Sentences with phrase «photographs of other artists»

Known for photographs of other artists» works, Louise Lawler brings to the High Line an image of a room featuring works by Minimalist and Conceptual Art icons Donald Judd, Frank Stella, and Sol LeWitt.

Not exact matches

Unlike most other collage artists that incorporate other's images, I have given myself the personal challenge of using only my own photographs, paintings, and drawings in my works.

Guys, the women who are a scammers and con artists are the ones who have maybe 1 photograph up at the dating site and are trying to get you comfortable in clicking over to other sites to see more of their photos.

Using never before seen works, writings and photographs, director Sara Driver, who was part of the New York arts scene herself, worked closely with friends and other artists who emerged from that period.

The beautiful photograph on metal of colorful surf boards in the dining room is a product of our other local artist, Alex Arthur, photographer.

Even in this case, it must be noted that certain photographs represent a private sketch group meeting in one of the women artists» homes; in the other, the model is draped; and the large group portrait, a co-operative effort by two men and two women students of Repin's, is an imaginary gathering together of all of the Russian realist's pupils, past and present, rather than a realistic studio view.

From Hannah Wilke's unflinching self - portraits in illness and Matthew Barney's performance - based installation to Cindy Sherman's surreal photographs and Kara Walker's antebellum figures, Into Me / Out of Me examines how artists have explored the physical and psychological boundaries of their bodies and those of others creating images of fragility and strength, illness and suffering, tenderness and violence.

At MOCA Los Angeles, Smith's curatorial projects ranged from Blueprints for Modern Living: History and Legacy of the Case Study Houses, The Architecture of R.M. Schindler, and At the End of the Century: 100 Years of Architecture to a survey of the Cindy Sherman «s photographs and the first museum presentations of then - emerging artists Uta Barth, Toba Khedoori, Catherine Opie, and others.

He took his first photographs using a Polaroid camera, and later became known for his portraits of artists, architects, socialites, stars of pornographic films, members of the S&M community, and an array of other unique people, many of whom were personal friends.

Nested within the show is a complementary presentation of images curated by Thomas, photographs by fellow artists — Derrick Adams, LaToya Ruby Frazier, Lyle Ashton Harris, Deana Lawson, Malick Sidibé, and Carrie Mae Weems, among others — whose practices have inspired her own.

With film recordings and photographs as well as correspondence, invitations, posters, and other ephemera, Joan Mitchell's vibrant personality and her various relationships to artists, authors, and other figures from the cultural world of her time are illuminated.

The Mulleavy portrait is part of a larger project of photographing artists, writers and other people in Opie's immediate circle — people like the novelist Jonathan Franzen and writer / performer Miranda July.

This photograph add to the ICA / Boston's strong collection of works by Dijkstra, and joins other documentary - style photographs and portraits in the collection by such artists as Roe Ethridge, Nan Goldin, Catherine Opie, and Collier Schorr.

Of course, this «audience» is much more than just people who buy my photographs, but people who look at them, other artists and photographers, and the whole wider community at the Torpedo Factory.»

to a survey of the Cindy Sherman «s photographs and the first museum presentations of then - emerging artists Uta Barth, Toba Khedoori, Catherine Opie, and others.

This conversation is with Karen Halverson, an artist that has been photographing for over 30 years whose work is in many prestigious collections including the San Francisco Museum of Modern Art, Smithsonian American Art Museum, the J. Paul Getty Museum, Beinecke Library at Yale University among others.

As critical responses to the exhibition emphasized, New York has long been an important source of inspiration and material for the artist, who first came to the city in 1960; the exhibition included the work I Love New York, Crazy City (1995 — 1996), a three - volume scrapbook of architectural photographs, maps, hotel bills, receipts, flyers, and other souvenirs that Genzken began composing during a stay of several months.

Showcasing works that have transformed the public space of the city and also altered public expectations and the role of art outside the museums and galleries, the exhibition will include renderings, models, photographs and video footage of work by artists such as Red Grooms, Christo and Jeanne - Claude, and Kara Walker, among others.

A rotating selection of Muholi's photographs and over 400 works by 200 other artists, architects, and designers in the group show Une Histoire, Art, Architecture et Design Des Annees 80 a Aujoudhui concentrating on art, architecture, and design from the 1980s to today runs through March 2016.

He took his first photographs using a Polaroid camera, and later became known for his portraits of artists, architects, socialites, stars of pornographic films, members of the S&M community and an array of other characters many of whom were personal friends.

Other works on display include After Kosuth (2012 - 17), a self - portrait that exists as a photograph, a photo etching on paper and a gold - plated bronze cast of the artist's head.

And there are many other works here that have the same effect: Duchamp's squeamish Prière de toucher, a pale pink breast swelling out of the cover of a book; Helen Chadwick «s lightbox photograph of a human brain lovingly cupped in the artist's own hands, as if it were hers to have and to hold.

Artists Bryan Hunt, David Salle and Ralph Gibson are included in the painting inspired by group photographs made by Hans Namuth of Jackson Pollock, Willem de Kooning and other artists gathered on a sand dune, according to Phyllis Tuchman, who wrote the essay for the exhiArtists Bryan Hunt, David Salle and Ralph Gibson are included in the painting inspired by group photographs made by Hans Namuth of Jackson Pollock, Willem de Kooning and other artists gathered on a sand dune, according to Phyllis Tuchman, who wrote the essay for the exhiartists gathered on a sand dune, according to Phyllis Tuchman, who wrote the essay for the exhibition.

Photographs and ephemera relating to the project are displayed alongside documentation of other Judson initiatives, including experimental works by Claes Oldenburg and Jim Dine, and those by lesser - known artists such as Martha Edelheit, whose 1960 psychedelic watercolour, Dream of the Tattooed Lady, anticipates later developments in feminist art.

Night Vision: Nocturnes in American Art explores the critical importance of nocturnal imagery in the development of modern art by bringing together 90 works in a range of media — including paintings, prints, drawings, photographs, and sculptures — created by such leading American artists as Ansel Adams, Charles Burchfield, Winslow Homer, Lee Krasner, Georgia O'Keeffe, Albert Ryder, John Sloan, Edward Steichen, and Andrew Wyeth, among others.

Examining the photographs of these events, many snapped by Harry Shunk, we might find Saint Phalle's partner, Tinguely; art critic Pierre Restany; gallerist Jeannine de Goldschmidt; poet John Ashbery; her estranged husband, Harry Mathews, and their two children; various neighbors; and artists Daniel and Vera Spoerri, Hugh Weiss, Robert Rauschenberg, Jasper Johns, Ad Reinhardt, and Edward Kienholz, among others.16 Since Saint Phalle considered the sessions to be performance events, or «spectacles,» she amplified their theatricality by arranging for their media - documentation in photographs and short films that painstakingly disclose her methods.17 In addition to the before - and - after images of the firings, where Saint Phalle is often pictured striking defiant or bemused poses, other scenes reveal the creative process leading up to the event.

The show features paintings by Helen Frankenthaler, Alfred Leslie, Trevor Winkfield, Nell Blaine, Joe Brainard, Grace Hartigan, Joan Mitchell, Jane Freilicher and Fairfield Porter; poetry collections published by the gallery's imprint, Tibor de Nagy Editions, and featuring work by Frank O'Hara, Kenneth Koch, James Schuyler, John Ashbery, Barbara Guest and others, with illustrations by Tibor de Nagy artists; photographs and films by Rudy Burckhardt; letters, announcement cards and other ephemera; and archival photographs of leading cultural figures of the day by John Gruen and Fred McDarrah.

Celacanto Provoca Maremoto is a mural covering four walls, made up of 184 painted canvas panels — white - and - blue squares that recreate original tiles the artist photographed, depicting parts of angels, wings, and other decorative motifs, as well as the texture of cracked tiles.

The performative nature of the paintings and the artist's self - awareness on camera recalls Hans Namuth's infamous photographs of Jackson Pollock's dramatic painting process — images that have defined our understanding of his active bodily presence.18 However, in Saint Phalle's hands, there is an explicit refusal of the terms of abstraction that Pollock and others of his generation perfected — i.e., the expression of exquisite anguish that could be exorcized by subjective brushwork from the singular, heroic male artist.

Ordinary Pictures Featuring works by some 45 artists, Ordinary Pictures surveys a range of conceptual picture - based practices since the 1960s through the lens of the stock photograph and other forms of industrial image production.

These photographs, never - before seen until now, capture three of the leading post-war artists Hans Hofmann, Franz Kline, and Jack Tworkov enjoying their friends and family while celebrating a humble festive dinner with each other.

Other pieces, by David Levinthal, Cindy Sherman, and Lorna Simpson push the conventions of photography to new limits and expand our understanding of what the medium can be, while photographs by international artists, such as Shirin Neshat and Liu Wei exhibit the exchange of ideas that is possible in today's universally connected world.

In addition to paintings by several Gutai members, including Yoshihara, Atsuko Tanaka, Shozo Shimamoto, Sadamasa Motonaga, Kazuo Shiraga and Akira Kanayama, the exhibition includes examples of the Gutai journal and other publications; documentation of the 1958 Gutai exhibition at the Martha Jackson Gallery in New York, works by New York artists who related strongly to Gutai; rare videos of Gutai exhibitions and performances in Japan; and photographs of American artists — including Jenkins, Alice Baber, Robert Rauschenberg, Jasper Johns, and John Cage — visiting the Gutai group in 1964.

On the other end of the spectrum was Spanish artist Miguel Angel Garcia's pigment print View from the Empire State building Looking South, a scenic photograph abstracted by the painted red highlights of water towers throughout the city view.

Be sure not to miss booths by Benrubi Gallery from New York, a leading gallery with a focus on 20th Century and contemporary photographs; Blindspot Gallery from Hong Kong, a gallery with a primary focus on contemporary image - based works; Bryce Wolkowitz Gallery from New York, a gallery with a major commitment to representing new media artists who are exploring the intersection of arts and technology; Dittrich & SCHLECHTRIEM & V1 from Berlin, a gallery representing emerging, mid-career and established artists from around the world; Fraenkel Gallery from San Francisco exploring photography and its relation to other arts; Gagosian Gallery from New York, Hong Kong, Beverly Hills, Athens and Rome; Hamiltons Gallery from London, one of the world's foremost galleries of photography; Galerie Lelong from Paris focusing on an international contemporary art and representing artists and estates from the United States, South America, Europe, and the Asia - Pacific Region; Magda Danysz from Paris, Shanghai and London dedicated to promoting and supporting emerging artists and favouring a larger access to contemporary art on an international level; Mai 36 from Zurich focusing on trading and presenting international contemporary art; Pace Prints / Mac Gill, a publisher of fine art prints and artist editions affiliated with the Pace Gallery; Richard Saltoun Gallery from London specialising in post-war and contemporary art with an interest in conceptual, feminist and performance artists; Roman Road from London; Rosegallery from Santa Monica, an internationally recognized gallery of 20th and 21st century works on paper; Taka Ishii Gallery from Paris, Tokyo, and New York devoted to exploring the conceptual foundations and implications of contemporary (photo) graphic practice; White Space from Beijing; and Yumiko Chiba Associates from Tokyo, among others.

Photographed in 1980 and printed in 1980, this work is number three from an edition of fifteen plus three artist's proofs Other gelatin silver prints from the edition are in the collection of the Solomon R. Guggenheim Museum, New York, the Musée national d'Art moderne - centre Georges Pompidou, Paris; the joint collection of the J. Paul Getty Trust and the Los Angeles County Museum of Art, and the Museum of Contemporary Photography at Columbia College, Chicago.

Shooting Performance includes photographs of important performances and installations by artists such as Stuart Brisley, Anya Gallaccio, David Medalla and Cornelia Parker amongst others from the 1980s and 1990s.

In keeping with that philosophy, on the lineup (other than a show commemorating a gift) is a retrospective next spring of Louise Lawler, a Conceptual artist who photographs installations of other artists» work but is not in any traditional sense a photographer.

Through films, photographs, and original documentation made over the course of their relationship — as student and teacher, lovers and colleagues — the exhibition illustrates the artists» different approaches and considers the impact they had on each other's work.

A fully illustrated catalogue, published by DelMonico Prestel books and Prospect New Orleans, will feature documentation on participating artists and include essays by the Artistic Director Trevor Schoonmaker, with contributions by William Cordova, Miranda Lash, Omar López - Chahoud, Wangechi Mutu, Filipa Oliveira, Ebony G. Patterson, Ylva Rouse, Ned Sublette and Zoé Whitley along with more than 20 other contributors including Russell Lord, NOMA's Freeman Family Curator of Photographs and Katie Pfohl, NOMA's Curator of Modern and Contemporary Art.

Other highlights of the exhibition include her Neverland series from 2002, where she photographed objects, either alone or in groups, on fields of color; Figure Drawings from 1988 - 2008, featuring an installation of 40 framed images of the human figure; Objects of Desire from 1983 - 1989, where she made collages of found photographs and rephotographed them against bright background of red, blue, green, yellow, and black; Renaissance Paintings from 1991, featuring individual figures and objects from disparate Renaissance paintings isolated and re-photographed against monochrome backgrounds; Doubleworld from 1995, where the artist transitioned from collaging and re-photographing found images to creating stylized arrangements for the camera; Stills from 1980, where the artist compiled and re-photographed over 70 clippings of press photos that capture people falling or jumping off tall buildings; Available Light from 2012, incorporating many of her techniques utilized over the course of her career; and Modern History from 1979, in which she has re-photographed the front page of the newspaper with the text redacted.

• A new site - specific installation by social practice artist and disability activist Carmen Papalia, premiering at the BCMA, which will consist of performance documentation such as text - based banners, photographs, and other ephemera reflecting the artist's collaboration with members of the campus community on the subject of nonvisual learning.

The «Fact» paintings have taken various other photographic themes as their subject matter since 2000, including: details from Hirst's own work, personal photographs of the birth of the artist's son; famous diamonds; and biopsies.

Also included in «Big Spaces and Large Planes» are: the loosely graphic paintings of Cathy Fiorelli who shares studio space with eleven other artists at the Middletown Pendleton Art Center; the perceptive works on femininity of Pattie Byron from West Chester; the Kente Cloth - inspired art quilts by Miami University - educated Linda Kramer; the mixed media of Oxford's Maureen Nimis with her cut paper and photographic work; the small works by Catalog & Slavic Librarian at Miami University, Russian - born Masha Misco; and the jewel - like small photographs of Denver - born Cincinnati resident Brian Luman whose exploration of urban crevices is fueled by his skateboard and camera.

Several mixed - media works by Brazilian artist Leda Catunda, a sculpture by Colombian artist Mateo López, and a series of photographs and related paintings by Mexican artist Pia Camil, among others, will now be part of one of the most comprehensive collections of Latin American art in the United States.

The exhibition will also feature other documents, including photographs and archives, which will shed light on a little - known aspect of this artist's life and work, that being the influence of the South of France and French painters (such as Paul Cézanne and Jean Lurçat), gleaned during Nash's various journeys to France in the 1920s and 1930s, including a short stay in Arles.

Having garnered an international reputation as one of the leading artists to emerge from the New York Pictures Generation of the 1970s and 1980s, Simmons has thoughtfully and methodically moved through her various photographic series, such as Early Black and White Interiors, 1976 — 78, in which pseudo-realities are created by staging miniature spaces with dollhouse furniture and other banal props; and Walking & Lying Objects, 1987 — 91, a series of black - and - white photographs of inanimate objects animated with human legs.

«Vertical Elevated Oblique» included C - stands used as workhorses for lighting, fabric, showcards and other apparatus in the film industry (Syms grew up in Los Angeles around this business and remains based in the city) strung with found photographs in which several hands were pictured forming the kind of gestures seen in her video, while items of the artist's clothing printed with phrases were also slung over these tubular frames, suggesting an absent body.

Other works in the exhibition include Jorge Pardo's handcrafted wooden palette and modernist designed furniture that question the nature of the aesthetic experience; pioneering conceptual artist Joseph Kosuth's discourse on aesthetics in neon, An Object Self - Defined, 1966; Rachel Lachowicz's 1992 row of urinals cast in red lipstick, which delivers a feminist critique of Duchamp's readymade; Richard Pettibone's paintings of photographs of Fountain; Richard Phillips» recent paintings based on Gerhard Richter's highly valued work; Miami artist Tom Scicluna's neon sign, «Interest in Aesthetics,» a critique of the use of aesthetics in Fort Lauderdale's ordinance on homelessness; the French collaborative Claire Fontaine's lightbox highlighting Duchamp's critical comments about art juries; Corey Arcangel's video Apple Garage Band Auto Tune Demonstration, 2007, which tweaks the concept of aesthetics in the digital age; Bernd and Hilla Becher's photographs, Four Water Towers, 1980, that reveal the potential for aesthetic choices within the same typological structures; and works by Elad Lassry and Steven Baldi, who explore the aesthetic history of photography.

While some artists create large - scale oil paintings, others draw on top of photographs, or combine sculpture and two - dimensional work.