Sentences with phrase «representation of body image»

Not exact matches

Here are some problems students confessed they will keep thinking about: the role of the water in the act of creation, the religious meanings of the water, the water in the human body, the subjective images of the water in artistic representation, the vital link between human being and the water, the spiritual force of the water, the significance of the Flood, the water magic power, water gives life but also kills, why does water have so many powers?

Here, the artist offers up representations of conquered, non-Western bodies who are expected to become mirror images of their rulers in order to be deemed «civilized.»

Unconditional Love Blue Bathroom Blues Set for Frederick Weston Hauntings RADIANT PRESENCE Sampling the Self Viral Images I wanted body as form and vice versa HAART in Art: Temporal Reflections on Artistic Representations Of HIV Medication Eyes, Lilacs & Spunk: Queer Aesthetic from Suggestion into Abstraction I Am My Own Landscape Instant Intimacies IT FEELS LIKE LOVE BUT IT»S THE DRUGS

Other works featured in LIVESupport include «Church State,» a two - part sculpture comprised of ink - covered church pews mounted on wheels; «Ambulascope,» a downward facing telescope supported by a seven - foot tower of walking canes, which are marked with ink and adorned with Magnetic Resonance Images (MRIs) of the spinal column; «Riot Gates,» a series of large - scale X-Ray images of the human skull mounted on security gates and surrounded by a border of ink - covered shoe tips, objects often used by the artist as tenuous representation of the body; «Role Play Drawings» a series of found black and white cards from the 1960s used for teaching young children, which Ward has altered using ink to mark out the key elements and reshape the narrative, which leaves the viewer to interpret the remaining psychological tension; and «Father and Sons,» a video filmed at Reverend Al Sharpton's National Action Network House of Justice, which comments on the anxiety and complex dialogue that African - American police officers are often faced with when dealing with young African - American teenImages (MRIs) of the spinal column; «Riot Gates,» a series of large - scale X-Ray images of the human skull mounted on security gates and surrounded by a border of ink - covered shoe tips, objects often used by the artist as tenuous representation of the body; «Role Play Drawings» a series of found black and white cards from the 1960s used for teaching young children, which Ward has altered using ink to mark out the key elements and reshape the narrative, which leaves the viewer to interpret the remaining psychological tension; and «Father and Sons,» a video filmed at Reverend Al Sharpton's National Action Network House of Justice, which comments on the anxiety and complex dialogue that African - American police officers are often faced with when dealing with young African - American teenimages of the human skull mounted on security gates and surrounded by a border of ink - covered shoe tips, objects often used by the artist as tenuous representation of the body; «Role Play Drawings» a series of found black and white cards from the 1960s used for teaching young children, which Ward has altered using ink to mark out the key elements and reshape the narrative, which leaves the viewer to interpret the remaining psychological tension; and «Father and Sons,» a video filmed at Reverend Al Sharpton's National Action Network House of Justice, which comments on the anxiety and complex dialogue that African - American police officers are often faced with when dealing with young African - American teenagers.

The images, of greatly varied disposition (representation, abstraction, concept, line, photograph, text, repurpose) are either improvisational variants of their ongoing body of work, products of their individual processes, or a visual membrane of sorts between their artistic practice and the world around us.

Among the significant artwork included in the exhibition are Porter's 1970s photographs alluding to space and the body, and a series of prints referencing surrealist René Magritte that interrogate image, representation and simulacra.

The artist has cut out found images of the human body (or representations of the human body) and arranged them as a crazy theater - in - the - round tableau.

These personages address Christian history, contemporary representations of Latin Americans and images of the idealized male body in art.

While various commentaries can be drawn from these surprising visual analogies - for example on consumption, desire, and representations of the human body - the real intrigue of the work lies in its exploration of the surreal and seductive nature of images.

One can see this in two bodies of work: cultural representation is the primary issue in The African American Flag Project, where «African American» flags were the subject of the paintings; and the Made in USA series of paintings touch on the politics of consumption through self - referential text and image.

Alternating between hyper - realistic representations of the human body and decomposed images of body parts which remain barely decipherable in form, his works embrace a newly minimal approach highlighting empty canvas space and isolated symbols.

His current body of work is a series of «painthings,» formal sculptural objects made exclusively of paint; these objects play with ideas of representation in abjection to conventional hegemony of the image.

There are endless variations on the theme of the human face in contemporary art — prominent examples include Thomas Schütte's supra - personal sculpted figures, Cindy Sherman's role - playing photographic images, the portraits of Marlene Dumas, Candice Breitz and Tony Oursler, Bruce Nauman's experiments with his own body, Rosemarie Trockel's family portraits, Julian Opie's schematic facial representations and Thomas Ruff's passport - style photographs.

The use of this method is intended to create an image that functions in parallel with the original subject (the depicted body,) and its following representation (the sculpted body,) then breaking from the common contemporary representation (the photographed body as an image inert in print and frozen in time.)

Jiang uses video, painting, photography, installation, writing and other mediums, blurring the boundaries between fictional documentary, mediated images and private narratives to reveal the intersections and segmentations between the body, desire and emotion of different individual and its representation or imagination in contemporary society.

Andrew Norman Wilson is an artist and curator based in Los Angeles whose videos and installations address a heady rush of images, technology, and bodies caught in the streams of circulation and representation that our era demands.

Rather than attempting a definitive history, the publication posits an alternative approach to the myriad questions and debates associated with representation, presenting its technological history as inextricable from the social history of media, and staging this through the complex and multivalent relationship between the photographic image and the body, whether it be the body of the viewer, or that of the depicted.

The artist has created a groundbreaking body of work that explores the nature of representation and the ways in which the images of film, television, and advertising influence our understanding of our identity and of the world around us.

Ryan Peter Miller's body of work objectifies paint, playing with ideas of representation in objection to conventional hegemony of the image.

Golub, who always painted in a figural style, drew upon diverse representations of the body from ancient Greek and Roman sculpture, to photographs of athletic competitions, to gay pornography; often pulled directly from a huge database he assembled of journalistic images from the mass media.

At Spelman College Museum of Art, Frazier's work is included within a nexus of works that visualize the construction of the racialized and gendered body, primarily through self - representation and images of the domestic sphere.

In his 1993 Whitney Biennial contribution, Notes on the Margin of the Black Book (1991 — 93), for example, Ligon paired images and text to satirically comment on literary and visual representations of the black male body.

She creates hyper - real painted collages, most recently focusing on a central image or composition within a color field background, breaking up forms and redirecting references to question the act of representation itself — especially when it comes to the female body.

The «image» portion of the felt is shredded and left hanging in strips, resulting in a powerfully disconcerting image of the body — for it is a body which exceeds the traditional limits and constraints of representation.

While some of the works might be considered straightforward representations of individuals, others do not include images of the human body at all.

In her «splosh» photographs — a fetish term used to describe images of women covered in fluids and / or food — Linder returns to using her body as a performative element to examine the current state of female representation within the media.

The image of the female nude body itself is a representation of our own humanity, our own vulnerability, our need for a convincing metaphor for the missing naked truth, a remnant of sorts from classical academic training and faded humanistic values.