The exhibition features three main bodies of work, which include new paintings completed expressly for The Warhol show,
vintage photographs of the artist's father Zhou Xinfang — a grand master of the Beijing Opera — and a collection of portraits of Chow painted by his contemporaries, such as Andy Warhol, Jean - Michel Basquiat, and Ed Ruscha.
Not exact matches
«I don't even have a license,» says
artist John Conn, whose
photographs of vintage American metal in Cuba line the brick walls
of the warm upstairs gallery space.
Painting walls, floor and most
of seven sculptural tableaux a medium gray, Pictures Generation
artist Barbara Bloom transforms David Lewis into a monochrome stage set, echoing the
vintage black - and - white
photographs of actors and literary figures that constitute the starting point for each
of her works.
Vintage black and white
photographs evocative
of Twentieth Century American ideals find their home under the same roof as cutting - edge video installations and suspended sculptures by contemporary
artists.
Continuing his ongoing interest in
vintage aesthetic
of photographs and movies
of the 1960s and 1970s, the Tokyo - based
artist created a series
of portraits
of imaginary visitors
of Hotel Paraiso.
The exhibition will introduce two digital videos and thirty large format
photographs, consisting mostly
of images the
artist has made from her expeditions throughout the past decade, interspersed with some images produced by re-photographing
vintage travel -LSB-...]
The
artist's wide - ranging iconography samples genres ranging from 11th - century Chinese landscape painting to Cubism, and draws on sources both high tech and mundane: spam emails, emoji, internet memes, newspaper classified ads, her own
photographs, coloring book illustrations, fantasy environments,
vintage embroidery patterns, and a host
of whimsical plant and animal motifs.
Malick Sidibé at Fondation Cartier pour l'art contemporain October 20 — February 25, 2018 «Mali Twist» is a retrospective
of work by the photographer Malick Sidibé, including both images that are well known and some on view for the first time, like a vast collection
of vintage photographs and portraits from the
artist's archives.
Finding their way into the
artist's paintings and drawings are
vintage family
photographs, magazine images, and childhood relics that enhance the familiarity and nostalgia
of the compositions.
This was the 1980's answer to the 1951
photograph of «The Irascibles» appearing in Life magazine, Michael Halsband's decade - defining image
of New York
artists is printed here in its original reception context: a
vintage invitation to the nightclub, Area, on May 8, 1985.
Comfortably filling the spacious, irregular proportions
of the center's main gallery, the installation is composed
of three distinct elements: freestanding abstract sculptures; color
photographs of the
artist's hands (palms out and partially covered in paint); and black - and - white videos appropriated from
vintage films
of competitive stone lifters (which is where the pun comes in).
Featuring thirty - four
vintage color
photographs made between 1970 and 1989, the exhibition includes landscapes from Italy, where the
artist was born and spent most
of his life, as well as from Austria and France.
Over 500
photographs are on display, from
vintage prints
of Victorian stage stars, through documentation
of performance art happenings in the 1960s, to recent work by Instagram
artist Amalia Ulman.
In one series, titled May June July August, «57 / «09, comprising 123
vintage and contemporary black - and - white
photographs, Simpson juxtaposes images
of a young African American woman (and an occasional male figure) who posed for pinups in Los Angeles in 1957 with self - portraits in which the
artist acts as a doppelganger for the model.
In one series, titled May June July August «57 / «09, comprising 123
vintage and contemporary black - and - white
photographs, Simpson juxtaposes images
of young African American women (and an occasional male figure) who posed for pinups in Los Angeles in 1957 with self - portraits in which the
artist acts as a doppelganger for each model.
This exhibition provides the opportunity to view
vintage and early
photographs, from a selection
of the 20th century's most significant photographers, alongside these
artists» seminal books.
Mixing rare black - and - white
vintage prints
of classic images by Robert Frank, Lee Friedlander, Diane Arbus and Garry Winogrand with luscious, eye - popping works in color by
artists ranging from Stephen Shore and William Eggleston to Cindy Sherman, Alec Soth, and Andreas Gursky, Real to Real:
Photographs from the Traina Collection celebrates photography's fundamental richness and plasticity.
In other works, the abstractions obstruct images taken from
vintage Hollywood publicity headshots as well as close - up
photographs of the
artist's own face.
The
artist finds
vintage family photo albums, strips them
of the actual
photographs and displayed the altered and faded pages.
The gallery followed with the 2015 publication
of this volume which is rife with lavish images, about 150 pages
of full - color plates, along with
vintage and contemporary installation views, and documentary
photographs of the
artist.
Most
of the
photographs are from the
artist's collection, kept over the years as standards
of excellence for judging subsequent prints made from his
vintage negatives.
The Museum opens two new exhibits; the 95th Annual Spring Show, a juried exhibition
of works from the region and
Vintage Neon,
photographs of mid-century signage by Pittsburgh
artist and photographer Chuck Biddle.
The complaint is in behalf
of Mindy Summers, «an
artist who lives in a purple house in Vermont with her husband and two cats» and who copied and offers for sale
photographs of vintage seed catalogs originally published on the Smithsonian website.