Sentences with phrase «in contemporary consumer culture»

These two propositions are inextricably entangled in a contemporary consumer culture looking for «more - for-less» (Richard Susskind).

Hilla Toony Navok's work explores themes of high Modernism and abstraction as they appear in consumer products, as a way of examining the ideological underpinnings of design and the assimilation of the history of Modernism in contemporary consumer culture.

Not exact matches

Jing Daily looks at the intersection of luxury and culture in China: the ins and outs of business development there with an eye toward the upscale consumer market, as well as the business of culture — from auctions, museums, and contemporary art to performance, public events, and more.

William Cavanaugh claims that consumer culture is «one of the most powerful systems of formation in the contemporary world, arguably more powerful than Christianity.»

While Meckseper's earlier vitrine works commented on contemporary consumer culture using the shop window as an example and focus point for civic unrest and protest in our late capitalist society, her current works allude to the political dimension of early modernist display architecture and design between World War I and II in Weimar Germany.

Prince's initial goal was to emphasize the powerful impact of mass media imagery in shaping contemporary consumer culture, but eventually, he ended up creating his very own pop style and powerful series of works which became some of the most wanted materials at many prestigious auctions.

The sculptural designs are conceptualized by critically acclaimed internationally recognized contemporary artists who are interested in exploring the possibilities presented by consumer culture.

A monument for the 21st century, Electric Fountain is a celebration of the spectacle, excess, beauty, and desire of contemporary culture and a provocative comment on the nature of consumer society, a theme often present in Noble & Webster's work.

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.

A consummate and prolific collector himself — of art, books and popular ephemera — Prince's work has continued to explore concepts of authorship and ownership in relation to the consumer materials of contemporary culture.

Ashley Bickerton rose to prominence in the early 1980s as part of New York's East Village art scene with his vibrant abstract works that offered a sardonic critique of contemporary consumer culture.

They reference contemporary consumer culture through the use of iconic pop culture symbols in the form of shop - front - type signage and carnival shows inherent of British seaside towns, Las Vegas and Times Square.

Following the quoted Pop mantra of Andy Warhol, these young and exciting artists absorb and reflect the ubiquitous consumer imagery so prevalent in contemporary culture.

Light was also shed on sociohistorical and historico - cultural subjects such as «Shopping — A Century of Art and Consumer Culture,» «Privacy,» the visual art of the Stalin period, or New Romanticism in contemporary art; other presentations revealed the influence of Charles Darwin's theories on art of the nineteenth and twentieth centuries, or the intriguing causalities between artists of the modern era and self - proclaimed «prophets» of this period.

In her collages and sculptures, Nicole Wermer's (born in 1971) abstracts the attractions and surfaces of a contemporary consumer culture to architectural structures that allow for echoes of seduction and controIn her collages and sculptures, Nicole Wermer's (born in 1971) abstracts the attractions and surfaces of a contemporary consumer culture to architectural structures that allow for echoes of seduction and controin 1971) abstracts the attractions and surfaces of a contemporary consumer culture to architectural structures that allow for echoes of seduction and control.

Both are markers of a new generation immersed in technologies, consumer culture and the internet; both are also highly aware of their very conditions and critically investigate varied facets within the contemporary landscape using art making as a response to those conditioning forces.

The official version of art history describes New York: First there was Abstract Expressionism with its lofty, disengaged, macho mysticism; then in the»60s there was Pop, which dealt with advertising, the funnies and contemporary consumer culture.