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departement Beeldende Kunst 09 --- fotografie --- 77.038 --- 77.039 --- Becher, Bernd en Hilla --- Berges, Laurenz --- Fotografie ; Dusseldorfse school --- Gursky, Andreas --- Höfer, Candida --- Hütte, Axel --- Nieweg, Simone --- Ruff, Thomas --- Sasse, Jörg --- Struth, Thomas --- Wunderlich, Petra --- 77 <43> --- 760.5 --- 761 --- Becher, Bernd --- Becher, Hilla --- Duitsland --- Esser, Elger --- Hutte, Axel --- verzamelingen --- 77 <43> Fotografie--Duitsland voor 1945 en na 1989 --- Fotografie--Duitsland voor 1945 en na 1989 --- Fotografie ; 1950 - 2000 --- Fotografie ; 2000 - 2050 --- fotografie, verzamelen - musea - tentoonstellingen --- fotografie, geschiedenis
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Iconography --- Art --- Drawing --- mural paintings [visual works] --- drawing [image-making] --- computer art [visual works] --- lucht (element) --- Bächli, Silvia --- Leberer, Camill --- Meyer, Nanne --- Germany --- Switzerland --- Noureldin, Karim
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landscapes [representations] --- vlucht naar Egypte --- Elsheimer, Adam --- Tobias
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Dunja Evers has developed a unique picture form which mediates between film, photography and painting. With her works she directs the eye away from the documentary function of photography towards a picture-artistic structuring. Her fragile pictures are photographic paintings which cross all borders of genre. At first, they appear as an almost monochrome kaleidoscope of colours. The colour is underlaid with shadowy, filmically or photographically generated signs which disclose themselves only gradually while being looked at. Stretched space, stretched time appears - and disappears again.
color [perceived attribute] --- monochrome --- Iconography --- art [fine art] --- photography [process] --- perception --- Art --- Evers, Dunja --- anno 1900-1999 --- anno 2000-2099 --- Germany --- art [discipline]
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Painting --- multiples --- photography [process] --- painting [image-making] --- artists' books [books] --- Art --- Richter, Gerhard --- anno 1900-1999 --- anno 2000-2099 --- Germany --- 7.039 --- 82:7 "2000-" --- Hedendaagse kunststromingen.Post-moderne kunst --- Literatuur en kunst--"2000-"--Vanaf het jaar 2000. Toekomst--(variabel) --- 7.039 Hedendaagse kunststromingen.Post-moderne kunst --- Richter, Gerhard.
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Larry Sultan (1946-2009) is een van de belangrijkste Amerikaanse conceptuele fotografen. Hij groeide op in San Fernando Valley, het achterland van Hollywood in het zuiden van Californië. Deze streek van zijn jeugd was een belangrijke inspiratiebron voor zijn fotoreeksen Pictures from Home (1982-92), waarin Sultan zijn ouders in hun dagdagelijkse omgeving portretteerde, The Valley (1996-2001), die een blik achter de schermen van pornofilmsets biedt, en Homeland (2006-09), waarin het Amerikaanse beeld van het pittoreske wordt geconfronteerd met het leven van Midden-Amerikaanse dagloners in deze door migratie getekende streek. In zijn werk verweeft Sultan idyllische herinneringen aan plekken uit zijn jeugd met actuele sociaal-politieke onderwerpen. De reeks Evidence (1975-77), die hij samen met Mike Mandel creëerde met gevonden beelden uit wetenschappelijke en technische archieven uit de tijd van de Koude Oorlog, wordt door haar consequente bevraging van het auteurschap beschouwd als een keerpunt binnen de recente geschiedenis van de fotografie. Vertrekkend van verschillende contexten creëerde Sultan universele, tijdloze en tegenstrijdige beelden die lang bij de kijker blijven nazinderen. Dit boek is in 2015 uitgegeven naar aanleiding van de retrospectieve tentoonstelling over Larry Sultan in Kunstmuseum Bonn en S.M.A.K., Gent.
artistieke fotografie --- Photography --- photography [process] --- fotografie --- Sultan, Larry --- Verenigde Staten --- twintigste eeuw --- eenentwintigste eeuw --- documentaire fotografie --- portretfotografie --- Sultan Larry --- Mandel Mike --- 77.071 SULTAN --- Exhibitions --- Sultan, Larry.
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Photography --- Photographie --- History --- Histoire
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With Freundinnen (Girlfriends, 1965/66), Sigmar Polke took found imagery of two women and offered a compelling statement about the use, production and social function of pictures. Adopting the raster dots found in mass media reproductions, Polke’s Girlfriends foregrounds a prolific body of work crossing a broad range of media – photography, painting, printmaking, sculpture and film – and styles varying from Abstract Expressionism to Pop. In this book, Stefan Gronert approaches Girlfriends through its technical detail and historical context, analysing Polke’s relationship to his tutors, peers and friends – especially Gerhard Richter. Considering such topics as the use of photographed material, the raster technique and the feminist discourse of the time, this illustrated study draws on a variety of critical interpretations of Polke’s work, including some material that has not previously been translated into English. This title is part of the One Work book series, which focuses on the artworks that have significantly shaped the way we understand art and its history.
Polke, Sigmar. --- Polke, Sigmar, --- Criticism and interpretation --- Art --- Polke, Sigmar --- Polke, Sigmar, - 1941-2010 - Criticism and interpretation --- Polke, Sigmar, - 1941-2010
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Portrait painting --- Portrait photography --- Peinture de portraits --- Portraits (Photographie) --- History --- Histoire --- Richter, Gerhard, --- kunst --- Duitsland --- twintigste eeuw --- eenentwintigste eeuw --- Richter Gerhard --- portret --- portretschilderkunst --- 75.071 RICHTER
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