Sentences with phrase «image circulation as»

Keil captures the complex subjective processing of image circulation as it occurs for each individual within the politics of self - representation; the sexualisation of women, the celebration of skill and / or sex appeal on stage, the aestheticisation of feet and skin, the agency of reclaiming it all by self - branding — by both outfit and needle.

Working mainly in sculpture and video, Guan Xiao explores how ways of seeing are now influenced by digital image circulation as an increasingly dominant source of knowledge and information exchange.

Not exact matches

His denial of the visit has raised questions as to who is behind the circulation of the images and what the person aims at achieving in the end.

If demonlover was one of the most scrutinized films of 2003, it was because director Olivier Assayas boldly chose to so directly enter, as well as represent, the new technology at the center of image circulation and the multibillion dollar entertainment industry.

As part of an ongoing archeological project, Hashem el Madani: Studio Practices, Zaatari has selected images from Madani's archive to put back into circulation today.

Themes explored in the exhibition include emergent ideas of the body and notions of human enhancement; the internet as a site of both surveillance and resistance; the circulation and control of images and information; possibilities for new subjectivities, communities, and virtual worlds; and new economies of visibility initiated by social media.

The exhibition and publication will be the first to dive deeply into his sophisticated understanding of image networks, circulation, and proliferation, positioning Thomas as a significant figure linking the past (Pop art, the Pictures Generation, and conceptualism) to the current ways art operates as an active, heterogeneous platform to engage and critique the Internet age.

This work significantly augments the ICA / Boston's painting collection while also building on strategies of artists such as Sherrie Levine and Cady Noland that introduce notions of the painterly, the decorative, and the use of digital circulation of images into their work.

Using my personal archive as source material, the work questions the nature of image production, circulation, and distribution.

Domanović's work is concerned with the circulation and reception of images and information, particularly as they shift meaning and change register, traversing different contexts and historical circumstances.

This panel will consider the browser as a context for circulation and display through a discussion of its formal possibilities, from moiré screen effects to parallax scrolling to moving image loops, as well as the social possibilities afforded by digital networks.

Whether the works conjure memories of iconic fugitives, such as Patty Hearst and Angela Davis, or incorporate loaded words, like safety and fear, viewers are prompted to question their assumptions about criminality and contemplate how the circulation of images influences their ideas...

A central focus of the exhibition is the ubiquity of the mural art form as a backdrop for the Polaroid photos taken in prison visitation rooms, as well as the microeconomy and unspoken negotiation embedded in the creation and circulation of these images — which must be purchased with many hours of labor by the inmates.

The artist calls into question the economy that has developed around the circulation of these images as internet content, exploring the sinister aspects of this increased visibility, including issues of appropriation and exploitation.

Artists are often highly attuned to infrastructural change, perhaps because the practice of art requires the continual circulation of data, images and objects, as well as the constant negotiation of changing media standards and forms.

The politics of image production and circulation become both unravelled yet get more tangled as she examined the «overload of communications» happening in the the digital age.

Together these texts appear as a parallel production to Beshty's artistic work: they reflect on the conditions of the realization and circulation of images, undermining distinctions between media, abstraction and figuration, and proposing new aesthetic criteria for the works examined.

As an abyss of pornography has moved from under the mattress to the mobile phone screen, gay identity and its relationship to the circulation of images is often left unexamined.

The piece references patterns of image circulation - an important trope in Soda's works - displaying our refracted reality, as well as our expanded levels of engagement with images and our newly enhanced abilities to produce and consume them.

Viola describes pieces like this as «sculpting with time», and explains that the work «concerns the enclosing nature of self - image and the external circulation of potentially infinite (and therefore unattainable) states of being all revolving around the still point of the central self... The entire space becomes an interior for the revelations of a constantly turning mind absorbed with itself.»

On the occasion of Ocean of Images, we included nineteen artists, gave the show a title, and, as you mentioned, we were really looking at wider themes across the included works, including issues of dissemination and the circulation of images at that mImages, we included nineteen artists, gave the show a title, and, as you mentioned, we were really looking at wider themes across the included works, including issues of dissemination and the circulation of images at that mimages at that moment.

Artists: Hans - Christian Lotz, Vivian Suter, Henry Deposit, Brian Khek, Mathis Collins, Lin May Saeed Exhibition title: Blocking Curated by: Jesse Stecklow Venue: Martos Gallery, Los Angeles, US Date: July 23 — August 22, 2015 Photography: images copyright and courtesy of the artists and Martos Gallery, Los Angeles Martos Gallery Los Angeles is pleased to present Blocking, a group exhibition concerned with the stage as a physical and conceptual device for the continued circulation of objects, material and data.

Joselit writes, «There is an entire political economy of image circulation, which should be of major concern to contemporary art,» adding, «It's very important to remember that what we recognize as global is a tiny subset of world art.»

They are the constitutive qualities of collective experience, and inform the ideas of sharing and collective reworking within the Internet environment, as well as collective agency, image production, reproduction, circulation, dissemination, consumption and more.

Working mainly in sculpture and video, artist Guan Xiao (b. 1983, lives and works in Beijing) explores how ways of seeing are now influenced by digital image and information circulation as an increasingly dominant source of knowledge exchange.

His photographs range from portraits, still - lifes, landscapes and sky photographs to scenes involving subcultures and the circulation of goods, spaces of living and transit, abstract and medium - reflexive images; they initiate a polyphonic visual discourse on issues that affect the contemporary world as a whole.

Global image circulation via social media is generally perceived as either over-controlled or out of control.

The group exhibition invites seven international artists to examine the power of the image in the contemporary world, but «the real task for them is to filter the images, to recognise the systems that images operate within, to follow their paths of circulation in the contemporary (art) world, to predict their abilities and the sociopolitical, aesthetic and ethical dimensions images acquire as they traverse different realms of reality».

Themes explored in the exhibition include emergent ideas of the body and notions of human enhancement; the internet as a site of both surveillance and resistance; the circulation and control of images and information; the possibilities for exploring identity and community afforded by virtual domains; and new economies of visibility accelerated by social media.

But these are so chancy as to imply a critical point: that the rising flood of images in circulation dissolves whatever substance we define by linking one picture with another.

Taking as its title a nod to Albert Camus» four - part epistolary essay «Letters to a German Friend,» the work not only extends Zaatari's interest in excavated narratives and the circulation of images in times of war, it also raises crucial questions about national representation and perpetual crisis by reviving Camus's plea: «I should like to be able to love my country and still love justice.»

Heatsick, who included her in his «10 artists heatsick rates «interview, was interested in the way the work «dealt with notions of recycling, circulation and eco branding», as well as the way her musical group Plug (with Sian Dorrer) dealt with stock imagery «to [confuse] the listener as to the public image of the group.»