Sentences with phrase «such pop image»

Not exact matches

Naturally, it's more than likely it isn't anything more than two friends and former colleagues catching up, but it's obviously concerned a few Chelsea fans with comments such as «don't leave» and «please don't go» popping up to accompany the image.

Pop art takes its inspiration from images of American culture, and I would say that Mickey Mouse ranks among the best - loved of such images.

The developers did a tremendous job of hiding these artifacts behind tunnels and turns such that once you make a curve or pop over a hill the images flow naturally.

Because she exerts such control over her image — from advertisements to films, politics to pop songs — should we think of her differently?

It functions better as an Adele song than anything particularly special in a Bond theme, its lyrics about a unique Bond tale generic with general pop clichés such as images of skies falling and / or crumbling.

When we streamed an HD trailer for The Avengers, images were extremely sharp and colors such as the blue in Captain America's costume and red in Thor's cape really popped.

We also like a few of the unique features, such as Reading View, which removes images and pop - ups for a faster read.

We also like the browser's features, such as Reading View, which removes images and pop - ups for a faster read.

Thanks to countless pop culture references and notorious 20th - century organized crime figures such as Al Capone, Bugsy Siegel and John Gotti, the concept of organized crime calls to mind images of bygone eras when speakeasies, Mob - run casinos and infamous M...

Pop art was about fast foods, fast babes, fast mechanically reproductive processes such as the silkscreen and the Benday dot, and blatant commercial images and ads.

Together with legendary pop artists such as Roy Lichtenstein and Andy Warhol, Ramos was one of the first artistic figures who based his painting on the images from comic books.

The displacement of reality in image and space is one central notion of Pop - Art, turning everyday objects and slogans into art, such as the everyday replicas of Claes Oldenburg, the comic - like mimicries of Roy Lichtenstein, the female ads of Mel Ramos or the eye popping signs of Robert Indiana.

Many of the 21st century artists — such as iona rozeal brown, Trenton Doyle Hancock, and Robert Pruitt — mix national, international, historical, and pop - culture references with personal stylistic preferences to produce images that provoke more questions about identity than they answer.

By 1970 Pop Art was dead, and Lichtenstein spent a decade painting images that were intentionally minimalist, such as mirrors and sunsets.

When Schapiro increased the scale of her canvases in California for even bolder graphic statements, she created such monumental images as Side Ox (1968) with its cruciform orange bars popping from a radiant silvery surface.

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.

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.

The concept of the car, and the car crash, is such an quintessentially American image that I can't help but think of him as a Pop artist, or at least one who falls in between the Abstract Expressionist and Pop concepts; perhaps that's why he's never fit into the tidy little box that many collectors need.

Such is Guangyi's acclaimed series of paintings titled Great Criticism which powerfully juxtapose aesthetics of agitprop revolutionary images to the kitsch sensibility of pop art and popular consumer logos, in order to highlight the conflict between China's political past and its highly commericialized present.

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.

But Stezaker was a student too at a time when a wholesale critique of the pop - cultural image was being launched by such thinkers as Guy Debord; the Situtationists» scurrilous repurposing of media imagery became an exemplary strategy for him, alongside his abiding, and then unfashionable, interest in surrealism.

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 (1997).

Her painting expands on these themes by negotiating the in uence of a number of artists such as Jim Shaw, Alice Neel, Walter Robinson, and Gerda Wegener.This notion of intimacy is further explored by the equal power she invests in symbolic, personal, and pop cultural images, bringing into question the viewer's relationship with emotion and artistic subject matter.

The most significant of the often loosely defined movements of early contemporary art included pop art, characterized by commonplace imagery placed in new aesthetic contexts, as in the work of such figures as Andy Warhol and Roy Lichtenstein; the optical shimmerings of the international op art movement in the paintings of Bridget Riley, Richard Anusziewicz, and others; the cool abstract images of color - field painting in the work of artists such as Ellsworth Kelly and Frank Stella (with his shaped - canvas innovations); the lofty intellectual intentions and stark abstraction of conceptual art by Sol LeWitt and others; the hard - edged hyperreality of photorealism in works by Richard Estes and others; the spontaneity and multimedia components of happenings; and the monumentality and environmental consciousness of land art by artists such as Robert Smithson.

This has been the primary focus of her so - called «Art History» paintings, in which she detournes famous images by artists like Andy Warhol and Frank Stella to incorporate her own viewpoint, such as in her series of paintings sneaking her own face into the Pop artist's self - portraits.

Set to a spoken - word narrative about the creation of the universe, Grosse Fatigue, among the first time - based works one encounters in curator Massimiliano Gioni's Arsenale (and the winner of the Fifty - Fifth Venice Biennale's Silver Lion), tracks the range of such research agendas with an expanding field of images that pop up, roil, collide, and implode across a computer screen, a digital tabula rasa that itself perpetually reinvents the world.

Drawing upon historical movements such as baroque, pop art, and abstract expressionism, while referencing contemporary developments in graffiti and photo - realism, the duo create intricately layered canvases in which linear narrative falls prey to the chaos of our image saturated times.

In this exhibition, we can expect to see a highly eclectic body of work as Athol lets his imagination take the reins using Victorian mirrors, vintage chairs and plates, collages of vintage stamps and letters, wherever he can see the potential to create an art work, and combining the discarded objects with media such as gloss paint, enamel and duct tape to depict nostalgic images in his distinctive pop - art aesthetic.

This experience influenced his later paintings, prints, and sculptures, which drew on images from pop culture, such as comics and advertisements.

In its American form, Pop Art presented less harsh images, adapting sources such as comic strips, commercial products, and publicity photos.

Combined with imagery from his dream diary that he kept since 1978, as well as nods to his favored artists such as Chirico, Warhol, Lichtenstein, Jakuchu, or Escher, the new pieces are converting his fears and traumatic experiences into energetic pop - psychedelic - surrealist images.

Some examples of Pop art, however, were subtly expressive of social criticism — for example, Oldenburg's drooping objects and Warhol's monotonous repetitions of the same banal image have an undeniably disturbing effect — and some, such as Segal's mysterious, lonely tableaux, are overtly expressionistic.

However, unlike Pop artists such as Andy Warhol and James Rosenquist, Thiebaud worked from life, not from media images, and his engagement was evident in his loose brushstroke, whereas a hard - edge painting style, signifying mechanical reproduction, was preferred by many Pop artists.

Margaret Harrison tackles gender politics through the use of iconic characters such as Captain America and Playboy pinups, Meriem Bennani's animations explore Muslim cultural taboos, and Jamian Juliano - Villani's surreal paintings distort familiar images from pop culture and comics.

The final segement of the exhibition will showcase some of the artist's most innovative late works such as his hologram of rock star Alice Cooper and the 1958 painting «The Sistine Madonna,» which predates Pop Art by superimposing the image of the Virgin and Child onto a giant photograph of the Pope's ear, which is composed of a benday dot pattern.

Flood has been making his lace paintings since the early 90s; their process of manufacture and slightly kitschy image derived from actual lace encourages us to look at these seductive beauties with a jaundiced eye; 2) The exhibition includes site - specific installations made of absurd pseudo-posters, multi-media, ephemera, collages, text paintings, and documents from the last decade that remix pop culture and critique systems of mass cultural distributions such as rock videos and albums.

This helps keep the menus and homescreens looking clean, while adding a lot of functionality, such as Peak and Pop, which allows for a preview of something like an email or an image, and using a little more force will then take you into the full image.