Sentences with phrase «mass image culture»

Not exact matches

But if we read our culture through these theories with a myopic view to the global village master image of globalization, we also misapprehend the critical view that McLuhan proffered and we also ignore his wake up call to the masses that are numbed by their very globalizing technology.

Virginia Stem Owens in her book The Total Image notes how the mass - cultural acquiescence seen in the paid - time religious broadcasters is part of a broader infatuation by evangelical and fundamentalist Christianity with mass commercial and advertising culture.

Rachel Abramson, director of the Chicago Breast - feeding Task Force, observed, «We have become a bottle culture and in our society, largely due to mass media, the image of infant feeding is the bottle.

ACT - activated clotting time (bleeding disorders) ACTH - adrenocorticotropic hormone (adrenal gland function) Ag - antigen test for proteins specific to a disease causing organism or virus Alb - albumin (liver, kidney and intestinal disorders) Alk - Phos, ALP alkaline phosphatase (liver and adrenal disorders) Allergy Testing intradermal or blood antibody test for allergen hypersensitivity ALT - alanine aminotransferase (liver disorder) Amyl - amylase enzyme — non specific (pancreatitis) ANA - antinuclear antibody (systemic lupus erythematosus) Anaplasmosis Anaplasma spp. (tick - borne rickettsial disease) APTT - activated partial thromboplastin time (blood clotting ability) AST - aspartate aminotransferase (muscle and liver disorders) Band band cell — type of white blood cell Baso basophil — type of white blood cell Bile Acids digestive acids produced in the liver and stored in the gall bladder (liver function) Bili bilirubin (bile pigment responsible for jaundice from liver disease or RBC destruction) BP - blood pressure measurement BUN - blood urea nitrogen (kidney and liver function) Bx biopsy C & S aerobic / anaerobic bacterial culture and antibiotic sensitivity test (infection, drug selection) Ca +2 calcium ion — unbound calcium (parathyroid gland function) CBC - complete blood count (all circulating cells) Chol cholesterol (liver, thyroid disorders) CK, CPK creatine [phospho] kinase (muscle disease, heart disease) Cl - chloride ion — unbound chloride (hydration, blood pH) CO2 - carbon dioxide (blood pH) Contrast Radiograph x-ray image using injected radiopaque contrast media Cortisol hormone produced by the adrenal glands (adrenal gland function) Coomb's anti- red blood cell antibody test (immune - mediated hemolytic anemia) Crea creatinine (kidney function) CRT - capillary refill time (blood pressure, tissue perfusion) DTM - dermatophyte test medium (ringworm — dermatophytosis) EEG - electroencephalogram (brain function, epilepsy) Ehrlichia Ehrlichia spp. (tick - borne rickettsial disease) EKG, ECG - electrok [c] ardiogram (electrical heart activity, heart arryhthmia) Eos eosinophil — type of white blood cell Fecal, flotation, direct intestinal parasite exam FeLV Feline Leukemia Virus test FIA Feline Infectious Anemia: aka Feline Hemotrophic Mycoplasma, Haemobartonella felis test FIV Feline Immunodeficiency Virus test Fluorescein Stain fluorescein stain uptake of cornea (corneal ulceration) fT4, fT4ed, freeT4ed thyroxine hormone unbound by protein measured by equilibrium dialysis (thyroid function) GGT gamma - glutamyltranferase (liver disorders) Glob globulin (liver, immune system) Glu blood or urine glucose (diabetes mellitus) Gran granulocytes — subgroup of white blood cells Hb, Hgb hemoglobin — iron rich protein bound to red blood cells that carries oxygen (anemia, red cell mass) HCO3 - bicarbonate ion (blood pH) HCT, PCV, MHCT hematocrit, packed - cell volume, microhematocrit (hemoconcentration, dehydration, anemia) K + potassium ion — unbound potassium (kidney disorders, adrenal gland disorders) Lipa lipase enzyme — non specific (pancreatitis) LYME Borrelia spp. (tick - borne rickettsial disease) Lymph lymphocyte — type of white blood cell MCHC mean corpuscular hemoglobin concentration (anemia, iron deficiency) MCV mean corpuscular volume — average red cell size (anemia, iron deficiency) Mg +2 magnesium ion — unbound magnesium (diabetes, parathyroid function, malnutrition) MHCT, HCT, PCV microhematocrit, hematocrit, packed - cell volume (hemoconcentration, dehydration, anemia) MIC minimum inhibitory concentration — part of the C&S that determines antimicrobial selection Mono monocyte — type of white blood cell MRI magnetic resonance imaging (advanced tissue imaging) Na + sodium ion — unbound sodium (dehydration, adrenal gland disease) nRBC nucleated red blood cell — immature red blood cell (bone marrow damage, lead toxicity) PCV, HCT, MHCT packed - cell volume, hematocrit, microhematocrit (hemoconcentration, dehydration, anemia) PE physical examination pH urine pH (urinary tract infection, urolithiasis) Phos phosphorus (kidney disorders, ketoacidosis, parathyroid function) PLI pancreatic lipase immunoreactivity (pancreatitis) PLT platelet — cells involved in clotting (bleeding disorders) PT prothrombin time (bleeding disorders) PTH parathyroid hormone, parathormone (parathyroid function) Radiograph x-ray image RBC red blood cell count (anemia) REL Rocky Mountain Spotted Fever / Ehrlichia / Lyme combination test Retic reticulocyte — immature red blood cell (regenerative vs. non-regenerative anemia) RMSF Rocky Mountain Spotted Fever SAP serum alkaline phosphatase (liver disorders) Schirmer Tear Test tear production test (keratoconjunctivitis sicca — dry eye,) Seg segmented neutrophil — type of white blood cell USG Urine specific gravity (urine concentration, kidney function) spec cPL specific canine pancreatic lipase (pancreatitis)-- replaces the PLI test spec fPL specific feline pancreatic lipase (pancreatitis)-- replaces the PLI test T4 thyroxine hormone — total (thyroid gland function) TLI trypsin - like immunoreactivity (exocrine pancreatic insufficiency) TP total protein (hydration, liver disorders) TPR temperature / pulse / respirations (physical exam vital signs) Trig triglycerides (fat metabolism, liver disorders) TSH thyroid stimulating hormone (thyroid gland function) UA urinalysis (kidney function, urinary tract infection, diabetes) Urine Cortisol - Crea Ratio urine cortisol - creatine ratio (screening test for adrenal gland disease) Urine Protein - Crea Ratio urine protein - creatinine ratio (kidney disorders) VWF VonWillebrands factor (bleeding disorder) WBC white blood cell count (infection, inflammation, bone marrow suppression)

The first to grow up in an image - centric world where the mass - dissemination of images via film, print and television started to infiltrate American culture on...

Metabolism and Communication, Zentrum fur Kunst und Medientechnologie, Center for Art and Media, Karlsruhe, Germany 2003 Love, Magazin4 Vorarlberger Kunstverein, Bregenz, Germany Patty Chang, Tracy Emin, Naomi Fisher, Paul McCarthy, The Moore Space, Miami, FL (performance, April 26) Water, Water, curated by Lilly Wei, The Rotunda Gallery, Brooklyn, NY Awakenings, Center for Curatorial Studies at Bard College, Annandale - on - Hudson, NY Feminine Persuasion, The Kinsey Institute and the School of Fine Arts Gallery, Indiana Univeristy, Bloomington, Indiana 2002 Videos in Progress, The RISD Museum, Providence, Rhode Island Le Plateau Frac Ile - de-France (performance only, November 7), Paris, France Mirror, Mirror on the Wall, MASS MoCA, North Adams, MA The Body Electric: Video Art and the Human Body, Cheekwood Museum of Art, Nashville, TN Americas Remixed, La Fabbrica del Vapore, Milan, Italy (performance / exhibition) Extreme Existence, curated by Klaus Ottmann, Pratt Manhattan Gallery, NY (performance / exhibition)(catalogue) Moving Pictures, Guggenheim Museum, New York Fusion Cuisine, Deste Foundation Centre for Contemporary Art, Athens, Greece (performance / exhibition), (Catalog available) Time Share, Sara Meltzer Gallery, NY Le Studio, Yvon Lambert, Paris, France Oral Fixations, curated by Sandra Firmin, Center for Curatorial Studies, Bard College, Annandale - on - Hudson, NY Panorama, curated by Carmen Zita, Room Interior Products, NY Superlounge, curated by Andrea Salerno & Mari Spirito, Gale Gates, Brooklyn, NY About the Mind (Not Everything You Always Wanted to Know), Video Cafe, organized by Hitomi Iwasaki, Queens Museum, NY Mirror Image, curated by Russell Ferguson, UCLA Hammer Museum, Los Angeles, CA Traveled to: Bard College, Center for Curatorial Studies Museum, Annadale - on - Hudson, NY Perspectives: Artists of Chinese Descent in New York, Queens College Art Center, NY Traveled to: Firehouse Art Gallery, Nassau Community College, Garden City, NY, March - April 2003 2001 Bodily Acts, curated by Jennifer L. Gray, Center for Curatorial Studies, Bard College, Annandale - on - Hudson, NY Circus Maximus, BeganeGrond, Center for the Contemporary Arts, Utrecht, Holland Group Show, Hamburg Kunstverein, Germany (performance) Mimic, Gale Gates et al., Brooklyn, NY Casino 2001, 1st Quadrennial of Contemporary Art, Stedelijk Museum Voor Actuele Kunst and the Bijloke Museum, Gent, Belgium (performance / exhibition) Looking for Mr. Fluxus: In the Footsteps of George Maciunas, Art in General, NY La Hijas de la Tierra (The Daughters of the Earth), IODAC Museum of Contemporary, Spain Panic, Julie Saul Gallery, New York Video Jam, Palm Beach Institute of Contemporary Art, Lake Worth, Florida (brochure) 2001 Art + Performance + Technology, in conjunction with the 19th International Sculpture Conference, Wood Street Galleries, Pittsburgh, PA (performance) WET, Luise Ross Gallery, New York Trans Sexual Express Barcelona, Centre d'Art Santa Monica, Barcelona, Spain Smirk: Women, Art, and Humor, curated by Debra Wacks, Firehouse Art Gallery, Nassau Community College, New York 2000 Uncomfortable Beauty, Jack Tilton / Anna Kustera Gallery, New York Cross Female, Kunstlerhaus Bethanien, Berlin, Germany (performance / exhibition): Traveled to: Kunst - und Kunstgewerbeverein Pforzheim, Germany (April / May 2001) The Art of the Screen Saver, Stanford Art Museum / Cantor Art Center, Stanford, CA Traveled to: ICA, London, England (Feb - March 2002) Steamroller, performance festival organized by Galerie MXM, Prague, Czech Republic (Catalog available) Soma, Soma, Soma, The Sculpture Center, New York Performance Festival, Kunstpanorama, Lucern and USINE, Geneva The Standard Projection: 24/7, Standard Hotel, Los Angeles Deja vu, Art Miami 2000, Miami Beach Convention Center, Miami Beach Galerie Fons Welters (two person exhibition with Atelier van Lieshout), Amsterdam ID / y2k, Identity At The Millennium, Castle Gallery, College of New Rochelle, NY 1999 - 2000 Illusion Delusion Denial, 450 Broadway Gallery, New York Mug Shots, Center for Visual Art and Culture, University of Connecticut, Storrs, CT. 1999 IDENDITAT, hat man doch zu viel, Ort halle fur kunst, Feldstr.

The central thing that distinguishes Chris Martin from his forebears (Forrest Bess, Alfred Jensen, and Simon Gouveneur) is his meshing of visionary symbols and images derived from mass culture, particularly from the world of popular music.

Through the intersection of art historical, mass media and popular culture clichés, Richter creates idiosyncratic worlds and images of unstable realities.

He first used the term «mass popular art» in the mid-1950s and used the term «Pop Art» in the 1960s to indicate that art has a basis in the popular culture of its day and takes from it a faith in the power of images.

It is an approach that has pre-empted many of the issues and concerns surrounding today's culture of mass production of manipulated images to be shared on social media.

The more than 50 artists included in the exhibition have culled from the canon of art history, mined mass media, and scoured streets and screens to appropriate images and practices from commerce, science, politics, sports, religion, and technology, to illuminate recent shifts in how culture is being created and consumed.

Appropriating and representing images from high and popular culture and mass media, these artists aimed to point at things that already existed in the world, at the same time making what they implicitly signified apparent.

They drew on popular culture, politics, and the mass media for subject matter, but also for images and materials, such as newsprint.

Whereas the artists of the Renaissance, for example, had been steeped in Classical history, mythology and the Bible, the artists of the modern era had been progressively schooled in the visual imagery of mass culture, which thus formed the chief substance of their own internal image banks.

Their vision on contemporary culture was to integrate it with mass mediated images and new technology.

By reproducing the image found in advertising, Warhol envisioned a new type of art that both criticized and celebrated mass consumer culture.

Sturtevant, who died in May this year, was quick to recognise the significant impact of mass produced and reproduced images on modern culture.

Ruppersberg moved to Los Angeles in the mid-1960s with the goal of becoming an illustrator, but soon became active in an emerging scene led by artists such as John Baldessari, Ed Ruscha, William Leavitt, and others exploring the interface of language and image filtered through the lens of mass culture.

He chooses images from mass culture to talk about politics, art, painting, cultural issues, taste, the material world, pleasure, power, sexuality, gender and the role of the artist's external life in the larger culture.

By appropriating images from the mass media — including iconic film posters, album covers, magazine pages, photographic test plates, and simple notebooks — and re-photographing them, Collier creates her own personal lexicon of popular culture.

Working across video, painting, and performance, Cheryl Donegan explores the production and consumption of images in mass culture, middlebrow design, and art history.

Ito didn't succumb to the gestural trends of Abstract Expressionism, to the alluring images derived from mass culture in Pop Art, or the flat hardline compositions of Minimalism.

In the 1960s, art for the first time embraced the brash world of commercial culture, advertising, and mass media — images of shiny newness, youth, and seduction.

Challenging tradition, Pop artists regularly incorporated into their work mass - produced images drawn from popular culture and the world of advertising art.

As it is often used, the phrase refers to a range of painters and photographers active during the 1970s and «80s whose work made use of images appropriated from mass culture.

Robison emerged in the 1980s alongside the likes of Cindy Sherman, Julian Schnabel, and Richard Prince as a key figure in the Pictures Generation — a group of American artists who were known for appropriating images from the mass media as a way of critically analyzing media culture.

His canvases manifest his ability to transmute images steeped in commodity - culture and perceived as commercial or quotidian art into lovely visions, both separate from and contingent upon the emergent mass media which originally produced them.

In a fashion similar to Richard Prince and Jack Goldstein, he appropriated tropes of popular culture as a means of celebrating the emotional dynamics of images from mass media.

In 1960, James Rosenquist translated his training as a commercial billboard painter into fine art when he began creating paintings of monumental scale that collaged advertising and magazine images from all realms of American life into dizzying display of the country's culture of mass mediation.

Working with images, objects and ideas from everywhere and anywhere — from mass culture to private life, from high - end philosophy to the diurnal routines of her feline companions — Ross - Ho sorts her gleanings in a studio world where improvisation and elaboration rule the day (and night).

Among the most socially outspoken of the later talents is Hank Willis Thomas, whose satirical reworking of well - known sports advertising images in «Branded Head» and «Basketball and Chain» deliver provocative messages about the role of mass culture in promoting false values.

The Freedom of Information is a concise survey of artworks that employ strategies of appropriation, from repurposing and rephotographing mass - media images to referencing and copying objects from art history or American consumer culture.

The resulting images challenge the standardization of female beauty throughout high art to mass culture.

Like his predecessors, Rhoades included performative elements in his installations and produced epic thematic cycles, drawing on mass culture to develop a dense weave of images and forms.

Warhol, an iconic American artist whose reputation has only increased in the quarter - century since his death, is best known for appropriations of images from popular culture — advertisements, mass - media photographs and celebrity portraits — that challenged the conventional definitions and subjects of art.

Since the 1980s, Minter has doggedly rendered shocking images that call attention to the violent aspects of pornography, misogyny, and mass media present in American culture.

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.

A style of art whose images reflected the popular culture and mass consumerism of 1960s America.

That exhibition and its accompanying essay heralded a new generation of artists deeply engaged with popular culture and the appropriation of mass media images.

This lithograph is exemplary of how the artist juxtaposed images from advertising, pop culture, and mass media with fine art abstractions.

Prince is a member of the «pictures generation» — the group that, in the»70s, began making art out of appropriated and rephotographed mass - culture images — so the idea of being able to conveniently dip in and out of this endless river of photos, and get instant feedback on his own, enthralled him.

Combining art history with mass culture and universal canons with everyday banalities, «The history in repeat mode — image» investigates the mechanisms that produce, edit and disseminate human manifestations in the age of internet.

Together with a group of young artists — including Robert Longo, Barbara Kruger, Sherrie Levine, Richard Prince and Louise Lawler — Sherman was critical about contemporary image culture and the rise of image consumerism that both drove emerging mass media like television and was celebrated in it.

The explosion of popular music and television was reflected in the Pop - Art movement, whose images of Hollywood celebrities, and iconography of popular culture, celebrated the success of America's mass consumerism.

The processes of identity and image production are intertwined in Martine Syms» practice, who exposes the public's constant interaction with mass culture.

I argue that Mosse's visual / aural strategies, by running counter to those programmed within the image supply chain dominated by mass - produced culture, set in motion jarring ambiguities that an uneasy audience must struggle with or at least decode.

What Johns, Warhol, and these other postmodern artists explored — and what Prince's work can in its own way be seen as a climactic expression of — is that in postwar American mass culture the mark of a moment, a gesture, an image, and a person can be removed from its original context and effortlessly, imperceptibly re-contextualized and reiterated (Richard Prince: «I've gotten to know [Pollock and other Abstract Expressionists] through images in books.»

[7] Also in 1989, Image World: Art and Media Culture, an exhibition at the Whitney Museum of American Art, examined the role of mass media imagery in contemporary art from the 1950s to the 1980s, with the Pictures Generation artists playing a prominent role.

Hannah Hoch, Richard Huelsenbeck, John Heartfield, and others pioneered the technique of photomontage, using preexisting photographs, often drawn from mass - media sources, to create composite images that sharply critiqued German society and culture in the aftermath of World War I. Drawing on the foundations of Dada, neo-avant-garde artists of the 1950s like Robert Rauschenberg and Jasper Johns created assemblages that brought collage techniques into three dimensions — laying the groundwork for much contemporary sculpture — as well as works on paper that incorporated found elements drawn from the mass media and everyday life.

The title of the exhibition, «Don't Axe Me,» evokes American born artist, Ellen Gallagher's radical approach to image, text, and surface — drawing equally from modernism, mass culture, and social history.