Sentences with phrase «through image construction»

These paintings reflect how one can impose that through image construction and reference.

Not exact matches

Conversely the projected future is already exercising its influence on the present through these images, and by continuous interaction it is also affecting the construction of revised images of the future.

The film's design is a marvel of diverse locales, images of space that look authentic, and worn ships that give a sense of their construction (most notably in a dynamic sequence that has Kirk and his trusty engineer Scotty, played by Simon Pegg, racing through their ship as its center of gravity changes).

In the opening sequence, an intricate construction of sound / image relationships, Maureen, alone at night, walks through her brother's old country house, looking and listening for traces of his presence.

Carrying around a vision device — a makeshift construction that allows him to see the world while at the same time reflecting the surroundings through a mirror surface — the young man explores a natural environment reminiscent of a greenhouse or biosphere, while the film also alternates archival historical images of ancient ruins.

The slideshow cycles through pairs of images presented on a pair of monitors, and these looping still photographs show the Hollywood icon self - consciously posing, reflecting, brooding, and generating a model for the construction of identity through images.

Gander is an inventive polymath, a creator of worlds and teller of tales, whose making takes forms as varied as a lecture series entirely based on «loose associations,» a nonlinear narrative of wildly disparate ideas and images found and collected by the artist; re-creations of children's tent - forts sculpted in marble; the construction of complex mechanisms to generate a gentle breeze that wafts through a gallery; a conveyer belt carrying sculptures that can only be seen through one window; or detailed designs for an art school that may never be realized.

While Glenn Ligon focuses on the construction of «blackness» and «queerness» in his photographic rethinking of Robert Mapplethorpe's erotic images, Iñigo Manglano - Ovalle explores the notion of identity through the processes of genetic mapping in his DNA photographs.

Over and over again in the catalog, we read about Ligon's love for painting — de Kooning's Pirate (Untitled II)(1981) is a favorite, apparently — and how he, um, «opened up the semantic rules of identity and linguistic constructions between object - text and image - sign relations through the use of photography and text based on the appropriation of language, sign, text, and speech as material for his painting practice.»

As A.i.A. senior editor William S. Smith pointed out in his essay on Michael Heizer (whose 1970 installation Actual Size: Munich Rotary is on view at the Whitney Museum of American Art through April 10) our April issue, «Land art was photogenic out of necessity... images produced in tandem with the construction of giant earthworks could greatly expand the works» aesthetic and conceptual range.»

With light passing through the translucent collaged elements, the works reveal layers of construction, while opaque elements obscure parts of the image.

The new body of work plays on the construction of place through found images, tokens, maps, postcards and travel guides.

The Queens Museum will present her most ambitious work to date, The Wandering Lake (2009 - 2017), a project that redefines the role of artist, image, object and performance in the construction of narratives through an exhibition that integrates video projection, photography, sculpture, publication, and performance as one expansive body of work.

Thomas in her photograph of an image of a window, Moments of Place IV, explores the depth and construction of space within the picture frame while masterfully considering color and form and, in depicting an architectural detail and through the work's placement in the gallery, draws attention to spacial relationships.

Bopape focuses on the aspect of «a walk through the editing space», the space of the image, that has to do with the performed situation and it's visual construction.

Fortunately during his residency, Ingram, a queer artist originally from Jackson, Mississippi, got to work through some ideas for his exhibition, Skin Thick, which uses «found images and materials to question the process of identity construction» with the Mexico City - based Perea.

The exhibition is structured in chapters whose themes are the man - eating outsider or non-human; the relationship with others and construction of an individual and group identity through a dual movement of incorporation and rejection; the body as an organism capable of transformation, and which feeds on and feeds others; eroticism and all - consuming passion; violence and horror; ritual and sacrifice; and images from childhood, derived from tales and legends.

Each artist used their own signature medium to create works surrounding the themes of time, space and psychology: Futo Akiyoshi with minimal images of spaces; Kouichi Tabata through motion paintings; and Takahiro Ueda utilises naturally occurring phenomena with a series of constructions built around quartz crystals.

In the work of Hito Steyerl (Munich, 1966) the construction of the text and the editing of the image expand the condition of the film essay, reflecting on and intervening in the systems through which information circulates and the presentation and representation of the artwork.

Through these techniques, Adams examines the force of popular culture and the media, on the perception and construction of self - image.

Cracco works with an understanding of color theory's construction of images from three or four colors, but works through these limitations by hand - mixing his palette to show a shrewd understanding of tone and hue.

Photographing modern cityscapes and man made spaces through bird's - and worm's - eye perspectives and utilizing composite construction, his images destabilize the notion of photographic reality.

Fia Backström's work focuses on the fabric of our co-existence with and construction of subjectivity through the social life of images.

As one walked around and under Provisero's stark projectile - shaped forms, poking through walls or crashing into and then erupting out of the concrete floors, they conjured the image of a scarred urban battlefield or of a construction - site implosion.

Starting with images of the river valley in its pristine state and moving through the various stages of construction, these photographs attempt to signal the project's inevitability by offering us a semblance of continuity, positioning the deconstruction of the landscape and construction of the dam against the backdrop of the ancient Chinese landscape.

Her practice investigates the construction and arrangement of time and document as revealed through both the moving image and painted still.

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.

The artist thus creates an exhibition situation, which — depending on the position and perspective of the viewer — opens new contexts and points of reference between the altogether seven works on view: through overlapping and juxtaposition, fragmented image details of architectural constructions are transformed into new — rational and irrational — visual connections and associations.

Neshat, whose work critiques the cultural construction of difference, fully turns her attention to American culture for the first time in this show and depicts the ambiguity of feeling for an outsider through enigmatic images, haunting encounters and mystified points of view in her film and photography.

The exhibition includes many of his series of images of the Yosemite Valley, along with views of Alaska, Guatemala, urban panoramas of San Francisco, and his 1869 survey of the construction of the Eastward bound Railroad through California, Nevada and Utah.

Images and 3D constructions are classical in execution and manipulated through graphic arts...

Together and separately, through these projects Walker Evans created a collective portrait of the Eastern United States during a decade of profound transformation — one that coincided with the flood of everyday images, both still and moving, from an expanding mass culture and the construction of a Modernist history of photography.

The artist has explored this conceptual discourse through multiple series of work, deftly riding the line between the construction of totally manufactured images that bear the aesthetic of seemingly straightforward photographic images and actual photographs that buzz with vibrant palettes almost too fantastic to be considered plausible.