Sentences with phrase «photographs of the artist as»

Souvenir I (1971), which imprisons photographs of the artist as a child and a deceased victim of the concentration camps in polyester resin and fibreglass, feels like a premature elegy.

The middle panel alludes to the indexical trace of a fingerprint, similar to Rauschenberg's 1964 Self - Portrait (for «The New Yorker» Profile), also included in this exhibition, with a spiral - patterned text that documents significant events of Rauschenberg's life and artistic career, centering on a photograph of the artist as a child surrounded by his family.

The book also features rare photographs of the artist as a young man and full - color reproductions of Noland's early formative work.

Mirage, 1996, is a two - part sculpture based on a photograph of the artist as a child, building a sandcastle on a beach.

Not exact matches

A visual feast, the book includes a letter from each illustrator to children, a self - portrait, a photograph of the artist (sometimes as a child), and a sampling of their work.

Corsicato compiles footage taken from around Schnabel's home, recent interviews conducted with family and friends, and an assortment of photographs and film clips spanning the artist / director's life in an effort to, if one trusts this documentary's title, provide an intimate portrait of Schnabel's psychology as it was generated from the unusual circumstances of his youth.

Each one offers a selection of photographs plus a coloured pencil artist example for students to use as inspiration.

The three topics are: - Nature and Natural Form - Identity - Groups of Objects Each topic is introduced as a page of artists with images, and a list of things that students could focus on, draw, photograph etc..

Photographing space, known as stellar astrophotography, is the result of collaboration among NASA's many engineers, scientists and artists.

With an art degree from Rhode Island School of Design on his office wall, two union cards - stagehands and scenic artists - in his wallet, five able - bodied children, a French wife, and a photograph torn from a magazine of two Yugoslav guys roasting a lamb over a pit, he created a legendary party - a feast that almost two hundred people came to every year from as far away as the townhouses of New York City and as near as our local elementary school.

Using only a chopping board, a highball glass as a rolling pin and a blunt IKEA knife, artist Eleanor Macnair loves to take Play - Doh and recreate photographs — taking inspiration from the incredibly iconic to the lesser known imagery of the world.

These black - and - white life - size photographs of naked women in their 90s posed against a pure white ground, as if they were already in another world, were shocking when they were first shown, about 12 years ago, when the artist was in his early 40s.

Earlier this year «System and Vision» at David Zwirner, in cooperation with Berlin's Galerie Susanne Zander, examined the obsessive work of vernacular artists such as Morton Bartlett, a doll maker who photographed his creepy creations; Prophet Royal Robertson, an artist of brimstone - burnt apocalyptic fervor; and George Widener, a living artist whose mixed - media pieces entail complex mathematical and calendrical calculations.

Most artists find it fairly easy to photograph their completed work, but many struggle to document the process of the work as they are creating it.

The photographs of Roy Lichtenstein span several decades and document the artist in his studio with his paintings and completing his iconic murals, such as: the fleeting 1963 «Greene Street Mural,» the permanent 1989 «Tel Aviv Museum of Art Mural,» and the collage for «Times Square Mural».

Comprised of two separate videos, «Ringtone» and «Geisha Song,» the installation features the artist's signature style of using inanimate objects, such as ventriloquist dummies, paper dolls and finger puppets in staged photographs and film to objectify people and express a blend of psychological, political and conceptual ideas.

The artist transforms these everyday materials — such as plants, books, record albums, photographs, shea butter, and soap — into conceptually loaded and visually compelling works that challenge entrenched ways of thinking about the black experience and emphasize its plurality.

«Bauhaus, Dessau,» taken from a photograph taken by the artist of a stairway in the Weimar - era school with the human figures entirely removed, serves as a chilling reminder of the effects of authoritarianism, globalism, right - wing populism and what the gallery calls «the locusts of power.»

Seven key photographs are displayed within a system of eleven freestanding wall works that intervene in the architecture of the exhibition space, underscoring Williams's self - described interest in establishing a more «mobile» position as an artist, alternately acting as «camera operator, picture editor, exhibition designer, graphic designer.»

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.

Photographs by SKG artist Leonard Freed are on view at the University of Lousiville's Ekstrom Library through May 25th as part of their «Fine Young Kids» exhibition.

Darrel Ellis was the star of «New Photography 8» in 1992 with mixed - media works distorting family photographs his father, Thomas, took in the 1950s in Harlem and the South Bronx.10 Ellis was a prolific artist who briefly worked as a security guard at MoMA in the late»80s.

And in between (literally), at Kai Matsumiya, is a kind of palette cleanser in the display of Rainer Ganahl's wonderfully random photographs of art world lectures being given by such luminaries as the art historian Linda Nochlin and the performance artist Andrea Fraser.

Included in the holdings are thousands of photographs, documents, artist letters, publications, ephemera, audio, video and film that document the Walker's long history with numerous artists, such as Chuck Close, Bruce Conner, Trisha Brown, and Merce Cunningham.

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.

As part of a radical young group of artists, Beckley exhibited glossy photographs of erotic content and typed fictions.

As a part of his process, the artist photographed himself in the scene as source material for the drawinAs a part of his process, the artist photographed himself in the scene as source material for the drawinas source material for the drawing.

Organized around themes of love and desire, Scopophilia, which means «the love of looking,» reflects on Goldin's intensely personal photographs, as well as the unique permission given to the artist to photograph freely throughout the Louvre Museum.

The artist creates works as signifiers of the destruction of the natural world by «colonial powers», via a series of tabletops containing mineral fragments and photographs of equatorial scrublands.The minerals are representative of the original environment now re-contextualized within the white cube of the gallery space becoming «art», and forming a dialectic concerning «value».

Compiled and edited by exhibition curator Jason Andrew, the catalogue also features an essay by the curator; two unpublished interviews with Tworkov and Irving Sandler; a reprint of the 1953 Art News article Tworkov Paints a Picture with essay by Fairfield Porter and photographs by Rudolph Burckhardt; historic photographs and unpublished contact sheets by Robert Rauschenberg of Tworkov at Black Mountain College 1952; as well as illustrated artist chronology.

Understood in their broadest definition, the drawings and photographs assembled here include a wide range of material, among which are an 1864 photograph of the forest of Fontainebleau by the little - known French photographer Constant Alexandre Famin; a pastel completed earlier this year by Jasper Johns; a 3 x 5 inch Cezanne figure drawing; a new 6 1/2 x 10 foot landscape drawing by Ugo Rondinone; a digitally - manipulated photograph of the musician Björk by Inez van Lamsweerde; a small piece by an outsider artist known as the «Philadelphia Wireman,» who carefully bound his drawings up with bits of wire so they are barely visible; a recent charcoal on canvas by Gary Hume; and a 1949 sketchbook by Tony Smith.

In interviews related to the exhibition, the artist emphasized that the photographs were shot not with an expectation to be viewed by the public, but rather as a reflection of everyday life and its sense and sensibilities.

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.

Published last month, «Lyle Ashton Harris: Today I Shall Judge Nothing That Occurs: Selections from the Ektachrome Archive» charts Harris's development as an artist and features some of the same photographs on view at the Whitney.

Richard T. Walker's videos and photographs show the artist as an isolated romantic, confronting the beauty and vastness of nature.

Each artist has been given a gallery dedicated to their work that included a survey of their painting and drawings as well as intimate biographical information including photographs and letters.

As a 1978 CETA Artist grant recipient, Meryl created a portfolio of photographs that explored her Jewish Identity for the American Jewish Congress.

In the 1930s, she lived in France with the legendary English writer Ford Madox Ford; her brother Jack Tworkov was far better - known as a painter; in New York in the 1940s, she was in the heart of the Abstract Expressionist scene (she's the woman in the white blouse between Bradley Walker Tomlin and Robert Goodnough in a much - reproduced photograph of the «Studio 35 Artists» Session» of 1950), but never gained much recognition for her own paintings.

Which, of course, still exist as the artist's photographs.

Spielautomat (Slot Machine), 1999 - 2000, a self - portrait of the artist as a slot machine, features the title object covered with overlapping rows of images — snapshots of artist friends such as Lawrence Weiner, photographs of male movie stars torn from magazines, postcards and pictures of street scenes and storefronts — and is topped with a portrait of Genzken by Tillmans.

Featuring her iconic paintings, photographs, installation, video and wallpaper, it showcases why Sturtevant is acknowledged as one of the most important artists of the 21st century.

Artists kept playing catch - up as color increasingly swamped popular culture and amateur photography; many came to take their cues from both, and in 1976 Museum of Modern Art photography curator John Szarkowski gave William Eggleston a major solo exhibition for his now - iconic photos combining a snapshot aesthetic with a mastery of the dye imbibition process that «allowed Eggleston to draw attention to color without making it the subject of the photograph,» Rohrbach writes.

The nebulous notion of ephemeral storage for digital information captures the imagination of many contemporary artists, and it has also been a popular art subject throughout the ages that can now be marketed as if imbued with a new meaning, with Diane Arbus» 1960 photograph Clouds on - screen at a drive - in movie, N.J., offered by Fraenkel Gallery, being just one example.

Her contribution to the exhibition includes sweaters with hand - knit political jokes and riddles, as well as «cover girl» self - portrait photographs featuring the artist in deadpan poses revealing the artist's sly sense of humor.

I came to the photographs of Rudy Burkhardt as a discovery, thanks to Tibor de Nagy, in a 1940s» New York of artists, Coca - Cola, the Flatiron Building from above, and legs from below.

Robert Gober's untitled series of photographs (1978 — 2000) and an untitled drain (1993 — 94), newly pledged long - term loans to the museum from Irma and Norman Braman, are on special view, as well as exhibitions of newly commissioned works by Chris Ofili and emerging Miami - based artist Tomm El - Saieh.

For instance, the man portrayed as the Walking Figure by Pool (2011) is based on a photograph of the Dada artist Francis Picabia.

These glass cabinets offer a mode of presentation where artworks and historical documentation come together, offering an insight into the working methods, influences, collaborators and supporting institutions, and the significance of women artists in the broader cultural field, such as Patrick who co-founded the Glasgow Women's Library over two decades ago, of which photographs from the 1990s are also on display.

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.