Sentences with phrase «pop culture images in»

His body of work includes sculptures, performances, films, phonographic sound works, photographs, paintings, and texts, and often employs appropriated photographs and pop culture images in a transformed, decontextualized environment that strips away assumptions in order to reveal the essence of the image.

Not exact matches

We tend to think of men as less nurturing than women, thanks in no small part to images in pop culture and the media as portraying men as lovable buffoons who mean well and try to do well but ultimately don't have the common sense to find their own behinds with both hands and a compass... unless, of course, we have an understanding and vastly more mature wife to help us along.

Part of the reason the creating of a pop - culture Jesus is so tempting is because many in the Church realize that they are competing for the attention of people who are constantly bombarded with images and sounds designed to overwhelm the senses.

The problem is that in the context of American evangelicalism, where religious images are often absent, pop - culture representations of the faith can become the formative symbols and images that a faith community encounters.

The pop art movement took place primarily in the 1960s, and it is easily distinguished by its use of images, objects, and themes from popular culture as subject matter.

Out of fanboy love, he took a niche of pop culture — mechs battling giant monsters, as an arrogant excuse for humankind to build giants in our earthly image — and created a memorable spectacle.

One might think that the first televised suicide in American history would leave a more indelible mark on pop culture history, but Kate can not find anything more than a still image of one of her broadcasts to forge her character.

It's an image that has permeated so much of pop culture — with homages in Forrest Gump and on this updated cover of The President's Daughter — but did you know that Christina actually existed?

One assumes that one can have an artist untutored by images everywhere, while in fact the new style derives in part from admiration for the outline style of pop - culture sources.

The way in which Anne Collier skilfully re-photographs existing images of American pop culture from the 1960s, 70s and 80s using a large - format plate camera is similarly intriguing.

In the 1970s, he worked tirelessly in film, performance, and recording, transforming pop culture images from television and advertisements into sequences devoid of their original context and functioIn the 1970s, he worked tirelessly in film, performance, and recording, transforming pop culture images from television and advertisements into sequences devoid of their original context and functioin film, performance, and recording, transforming pop culture images from television and advertisements into sequences devoid of their original context and function.

In these sumptuous new images, Brooks continues to address questions about how we frame beauty, and the phenomenon of fashion as a both pop culture and artistictouchstone.

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.

As New York Times art critic Roberta Smith has noted, the paintings of David Salle, another key figure from this period, are «pictorially rooted in Pop Art's use of common or degraded images», layering elements drawn from high and low culture.

His series «Cowboys» (1980 — 1992), for instance, in which he rephotographed images from the famous Marlboro advertising campaign, is indebted to Pop art's critical interest in consumerist culture.

Featuring some of the artist's most innovative works, Lichtenstein: Re-Figure aims not only to highlight the artist's engagement with the human figure — a central theme throughout his career — but also to «re-figure,» in the sense of reassessing, the common yet reductive view of Lichtenstein as the painter of pop culture images.

Warhol began painting appropriated images of pop culture, such as his famous Campbell Soup Can, Marilyn Monroe and Elvis series, in 1960, marking a significant turning point in his career.

Although her early work was in sculpture, she was better known for her multimedia pop culture assemblages of found objects and her paintings, which included found images.

Described by the UICA as having «elements of humor, horror, and pop culture,» the collection is diverse in its subject matter, presenting compelling images that demand a second — if not third or fourth — look.

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.

Attending the New York Studio School in the 1970s, Pensato found her signature style and subject matter early in her career, merging a drawing - heavy, expressive markmaking - focused education with the pop culture figures that fascinated her in their form and content - such as the powerful image of Batman, with his ominous and formally striking mask.

Jiha Moon's playfully layered images — now on view at SCAD's Gallery 1600, in an exhibition titled All Kinds of Everything — seem to approach you in waves, radiating out from her weird, arranged collisions between pop culture and tradition [June 10 - July 26, 2013].

It appears in Njideka Akunyili Crosby's images of family in pop - culture collage or Catala's plea for empathy.

An upcoming retrospective at London's Victoria & Albert Museum celebrates the pop icon as an artist in his own right, a meticulous shaper of his image who worked with artists and photographers to sculpt Ziggy Stardust, the Thin White Duke, and his other culture - making personae.

In pop culture, print and images in the pages of magazines and newspapers illustrate our world through depictions of cars, celebrities, and lifestyleIn pop culture, print and images in the pages of magazines and newspapers illustrate our world through depictions of cars, celebrities, and lifestylein the pages of magazines and newspapers illustrate our world through depictions of cars, celebrities, and lifestyles.

Beginnings of the pop art were related to the irony shown to the fast growing society, life, space and design images inevitably changed by consumerism, as well as to the critique of the elitist world of high culture and abstraction in art.

His early works in the 60s, painted from images sourced from the media, were parodies of the then - ascendant international styles of American Pop Art and the postwar culture and economic boom in West Germany at the time.

Anthea Hamilton is a UK - based artist who creates multi-media installations that resemble theatrical stages or film sets and incorporate arrangements of prop - like objects, references to modernist paintings, and appropriated images of pop culture icons such as blow - ups of John Travolta in John Travolta, Bust - like, 2012.

Leckey's interests might have shifted throughout the last decade — from an obsession with pop culture, subculture and the figure of the dandy in earlier films such as Parade (2003), and in his band collaboration DonAteller, with fellow artists Ed Laliq, Enrico David and Bonnie Camplin; to the high / low culture face - off of his BigBoxStatueAction performances (2003 — 11), in which Leckey's giant speaker stack confronts icons of modernist British sculpture, such as Jacob Epstein's Jacob and the Angel (1940 — 1); to his later multimedia performance lectures, the Internet - driven epiphany of dematerialisation In the Long Tail (2009) and its antithesis Cinema - in - the - Round (2006 — 8), with its more reflective inquiry into the physicality of images via, among others, Philip Guston, Felix the Cat, Gilbert & George, Homer Simpson and Titanic (1997in earlier films such as Parade (2003), and in his band collaboration DonAteller, with fellow artists Ed Laliq, Enrico David and Bonnie Camplin; to the high / low culture face - off of his BigBoxStatueAction performances (2003 — 11), in which Leckey's giant speaker stack confronts icons of modernist British sculpture, such as Jacob Epstein's Jacob and the Angel (1940 — 1); to his later multimedia performance lectures, the Internet - driven epiphany of dematerialisation In the Long Tail (2009) and its antithesis Cinema - in - the - Round (2006 — 8), with its more reflective inquiry into the physicality of images via, among others, Philip Guston, Felix the Cat, Gilbert & George, Homer Simpson and Titanic (1997in his band collaboration DonAteller, with fellow artists Ed Laliq, Enrico David and Bonnie Camplin; to the high / low culture face - off of his BigBoxStatueAction performances (2003 — 11), in which Leckey's giant speaker stack confronts icons of modernist British sculpture, such as Jacob Epstein's Jacob and the Angel (1940 — 1); to his later multimedia performance lectures, the Internet - driven epiphany of dematerialisation In the Long Tail (2009) and its antithesis Cinema - in - the - Round (2006 — 8), with its more reflective inquiry into the physicality of images via, among others, Philip Guston, Felix the Cat, Gilbert & George, Homer Simpson and Titanic (1997in which Leckey's giant speaker stack confronts icons of modernist British sculpture, such as Jacob Epstein's Jacob and the Angel (1940 — 1); to his later multimedia performance lectures, the Internet - driven epiphany of dematerialisation In the Long Tail (2009) and its antithesis Cinema - in - the - Round (2006 — 8), with its more reflective inquiry into the physicality of images via, among others, Philip Guston, Felix the Cat, Gilbert & George, Homer Simpson and Titanic (1997In the Long Tail (2009) and its antithesis Cinema - in - the - Round (2006 — 8), with its more reflective inquiry into the physicality of images via, among others, Philip Guston, Felix the Cat, Gilbert & George, Homer Simpson and Titanic (1997in - the - Round (2006 — 8), with its more reflective inquiry into the physicality of images via, among others, Philip Guston, Felix the Cat, Gilbert & George, Homer Simpson and Titanic (1997).

-- Nikolay Oleynikov, Tsaplya Olga Egorova, Dmitry Vilensky, and others Claire Fontaine (fictional conceptual artist)-- A Paris - based collective including Fulvia Carnevale and James Thornhill CPLY — William N. Copley Diane Pruis (pseudonymous Los Angeles gallerist)-- Untitled gallery's Joel Mesler Donelle Woolford (black female artist)-- Actors hired to impersonate said fictional artist by white artist Joe Scanlan Dr. Lakra (Mexican artist inspired by tattoo culture)-- Jeronimo Lopez Ramirez Dr. Videovich (a «specialist in curing television addiction»)-- The Argentine - American conceptual artist Jaime Davidovich Dzine — Carlos Rolon George Hartigan — The male pseudonym that the Abstract Expressionist painter Grace Hartigan adopted early in her career Frog King Kwok (Hong Kong performance artist who uses Chinese food as a frequent medium)-- Conceptualist Kwok Mang Ho The Guerrilla Girls — A still - anonymous group of feminist artists who made critical agit - prop work exposing the gender biases in the art world Hennessy Youngman (hip - hop - styled YouTube advice dispenser), Franklin Vivray (increasingly unhinged Bob Ross - like TV painting instructor)-- Jayson Musson Henry Codax (mysterious monochrome artist)-- Jacob Kassay and Olivier Mosset JR — Not the shot villain of «Dallas» but the still - incognito street artist of global post-TED fame John Dogg (artist), Fulton Ryder (Upper East Side gallerist)-- Richard Prince KAWS — Brian Donnelly The King of Kowloon (calligraphic Hong Kong graffiti artist)-- Tsang Tsou - choi Klaus von Nichtssagend (fictitious Lower East Side dealer)-- Ingrid Bromberg Kennedy, Rob Hult, and Sam Wilson Leo Gabin — Ghent - based collective composed of Gaëtan Begerem, Robin De Vooght, and Lieven Deconinck Lucie Fontaine (art and curatorial collective)-- The writer / curator Nicola Trezzi and artist Alice Tomaselli MadeIn Corporation — Xu Zhen Man Ray — Emmanuel Radnitzky Marvin Gaye Chetwynd (Turner Prize - nominated artist formerly known as Spartacus Chetwynd)-- Alalia Chetwynd Maurizio Cattelan — Massimiliano Gioni, at least in many interviews the New Museum curator did in the famed Italian artist's stead in the»90s Mr. Brainwash (Banksy - idolizing street artist)-- Thierry Guetta MURK FLUID, Mike Lood — The artist Mark Flood R. Mutt, Rrose Sélavy — Marcel Duchamp Rammellzee — Legendary New York street artist and multimedia visionary, whose real name «is not to be told... that is forbidden,» according to his widow Reena Spaulings (Lower East Side gallery)-- Artist Emily Sundblad and writer John Kelsey Regina Rex (fictional Brooklyn gallerist)-- The artists Eli Ping (who now has opened Eli Ping Gallery on the Lower East Side), Theresa Ganz, Yevgenia Baras, Aylssa Gorelick, Angelina Gualdoni, Max Warsh, and Lauren Portada Retna — Marquis Lewis Rod Bianco (fictional Oslo galleris)-- Bjarne Melgaard RodForce (performance artist who explored the eroticized associations of black culture)-- Sherman Flemming Rudy Bust — Canadian artist Jon Pylypchuk Sacer, Sace (different spellings of a 1990s New York graffiti tag)-- Dash Snow SAMO (1980s New York Graffiti Tag)-- Jean - Michel Basquiat Shoji Yamaguchi (Japanese ceramicist who fled Hiroshima and settled in the American South with a black civil - rights activist, then died in a car crash in 1991)-- Theaster Gates Vern Blosum — A fictional Pop painter of odd image - and - word combinations who was invented by a still - unnamed Abstract Expressionist artist in an attempt to satirize the Pop movement (and whose work is now sought - after in its own right) Weegee — Arthur Fellig What, How and for Whom (curators of 2009 Istanbul Biennial)-- Ana Dević, Nataša Ilić, Sabina Sabolović, Dejan Kršić, and Ivet Curlin The Yes Men — A group of «culture - jamming» media interventionists led by Jacques Servin and Igor Vamos

Art Slant Chicago Art Talk Chicago Bad at Sports Bite and Smile Brian Dickie of COT Bridgeport International Carrie Secrist Gallery Chainsaw Calligraphy Chicago Art Blog Chicago Art Department Chicago Art Examiner Chicago Art Journal Chicago Artists Resource Chicago Art Map Chicago Art Review Chicago Classical Music Chicago Comedy Examiner Chicago Cultural Center Chicago Daily Views Chicago Film Examiner Chicago Film Archives Chicago Gallery News Chicago Uncommon Collaboraction Contemporary Art Space Co-op Image Group Co-Prosperity Sphere Chicago Urban Art Society Creative Control Defibrillator Devening Projects Digressions DIY Film ebersmoore The Exhibition Agency The Flatiron Project F newsmagazine The Gallery Crawl... Galerie F The Gaudy God Happy Dog Gallery HollywoodChicago Homeroom Chicago I, Homunculus Hyde Park Artcenter Blog InCUBATE Joyce Owens: Artist on Art J - Pointe Julius Caesar Kasia Kay Gallery Kavi Gupta Gallery Rob Kozlowski Lookingglass Theatre Blog Lumpen Blog Marquee Mess Hall N'DIGO Neoteric Art NewcityArt NewcityFilm NewcityStage Not If But When Noun and Verb On Film On the Make Onstage Peanut Gallery Peregrine Program Performink The Poor Choices Show Pop Up Art Loop The Post Family The Recycled Film Reversible Eye Rhona Hoffman Gallery Roots & Culture Gallery SAIC Blog The Seen Sharkforum Sisterman Vintage Site of Big Shoulders Sixty Inches From Center Soleil's To - Do's Sometimes Store Steppenwolf.blog Stop Go Stop Storefront Rebellion TOC Blog Theater for the Future Theatre in Chicago The Franklin The Mission The Theater Loop Thomas Robertello Gallery threewalls Time Tells Tony Wight Gallery Uncommon Photographers The Unscene Chicago The Visualist Vocalo Western Exhibitions What's Going On?

One of the founders of Pop Art in the early 1960s, Dine is best known for his series of hearts, tools, Venuses, and bathrobes — images that have become icons of American culture.

In installation, photography and video, the authoritative fixity of representational media is betrayed as those bodies presumed to be contained — as ghosts, as pop culture signifiers one step removed from the referent — return to haunt the image as desiring bodies, as spectres, as present absences that make even the quotidian an uncertain experience.

Vibrantly patterned photo - collage areas are created from images derived from Nigerian pop culture and politics, including pictures of pop stars, models and celebrities, as well as lawyers in white wigs and military dictators.

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 these sumptuous new images, Brooks continues to address questions about how we frame beauty, and the phenomenon of fashion as a both pop culture and artistic touchstone.

Uprooted from Cuba as a child, and brought to Miami via Spain in 1983, Andres Conde, an expressionist painter with pop tendencies, mitigates the feeling of displacement by merging images from popular American culture with historic examples of Cuban iconography.

By juxtaposing these painted cartoon characters with images of pop stars, nuclear power plants and masks from so - called primitive cultures, Wachtel's work also tackles the function and significance of images in modern society and the socio - political landscape of our time.

In creating his multimedia works, Irish artist Gerard Byrne draws on a range of different sources including literature, pop culture, art history and contemporary history, selectively borrowing images and stories and viewing them by present - day standards.

By the 1960s and 1970s, his well - known images of the Twentieth Century Fox logo, gas stations, and other icons of American culture — as well as his association with the renowned Ferus Gallery group — had established him a leader in the West Coast Pop art movement.

In conversation with one another, Notes on Gesture and these images speak to the way black womanhood is volleyed between extremities in pop culture, between caricature and performance, hyper visible — or hardly noticed at alIn conversation with one another, Notes on Gesture and these images speak to the way black womanhood is volleyed between extremities in pop culture, between caricature and performance, hyper visible — or hardly noticed at alin pop culture, between caricature and performance, hyper visible — or hardly noticed at all.

Prince recycles these American (male) pop culture fantasies from found materials, most often advertising images and magazine layouts which he rephotographs, repaints or overpaints, arranges in collages, or breaks down into fragments.

Scott» s 1969 film portrait of Richard Hamilton continued this collaborative formula, with Hamilton musing about cinema, art, and celebrity while images of his works, their original source materials, and related elements from pop culture flash by in rapid succession.

Taken primarily from family photographs and Nigerian pop culture reproduced in magazines and online, she uses images of Nigerian stars, government officials, historical ceremonies, and contemporary cultural figures in a patchwork, dotted with images from her own family history.

Peter Blake is known as one of the leading figures of the British Pop art movement, and central to his work is his interest in images from popular culture.

In a similar manner, collages and drawings by William Cordova amalgamate images to represent the body's relationship to vernacular architecture, sound, pop culture, and politics.

The concept of these shadow sculptures is applied in reverse to their light sculptures: constructions out of computer sequenced light - bulbs that reference iconic pop culture by creating images reminiscent of cliché kitsch tattoos and the tinsel - town arcadia of working - class sea - side Britain.

Images of stretched and twisted bottles of Evian water, nostalgic imagery from pop culture, consumer products and other random representations exist alongside graffitied texts.There also will be a yellow painted truck in the center of the gallery.

In a way, Pop artists were doing the same thing with images of the popular culture.

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.