Not exact matches
Because of an editing error, a picture caption in some editions last Thursday with an article about the effect that faltering relations
between Gov. Andrew M. Cuomo and Mayor Bill de Blasio
had on a relatively weak legislative session described the
photograph incorrectly and misstated the month it was
taken.
Take infinite
photographs but do not forget to
have fun in
between those moments just to get the perfect pose.
Karl Ludvigsen recalls how Frazer Nash
had just the right sporting pedigree to appreciate the brilliant new sixes from Munich and Eisenach / London to Brighton — David Burgess-Wise braves the cold November weather to report on the most famous event in the old - car calendar / Douglas Ferreira and the Bond Affair Malcolm Bobbitt describes the unique relationship
between the Bond Minicar and its intrepid sales representative, Douglas Ferreira / Auto Unions
take on the Handicappers — Inspired by
photographs from Ken Stewart's archive, Simon Moore
takes a look at Auto Union's South African forays over the winter of 1936 - 37 / Seaton - Petter and the # 100 Car — Worthington - Williams unravels the story of the # 100 Seaton - Petter motor car, made in Yeovil, and examines the vogue for # 100 cars in the mid - to late - 1920s
Kate Hoffman's Dream Home series,
photographs taken from performative collage collaborations,
has a malleable quality that emphasizes the viewer's own socio - political leanings; Samira Yamin's intricate patterns of Islamic sacred geometries cut into TIME Magazine photos of war oscillate
between greater ambiguity and flirting with the didactic depending on the density of the cuttings; Sandra de la Loza's
photographs of Stoner Spots underscore the politics of leisure through the exploration of pot - safe spaces, with a subtext of the not - quite - yet absorbed by development; Scott Short's «abstract» paintings replicate multiple generations of photocopying through the prism of Walter Benjamin; and Suzanne Wright will exhibit a deftly humorous Étant donnés-esque collage alongside mandala targets — each salves, in their respective forms, for our tumultuous zeitgeist.
A Thousand Crossings
has been in the making since 2014, when the NGA was made steward of the Corcoran Gallery of Art's collection of 25 Mann
photographs taken between the mid-1970s and the early 2000s.
The exhibition, which is curated by Pierre Apraxine and Matthieu Humery, brings together 130
photographs,
taken between the end of the 1940s and the mid-1980s, and
has as a goal to cast a light on the creative universe of the celebrated American photographer, putting relatively unknown images side...
Met Breuer
has future programming to look forward to this summer and through the fall, including rarely seen early
photographs by Diane Arbus, which were
taken on the streets of New York City
between 1956 - 62, which is an exhibit scheduled for July.
A series of abstract patterned drawings, considered as self - portraits by the artist, are derived from the negative spaces
between people and objects within family
photographs that were
taken after her exile from Iran, offering a reflection on displacement and the effect it might
have on family life.
Over the last year, Serena Maisto
has been focusing on the interaction
between photography and painting, whether she employs others»
photographs or
takes her own.
It and the two other works on view — Radio Piece (Hong Kong)(2015), a backward moving shot of Hong Kong's Kowloon district, and KING (after Alfred Wertheimer's 1956 picture of a young man named Elvis Presley)(2015), for which Claerbout
has recreated the historical
photograph, pixel by pixel, using other images
taken throughout Elvis's career — masterfully play on the space
between what is real in physical terms and what one can come to perceive as real in the digital realm in which we spend so much of our lives.
He
took care to distinguish
between what he
had personally observed, what he could observe from
photographs presented to him, and what he did not know.