Not exact matches
Lahuis silkscreened and burnt two film stills as a
reference to 8 1/2's dealing with the deconstruction of narrative and the never - ending greed for
image production.
In the most eye - catching series, he skimmed information from uncredited
images in the Economist, such as that of copper
production factory floor in «Untitled» (2014), and reprocessed it digitally and photographically, preserving and enlarging the raster pattern of the half - tone «original,» incidentally activating visual
references to Sigmar Polke (1941 - 2010) and Roy Lichtenstein (1923 - 1997).
The profusion of
images surrounding Carl Beam's The Columbus Boat, 1992, collapsed and consumed historical stereotypes, creating an ahistorical rhetoric of
image production through intensely personal and condensed
references.
Using actors, prop styling, and an array of lighting and post
production work, Wall creates singular
images that encapsulate an entire cinematic narrative, often with strong historical and literary
references.
Points of
reference include the
production of
images influenced by new technologies and the relationship between painting, photography and the moving
image.
Knowing the method of
production for these
images, it becomes easy to discern that an entire page of the book has been enlarged (in fact, both books are presented on a pedestal in the center of the gallery for
reference).
Film and Video
Image Files Collected from artists, film
production companies, non-profit institutions, and the Whitney's film and video collection, these files functioned as
reference material for past and current exhibitions / projects, documentation of exhibitions / projects, source material, and as a record of Museum events.