly explores the image and the richness of its variation.

Working without photographic source material, Samaras conceived a cast of psychedelic characters and built compositions that reveal vivid and operatic narratives.

These sanitized images of limp - dicked men are taken from photographic source material.

These paintings include a single grayscale canvas that due to its chromatic verisimilitude with the photographic source material demonstrates in a visual form what the exhibition as a whole encapsulates conceptually.

The artist does not use photographic source material, so when he paints, he paints from memory»» his pre-sketches are almost unrecognizable as fish.

Not exact matches

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.

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

Large - scale high - resolution photographic works are the source material and centerpiece of Ross's exhibition.

It will consist of primary and secondary source material that will include: ephemera, drawings, photocopies, photographic documentation, newspaper articles, maps, catalogs, transcribed interviews (my own and pre-existing), photographs (of locations where these performances originally took place), and audio and video components.

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.

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.

Edited by Skira and curated by Bruno Corà, the monograph will contain colour images of all the works on display, together with an extensive selection of photographic documents, critical commentary and source material, all of which illustrate Gianfranco Pardi's long and fertile creative career.

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.

Carving into a painted MDF surface with a router, Aaron Williams recreates graffiti imagery in photographic sources, expanding the idea of mark marking and materials.

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

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.

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.

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

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.

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.

Wolowiec, like so many artists, is sourcing photographic material online, but then processing it through the most ancient of old technologies.

He gleans photographic bits of his life — family photos, vintage magazines, baseball cards, other people's art — as source material that he then carefully splices into large paintings.

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.

Large - scale, high - resolution photographic works are the source material and centerpiece of Ross» exhibition.