Sentences with phrase «internet image culture»

Not exact matches

It seemed harmless at the time, but thanks to a very young internet video - posting site called YouTube, the image of Cruise on top of Oprah's couch would become a pop - culture phenomenon.

And all this was written before this period of the ubiquitous internet images and celebrity culture.

Free: Download 5.3 Million Images from Books Published Over Last 500 Years (Open Culture) The Internet Archive Book Images collection has doubled in size since 2014.

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These are images made explicitly to be read in the context of our internet - led, image saturated culture.

These new works take historical paintings and Internet culture as their point of departure and utilize paint and digitally manipulated printed images to create hybridized portraits suffused with cultural and societal critiques.

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Mixing art historical references with images taken from the internet, their subject matter knows no limits: from icons of popular culture such as Roy Orbison to much admired paintings of the past such as Georges Seurat's Bathers at Asnières (1884); from the lonesome cowboys in a Steven Spielberg film to the shocking photographs of Mexican photographer, Enrique Metinides.

Like Quisqueya Henriquez's progressive divergence from an Internet source image of a Blinky Palermo corner piece, Musson's sweater frees the art object from Abstract Expressionism and the consumer object from hip - hop culture by indulging symbiosis worthy of Deleuze and Guattari» sCapitalism and Schizophrenia.

In 2000, she shifted her interests to film and video, advertising and internet - based images, exploring the current culture overladen with pictures.

Mixing art historical references with images taken from the internet, the paintings of Polish artist Wilhelm Sasnal (born 1972) borrow liberally from the image glut around us, appropriating anything from icons of popular culture such as Roy Orbison to paintings of the past such as Georges Seurat's «Bathers at Asnières» — from the lonesome cowboys in a Steven Spielberg film to the photographs of Enrique Metinides.

These new works take historical paintings and internet culture as their point of departure and utilize paint and digitally manipulated printed images to create... Read More

Jon Rafman immerses viewers in environments where gaming landscapes and physical reality fuse as dark, hypnotizing hybrids; Yves Scherer probes celebrity culture and popular media in works that toe the line between critique, satire, and celebration; and Simon Denny examines surveillance and digital subcultures by plumbing the depths of images, information, and communication stored on the internet.

As a result, her images are raw, rejecting conventional beauty norms, whilst still maintaining a tween - Tumblr aesthetic and employing kitsch elements and lowbrow internet culture.

Using materials taken from amateur photographers» how - to manuals from the 1970s, Lipps make the case that the supposedly Internet - derived, algorithmic image culture so widespread today may actually find its roots in the feverish popularity of the low - cost Brownie camera of the 1950s and the ubiquitous Fujifilm disposable point - and - shoot of the»80s.

http://www.o-matic.com/ Joy Garnett on Wednesday, November 28, 2012, 12:45 p.m., Myrtle Hall 4E - 3 «Painting and the Technical Image World» Joy Garnett is New York - based artist whose paintings are based on news photographs, scientific imagery, and military documents she gathers from the Internet and uses to examine the apocalyptic - sublime at the intersections of media, politics, and culture.

Leckey's interests might have shifted throughout the last decade — from an obsession with pop culture, subculture and the figure of the dandy in earlier films such as Parade (2003), and in his band collaboration DonAteller, with fellow artists Ed Laliq, Enrico David and Bonnie Camplin; to the high / low culture face - off of his BigBoxStatueAction performances (2003 — 11), in which Leckey's giant speaker stack confronts icons of modernist British sculpture, such as Jacob Epstein's Jacob and the Angel (1940 — 1); to his later multimedia performance lectures, the Internet - driven epiphany of dematerialisation In the Long Tail (2009) and its antithesis Cinema - in - the - Round (2006 — 8), with its more reflective inquiry into the physicality of images via, among others, Philip Guston, Felix the Cat, Gilbert & George, Homer Simpson and Titanic (1997).

Presenting an intriguing mix of real and imaginary images the exhibition doesn't try to present a collective portrait of adolescence, but rather brings together the work of various internationally known photography artists dealing with a variety of related issues revolving around the three central themes of youths as a social group, adolescence as a particularly tormented stage, and the self - presentation emblematic of the digital image and Internet culture.

«Who Owns the Images on the Internet,» Tech Nation Americans and Technology, with Dr. Moira Gunn, KQED - FM, Feb «Romantizar el anti-cuerpo,» Arte en la Era Electronica, Centre of Contemporary Culture, Barcelona, Spain, Jan 30

For her solo show she has created large format paintings and sculptures using the foundation's main gallery as her studio this summer: these new works take historical paintings and internet culture as their point of departure and utilize paint and digitally manipulated printed images to create hybridized portraits suffused with cultural and societal critiques.

Given all the cribbing and quotation, and the speed with which it all appeared (Majerus produced something like 1,500 works during his short career), what's obvious to note, at least, as many have, in retrospect, is that Majerus brought the promiscuity of the Internet's image culture to bear on his artistic work in a manner that few artists have.

Throughout the exhibition Coupland shares his thoughts on globalization, terror, the Internet, pop - culture, social media and the resulting accelerated image economy.

With the democratisation of the image through social media and the internet in today's digital age, «Double Take» explores the theme of appropriation and the role of photography across generations in shaping and re-examining ideas of authorship, originality, identity and culture.

Combining art history with mass culture and universal canons with everyday banalities, «The history in repeat mode — image» investigates the mechanisms that produce, edit and disseminate human manifestations in the age of internet.

Los Angeles — based artist Ryan Trecartin (born 1981), whom The New Yorker called «the most consequential artist to have emerged since the 1980s,» is best known for his highly stylized videos, often installed in special environments designed by his longtime collaborator, Lizzie Fitch, that draw on Internet and youth cultures, with characters and images that are familiar and utterly unfamiliar at the same time.

They focus on artwork created after photography and the internet co-evolved to produce a culture of instant and global image sharing.

Since 2000 Sturtevant has embraced film and video, advertising and internet - based images, producing work that reflects the fragmented and pervasive nature of our image - saturated culture.

«Once all the images are uploaded to the Internet, we can share the local culture and beauty of the Amazon with anyone, anywhere in the world.