Sentences with phrase «in popular visual culture»

Not exact matches

Co-author Dr Isabelle Mareschal also from QMUL's School of Biological and Chemical Sciences added: «There are numerous claims in popular culture that women and men look at things differently — this is the first demonstration, using eye tracking, to support this claim that they take in visual information in different ways.»

Dream Daddy: A Dad Dating Simulator (shortened to Dream Daddy) is a visual novel video game released on July 20, 2017 for Windows & macOS, and on September The Dating What Daddy Hates trope as used in popular culture.

Instead what we got was a film completely reliant on its visuals and recognisable properties — using popular culture references and Easter eggs in place of a coherent story and great characters.

Shown for the first time in the US, H5's ever - expanding visual adventures for groups such as Massive Attack, Goldfrapp, or Royksopp, impressively demonstrated how much popular culture can both reach a mass audience, and explore new grounds.

The show, held at Laurent Delaye in June 2009, initiated a cross-referential dialogue starting with Robyn Denny's landmark, 1959 abstract painting «Place 3», which optimizes urban and visual popular culture.

Her references could be literary and philosophical, what she said about her work was deep but different than an academic discourse, as much rooted in daily visual experience as in popular culture and in direct transmutation into paint of such experience.

Through Oct. 4, 2014 FAHAMOU PECOU at Lyons Wier Gallery New York Atlanta - based Fahamou Pecou's work «offers a critical glimpse into the insecurities being played out in hip - hop music, visual culture and American popular culture at large.»

Nonetheless, the Whitney Biennial has again come and has at least attempted to put forth a prismatic view of the most popular, if not compelling, directions in visual culture.

Equally comfortable working in two and three dimensions, she employs a unique visual language drawn from literature, popular culture, folklore and fairytales.

The earliest origins of Pop art can be traced to the mid-to-late 1950s in Britain and the United States, where artists such as Eduardo Paolozzi, Richard Hamilton, Robert Rauschenberg and Jasper Johns combined visual aspects of advertising, comic books, and popular culture with theoretical elements of Dada and Surrealism.

Like Ray Yoshida, one of the Chicago Imagists, and Tadanori Yokoo, described as the «Japanese Andy Warhol,» Parker has developed a distinct visual vocabulary, through the manipulation of found images and an interest in popular culture produced during eras of social, political, and economic revolution.

Presumptuous and imposing, they manage to escape strict categorization as painting, sculpture or media art, merging the power of photographic and film pictures that Longo exploits as a mean of his research of importance of visual expression in popular culture and stereotypical portrayals of the individual's alienation within a complex society.

Superheroes and celebrities, totems and toys: the imagery of manufactured fantasy is reframed in the visual language of historical iconography in this multimedia exploration of popular culture today.

Bracewell's interest in the relation of modern and contemporary visual art to the development of popular culture, pop music and literature is pursued in the accompanying exhibition.

In their fascination with popular culture and provocative subverting of the difference between original and copy, Warhol's prints are recognized now as a prescient forerunner of today's hyper - sophisticated, hyper - saturated and hyper - accelerated visual culture.

The bulletin boards that Tom Burr has been arranging since the late 1990s reference not only art historian Aby Warburg's Mnemosyne Atlas strategy of employing a black panel backdrop in order to heighten thematic arrangements of photographic images — including reproductions from books, and visual materials from newspapers and popular culture — but also reflect a setting typical of early cinematic and photographic motion studies.

Pipilotti Rist's multimedia video works such as, I'm Not The Girl Who Misses Much (1986) «Yoghurt on Skin, Velvet on TV (1995) «Sip My Ocean (1996), and Remake of the Weekend (1998), blur the boundaries between visual art and popular culture and explore the unfamiliar in the everyday.

In May 2017, the Denver Art Museum (DAM) will debut the first major exhibition to examine the visual legacy that formed «The Western» through fine art, film and popular culture.

In a mere four decades, video games have come to dominate American popular culture, infiltrating almost every aspect of our modern visual culture, said Jeff Harrison, Chief Curator at the Chrysler Museum.

In March 2016, the V&A will celebrate Botticelli's enduring influence across the visual arts and popular culture with 150 works assembled from throughout the world.

The program will also put into context the construction of popular imagery departing from the tension in baroque representations of death, modernization and the macabre, death in the invention of Modern Art in Mexico, and its political implications with visual culture.

Portraying a wide range of common female social roles or personas, she investigates the mysterious processes through which a person's visual identity is shaped and represented in popular culture.

In contrast, the beginnings of the visual - based social network Are.na, which has become popular with artists like Cory Arcangel, Nick DeMarco, and Margaret Lee, stem out of a continuum of platforms and communities that have connected an internet art culture for well over a decade.

Halsband's 1985 iconic portrait of Jean - Michel Basquiat and Andy Warhol no. 143 in boxing gloves became such a staple of popular culture that its appropriation by contemporary visual artists and street artists continues thirty years on.

The luggage store is proud to present «My Love is a 187» featuring four leading artists who explore global consumerism, Black visual representation in history and US popular culture.

She has taught courses in curatorial and museum studies, senior studio thesis, drawing, 2 - D design, surveys in Western, Japanese, Chinese, and South Asian art history and popular visual culture.

Pop Art brought art back to the material realities of everyday life, to popular culture (hence «pop»), in which ordinary people derived most of their visual pleasure from television, magazines, or comics.

Using tropes, humor, and the visual languages of art and popular culture, Kevorkian suggests other possibilities in the ways women are represented.

Part of NSU Art Museum's Regeneration Exhibition Series, and featuring works from its Golda and Meyer Marks Cobra Collection, the largest Cobra art collection in America, this exhibition explores Cobra artists» innovative use of animal images and how they expressed elements of popular visual culture.

Based in Brooklyn, Hayuk creates colorful, geometric, trippy, drippy, patterned large - scale works — think outdoor murals — full of popular culture, painting, and psychedelic visual references.

Matthew Ronay's first major museum presentation in the United States surveys a recent body of meticulously hand - crafted and vibrantly colored sculptures, reliefs and installations that deliver a phantasmagoric vision of physical and psychic processes fueled by visual traditions and conventions in art, science, and popular culture.

One of the leading proponents of appropriation art emerging in the 1970s, Prince continually tests and reframes the power of visual codes, whether from advertising, popular culture or art history.

DS+R is currently engaged in two significant cultural projects in New York: the renovation and expansion of the Museum of Modern Art, phase one of which was completed in June 2017; and New York's first multi-arts center, known as the Shed, designed to commission, produce, and present all types of performing arts, visual arts, and popular culture, scheduled to open in spring 2019.

Mickalene Thomas (b. 1971, Camden, New Jersey) uses the visual language of 1970s Blaxploitation films to reconsider the sexualization of the black woman in popular culture.

The insight that led to his Pop style occurred in 1961 when Lichtenstein realized that the visual devices popular - culture cartoonists used were very similar to those employed by

These works explore a tension in societal attitudes towards the preservation of culture: the obsessiveness with which we conserve and narrativize visual art and popular culture, yet dismiss technology as somehow adversarial to art and art - making.

James Esber: Your Name Here Two bodies of work continue the artist's preoccupation with distorting the familiar; each series translates images found in today's collective unconscious of popular visual culture.

Yet, due to the visual superimpositions of present times, artists have started to shy away from the rigid limitations of - isms related to the «non-objective» or «reductive» and have embedded existing ideas, confluence of styles and approaches into the contemporary world, the here and now, mingling with popular culture as well as branching out of the studio practice inherent in painting as we know it and as the majority still likes to understand it.

By inserting them into the western art - historical canon, black women are given visibility, provoking a conversation about the representation of the black female body in popular culture, its absence from that canon, and how much this visual representation in art has evolved over time.

Through her collaborations with visual artists (including Arthur Jafa, Shani Crowe, Mickalene Thomas, and Rashaad Newsome); her engagement with the work of other talents like Lynette Yiadom - Boakye, who inspired the aesthetics of A Seat at the Table; and her push into some of the art world's most revered spaces (her digital artwork, Seventy States, was shown at the Tate Modern in response to its «Soul of a Nation» exhibition this year), Solange has emerged as a cross-disciplinary artist who is committed to pushing her practice into exhilarating new realms and breaking down the barrier between art and popular culture.

Throughout his career, he has employed various media to cite and subtly parody the visual and verbal clichés of American popular culture — whether in the «Cowboys» series in which he «re - photographed» the mythic cowboy imagery of Marlboro adverts, or the celebrated series of «Nurse» paintings based on the covers of pulp fiction novels which these nudes can be seen to relate to.

A 21st - century channeling of Andy Warhol's original visual discourse on popular American culture, Longley - Cook's show places drag in the lineage of pop iconography with fresh, thoughtful perspective.

His main fields of academic and curatorial research are visual art, film and popular culture of socialist Yugoslavia, and contemporary visual art in the Balkans.

Entang Wiharso (b. 1967, Tegal, Indonesia) studied painting, graduating from the Indonesian Institute of Arts in Yogyakarta in 1994 and is widely regarded for his dramatic visual language which draws on popular culture and ancient mythology to create unique images of contemporary life.

The following exhibitions of artists like Jeff Koons and Ashley Bickerton provided plenty of evidence of the ongoing dialogue between Hirst and the artists from the generation that preceded him and the interest they share in developing a personal visual vocabulary while incorporating recognizable elements of popular culture.

Cao's art bridges into visual arts with the use of popular culture and shifts through different subcultures and phenomenon to create the surreal landscapes that she is most known for — actors incased in Burberry behaving like dogs reenact a hysteric day in the office, ordinary people dancing to hip - hop on the street, people dressed in Chinese shopping bags and a stage production incorporating Guangzhou's street youths are just a few examples of using the city's everyday life to analyze and render the current social situation where traditions and new influences are constantly in conflict.

«By the mid - and late - 1970s,» wrote the curator Richard Marshall in his essay for the exhibition «American Art Since 1970» at the Whitney Museum, «painting had moved further away from the confines of the Minimalist approach — even from a negative reaction to it — and the artists [Jennifer Bartlett, Vija Celmins, Lois Lane, Neil Jenney, Bill Jensen and Elizabeth Murray] inaugurated new ways to treat subject matter and meaning -LSB-...] there emerged a move against an insular, elitist attitude towards art and what it is, should be, or must be -LSB-...] artists began to look at more diverse visual repertory: commercial art, advertising, fashion, television and movies, popular culture, the decorative arts, rugs, religion, ancient artifacts, and Middle Eastern Cultures.»

His work, described by New York Times critic Holland Cotter as charged with «psychic irritation and urgency», often features motifs of Native American visual culture such as totem poles, teepees, and hawks, while weaving in elements of popular culture that interrogate his own complex, multilayered identity.

Hayuk weaves visual information from her immediate surroundings into her elaborate abstractions, creating an engaging mix of referents from popular culture and advanced painting practices alike, while connecting to the ongoing pursuit of psychedelic experience in visual form.

Intended as a major genealogy of the rise of a still - powerful and evolving photographic practice by artists, the checklist will include a wide array of works examining a range of issues: performativity and photographic practice; portraiture and cultural identity; the formal and social architectonics of the built environment; societal and individual interventions in the landscape; photography's relationship to sculpture and painting; the visual mediation of meaning in popular culture; and the poetic and conceptual investigation of visual non-sequiturs, disjunctions and humorous absurdities.