Sentences with phrase «read as collaged»

Not exact matches

She subsequently hung the collage over her desk, and as she pondered the building's decay, she began to read up on entropy and to embark «on an adventure in learning,» which introduced her to the ideas of, among others, physicists Lee Smolin and Janna Levin.

I expect I'll come back to this after I read it all, but the Foundation's brief defends Prince's work as part of a broad, artistic history of appropriation, quoting, and collage.

These components are used to great effect in both Rejection Letter (acrylic with collage on paper mounted to canvas, 2009) and Untitled (With Your Best Interest at Heart)(framed acrylic on paper, 2009) in which the letters themselves adopt interestingly complex configurations even as the act of «reading» the work becomes a singularly entertaining part of the process.

«Its religious undertones are amplified by a collaged advertisement for the Catholic Review, found in the lower right corner, which reads «An invaluable spiritual road map...»» [II] The white circle, central to Mother of God, «seen through the lens of Christianity, may be read as a sign

2017 On Bodies: GMF x UNT, The Goss - Michael Foundation, Dallas, Texas «The Critic as Artist» curated by Michael Bracewell and Andrew Hunt, Reading Museum, London, UK ISelf Collection, Self - Portrait as the Billy Goat, Whitechapel Gallery, London Dreamers Awake, curated by Susanna Greeves, White Cube, London, UK As Above, So Below: Portals, Vision, Spirits & Mystics, Irish Museum of Modern Art, Dublin, Ireland The Ends of Collage: New York, Luxembourg & Dayan, New York, NY The Ends of Collage: London, Luxembourg & Dayan, London, UK La Movida, HOME, Manchester, UK Coming Out: Sexuality, Gender and Identity, Walker Art Gallery, Liverpool, UK Daughters of Penelope, Dovecot Studios, Edinburgh, Scotlaas Artist» curated by Michael Bracewell and Andrew Hunt, Reading Museum, London, UK ISelf Collection, Self - Portrait as the Billy Goat, Whitechapel Gallery, London Dreamers Awake, curated by Susanna Greeves, White Cube, London, UK As Above, So Below: Portals, Vision, Spirits & Mystics, Irish Museum of Modern Art, Dublin, Ireland The Ends of Collage: New York, Luxembourg & Dayan, New York, NY The Ends of Collage: London, Luxembourg & Dayan, London, UK La Movida, HOME, Manchester, UK Coming Out: Sexuality, Gender and Identity, Walker Art Gallery, Liverpool, UK Daughters of Penelope, Dovecot Studios, Edinburgh, Scotlaas the Billy Goat, Whitechapel Gallery, London Dreamers Awake, curated by Susanna Greeves, White Cube, London, UK As Above, So Below: Portals, Vision, Spirits & Mystics, Irish Museum of Modern Art, Dublin, Ireland The Ends of Collage: New York, Luxembourg & Dayan, New York, NY The Ends of Collage: London, Luxembourg & Dayan, London, UK La Movida, HOME, Manchester, UK Coming Out: Sexuality, Gender and Identity, Walker Art Gallery, Liverpool, UK Daughters of Penelope, Dovecot Studios, Edinburgh, ScotlaAs Above, So Below: Portals, Vision, Spirits & Mystics, Irish Museum of Modern Art, Dublin, Ireland The Ends of Collage: New York, Luxembourg & Dayan, New York, NY The Ends of Collage: London, Luxembourg & Dayan, London, UK La Movida, HOME, Manchester, UK Coming Out: Sexuality, Gender and Identity, Walker Art Gallery, Liverpool, UK Daughters of Penelope, Dovecot Studios, Edinburgh, Scotland

Early on, she worked in collage as well as paint: The Image As Burden includes several examples, perhaps the most significant of which is Love Versus Death (1980), in which two «clue - strips» consisting of various photographs and newspaper clippings (Steve Biko is among them, and so, too, is Peggy Guggenheim) suggest ways of reading the work's central panel of drawingas well as paint: The Image As Burden includes several examples, perhaps the most significant of which is Love Versus Death (1980), in which two «clue - strips» consisting of various photographs and newspaper clippings (Steve Biko is among them, and so, too, is Peggy Guggenheim) suggest ways of reading the work's central panel of drawingas paint: The Image As Burden includes several examples, perhaps the most significant of which is Love Versus Death (1980), in which two «clue - strips» consisting of various photographs and newspaper clippings (Steve Biko is among them, and so, too, is Peggy Guggenheim) suggest ways of reading the work's central panel of drawingAs Burden includes several examples, perhaps the most significant of which is Love Versus Death (1980), in which two «clue - strips» consisting of various photographs and newspaper clippings (Steve Biko is among them, and so, too, is Peggy Guggenheim) suggest ways of reading the work's central panel of drawings.

2001 Air Conditioned Abstraction, Volume Two, Manny Silverman Gallery, Los Angeles, CA Los Angeles County Museum of Art, Los Angeles, CA A Private Reading, The Book as Image and Object, Senior & Shopmaker Gallery, New York, NY Rupture & Revision: Collage in America, Pavel Zoubok Gallery, New York, NY

Dustin Yellin's artworks can either be read as three - dimensional collages or two - dimensional sculptures.

This year, they have a Robert Motherwell show of collages on view, which sounds a little like the Rauschenberg collage show they had on view in 2009, but only because they both have the same name (I somehow read the exhibition listing wrong earlier and listed this as Rauschenberg).

Layered atop these squares are collaged pieces of heavy string that impart a literary sensation, as if the intertwined threads could be «read» as the viewer's eyes are drawn across the work.

On view January 23, 2015 - April 5, 2015 NEW ORLEANS, LA - In Salutations, Josephine Sacabo (American, b. 1944) combines collaged and distorted photographic images with a wet collodion on metal process that dates back to the 19th century to create a world that is barely recognizable as such, hovering like a memory or a dream in... Read More

Collaged or not, photos lined up along the floor read as dearly departed unable to attend the ceremony but present in spirit.

«Four Points,» acrylic / roofing, 44 ″ x 60 ″ «For me, a walk through Home Depot is an inspirational as watching a sunset,» says Laurie Fields, whose combination of painting, collage, and mixed media has earned her critical praise, several high - profile commissions, and plenty of interest from Torpedo Read More...

Judging from her bio and statement, which reads as a frank and unapologetic diary of sorts with deliciously carnal imagery and onomatopoeias such as crotch, pop, pus, ooze, pubic and slice, Ingrown seems to investigate how we possess, comport and represent our physical bodies in private versus in public, illuminating how we actively carve out our own identities similar to the way Ligon slices her blade into her collages or even her own skin.

Given their format and symmetrical patterning, the collages therefore also read as flags for a speculative nation whose borders are open and constantly shifting.

John O'Reilly transforms collaged photographs, images from art history and clippings from pornographic magazines into intimate and seamless spaces that, at first, read as plausible and familiar, but then reveal themselves to be disorienting.

He engaged with artists and critics such as Ben Nicholson and Herbert Read (Read described him as «the supreme master of the collage»).

Baldessari went on to create compositions from disjointed photographs and collages that, when seen together, read as unified messages.

Presented in the varied forms of photo collage, multi-channel video projections, a sound installation, and a CD mix, the exhibition subtly proposes new interpretative frameworks for historical images previously often relegated to a strictly socialist - realist reading as well as their contemporary variables whose «ode to infrastructure» are often left unnoticed.

This past summer, while reading George Packer's book The Unwinding, I thought of the text as a collage; character studies, journalism, and history all overlapping to tell the story of America's unraveling.

I think it is collaged from photographs of windows with blinds, the abstract lines and colours occupying my attention along with blotches or painterly stains, which could be read as «errors» in the printing process, or possibly photographed («real») snow flakes through a window pane.