#chromogenic print collage

[disciplinethepainter]

#david hockney #1982 #chromogenic print collage #my mother

[webionaire]

In late 2012 Marion Faller donated 199 of her photographs and photograph-based artworks to the Burchfield Penney Art Center, a gift so comprehensive that the museum now serves as the institution of record for her photography. This extraordinary gift is comprised of gelatin silver prints, color print collages, Ektacolor and chromogenic color prints, and archival inkjet prints dating from 1971 through 2005.

Now the breadth of her work can be explored through this extensive collection of early gelatin silver prints, Ektacolor and chromogenic color prints, and archival inkjet prints. Faller’s series and categories include:

[artist-lichtenstein]

Landscape 9, Roy Lichtenstein, 1967, Harvard Art Museums: Prints

Harvard Art Museums/Fogg Museum, Gift of the Artist © Estate of Roy Lichtenstein Size: 32.7 x 41.4 cm (12 7/8 x 16 5/16 in.) frame: 50.5 x 63.2 x 4.1 cm (19 7/8 x 24 7/8 x 1 5/8 in.) Medium: Screenprint with chromogenic photographic print collage

https://www.harvardartmuseums.org/collections/object/258802

#roylichtenstein

[moma-prints]

Landscape 9 from Ten Landscapes, Roy Lichtenstein, 1967, MoMA: Drawings and Prints

Gift of Lester Avnet Size: composition: 12 13/16 x 16 1/4" (32.6 x 41.3cm); sheet (mount): 16 x 21 15/16" (40.6 x 55.8 cm) Medium: Screenprint with chromogenic color print collage from a portfolio of nine screenprints and one collage

http://www.moma.org/collection/works/78205

#museumofmodernart #museumarchive #roylichtenstein

[brooklynmuseum]

Lorraine O’Grady considers Rivers, First Draft to be the first book-end to her artistic career. Though the collage on paper Cutting Out the New York Times (1977) is the first piece created by O’Grady, the artist deems the performance Rivers, First Draft, a collage in space––a piece from which all subsequent works are derived.

On August 18, 1982, O’Grady created this one-time performance for Gilbert Coker’s Art Across the Park. Woven into the performance with actors is O'Grady's autobiographical journey of becoming a young girl, a teenager, a woman, and an artist. As multiple performances occurred simultaneously, the performance symbolized the clashing and combining of O’Grady’s New England and Caribbean heritage. Rivers, First Draft exemplifies O’Grady’s coming-of-age years, her rejection of ideals upheld by her parents, and her contentious emergence into the art world. While a small invited audience experienced the performance, the 48 surviving photographs enable a continual audience who experience Rivers, First Draft.⁠⁠

Lorraine O'Grady (American, born 1934). Rivers, First Draft, 1982. Digital chromogenic print from Kodachrome, 35 mm slides, 48 parts. Courtesy of Lorraine O’Grady Studio © Lorraine O’Grady/Artists Rights Society (ARS), New York.

#LorraineOGradyBKM #Lorraine O'Grady #Rivers First Draft #central park #performance art #performance #autobiographical #art world #caribbean heritage #photography #photographic #documentation

[courtsartdream]

Reading and Response 1

“This reading on Barretts Approaches on Postmodernism Art-making was extremely beneficial. It was informative on the direct ways that art has come to in this current age. To break the confines of art as it was seen and created in the past. I found it interesting to see the different ways to approach this issue. 

Postmodern Approach: Escaping the Confines of the Museum. ”Valley Curtain” orange curtain of fabric across the Colorado state highway Christo and Jean Claude, 1972

Postmodern Approach: Collapsing Boundaries Between “high” and “low” ”Dogs Playing Poker” Oil on Canvas Brown and Bigelow, 1894

Postmodern Approach: Rejecting Originality  ”Untitled (fashion)” Chromogenic print; unique Richard Prince, 1982

Postmodern Approach: Jouissance  ”JOUISSANCE” Digital Abstract Art Myriam Gylon, 2019

Postmodern Approach: Working Collaboratively  “Olympic Rings” Acrylic and silkscreen on canvas Andy Warhol and Jean-Michel Basquiat, 2012

Postmodern Approach: Appropriating  “Bicycle Wheel” Bicycle wheel and Stool Marcel Duchamp, 1951

Postmodern Approach: Simulating “Untitled” Chromogenic print Gregory Crewdson, 2005

Postmodern Approach: Hybridizing

“31 Flavors Invading Japan/Today's Special” Thirty-five-color woodcut printed from hand-carved blocks Masami Teraoka, 1982

Postmodern Approach: Mixing Media “Popcorn Shells” collage, oil, polyester resin, map-pins & elephant dung on linen & two elephant dung props Chris Ofili, 1995

Postmodern Approach: Layering “China, China - Bust 81” glazed porcelain Ah Xian, 2004

Postmodern Approach: Mixing Codes 

“Forever Free (Desire)” Latex paint on Canvas Michael ray charles, 2019

Postmodern Approach: Recontextualizing  “Margaret F. Stewart:Our Lady of Guadalupe“ Oil pastel on rag paper Yolanda Lopez, 1979

Postmodern Approach: Confronting the Gaze “This was the beginning“ Acrylic on Canvas Tracy Emin, 2020

Postmodern Approach: Facing the Abject “Promising“ Lithograph and silk screen with foil Kiki Smith, 2018

Postmodern Approach: Constructing Identities  “Our Lady of Regla“ oil and 24-karat gold leaf on panel Harmonia Rosales, 2019

Postmodern Approach: Using Narratives “MY OLD NEIGHBORHOOD“ acrylic on linen Eric Fischel, 2021

Postmodern Approach: Creating Metaphors “Home within Home“ Polyester fabric, stainless steel DO-HO SUH, 2019

Postmodern Approach: Irony, Parody and Dissonance  “ISHI: The Archival Performance“ Multimedia performance James Luna, 2015

Additionally, In reading the other two articles within this module I found that my understanding of artists in todays time really has to do with personal identity, what I mean by that is we are now free to express ourselves in a unique way through art. This could be sparked from who we are, our passions or beliefs and more. In the 3 Mixed-Media Artists in 5280, this was shown by the personal introduction of the artists and more incite on how who they are influenced their art. The overall medium of these artists were collages in some unique, specific and personal way. I think this article expands the confines of what art can be and shows that you can take anything that is attractive or important to you and transform it in some way to create art. This makes me feel more comfortable as an artist to know that I don’t have to create a beautiful painting to be a good artist. With the second article I found it the subject of this poor image quality to be very interesting. To really think about images and films being put onto the internet and the fact that it’s quality does change and adapt. In truth if you are putting these things onto the internet you do have to come to terms with these adaptions being reality. Overall these articles helped me understand the foundations of the art world we are living in today. 

[billhodgesgallery]

Featured in our exhibition is an image still from Lorna Simpson’s video installation “Corridor.” Lorna Simpson is a conceptual photographer who rose to prominence in the 1980s for her striking images juxtaposed with text. Her work challenges notions of race, gender, and history, and explores how images and language are complicit in the perpetuation of negative stereotypes. While Simpson began her career as a photographer, the artist also works in painting, collage, sculpture, and film. The following chromogenic print is a still from the first few minutes of her film depicting the domestic everyday activities of two women from two different time periods. Played by the same actress, the film follows a house servant from the year 1860 and a wealthy housewife from the year 1960, presented simultaneously on a dual-screen. As we follow their mundane, daily activities, Simpson challenges the viewer to recognize the parallels between gender roles throughout history, pointing out the lingering gender discrimination that remains despite societal progress. -- Lorna Simpson, “Corridor (Bulb),” 2003. Chromogenic Print, Mounted to Plexiglas. Edition 2 of 5. 20 x 40 ⅛ x ⅜ in. -- #LornaSimpson #ConceptualPhotography #ChromogenicPrint #videoinstallation https://www.instagram.com/p/CRkHeIHFVLM/?utm_medium=tumblr

#lornasimpson #conceptualphotography #chromogenicprint #videoinstallation

[oncanvas]

Landscape 6 from the Ten Landscapes series, Roy Lichtenstein, 1967

Screenprint with chromogenic print collage on board 13 ⅛ x 16 ⅛ in. (33.3 x 41 cm)

#art #roy lichtenstein #1960s #print #american #pop art #modern art #landscape

[fragrantblossoms]

Dornith Doherty.   Archiving Eden (2008- Present),  Seedling Cabinet I

Digital Chromogenic Lenticular Prints, each 62” x 42”

Digital collage made from x-rays captured at the National Center for Genetic Resources Preservation (USA) and the Millennium Seed Bank (England)

#Dornith Doherty

[carlos-chavarria]

Dust & Misfires

Thirteen misfires on Thirteen images of the places where they were found. 

Photo collage  13 found photographs on 13 Chromogenic Prints  11 x 14 in Artist clamshell box Unique edition San Francisco, CA 2019

Song Kadia Blues by Orchestre de la Paillote

[creativespark]

David Rosetzky, Hamish, 2004 Chromogenic prints, 50 x 61 cm

This work by David Rosetzky is an early examples of cut-out and collaged photographic portraits that he has been producing periodically since 2004. To create these images, Rosetzky produces slick studio portraits of young models, referencing the style of photography prevalent in advertising and fashion magazines. He then layers a number of portraits on top of each other before hand-cutting sections to reveal parts of the underlying prints. Through this method of image making he seeks to represent the identity of his subjects as multi-layered, shifting and often concealed.

#photography #collage #david rosetzky

[huariqueje]

Landscape 9, from Ten Landscapes    -    Roy Lichtenstein , 1967.

American,1923-1997

screenprint with chromogenic photographic print collage, mounted to composition board , 11 ½ x 15 ¼ in. (292 x 387 mm.)

#Roy Lichtenstein #american artist

[clevelandmuseumarchivist]

The city of Cleveland is celebrating its 224th birthday this week. In honor of the occasion, here are a few works by Cleveland artists in the museum collection, whose artist papers are also in the museum archives. Happy birthday Cleveland!

#Cleveland Museum of Art #museum archives #cleveland birthday

[artist-lichtenstein]

Landscape 9, Roy Lichtenstein, 1967, Harvard Art Museums: Prints

Harvard Art Museums/Fogg Museum, Gift of the Artist © Estate of Roy Lichtenstein Size: 32.7 x 41.4 cm (12 7/8 x 16 5/16 in.) frame: 50.5 x 63.2 x 4.1 cm (19 7/8 x 24 7/8 x 1 5/8 in.) Medium: Screenprint with chromogenic photographic print collage

https://www.harvardartmuseums.org/collections/object/258802

#roylichtenstein

[moma-prints]

Landscape 3 from Ten Landscapes, Roy Lichtenstein, 1967, MoMA: Drawings and Prints

Gift of Lester Avnet Size: composition: 12 x 16 9/16" (30.5 x 42.1cm); sheet (mount): 16 x 21 15/16" (40.6 x 55.8 cm) Medium: Screenprint over chromogenic color print from a portfolio of nine screenprints and one collage

http://www.moma.org/collection/works/78199

#roylichtenstein #museumarchive #museumofmodernart

[harvard-art-museums-prints]

Landscape 9, Roy Lichtenstein, 1967, Harvard Art Museums: Prints

Harvard Art Museums/Fogg Museum, Gift of the Artist © Estate of Roy Lichtenstein Size: 32.7 x 41.4 cm (12 7/8 x 16 5/16 in.) frame: 50.5 x 63.2 x 4.1 cm (19 7/8 x 24 7/8 x 1 5/8 in.) Medium: Screenprint with chromogenic photographic print collage

https://www.harvardartmuseums.org/collections/object/258802

#roylichtenstein