Sentences with phrase «vernacular photography»

Kessels is a photography collector and has designed, edited, and published several books of vernacular photography through KesselsKramer Publishing, including the in almost every picture series, The Instant Men, and Wonder.

Snapshots of Twentieth Century Life, a survey of amateur portrait photographs donated to the museum by American vernacular photography collector Peter Cohen, the Museum's fall exhibitions demonstrate how photographers from a diverse array of backgrounds, periods, and perspectives have used the medium to negotiate identity and capture the world around them, from the monumental to the ordinary.

Crooks's doctoral research at the University of London explored 19th and 20th century vernacular photography in West Africa and the Diaspora.

Snapshots of Twentieth Century Life showcases works from a recent major gift to the Museum's collection donated by vernacular photography collector Peter Cohen.

Her research explores turn - of - the - century vernacular photography and the material culture of memory in the United States.

Open to participants and audiences of the Open Engagement Conference, the dinner will take place within an exhibition curated by AMERINDA — Recovering Memories: Vernacular photography from the historical Native American Brooklyn neighborhoods and Contemporary Photography from the New York Movement of Contemporary Native American Art.

Cohen began collecting vernacular photography over twenty - five years ago at thrift stores and flea markets.

It looks at the relationship family portraits have with documentary / vernacular photography as well as staged / tableau photography.

Peter B. Leighton, for example, is interested in the ways we epitomize the past, and so he works with vintage vernacular photography to seamlessly construct new images with found photographs.

The gallery maintains a diverse exhibition program with solo exhibitions of the gallery artists as well as group exhibitions and special projects as editing artists jewels or showing vernacular photography.

Her passion for collecting and displaying vernacular photography not only spawned an entire institutional collection, but has deeply informed her own practice.

Intimately involved with current vernacular photography, Umbrico employs traditional photographic techniques and methods of appropriation, extraction, multiple production, and intervention to explore how people, as a culture, make and use images.

The gallery has also presented unique shows of historical material such as 2011's Sculpture in So Many Words: Text Pieces, 1965 - 75, which traveled to the Nasher Sculpture Center, Dallas in 2012 - 13, and a trio of critically acclaimed vernacular photography exhibitions: Photo Brut (2013), Other Bodies (2012), and Band of Bikers (2010).

An unsung pioneer of vernacular photography since the Fifties, Weinberger captured a young generation of rebels, who were greatly influenced by American culture.

African American Vernacular Photography reproduces 70 of Cowin's most exceptional color plates with essays by Brian Wallis, Director of Exhibitions and Chief Curator at the International Center of Photography, and Deborah Willis, MacArthur Fellow and author of Reflections in Black: A History of Black Photographers 1840 to the Present and, with Carla Williams, The Black Female Body: A Photographic History.

And then, for 2019, Brian and I are working on a history of vernacular photography.»

The exhibition, curated by Todd Levin, also includes a selection of images from the Ralph DeLuca Collection of African American Vernacular Photography.

With much of the work in «The Order of Things» focusing on the individual and cultural identity, the exhibition also includes a large selection devoted to vernacular photography from the late - nineteenth and early twentieth century — offering a glimpse into the day - to - day life of a time that we will never know.

«It's about effacing the difference between other and self, and seeing the elasticity of all these lives you could have led,» says Hammond, who in recent years has become admittedly obsessed with collecting vernacular photography and now owns well over 10,000 images that find their way into her art.

Picture Takers is a group show featuring artwork made from or inspired by vernacular photography.

This reflects a growing interest over the past twenty years in vernacular photography and in its value both as social history and as art.

Stephen Shore (American, b. 1947) is a pioneer of color and vernacular photography.

Interest in vernacular photography was so high that the opening bid for many works exceeded the high estimate.

Further drawing the viewer in is that the complexity of the conceptual and compositional elements is coupled with the enchanting, relatable imagery from Hammond's vernacular photography.

Inspired by the Neue Sachlichkeit photographers August Sander and Albert Renger - Patzsch, as well by as vernacular photography, Bernd and Hilla Becher documented vanishing American and European industrial architecture — blast furnaces, water towers, silos, and the like — cataloguing them by type.

[3] Lee conceives of her work as less about creating beautiful pictures, and more about investigating notions of identity and the uses of vernacular photography.

Among curators and critics, his work has often been compared to that of Gerhard Richter, John Baldassari, and Ed Ruscha; certainly he shares their interest in the deadpan nature of vernacular photography, but unlike that trio, Feldmann seldom converts his imagery into something else.

None of this was done with the intentions of fine art, but contemporary artists have been deeply influenced by the tropes of vernacular photography.

Together, the two parts of this exhibition present a certain arc across the history of vernacular photography.

This series is based on the growing interest in «vernacular photography» and its acknowledgement of social - historical and artistic value.

His research interests include American vernacular photography, social history, and women photographers.

Under Phillips's direction, the department viewed the entire medium as a modernist tradition, exhibiting and collecting a rich and complex range of vernacular photography, from nineteenth - century scientific images to snapshots, mugshots, and surveillance photography.

New York gallery Foxy Production flanks the entrance to the auditorium, with Petra Cortright wriggling around in a striped shirt, exploiting the disorientation of a fun house mirror - like distortion effect in her video i feel u (2015), and Sara Cwynar showing us manipulations of vernacular photography and a new series of color grids melting beyond their neat black borders.

Her 1995 essay «In Our Glory: Photography and Black Life» illuminates the power and importance of the family camera and vernacular photography.