Sentences with phrase «contemporary image culture»

Together with a group of young artists — including Robert Longo, Barbara Kruger, Sherrie Levine, Richard Prince and Louise Lawler — Sherman was critical about contemporary image culture and the rise of image consumerism that both drove emerging mass media like television and was celebrated in it.

Kim's practices consistently navigate his distinct nostalgic and imaginative sensibility towards human perception and concerns of contemporary image culture.

Not exact matches

I think I decided to pursue it as a full book because I came to realize that the somewhat specific culture of «hipster Christianity» was actually indicative of much broader tensions and paradoxes in contemporary Christianity dealing with identity, image, and the question of cool.

Not in the form of some «how to» guide or some «five step» program, but, first and foremost, by way of metaphor: «If the state of contemporary Catholic literary culture can best be conveyed by the image of a crumbling, old, immigrant neighborhood, then let me suggest that it is time for Catholic writers and intellectuals to leave the homogeneous, characterless suburbs of the imagination, and move back to the big city — where we can renovate these remarkable districts which have such grace and personality, such strength and tradition.»

The contemporary ecological crisis represents a failure of prevailing Western ideas and attitudes: a male oriented culture in which it is believed that reality exists only as human beings perceive it (Berkeley); whose structure is a hierarchy erected to support humanity at its apex (Aristotle, Aquinas, Descartes); to whom God has given exclusive dominance over all life forms and inorganic entities (Genesis 1 - 2); in which God has been transformed into humanity's image by modern secularism (Genesis inverted).

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New to this disc is the four - minute «In Walt's Words: Snow White and the Seven Dwarfs,» an audio - only interview with Walt Disney discussing the film set to an image track, the seven - minute featurette «Iconography» that explores the film's influences on popular culture, art, and fashion, «@DisneyAnimation: Designing Disney's First Princess» with four contemporary animators discussing the design of Snow White, and an «Alternate Sequence: The Prince Meets Snow White,» plus the breezy promo - style pieces «The Fairest Facts of Them All: 7 Facts You May Now Know About Snow White» with Disney Channel star Sofia Carson and the rap retelling «Snow White in Seventy Seconds.»

Girls Will Be Girls: Raising Confident and Courageous Daughters by JoAnn Deak, Ph. D. (Hyperion, $ 23.95, 320 pages, ISBN 078686768X) deals with overcoming the obstacles particular to girls as they struggle with body image, self - esteem, intellectual and physical growth and other issues while getting mixed messages from contemporary culture.

Presented by dinca.org, Vision Quest is a three - day festival celebrating the most innovative contemporary moving image and media art culture.

The exhibition, the artist's first solo show of paintings in New York in six years, continues to reveal Taaffe as a philosopher of painting, offering compelling meditations on art and culture, both contemporary and historical, and visual ruminations on the interrelated families of forms and images in art, architecture, and archaeology.

Passages: Walking in Contemporary Art, Perlman Teaching Museum, Carleton College, Northfield, MN (2016); Another Landscape, Yang Art Museum, Beijing, China (2016); Real / Unreal, The First edition of Changjiang International Photography & Video Biennale, Chongqing Changjiang Museum of Contemporary Art, China (2015); The Persistence of Images, Redtory Art and Culture Organization, Guangzhou, China (2015); The 2nd Three Shadows Experimental Image Open Exhibition, Three Shadows Photography Art Centre, Beijing, China (2015); The 9th Shanghai Biennale, China (2013); Retrospection & Deviation, Times Art Museum Beijing, Beijing, China (2011); Rendez - vous 09, Institut d'Art Contemporain, Villeurbanne, France (2009); and 55 Days in Valencia, Chinese Art Meeting, Institut Valencia d'Art Modern, Valencia, Spain (2008).

For now, New York in the 1970s seems certain to continue its grip on contemporary culture, however mythic the images become.

Allison Schulnik, Arin Rungjang, art fair, artist studio, Australian Centre for the Moving Image, Boyd Webb, Callum Innes, Charles Lim, collectors, commercial, contemporary art, creativity, culture, Digital Art, discussions, exhibition, fair, Future Perfect, Galeria AFA, galleries, gender, Gene Sherman, global, Google Creative Lab, Ian Hamilton Finlay, Ingleby Gallery, installation, Joachim Bandau, Joana Vasconcelos, Jonathan Owen, Josh Azzarella, Katie Paterson, Mark Moore Gallery, Moving Image, Pearl Lam Galleries, performance, Peter Liversidge, post internet, public program, Qin Yufen, Richard Forster, Sandra Vasquez de la Horra, studio visits, Su Xiaobai, Sydney Art Week, Sydney Contemporary, Tim Etchells, Two Rooms, video art, Yinka Shonibare Mbecontemporary art, creativity, culture, Digital Art, discussions, exhibition, fair, Future Perfect, Galeria AFA, galleries, gender, Gene Sherman, global, Google Creative Lab, Ian Hamilton Finlay, Ingleby Gallery, installation, Joachim Bandau, Joana Vasconcelos, Jonathan Owen, Josh Azzarella, Katie Paterson, Mark Moore Gallery, Moving Image, Pearl Lam Galleries, performance, Peter Liversidge, post internet, public program, Qin Yufen, Richard Forster, Sandra Vasquez de la Horra, studio visits, Su Xiaobai, Sydney Art Week, Sydney Contemporary, Tim Etchells, Two Rooms, video art, Yinka Shonibare MbeContemporary, Tim Etchells, Two Rooms, video art, Yinka Shonibare Mbe, Zhu Jinshi

His rhythmic patterns of repeating images, often featuring symbols of contemporary folk culture, are hand painted and rendered through the visual language of printmaking.

Throughout the summer, school - aged children and adults can discover and enjoy contemporary photography and image culture and participate in fun and playful learning experiences together.

Using a historically specific twentieth - century apparatus (Max Fleischer's Setback Camera and Walt Disney's Multiplane camera) to not only capture images over the course of her residency at the New Museum, but also to interpolate the material culture of more contemporary imaging technologies, Craycroft builds an accretive, time - based examination of personhood and anthropomorphism.

With humour and ultra-saturated colours, Martin Parr's images critique the contemporary culture of consumerism.

Arguably the most up - to - the - minute venue in a city jam - packed with contemporary culture, The Modern Institute stages a group show focused on art created in virtually no time at all, curated with a view to revealing associations between disparate images and techniques.

1971 6th Guggenheim International Exhibition, Solomon R. Guggenheim Museum, New York, USA Words and Image, Pinnar Gallery, Tokyo, Japan Chronicle of Post-War Art, The Museum of Modern Art Kamakura & Hayama, Japan Tokyo Gallery Exhibition 1971, Tokyo Gallery, Tokyo ／ Pinnar Gallery, Tokyo ／ Saikodo Gallery, Tokyo, Japan The 10th Contemporary Art Exhibition of Japan: Humans and Nature, Tokyo Metropolitan Art Museum, Japan Kyoto Municipal Museum of Art, Japan Aichi Cultural Hall, Japan Miyazaki Prefectural Museum of Nature and History, Japan Sasebo Central Citizens Hall, Nagasaki, Japan Fukuoka Prefectural Culture Hall, Japan Beaupin Exhibition, Pinnar Gallery, Tokyo, Japan The 1st Anniversary Exhibition & 100th Anniversary of Mainichi Shimbun, Today's 100 People, Hyogo Prefectural Museum of Art, Japan Contemporary Japanese Prints, Yokohama Civic Art Gallery, Kanagawa, Japan Contemporary Japanese Art, Staempfi Gallery, New York, USA The 5th Japan Art Festival, Solomon R. Guggenheim Museum, New York, USA The 7th International Biennial Exhibition of Prints in Tokyo, The National Museum of Modern Art, Tokyo, Japan The National Museum of Modern Art, Kyoto, Japan The 5th Japan Art Festival, Solomon R. Guggenheim Museum, New York, USA Contemporary Japanese Art, Staempfi Gallery, New York, USA The 5th Japan Art Festival, Solomon R. Guggenheim Museum, New York, USA The 7th International Biennial Exhibition of Prints in Tokyo, The National Museum of Modern Art, Tokyo, Japan The National Museum of Modern Art, Kyoto, February 20 － March 21 The 5th Japan Art Festival, Solomon R. Guggenheim Museum, New York, USA

John Waters: Indecent Exposure is organized around themes of popular culture, the movie industry, the contemporary art world, the artist's childhood and identity, and the transgressive power of images.

Metabolism and Communication, Zentrum fur Kunst und Medientechnologie, Center for Art and Media, Karlsruhe, Germany 2003 Love, Magazin4 Vorarlberger Kunstverein, Bregenz, Germany Patty Chang, Tracy Emin, Naomi Fisher, Paul McCarthy, The Moore Space, Miami, FL (performance, April 26) Water, Water, curated by Lilly Wei, The Rotunda Gallery, Brooklyn, NY Awakenings, Center for Curatorial Studies at Bard College, Annandale - on - Hudson, NY Feminine Persuasion, The Kinsey Institute and the School of Fine Arts Gallery, Indiana Univeristy, Bloomington, Indiana 2002 Videos in Progress, The RISD Museum, Providence, Rhode Island Le Plateau Frac Ile - de-France (performance only, November 7), Paris, France Mirror, Mirror on the Wall, MASS MoCA, North Adams, MA The Body Electric: Video Art and the Human Body, Cheekwood Museum of Art, Nashville, TN Americas Remixed, La Fabbrica del Vapore, Milan, Italy (performance / exhibition) Extreme Existence, curated by Klaus Ottmann, Pratt Manhattan Gallery, NY (performance / exhibition)(catalogue) Moving Pictures, Guggenheim Museum, New York Fusion Cuisine, Deste Foundation Centre for Contemporary Art, Athens, Greece (performance / exhibition), (Catalog available) Time Share, Sara Meltzer Gallery, NY Le Studio, Yvon Lambert, Paris, France Oral Fixations, curated by Sandra Firmin, Center for Curatorial Studies, Bard College, Annandale - on - Hudson, NY Panorama, curated by Carmen Zita, Room Interior Products, NY Superlounge, curated by Andrea Salerno & Mari Spirito, Gale Gates, Brooklyn, NY About the Mind (Not Everything You Always Wanted to Know), Video Cafe, organized by Hitomi Iwasaki, Queens Museum, NY Mirror Image, curated by Russell Ferguson, UCLA Hammer Museum, Los Angeles, CA Traveled to: Bard College, Center for Curatorial Studies Museum, Annadale - on - Hudson, NY Perspectives: Artists of Chinese Descent in New York, Queens College Art Center, NY Traveled to: Firehouse Art Gallery, Nassau Community College, Garden City, NY, March - April 2003 2001 Bodily Acts, curated by Jennifer L. Gray, Center for Curatorial Studies, Bard College, Annandale - on - Hudson, NY Circus Maximus, BeganeGrond, Center for the Contemporary Arts, Utrecht, Holland Group Show, Hamburg Kunstverein, Germany (performance) Mimic, Gale Gates et al., Brooklyn, NY Casino 2001, 1st Quadrennial of Contemporary Art, Stedelijk Museum Voor Actuele Kunst and the Bijloke Museum, Gent, Belgium (performance / exhibition) Looking for Mr. Fluxus: In the Footsteps of George Maciunas, Art in General, NY La Hijas de la Tierra (The Daughters of the Earth), IODAC Museum of Contemporary, Spain Panic, Julie Saul Gallery, New York Video Jam, Palm Beach Institute of Contemporary Art, Lake Worth, Florida (brochure) 2001 Art + Performance + Technology, in conjunction with the 19th International Sculpture Conference, Wood Street Galleries, Pittsburgh, PA (performance) WET, Luise Ross Gallery, New York Trans Sexual Express Barcelona, Centre d'Art Santa Monica, Barcelona, Spain Smirk: Women, Art, and Humor, curated by Debra Wacks, Firehouse Art Gallery, Nassau Community College, New York 2000 Uncomfortable Beauty, Jack Tilton / Anna Kustera Gallery, New York Cross Female, Kunstlerhaus Bethanien, Berlin, Germany (performance / exhibition): Traveled to: Kunst - und Kunstgewerbeverein Pforzheim, Germany (April / May 2001) The Art of the Screen Saver, Stanford Art Museum / Cantor Art Center, Stanford, CA Traveled to: ICA, London, England (Feb - March 2002) Steamroller, performance festival organized by Galerie MXM, Prague, Czech Republic (Catalog available) Soma, Soma, Soma, The Sculpture Center, New York Performance Festival, Kunstpanorama, Lucern and USINE, Geneva The Standard Projection: 24/7, Standard Hotel, Los Angeles Deja vu, Art Miami 2000, Miami Beach Convention Center, Miami Beach Galerie Fons Welters (two person exhibition with Atelier van Lieshout), Amsterdam ID / y2k, Identity At The Millennium, Castle Gallery, College of New Rochelle, NY 1999 - 2000 Illusion Delusion Denial, 450 Broadway Gallery, New York Mug Shots, Center for Visual Art and Culture, University of Connecticut, Storrs, CT. 1999 IDENDITAT, hat man doch zu viel, Ort halle fur kunst, Feldstr.

The ubiquity of reproducible mediums in contemporary art has a brief but complex history, dating to the 1960s and 1970s when a paradigm shift occurred within visual culture: photography and the moving image were absorbed into critical art practices.

«It's the perfect moment to revisit Rauschenberg's career, given that his impact continues to gain momentum as more and more contemporary artists pay homage to, and are influenced by, various facets of his creative practice and artistic production — from his technology - based artworks and the reuse of images to international collaborations that demonstrated the power of art to spark dialogues between various cultures,» stated Christy MacLear, CEO of the Rauschenberg Foundation.

Wesselmann and his contemporaries — Andy Warhol, Roy Lichtenstein and James Rosenquist — forged the Pop Art movement by creating large scale, dynamic compositions, experimenting with new media, and using images from everyday popular culture.

By juxtaposing contemporary color images of ice cream next to historical photographs of people enjoying it, the exhibition examines the visual and social culture of ice cream, the role it plays in society and the playfulness of the human experience.

Image: School of Beauty, School of Culture, 2012, Kerry James Marshall, acrylic and glitter on unstretched canvas, 108 x 158 in., Birmingham Museum of Art, Museum purchase with funds provided by Elizabeth (Bibby) Smith, the Collectors Circle for Contemporary Art, Jane Comer, the Sankofa Society, and general acquisition funds, 2012.57, © Kerry James Marshall.

«These days, beauty is not in fashion,» says Richter, who has explored painting and its role in image culture for decades on his quest for a form of painting that corresponds to contemporary challenges.

Everything is going to be alright, Elizabeth Cherry Gallery, curated by Bob Nickas, Tucson, Arizona, USA Fresh: Recent Acquisitions, Albright - Knox Art Gallery, Buffalo, New York, USA Works on Paper From Acconci to Zittel, Victoria Miro Gallery, London, England Next Wave Prints v. 2.0, Elias Fine Art, Allston, Massachusetts, USA New Paintings, Wayne Gonzales, Jacqueline Humphries, Jonathan Lasker, Blake Rayne, Dan Walsh, Kevin Bruk Gallery, Miami, USA 2000 Drawings & Photographs, Matthew Marks Gallery, New York, USA What's So Funny About Color, Elias Fine Art, Boston, USA Glee: Painting Now, The Aldrich Museum of Contemporary Art, Ridgefield, CT Palm Beach Institute of Contemporary Art, Organized by Amy Cappellazzo and Jessica Hough), Florida, USA PICT: Digital Image Painting, Banff Centre for the Arts, curated by Yvonne Force and Carmen Zita) Alberta, Canada Paula Cooper Gallery, New York, with R. Grosvenor, R. Lichtenstein, R. McBride and D. Walsh, Tomio Koyama Gallery, Tokyo, Japan Hex Enduction Hour, Team Gallery, New York, USA (Curated by Bob Nickas)(212), Gary Tatintsian Gallery, New York (Organized by Irena Popiashvili, catalogue with essay by Christine Kim) Bit By Bit: Painting & Digital Culture, Numark Gallery, Washington, USA 1999 Sweet & Sour, Galerie Art & Public, Geneva, Switzerland Digital Sites, Numark Gallery, Washington, USA 1998 Brite Magic, Islip Art Museum, East Islip, New York, USA (Curated by Carolanna Parlatto) 1997 Diamond Dogs, Team Gallery, New York, USA Super Body, Tomio Koyama Gallery, Tokyo, Japan 1996 Face and Figure in Contemporary Art, Museum of Fine Arts, Boston, USA AbFab, Feature, New York, USA Mutate / Loving the New Flesh, Lauren Wittels Gallery, New York, USA (Curated by Michael Cohen) Supastore de Luxe, UP & Co., New York, USA (Curated by Sarah Staton)

Like contemporary culture, too, it caters to male lust and to images of feminine beauty.

The panel will explore the timeliness of this recent iteration of digital abstraction, with three artists who variously work through issues such as: how gesture, expression, and authenticity might continue to be possible in a contemporary image - based culture; whether our digital era truly produces an ahistorical condition in which images and marks have no specific reference and no relevant point of origin; how structures of and interfaces with digital technologies have necessitated new models for thinking about memory, distribution, and reproduction, as well as degradation, rupture, breakdown, and the void; and how the ubiquity of the screen in all aspects of life has given rise to a renewed interest in the relationship between two - dimensional and three - dimensional space, with a refreshed focus on tromp l'oeil and «topographical» painting.

Betty Tompkins, Carolee Schneemann, contemporary art, culture, Dara Schaefer, difference, distortion, exhibition, female, gay, gender, identity, image, Jack Early, male, Marilyn Minter, object, oppression, radical art, Rob Pruitt, stereotype, straight, Thomas Lanigan Schmidt

Invested with a rare precision and dedication, Sarah Charlesworth produced a body of work that continues to inspire contemporary artists and viewers who are surrounded by an increasingly image - saturated culture.

As contemporary artists feed an image - hungry culture, making and disseminating pictures with unprecedented speed on every possible platform, photo curators are tasked with picking and choosing from a glut of wildly multifarious works that can claim to be associated with the medium.

Continually seeking to discover the patterns, codes, and orders within the image overload of contemporary society, Simon questions the very dynamics of contemporary culture as a process of evolution or one doomed to endless repetition.

Exploring and questioning contemporary life through visual imagery, the approach of Pictures Generation artists is particularly relevant in understanding our current image - oriented culture and decoding the roles that images play as forms of representation, as icons, and as symbols.

ROM Contemporary Culture to present Isaac Julien: Other Destinies Julien's work presented in Toronto in partnership with OCAD University and The Images Festival.

Exploring and questioning contemporary life through visual imagery, her approach is particularly relevant in understanding our current image - oriented culture and decoding the roles that images play as forms of representation, as icons, and as symbols.

Their work continues to inspire contemporary artists and viewers who are surrounded by an increasingly image - saturated culture.

St. John's found imagery elevates the overused people and symbols in contemporary visual culture and reflects on the hierarchy of images.

The collaged elements and image transfers on Crosby's large paper canvases provide interesting insights into life in contemporary Nigeria; popular culture references from the media depict a life that is not so different from that in the West.

Over her three - decade - long career, the contemporary art legend has explored how images shape and separate cultures through a wide variety of media.

This year's edition explores contemporary photo - based culture, specifically focusing on connectivity, the circulation of images, information networks, and communication models.

DS+R's architectural projects include: the Lincoln Center for the Performing Arts expansion and redesign; the Institute of Contemporary Art in Boston; the High Line in N.Y.; Blur in Switzerland; the Broad Museum in L.A.; the Museum of Image and Sound in Rio; the Berkeley Art Museum & Pacific Film Archive; and Culture Shed, N.Y.

While some Pop artists use photography to react to consumer culture, Robert Heineken repurposes found magazine imagery to talk about the media's role in objectifying women, Richard Prince and Sarah Charlesworth of the Pictures Generation push the boundaries of image appropriation, Christopher Williams talks about means of image production and contemporary artist Lucas Blalock confuses subject and backdrop through Photoshop.

issue 2 magazine launch, and curated by Bob Bicknell - Knight for Untitled's fourteenth event (ed's note: programmed by Jonny Tanna), both look at «the power of the meme, it's rise in contemporary culture and the widespread appropriation of images and videos being utilised, both in memes and artworks.»

2017 Past Skin, MoMA PS1, The Museum of Modern Art, New York, NY Invisible Cities, The Wallach Art Gallery at Columbia University, NY Mundos Alternos: Art and Science Fiction in the Americas, «Pacific Standard Time», UCR / California Museum of Photography, Riverside, CA COMM ALT SHIFT, Aljira A Center for Contemporary Art, Newark, NJ Biennale of Moving Images, Faena Bazaar and Faena Hotel, Miami Beach, FL Biennale of Moving Images, Faena Art Center Buenos Aires, Argentina Digital Bodies, Eli and Edythe Broad Art Museum, East Lansing, MI Vision All Together, Durango Arts Center, Durango, COSouth Florida Consortium Exhibition, Museum of Contemporary Art, North Miami, FL South Florida Consortium Exhibition, Museum of Contemporary Art, North Miami, FL Prospect 4: The Lotus in Spite of the Swamp, New Orleans Biennial, New Orleans, LA No burden as heavy, David Castillo Gallery, Miami Beach, FL Change Agents, Art and Culture Center of Hollywood, Hollywood, FL

Passages: Walking in Contemporary Art,» Perlman Teaching Museum, Carleton College, Northfield, MN «Photography and Film Constructs,» Ringling College of Art and Design, Sarasota, FL «Another Landscape,» Yang Art Museum, Beijing, China «Dust,» SKPxPQA art showcase, Beijing, China 2015 «Jimei X Arles: Encounters Between East and West — International Photo Festival,» Yuanbo Garden, Tan Kan Kee Art Center, Three Shadows Art Center Xiamen, China «Real / Unreal,» The First edition of Changjiang International Photography & Video Biennale, Chongqing Changjiang Museum of Contemporary Art, China «The Persistence of Images,» Redtory Art and Culture Organization, Guangzhou, China «It's not right, but it's okay,» Ucca Store, Beijing, China «The 2nd Three Shadows Experimental Image Open Exhibition,» Three Shadows Photography Art Centre, Beijing, China

Synthesizing poses from contemporary celebrity culture and images from the canon of art history, She's Come Undone!

Her wide - ranging interests in American art and visual culture are reflected in the breadth of her publications, including Benton, Pollock, and the Politics of Modernism: From Regionalism to Abstract Expressionism (1991, which received the Charles C. Eldredge Prize), Spirit Poles and Flying Pigs: Public Art and Cultural Democracy in American Communities (1995), Elvis Culture: Fans, Faith, and Image (1999), Looking at Life Magazine (editor, 2001), Twentieth - Century American Art (2002), The Emotional Life of Contemporary Public Memorials: Towards a Theory of Temporary Memorials (2008), Memorial Mania: Public Feeling in America (2010), and American Art of the 20th - 21st Centuries culture are reflected in the breadth of her publications, including Benton, Pollock, and the Politics of Modernism: From Regionalism to Abstract Expressionism (1991, which received the Charles C. Eldredge Prize), Spirit Poles and Flying Pigs: Public Art and Cultural Democracy in American Communities (1995), Elvis Culture: Fans, Faith, and Image (1999), Looking at Life Magazine (editor, 2001), Twentieth - Century American Art (2002), The Emotional Life of Contemporary Public Memorials: Towards a Theory of Temporary Memorials (2008), Memorial Mania: Public Feeling in America (2010), and American Art of the 20th - 21st Centuries Culture: Fans, Faith, and Image (1999), Looking at Life Magazine (editor, 2001), Twentieth - Century American Art (2002), The Emotional Life of Contemporary Public Memorials: Towards a Theory of Temporary Memorials (2008), Memorial Mania: Public Feeling in America (2010), and American Art of the 20th - 21st Centuries (2017).

Their vision on contemporary culture was to integrate it with mass mediated images and new technology.