Transitional Monument (2004).
Digital montage.
Dimensions variable.
Transitional Monument was made as a proposal for a public artwork. The two images show photos of a now demolished sixties tower block, Linosa Close, Liverpool, with William Morris d
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Transitional Monument (2004).
Digital montage.
Dimensions variable.
Transitional Monument was made as a proposal for a public artwork. The two images show photos of a now demolished sixties tower block, Linosa Close, Liverpool, with William Morris d
...
DAILY RANGE.
MATAN ASHKENAZY
This body of work includes colour photographs done in Israel with an 8x10 plate camera
between 2009-2012. The images deal with confined space within the natural
environment aesthetically, politically and construct wise. A
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DAILY RANGE.
MATAN ASHKENAZY
This body of work includes colour photographs done in Israel with an 8x10 plate camera
between 2009-2012. The images deal with confined space within the natural
environment aesthetically, politically and construct wise. A
...
Pablo David Rojas Mencias
Kohlfurterstrasse 1, Berlin 10999
dadafoto@gmail.com
Project Name: “ñaña”
This project couldn’t be finished due to the fact that “ñaña” has passed away. In the native american language, quechua, “ñaña
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Pablo David Rojas Mencias
Kohlfurterstrasse 1, Berlin 10999
dadafoto@gmail.com
Project Name: “ñaña”
This project couldn’t be finished due to the fact that “ñaña” has passed away. In the native american language, quechua, “ñaña
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maria Paschalidou
artist, art professor
www.mariapaschalidou.com
paschalmari@yahoo.com
Athens, October 13, 2012
Seeing the Unseen Seeing the Unseen is an ongoing project of tracing the ‘unseen’, the most invisible and/or unobserved sites of an
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maria Paschalidou
artist, art professor
www.mariapaschalidou.com
paschalmari@yahoo.com
Athens, October 13, 2012
Seeing the Unseen Seeing the Unseen is an ongoing project of tracing the ‘unseen’, the most invisible and/or unobserved sites of an
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Ladder, 1991: It was a project to be realized for Documenta IX. At Friediricianum a steel ladder as high as the building might have been installed during the exhibition as a simbol to reach the sky.
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Ladder, 1991: It was a project to be realized for Documenta IX. At Friediricianum a steel ladder as high as the building might have been installed during the exhibition as a simbol to reach the sky.
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summer resort
2009
Video 5´7´´/ photos 10x15 cm, documents
Greek island of Lesbos belongs among the major input “gates” for refugees from Asia to Western Europe. Distance between Turkey and Greece is here just 10 nautical miles. During my stay
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summer resort
2009
Video 5´7´´/ photos 10x15 cm, documents
Greek island of Lesbos belongs among the major input “gates” for refugees from Asia to Western Europe. Distance between Turkey and Greece is here just 10 nautical miles. During my stay
...
Temporary Projection Installations for the Survivors of Atrocities. - Gavin Halm
WWW
Summary: Listings of the names of survivors (and their extended families through the present) are projected upon the walls and surrounding grounds of sites where atrocities have taken, or are currently taking, place. The thousands of names could be projec
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Summary: Listings of the names of survivors (and their extended families through the present) are projected upon the walls and surrounding grounds of sites where atrocities have taken, or are currently taking, place. The thousands of names could be projec
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Bone-Grass Boy: The Secret Banks of the Conejos River (1995-2000) - Ken Gonzales-Day
WWW
Original blurb:
Bone-Grass Boy: The Secret Banks of the Conejos River (1995-2000) was a conceptually driven project that manifested itself in two ways: one, as a literary trope of the frontier novel of the late nineteenth century, and two, as a digitally
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Original blurb:
Bone-Grass Boy: The Secret Banks of the Conejos River (1995-2000) was a conceptually driven project that manifested itself in two ways: one, as a literary trope of the frontier novel of the late nineteenth century, and two, as a digitally
...
Monsieur l'Abbe Pierre,
il y a sans doute d'autres points que je n'ai pas imagines mais une conversation permettrait sans doute d'apporter des rectifications. Je sollicite votre bienveillance et votre engagement pour pouvoir m'autoriser a vous rencontr
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Monsieur l'Abbe Pierre,
il y a sans doute d'autres points que je n'ai pas imagines mais une conversation permettrait sans doute d'apporter des rectifications. Je sollicite votre bienveillance et votre engagement pour pouvoir m'autoriser a vous rencontr
...
The king of the changing face - Transvestites in China - Andreas Guibert
WWW
This photo installation is concern with the materialization of Chinese trans-sexuality during the early twenty first century; a trans-sexuality that acts upon a semiotic deconstruction of the body as a signifier, thus becoming the agent of processes of ge
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This photo installation is concern with the materialization of Chinese trans-sexuality during the early twenty first century; a trans-sexuality that acts upon a semiotic deconstruction of the body as a signifier, thus becoming the agent of processes of ge
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TadasTapouchiArtist_Statement.
The main reason for myself to apply to this open call is to work in a new environment and to find (new) artistic ways of expression, and off course to Stimulate art on live, Create a beneficial environment for the deve
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TadasTapouchiArtist_Statement.
The main reason for myself to apply to this open call is to work in a new environment and to find (new) artistic ways of expression, and off course to Stimulate art on live, Create a beneficial environment for the deve
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Aus: Katalog 'Kunst bleibt Kunst' - Hans Peter Feldman
Unbuilt Roads
Während der Ausstellung sollten in drei Kölner Tageszeitungen in jeweils drei Ausgaben ein bis zwei Bilder erscheinen. Diese Bilder sollten an beliebiger Stelle des redaktionellen Teils stehen und keinerlei Beziehungen zu sie umgebenden Texten oder ande
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Während der Ausstellung sollten in drei Kölner Tageszeitungen in jeweils drei Ausgaben ein bis zwei Bilder erscheinen. Diese Bilder sollten an beliebiger Stelle des redaktionellen Teils stehen und keinerlei Beziehungen zu sie umgebenden Texten oder ande
...
Artist
Name: Deivis Slavinskas
Email: studio@slavinskas.com
Website: http://www.Slavinskas.com
Artwork
* Please note that all the following information is for the reference only and is subject to change during the development
Photos: Artist'
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Artist
Name: Deivis Slavinskas
Email: studio@slavinskas.com
Website: http://www.Slavinskas.com
Artwork
* Please note that all the following information is for the reference only and is subject to change during the development
Photos: Artist'
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see my letter
(eventually reasons why the work has not been realised)
Anxiety
Previous Publications (?)
This thing is mentioned in "Fabio Mauri Opere e Azioni 1954-1994" Giorgio Mondadori Ed.
Exisiting Documents (photos, drawings, models):
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see my letter
(eventually reasons why the work has not been realised)
Anxiety
Previous Publications (?)
This thing is mentioned in "Fabio Mauri Opere e Azioni 1954-1994" Giorgio Mondadori Ed.
Exisiting Documents (photos, drawings, models):
...
Evidence of Difference
criteria:
must take one photograph every day of 2011 that will represent evidence of my difference work must answer the question, “what makes me different? what am I doing today that is different than everyone else? what se
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Evidence of Difference
criteria:
must take one photograph every day of 2011 that will represent evidence of my difference work must answer the question, “what makes me different? what am I doing today that is different than everyone else? what se
...
I have been working with a series of images in which I merge drawings with photographs. In some instants the drawing has a direct relationship, a one-to-one interpretation of the same image, one through my "drawing" eye, the other through the photographi
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I have been working with a series of images in which I merge drawings with photographs. In some instants the drawing has a direct relationship, a one-to-one interpretation of the same image, one through my "drawing" eye, the other through the photographi
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Fotografische Sammlung, Museum Folkwang - ANJA ROSS
WWW
Fotografische Sammlung, Museum Folkwang, Goethestraße 41, D-45128 Essen
Stipendium der Alfried Krupp von Bohlen und Halbach-Stiftung für Zeitgenössische Fotografie 2008
Antragstellerin: ANJA ROSS
Schon lange arbeite ich mit der Fotografie intu
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Fotografische Sammlung, Museum Folkwang, Goethestraße 41, D-45128 Essen
Stipendium der Alfried Krupp von Bohlen und Halbach-Stiftung für Zeitgenössische Fotografie 2008
Antragstellerin: ANJA ROSS
Schon lange arbeite ich mit der Fotografie intu
...
Iranian Modernity during Qajar period - Reza Afhami, Farinaz Farbod
WWW
Iranian Modernity during Qajar period
During Qajar period, Iran starts the modernity and attention to Europe as an pattern of development. This series of digital photo arts tries to show the various aspects of Iranian modernity through the combination
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Iranian Modernity during Qajar period
During Qajar period, Iran starts the modernity and attention to Europe as an pattern of development. This series of digital photo arts tries to show the various aspects of Iranian modernity through the combination
...
Surgical Intervention (Intervençao cirurgica) - Kelly Tavares
WWW
English translation from Portuguese:
This project is still underway. It started to be developed in Brasil, in 2007. The work has the modular unit, consisting of “cubificated” photographs cased in an acrylic transparent cube that is turned into art
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English translation from Portuguese:
This project is still underway. It started to be developed in Brasil, in 2007. The work has the modular unit, consisting of “cubificated” photographs cased in an acrylic transparent cube that is turned into art
...
Mevagissey Old Fishermen is a panel of 40 hand painted ceramic tiles (each tile 15 x 15 cm) reproduction of an old photograph - with artistic licence - of a scene of a small harbour in Cornwall GB around 1900 - see image attached and on www.artmajeur.com/
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Mevagissey Old Fishermen is a panel of 40 hand painted ceramic tiles (each tile 15 x 15 cm) reproduction of an old photograph - with artistic licence - of a scene of a small harbour in Cornwall GB around 1900 - see image attached and on www.artmajeur.com/
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a dance-theatre performance, based in Butoh aesthetics. The theme: the schizophrenia and the blindness we live in our day life. These photos were photographed during a rehearsal, in 2011.
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a dance-theatre performance, based in Butoh aesthetics. The theme: the schizophrenia and the blindness we live in our day life. These photos were photographed during a rehearsal, in 2011.
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MOTHERS _ project
by Tiziana Pers
‘Mothers’ is a project composed by a series of photographs and an installation.
During the ninth month of my pregnancy, one of the last days, I went into the wood, and I started painting my belly with three.
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MOTHERS _ project
by Tiziana Pers
‘Mothers’ is a project composed by a series of photographs and an installation.
During the ninth month of my pregnancy, one of the last days, I went into the wood, and I started painting my belly with three.
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'Untitled' is a photo and text-based work that explores the poetics of a young mother raising a young girl.
Meredith admired the speckles of flour that had landed on her apron. The print was floral; violet and pink flower buds, small and slightly fade
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'Untitled' is a photo and text-based work that explores the poetics of a young mother raising a young girl.
Meredith admired the speckles of flour that had landed on her apron. The print was floral; violet and pink flower buds, small and slightly fade
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This project marks the last exhibition of a selection of works on paper from my past 30 years in printmaking, photography and painting. During the July 2013 storm, my basement studio was flooded, and 60 pieces of my artwork were damaged. While the water d
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This project marks the last exhibition of a selection of works on paper from my past 30 years in printmaking, photography and painting. During the July 2013 storm, my basement studio was flooded, and 60 pieces of my artwork were damaged. While the water d
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Since the early 90s, my photographs have been publicly defended by freedom of speech organizations such as artsave/People for the American Way, the Electronic Freedom Foundation, and the ACLU. By witnessing first hand people's reactionary tendencies and
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Since the early 90s, my photographs have been publicly defended by freedom of speech organizations such as artsave/People for the American Way, the Electronic Freedom Foundation, and the ACLU. By witnessing first hand people's reactionary tendencies and
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