Sentences with phrase «culture icons such»

Anthea Hamilton is a UK - based artist who creates multi-media installations that resemble theatrical stages or film sets and incorporate arrangements of prop - like objects, references to modernist paintings, and appropriated images of pop culture icons such as blow - ups of John Travolta in John Travolta, Bust - like, 2012.

Brazilian artist, Ana Smile, has created a bit of controversy with her company Santa Blasphemy, which creates plaster religious statues painted in the form of pop - culture icons such as Batman, Frida Kahlo, Catwoman, Captain Hopper, The Joker, and Minnie Mouse.

He is well known for his advertisements and creating artwork for pop culture icons such as commissions from The Beatles, Marilyn Monroe, and Elizabeth Taylor, among others.

Described as a «modern - day dandy» and is known for exhibitions combining sculpture, film and performance, many referencing pop culture icons such as the Simpsons and Felix the Cat.

Hernan finds inspiration for games from many sources; certainly from games they have played, but also from books Hernan read as a child, anime, comics, TV series, movies, and even pop culture icons such as Billy Idol or Joey Tempest.

Not exact matches

In such cases, the only culturally available icon of absolute evil — a precious thing for any culture to possess — is dangerously debased.

The stereotypical images of women (passive, weak and faithful, or domineering, demanding and slutty) were redefined as assertive, powerful and in control of their own sexuality.In popular culture this redefinition was evident: Disney heroines changed drastically and powerful media icons like Madonna, or Queen Latifah came to be just like series such as Sex and the City (1998 — 2004), and Girlfriends (2000 — 08).

Cowboys in pop culture are covered in a subsection called «The Cowboy Way,» which presents fun rundowns of great movies and novels and features cool old black - and - white photos of icons such as Gene Autry and Roy Rogers.

Game franchises such as Call of Duty or Halo have gone from being mere video games to pop culture icons, spawning their own lingo, merchandise, and memes.

Such photorealistic quality is evident in all his series, which include Wet Paint, Waterworld, Simply Flowers, Pop Culture Icons and Paper Beauties.

«The secret to our gallery's success was finding a niche that worked for us and really focusing all of our efforts there,» says Katie Cromwell, co-founder of Gallery1988 (www.nineteeneightyeight.com), a world - renowned destination for pop culture - themed art that boasts two locations in the Los Angeles area and has collaborated with such entertainment icons as Spider - Man creator Stan Lee and the Beastie Boys.

The individual likenesses (artist peers like Faith Ringgold and Nancy Spero were joined as the decades progressed by icons of pop culture such as Yoko Ono, Grace Jones, and Faye Dunaway) dissolved into a complex biomorphic hallucination.

Utilizing society darlings such as Paris Hilton and Kate Moss, art world players such as Jay Jopling and music icons such as Lady Gaga and Rihanna, Barba expresses his debt to Art History and contemporary culture through a satirical and humorous slant.

Known for his self - portraits and use of pop culture icons (such as Billie Holiday and Michael Jackson), Harris teases the viewers» perceptions and expectations, resignifying cultural cursors, and recalibrating the familiar with the extraordinary.

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.

Known for his self - portraits and use of pop culture icons (such as Billie Holiday and Michael Jackson), Harris teases viewers» perceptions and expectations, resignifying cultural cursors, and recalibrating the familiar with the extraordinary.

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.

Emerging with the New York City graffiti and street art movement of the 1980s, Scharf's imagery draws upon pop icons, media advertising and consumer culture of the 1960s, including TV cartoon characters such as the Flintstones and the Jetsons.

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).

The project focuses on the creation of Anishinaabe stock art and icons, which promotes visual sovereignty by exploring Anishinaabe visuals and material culture such as petroglyphs, floral beadwork, and Birch bark pictographs.

Drawing from an assortment of design motifs, including Persian carpet patterns and early Nintendo game graphics, Kamrooz Aram creates highly stylized landscapes that complicate the conventional definitions of binary terms such as East and West, through spectacular depictions of light, traditional icons, and digital culture.

Replacing classical icons with symbols of contemporary pop culture such as taco trucks, canned beans, and an alter ego named Spaztek, Ortiz's work maintains a tense relationship with consumerism and his heritage.

Through such tactics Dahn's suggests there is no distinction between high and low culture: «You can transform the low, the most shitty and obvious things, into high quality art, recycle them into an art context where they take on different meanings... That's my strategy, working with these kinds of mass or working class icons.

Throughout these discussions with Obrist, in which architects and artists such as Rem Koolhaas and Gustav Metzger also participate, this icon of twentieth - century culture shows herself to be a generous and smart personality, and a multifaceted artist of enormous influence.

His imagery draws upon pop icons, media advertising and consumer culture of the 1960s, including TV cartoon characters such as the Flintstones and the Jetsons.

Known for his self - portraits and use of pop culture icons (such as Billie Holiday and Michael Jackson), Harris teases the viewers» perceptions and expectations, signifying cultural cursors, and recalibrating the familiar with the extraordinary.

The artists on view in Outsider Art also share something beyond their often improvisational methods of art - making: Their works are woven together by common threads such as religion, the mystical world of animals, pop culture and icons of American history.