Sentences with phrase «surface of the photographic print»

In many of the artist's new works, a doubling of object and image occurs when Maisel collages the documented materials to the surface of the photographic print.

The surface of the photographic print is explored in a new exhibition at Dye House, which focuses on the fluid nature in which it moves between two and three dimensions.

The artist engraves clipped poems reminiscent of haiku onto the surface of these photographic prints, as if visualizing a voiceover commentary.

Not exact matches

A slippery formula loosens the markings on the surface of each initial print and mediates the transfer of the photographic image onto a blank panel.

Here it comes in the form of a pale, 1960s Wallace Berman image of the moon's remote surface overlaid with cryptic writing; a black - and - white Vija Celmins screen - print of the vast, horizonless ocean that appears to carry a faint «X,» as if the printing plate had been canceled; a ragged piece of fiberglass painted with a Tiepelo - like sky by Joe Goode, who seems to have ripped it from either the actual heavens above or a movie - studio set; and a photographic close - up of shifting desert sand, over which actual sand and colored pigment has been applied by David Benjamin Sherry, as if reality were a veil obscuring camera - created truth in our mediated universe.

The surface of the photograph itself is a persistent subject of interest for Tillmans, and his careful combination of small and large formats, and framed and unframed prints, serves to underscore the notion of the photographic image as an object — subjective and idiosyncratic.

The chalk dust covering the façade and grounds of a West Virginia limestone - grinding factory alludes to the photographic surface, as chalk is used in the printing process to absorb ink.

Leaning against the far wall are a series of canvases screen printed in cyan, magenta, yellow and a range of grays to black, each with the same flattened photographic image of lichen on the surface of a rock.

Working with the seemingly narrow subject of his own face, Close has produced a richly varied trove that ranges from intimately scaled collage maquettes and fingerprint drawings to monumental gridded canvases; from the sharp definition of certain photographic techniques to the ghostly blurs of daguerreotypes and holograms; from the tactile complexity of paper pulp editions to the smooth, mechanical surfaces of Polaroids and digital ink - jet prints; from the subtle tonalities of gray - scale paintings and drawings to the exuberance of an 111 - color screenprint.

McAlpine has cut, collaged and layered these sections of film to create abstract compositions and has used these to produce photographic prints which amplify the traces of the human hand in the surface texture of scratches and dust.

Mounted horizontally on a tabletop, the photographic print bares the gestural mark - making of polyurethane wheels on a vulnerable surface.

The chalk dust covering the façade and grounds of a West Virginia limestone - grinding factory alludes to the photographic surface, as chalk is used in the printing process to absorb ink.