Sentences with phrase «photographic works as»

Assuming that this translation is correct, Article 10 (viii) identifies photographic works as «works».

During the residency, Gallery A presented an exhibition titled Zonification, featuring several photographic works as well as works from the «Counting Cars» series.

However, by submitting you hereby grant to Tourism Australia a non-exclusive, royalty - free, worldwide, revocable, non-transferable, perpetual licence to use, modify, delete from, add to, publicly display and / or reproduce, your photo, including editing, compiling and assembling video works, interstitials or the use of photographic works as underlying works compiled into moving image without limitation in any online media formats (including e-newsletters) and through any social media channels, pages or accounts.

Not exact matches

For about $ 200, students in the class will «improve their critical understanding of the photographic self - portrait, as well as a platform to develop ideas towards the creation of a coherent body of work.

As a member, Hess will work to educate the photographic community about the possibilities of digital photography and assist in the development of innovative new equipment, according to the Olympus release.

«As soon as we saw the natural feel of Gypsy's work we knew it was the photographic style we wanteAs soon as we saw the natural feel of Gypsy's work we knew it was the photographic style we wanteas we saw the natural feel of Gypsy's work we knew it was the photographic style we wanted.

I have worked as a fashion, photographic, editorial and life model for over seven years.

Short in stature, 5 - 4, 180 lbs, I've worked many jobs which did not inspire me such as the U.S. Geological Survey, Menlo Park, Getty Oil Company, Occidental International Petroleum Corp., a Navy Veteran where I served as a Aerial Photographic Intelligenceman.

I respect their work, I respect them as filmmakers, but I wasn't quite sure if there would be a good marriage between what I'm trying to pursue and the work that I'm doing and what they're doing, but they helped make that real clear to me early on by expressing some real interesting story [and] photographic ideas that really resonated with me.

Away from the competition, the lineup offers numerous pockets of interest beyond the red - carpet draws of the Madonna and Soderbergh features: the documentary lineup is particularly strong, with new offerings from American masters Jonathan Demme («I'm Carolyn Parker»), Ross McElwee («Photographic Memory») and Frederick Wiseman («Crazy Horse»), as well as two new works (one short, one feature) from Pietro Marcello, whose «The Mouth of the Wolf» was my single favorite doc of 2010.

But its eerie photographic effects, off - beat narrative and stylish direction set it apart from its contemporaries and mark it as the work of an auteur with a clear, specific vision.

Today, we get to work to bring you as much photographic coverage as we can, along with a couple of interviews with the Audi Sport team.

Sory Sanlé: Volta Photo 1965 - 85 is a fascinating collection of black and white photographic work by Sory Sanlé, an eminent portrait photographer from Burkina Faso, the landlocked country in West Africa formerly colonised by the French, then known as Republique de Haute - Volta.

The gallery owners responses to questions about «How To Work With Galleries» was helpful, but as an award winning fine art photographic artist, I would like more detailed information about how to find and approach successful galleries to represent the art of photography.

As a photographic artist, I hope someone in the gallery business or other fine art photographer who have successfully been through this will read and respond to comments regarding «How To Work With Galleries».

Internationally shown and a prolific artist, her photographic work, postcards, and books were exhibited in Beautiful Losers in the United States and Europe from 2004 - 2009 establishing herself as a pioneer in DIY culture.

Most of the women — Kruger, Levine, Lawler, Sherman, Charlesworth, Bloom and Laurie Simmons — worked with photographic imagery, partly because photography was still regarded as a bastard child of art.

While working across multiple series, much of her photographic work functions as a personal act of deconstruction and reappropriation — both of images she has created herself and images she has singled out as influence.

One of the world's most prestigious annual photography events, The Photography Show is the longest - running and foremost exhibition dedicated to the photographic medium, offering a wide range of museum - quality work, including contemporary, modern, and 19th - century photographs as well as photo - based art, video, and new media.

In this series of photographic works landscape is explored as an agent that not only acts as a central character but also forms the characters that populate it.

In the mid-1970s, the artist began using the photocopy machine as a new type of photographic lens through which she created series of works that defy an accepted understanding of the limitations of the photocopier.

Other works such as the series Blushes 2000 - ongoing, made without a camera by manipulating the effects of light directly on photographic paper, show how the artist's work with abstraction continues to push the boundaries and definitions of the photographic form.

In addition to the Foundation offices, and at a later date, we plan to set up a research area where visiting scholars may study the papers of the two artists as well as the photographic archives of their works of art.

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.

It is a time for photographic technology to reproduce infidel identities, as in the works of Luis Gispert, Francie Bishop Good and Robert Melee.

Charchian's photographic work has been featured in publications such as Vogue, Huffington Post, i - D, Interview, Garage and Purple Magazine.

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.

Referred to as «abstract figurative drawings,» by Mr. Owens, the new works are produced in ways that are «similar to the process of making photographic prints in a darkroom» but using everybody's favorite petroleum jelly, Vaseline, and everybody's favorite drug, coffee.

Often hinging on frameworks of social or commercial labor, such as the day - to - day activity of gallery staff, X-ray machines, or FedEx shipping operations, his photographic and sculptural works are each indexical products of transactions — whether initiated by, or exposed by the artist.

Revisiting manifestations of the black square and tracing its evolution over time to a more layered and frayed entity are a new suite of paintings by Ellen Gallagher riffing off of Kazimir Malevich's Black Square on a White Ground (1915), mixed media works by Turiya Magadlela, a bound fabric wall sculpture by Laura Lima, and Jonathas de Andrade's photographic iterations of the black square, which use plastic tarp to reference the movement of land occupation and the square form as a historic reference to capitalism.

His earliest photographic works recreated historical subjects, such as self - portraits, still lifes and mythological scenes.

As White's first extended exploration of portraiture, this body of work is a departure from the narrative themes of his past photographic series.

Another Land: After Noguchi is a photographic response to the works of Isamu Noguchi (1904 — 88), using light as a sculptural tool to cast Noguchi's work as distant objects in space.

Their love of the history of photography and their use of historical photographic techniques, such as the cyanotype, has produced an original and contemporary body of work.

Taking the form of drawings, photographic series and video installations, his work consistently invokes the use of systems as generative part of the artist's practice, investigating the relationships between aesthetic experience, political beliefs and the formation of meaning.

The HMI exhibition itself includes two sculptures out of the original 14, William Turnbull's Angle and Nicholas Monro's King Kong, as well as other works made in or around 1972 by some of the other sculptors, alongside maquettes and models, some original and some specially remade, and photographic and other forms of documentation.

He actively works with the photographic image in all imaginable levels: as a consumer, producer and editor of images, as arranger, curator, installer, and as his mechanic, anatomist, political, sculptor, technical, expert and philosopher - scientist.

Currently the Director / Curator of PLATFORM: centre for photographic + digital arts, Kegan found himself in New York City this past June as a participant in the inaugural Curatorial Intensive with Independent Curators International, where he work - shopped the exhibition Cabin Fever, which opened at PLATFORM in October.

Her oversized works appear as photographic flawlessness from a distance yet, on closer examination one is confronted with intriguing layers that reveal cracks in this illusion.

10/4 to 10/22 Nader Tehrani, Dean, Chanin School of Architecture, Daniel Libeskind AR ’70, Laurie Hawkinson AR» 83, Gina Pollara AR» 91, Bradley Samuels, AR» 05, are part of a group exhibition, Work in Progress, which showcases alternative visions for New York City development projects, as well as a photographic survey of active construction sites throughout the city.

As part of an ongoing series of works on paper collectively entitled Perceptual Ecology, Mat Chivers has been making drawings that result from the mirroring and combination of self - made and found photographic images, film and CAD renderings.

All of Cooke's subjects stem from real life — his autobiography, live models or photographic and literary sources — but metamorphose away from these everyday referents as they become realized in paint and enmeshed in the landscape of the work.

Danish artist Mette Juul works primarily in video and photography, focusing on photographic archives and images as narrative structures.

Using herself as muse, Hardy's photographic large - format photographic works depict a female centered in frame with props and fashion - gone - wrong.

Many of the first works, created in the deserts of U.S.A. (Nevada, New Mexico, Utah or Arizona) were ephemeral in nature and now only exist as video recordings or photographic documents.

They are sumptuous and transfixing; each could be viewed as though it were a distinct work of photographic art.»

Transforming the relationship of her photographic work to reality, Pinheiro engages the viewer, exposing each piece as simultaneously object and image.

The jury will evaluate both the photographic quality as well as the creativity of the works.

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.