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Image
Published: 01 July 2016
Figure 9 Protest Crowd, Occupy New York . Ink on paper, 40 × 58 cm, 2013. Image courtesy the artist and Anne Sophie Moors Figure 9. Protest Crowd, Occupy New York. Ink on paper, 40 × 58 cm, 2013. Image courtesy the artist and Anne Sophie Moors More
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Published: 01 November 2017
Figure 1 Builder Levy, Building Trades Union Workers at the New York City Women’s March 1/21/17 , 2017. Gold-tone gelatin silver print, 11 × 14 in. Courtesy of the artist Figure 1. Builder Levy, Building Trades Union Workers at the New York City Women’s March 1/21/17, 2017. Gold-tone gelatin More
Image
Published: 01 November 2017
Figure 2 Deborah Frizzell, Women’s March in New York , 2017. Digital photograph, dimensions variable Figure 2. Deborah Frizzell, Women’s March in New York, 2017. Digital photograph, dimensions variable More
Image
Published: 01 November 2017
Figure 3 Deborah Frizzell, Women’s March in New York , 2017. Digital photograph, dimensions variable Figure 3. Deborah Frizzell, Women’s March in New York, 2017. Digital photograph, dimensions variable More
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Published: 01 November 2017
Figure 4 Deborah Frizzell, Women’s March in New York , 2017. Digital photograph, dimensions variable Figure 4. Deborah Frizzell, Women’s March in New York, 2017. Digital photograph, dimensions variable More
Image
Published: 01 March 2009
Studio of Nancy Spero and Leon Golub, Greenwich Village, New York, 2007, with mock-up for Spero’s Maypole/Take No Prisoners , courtesy of Galerie Lelong, New York, and Golub’s Gigantomachy II (1965), courtesy of Ronald Feldman Fine Arts. Photograph by Samm Kunce. Studio of Nancy Spero and Leon More
Journal Article
Cultural Politics (1 July 2011) 7 (2): 239–248.
Published: 01 July 2011
... Phyllis Galembo is Professor of Art at the University at Albany, State University of New York. Her photographs have been exhibited widely, including at the Schomburg Center for Research in Black Culture, the American Museum of Natural History, and the Fashion Institute of Technology (all in New...
Journal Article
Cultural Politics (1 March 2010) 6 (1): 85–92.
Published: 01 March 2010
...David Levine “Hopeful” is part of David Levine's larger project about unsolicited submissions. As presented in 2009 at Galerie Feinkost in Berlin and Cabinet in new York, it comprises the first phase of a multidisciplinary and multi-year project of gathering, analyzing, and archiving unsolicited...
Journal Article
Cultural Politics (1 July 2015) 11 (2): 163–183.
Published: 01 July 2015
... Gallery, New York. Shot with infrared Kodak Aerochrome film, Mosse’s Enclave became a locus for debates about contemporary aesthetic strategies, especially within photography, and the ethics of deploying the shock of the sublime to elicit both empathy and questioning, exposing the viewer/participant to...
Journal Article
Cultural Politics (1 March 2005) 1 (1): 119–134.
Published: 01 March 2005
...Joy Garnett New York artist Joy Garnett outlines her methods as a painter who works from sampled or found images. She discusses her relationship to her sources, which have included science photographs, declassified military and news media imagery. She describes the challenges she has encountered...
Journal Article
Cultural Politics (1 March 2006) 2 (1): 29–48.
Published: 01 March 2006
... – that reveal the attitudes and characteristics they ascribed to the village and its conceptual opposite, the city. The key innovations came from Albert Mayer, a New York real-estate developer who designed the modernist city of Chandigarh and India's village reconstruction scheme. Mayer's ideas persist...
Journal Article
Cultural Politics (1 November 2008) 4 (3): 375–390.
Published: 01 November 2008
...Steven Morrison Filmed in Shepperton by a director from New York, shaped by a novel by a British author at its inception and influenced by the work of a British cast and crew during its production, Stanley Kubrick’s Dr. Strangelove is explored in this essay as a British–American hybrid. Kubrick’s...
Image
Published: 01 November 2009
Photo courtesy of Paul Chan, Creative Time and Green Naftali Gallery, New York. Photo courtesy of Paul Chan, Creative Time and Green Naftali Gallery, New York. More
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Published: 01 November 2009
Photograph courtesy of Paul Chan, Creative Time and Green Naftali Gallery, New York. Photograph courtesy of Paul Chan, Creative Time and Green Naftali Gallery, New York. More
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Published: 01 November 2009
Photograph courtesy of Paul Chan, Creative Time and Green Naftali Gallery, New York. Photograph courtesy of Paul Chan, Creative Time and Green Naftali Gallery, New York. More
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Published: 01 November 2009
Photograph courtesy of Paul Chan, Creative Time and Green Naftali Gallery, New York. Photograph courtesy of Paul Chan, Creative Time and Green Naftali Gallery, New York. More
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Published: 01 November 2009
Photograph courtesy of Paul Chan, Creative Time and Green Naftali Gallery, New York. Photograph courtesy of Paul Chan, Creative Time and Green Naftali Gallery, New York. More
Image
Published: 01 March 2009
Nancy Spero, Maypole/Take No Prisoners (detail) in situ , 52nd Venice Biennale, 2007. Courtesy of Galerie Lelong, New York. Nancy Spero, Maypole/Take No Prisoners (detail) in situ, 52nd Venice Biennale, 2007. Courtesy of Galerie Lelong, New York. More
Image
Published: 01 March 2009
Nancy Spero, Maypole/Take No Prisoners (detail), Italian Pavilion, 52nd Venice Biennale, 2007. Courtesy of Galerie Lelong, New York. Nancy Spero, Maypole/Take No Prisoners (detail), Italian Pavilion, 52nd Venice Biennale, 2007. Courtesy of Galerie Lelong, New York. More
Image
Published: 01 July 2011
Man with Gun, Jacmel, Haiti , 2004. Courtesy of Phyllis Galembo/Steven Kasher Gallery, New York Man with Gun, Jacmel, Haiti, 2004. Courtesy of Phyllis Galembo/Steven Kasher Gallery, New York More