Sentences with phrase «digital image culture»

ALEXIS DAHAN — Do you feel like your work belongs to today's digital image culture?

Not exact matches

As Luciano Tovoli once said in his response to a question regarding his own supervision of the Blu - ray transfer of Dario Argento's 1977 Eurohorror classic Suspiria, the physicality of celluloid image should be contrasted with the mathematical image offered by the digital.6 Experimenta, with its assiduous persuasion for the original formats of films in most cases7 in a country that severely lacks an experimental film culture and a consciousness regarding the latter, set the physical, tactile presence of films and filmmakers as its focal point.

This digital citizenship / pshe lesson investigates body image, consent, culture and self expression as well as making students very clear of dangers.

She deals with the circulation of data and images, the slippages between truths and fictions, the destabilizations of digital culture, the political implications of hypercapitalism, and the migration of found images across different contexts — and somehow makes it all fascinating.

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 Mbe, Zhu Jinshi

Makeover Culture Disfigured No. 3 2016 digital prints, magazine images, found paper, acrylic paint, glitter, fabric, synthetic hair, resin on wood panel 52» x 68»

Sally has performed for major sound art and audiovisual festivals and venues including Tate Britain, Digital Culture Centre, Mexico City, Rotterdam International Film Festival, Sound of Stockholm, Fylkingen Festival, Sweden, BEAM: Brunel Electronic & Analogue Music Festival, London, Kraak, Belgium, Colour Out of Space, Brighton, Sonica, Slovenia, Open Frame, Brisbane, FlexFest, Florida, Supernormal, UK, Edinburgh International Film Festival, San Francisco Cinematheque, Abandon Normal Devices, Manchester, Oslo Cinemateket, Norway, and Australian Centre for the Moving Image.

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)

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.

Antivj, artist talk, avant - garde, classical music, culture, digital, electronics, exhibition, experimental, festival, hacking, image, improvisation, information, installation, kinetic, light, manipulation, media, Modernism, MoTA, multimedia, Olivier Ratsi, perception, performance, politics, sculpture, Sonica, Sonica Festival of Transitory Art, sound, technology, transgression, video, video art

Aura Rosenberg's photomontages from the series Angel of History are digital composites of disparate images culled from the photographic mega-archive of visual culture.

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.

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

Through digital distribution and printing methods the image files are eventually corrupted, creating an apt metaphor for the marginalized histories of art and culture with expressionistic explosions of color across the frame.

Image Objects provides a diverse overview of how art is exploring digital culture, fabrication, and image circulation, and will continue until 20 November Image Objects provides a diverse overview of how art is exploring digital culture, fabrication, and image circulation, and will continue until 20 November image circulation, and will continue until 20 November 2015.

A deconstructive approach to the moving image seemed to be video art's trajectory from the 1990s into the early 21st century, incorporating new developments of photo processing, digital editing and image layering in contemporary visual culture.

The skin is based on paintings by artists belonging to the art historical canon such as Franz Kline and Jean Dubuffet as well as images from popular culture, like manga and digital painting effects.

Faramawy's work also examines how the sense of self each person creates for themselves relates to a digital culture of mediated images.

These large collages are broken by narrow tracks of shimmering, computer - generated images made from digital amalgamations of architec - tural mock - ups and extreme blow - ups of the photo - shopped bodies of popular culture.

Addressing the declining art of commercial sign painting in a digital and hyper - capitalist age, these works explore the culture of image making and are intended to redistribute value back to traditional image makers.

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.

Made through a process of distorting and warping relevant scans using open - source software, Staniak's works are the product of his continual exploration of the changing dynamics of images in light of the proliferation of digital culture.

Shiomitsu works in video and sculpture, and his research is based in the implementation of ideologies and power in networked postfordist culture, especially focused on the encounter with, representation of, and materiality of, the digital image and labour.

As the title suggests, the exhibition addresses 21st - century Nature, explored as a surviving model, a stimulating yet melancholy icon, or else an image mediated by the digital culture.

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.

His affinity for sharing what interests him and remarking about it anticipated the «share» culture of social media (he began making art in this spirit in the late 1990s), with one major exception: his media platform is a highly personal, handmade take on text / image drawing rather than the digital templates that readily accept the cut - and - paste of urls, jpegs, and keyboard - typed text.

The exhibition was the last project Hamilton directly participated in and illustrates the array of mediums, genres and themes the artist employed and approached over the course of his career: from photography, drawing and prints, to industrial design, advertising and the digital manipulation of images; from portrait, self - portrait and interiors, to metalinguistic investigations — for instance on the limitations of different forms of representation and the relationship between vision and movement — via a political critique and a reflection on consumerism and mass culture.

Awards and Residencies Bemis Center for Contemporary Arts, Omaha NE, 2011 Harpo Foundation Grant, Los Angeles Cisneros Fontanals Art Foundation Grants Program, Miami National Fund for the Arts and Culture (FONCA), Programa Jóvenes Creadores, Mexico City 2005 and 2007 Best of Show Arlene Mc Kinon Award, University of Texas at El Paso, 2005, 2003, & 2002 Juried Student Art Show Best Photograph / Digital Image, University of Texas at El Paso, 2005 Juried Student Art Show The Skowhegan School of Painting and Sculpture, 2004 Summer Residency Program Serie Print Project XI, Coronado Studios Residency, Austin 2004 Outstanding Student Achievement in Contemporary Sculpture Award 2003, International Sculpture Center Best Sculpture Award University of Texas at El Paso, 2003 Juried Student Art Show

The Digital Age: Hacking, Remix and the Archive in the Age of Post-Production The recent rise of digital technology has marked another turning point in mashup culture, with exponentially more images, sounds and objects being made and Digital Age: Hacking, Remix and the Archive in the Age of Post-Production The recent rise of digital technology has marked another turning point in mashup culture, with exponentially more images, sounds and objects being made and digital technology has marked another turning point in mashup culture, with exponentially more images, sounds and objects being made and shared.

In creating an image of our society through the lens of digital culture, Singer often employs the grisaille technique used in the Middle Ages and Renaissance to portray sculptures in paintings.

While we might typically associate auras with historical representations of saints, Hiller has purposefully worked with ordinary people from a variety of cultures — describing their images as «metaphors of the self in the digital age.»

Hosted on Google's Arts and Culture platform, the digital archive contains over 3700 images and videos from the 15th International Architecture Exhibition «Reporting From The Front», curated by Alejandro Aravena, and a selection of National Pavilions and ancillary events.

The eighteen works in the exhibition explore subjects including imagery related to advertising, branding, and corporate culture; the flattening of hierarchies between perceived high and low art; the blurred boundaries between the handmade and the technological; and the visual manifestation and capturing of speed as images move through digital frameworks.

IN 2002, SHIFTING HIS focus to the technologies so prevalent in contemporary culture, Guyton took up digital inkjet printing as his primary artistic medium, which provided countless new options for his image - making.

They have grown up with a digital culture and can access images, artworks with a single click and, quite rightly, have very different aspirations to previous generations.

In these slyly complex images, Ethridge utilizes a hybrid of digital and analogue techniques to denude signification from its source and resituate assumed relations within an uncanny valley somewhere between art history and contemporary meme culture.

Selfie culture similarly exploits digital technology to disseminate idealized images of gender, but it could also be used to undermine them.

In this image taken from video, Chris Wylie gives evidence to the House of Commons Digital, Culture, Media and Sport Committee's inquiry into fake news, in Portcullis House, London, Tuesday March 27, 2018.

They use digital images of real stone combined with cultured marble.