Samara Scott (b. 1984, London) revels in the emotional resonance of contemporary consumerism, the glut of imagery on the internet and ephemeral urban materials; addressing head - on our complex and
conflicted contemporary experience of the body.
Not exact matches
Rebel Without a Cause suggests contradictions and
conflicts at the heart of the familial relations that constituted
contemporary society but also the very means by which society's leading cultural institution had organised and legitimised certain
experiences.
- USA Today «One of our most astute diagnosticians of
contemporary experience,
conflict, unhappiness, and regret.»
The
contemporary exhibition features expressive paintings by Brian Maguire and the large - scale colour photographs of Richard Mosse and Paul Seawright that share concerns with geopolitics and the
experience of
conflict.
+ Live and silent auctions with
contemporary artworks and creative
experiences + Immersive culinary
experience produced by La Cocina and Dawn Weleski, co-founder of
Conflict Kitchen + Multimedia installation by Rashaad Newsome + DJ sets by Chulita Vinyl Club + Pop - up Shop with limited editions by William Powhida and Muzae Sesay
He is interested in how stories change when told from different perspectives and these three works examine
contemporary conflict through the personal
experience of people on the front lines.
Blum & Poe, Los Angeles, CA Dreams and
Conflicts: The Dictatorship of the Viewer, The 50th International Exhibition of Visual Arts of the Biennale di Venezia, Venice, Italy Somewhere Better Than This Place: Alternative Social
Experience in the Spaces of
Contemporary Art, The
Contemporary Arts Center, Cincinnati, OH (exh.
Founded in 1983 by a group of local photographers as a challenge to media representation of the city's
experience of
conflict, our work continues to reflect a socially engaged ethos, while responding to
contemporary currents in photography and politics further afield.
Founded in 1983 by local photographers as a challenge to media representation of the city's
experience of
conflict, our exhibitions, publications and collaborative and community photography projects continue to reflect a socially engaged ethos, while responding to
contemporary currents in photography and politics further afield.
None of these artists take on these
contemporary issues directly or didactically, but rather make use of unconventional materials to produce a particular
experience of the work's physical presence, or else to present surfaces that evoke the polyvalent potential of digital screens to display multiple, even
conflicting, perceptual modes, both sequentially and simultaneously.
Such a
conflict raises the question, at what point do we sacrifice our personal privacy for the sake of participating in or even simply
experiencing contemporary culture?