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A group of people at the Protest for Egypt, outside the Egyptian Embassy. 3521 International Ct NW, Washington, DC.

Some documentation from the 2nd outdoor heat lamp install that I did last week

Tormas (Tib. གཏོར་མ་) are sacred wisdom forms, hand-moulded from butter and tsampa (roasted barley flour) and decorated for a specific ritual. Documentation time period is likely between 1973 to 1976, at Khampagar Monastery.

Documenation shot of a TEWA in Montgomery County, Maryland on Oct. 24, 2014

8.5” x 11” sketchbook pages

Digital prints, writing

Research: written and photographic documentation

The debris of movement is a piece that fell into my lap – literally. Inspired by my study of Cornelia Parker, who dealt with physical “negatives” to communicate/explore the absence of abstract “positives” (i.e. the piece “Negative of sound”)

 

"Reports from the Frontlines of Democracy" – The Berliner Gazette program contribution to the festival #LutherLenin

 

December 2-3, 2017 at Studio Hrdinů in Prague (studiohrdinu.cz)

 

The whole programe www.goethe.de/resources/files/pdf138/ll_program_a2_en_bez...

 

Photo: Andi Weiland / berlinergazette.de cc by nc

These were taken at a rehearsal of an installation and performance piece by the artist Angela Kennedy at the High Bridge studios in Newcastle. I wanted to communicate a sense of the concentrated movement and visual impact of the piece.

Documentation of Burger Records' 3rd BURGERAMA music fest at the Observatory in Santa Ana, California.

Went on an exploring adventure with Alyssa.

What looks like Ballast is actually Cards with Names of people who Died in Auschwitz.

Assembling the enclosure after hand filing out the holes. Wishing I had a laser cutter

Watercolor study of "What I will be when I grow up."

Various artwork on display for the month of November at PNCA. Photographs by Matthew Gaston.

Documentation

Ceramic, plaster, wood, plastic, and duct tape

Dec. 2009

 

Is this installation a commentary on the raw wounds inflicted on modernity, covered but not hidden by a flimsy plastic cover? Is an attempt to depict the conflict of framing an organic void with a geometric, man-made frame? Or, as the title suggests, is the artist merely trying to depict the deplorable and unjust conditions of the soapdish that his landlord hasn't gotten around to fixing?

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