Im a poser, but now even kids surpass me in this regard. In the context of social media, the selfie is ultimately something of a misnomer, implying that the action is conducted in isolation. It is perhaps more useful to consider the selfie—in its broad socio-technological ecology and within the expanded field of images—as a communicative act intended to convey emotion, share an idea, tell a story or even inspire others to a particular form of action or engagement. Internet selfies have emerged globally beyond the context of contemporary art. In Nigeria, the gunman Pose became one of the first globally-recognized Instagram memes in Sub-Saharan Africa. The meme emerged in response to rapper Olamides album cover, which depicted the artist posing with arms outstretched and fingers pointed like guns.
Artist s, statement @ Tobie giddio
On the flip side, researcher Katy pearce has examined propaganda memes generated by the azerbaijani government as a method of sea influencing and shaping public opinion in the country. The art of the selfie, from President Obama to the pope, it seems like this form of digital self-portraiture has become a ubiquitous mode of representation; the term increased in usage by 17,000 last year. According to the Oxford Dictionary, the decision was unanimous: the 2013 word of the year was selfie. Self-representation through social media is somewhat of a recent phenomenon. Although the terms earliest use was cited in 2002, and self-representation has been present in artistic practice for centuries, in the last year—partially due to the increased use of Instagram—the selfie has become a term invested with worldwide currency. The vernacular of selfies intersects with a history of critically-employed self-portraiture in art, particularly resonant in contemporary feminist practices. Cindy Sherman, an artist whose work is exhibited worldwide and was shown in an eponymous retrospective at the museum of Modern Art in New York in 2012, has since the 1970s plumbed fields of representation for disparate and poignant critiques. As the artist explained in The new York times in the early 1990s: I feel Im anonymous in my work. When I look at the pictures, i never see management myself; they arent self-portraits. Contemporary artist K8 Hardy, whose early work of costumed self-portraiture brought her much attention, was recently"d in Art in America saying: The whole selfie phenomenon really made me look at my work differently, and re-assess it everyone is photographing themselves.
This ongoing transformation distinguishes memes from viral media. Memes do not simply spread on the reviews web: they shift and change over time. Memes can have a powerful impact as art objects and tools for advocacy in a variety of contexts. As social media artist An xiao mina noted in a recent talk at tedglobal, memes often function like street art, offering a way for common citizens to reshape and comment on the media environment around them. In this case, the internet becomes the mural/backdrop against which a meme is seen and understood. Memes have demonstrated considerable political traction, having risen up in reaction to ai Weiweis increased oppression by the Chinese government in 2011 and a major train crash in southern China. The pen center recently began #WithFlowers in support of Weiweis freedom to travel, a response to the artists own use of Instagram to post images of flowers in protest of his house arrest. Despite various national censorship protocols, the rich creative possibility of memes has enabled them to propagate, reflecting the artistic potential of common netizens to galvanize around social issues.
What does creativity online look like? Boffo encourages artists to consider vernacular internet culture as a means of activating audiences, and to draw inspiration from different modes of online engagement. Social media art practice often awakens and engenders the communal, communicative space of internet culture and idiosyncratic forms of expression that emerge regret in this space. From Ai Weiwei to ryan Trecartin, artists from around the world have resume explored this space through radically divergent approaches and within a contested understanding of how this the space of social media relates to social life in general. Memes, often misunderstood, memes are a critical part of the internets creative vernaculars. Coined by theorist Richard Dawkins, a meme is a cultural unit that spreads from person to person much like a gene. In the context of the internet, this generally means a unit of media such as a video, hashtag or image, regularly transferred between users, transformed, and remixed.
The launch of these commissioned artistic projects on Instagram is intended to challenge users to engage with critical art amidst the rest of their feeds, and to challenge infrequent or non-users of social media to sign on and consider the possibilities of an art that. In 2013 Instagram co-founder kevin Systrom said, "I believe that every photo that gets posted to Instagram is not necessarily a photograph - or a video is not necessarily a video. You're trying to send a message." Instagram users communicate in a visual language, more so than they might via twitter or Facebook. . Instagram relies primarily on the image to communicate ideas, and these images function as interpersonal communicative gestures and networked media entities. Social media art as a practice and a genre has been supported and commissioned by contemporary art institutions and programs like the Brooklyn Museum and its 1stfans, Creative time and its Creative time Tweets and the new Museums Rhizome, a pioneer in articulating emergent terrains of digital art. A 2011 cover story in ARTnews, The social revolution, helped spark new and engaging conversations about how artists can use social media effectively as a platform for expression. Continuing in this tradition, like: A boffo Instagram Project supports the exploration of Instagram as a social media art platform through a robust commissioning series.
Artist, statement, guidelines — getting your Sht Together
Instagram has decisively shifted social media sharing practices toward the visual. Favoring images and short videos over text and hyperlinks, the networks 150 million users (75 million daily) and 60 million daily posts testify to the vast reach of this platform, now used by 13 of internet users worldwide. This sprawling circulation of images is largely organized around the expression of pleasure, averaging.6 billion user likes per day. Considering the relative speed with which users scroll through their feeds, perhaps Warhols famous quip was an underestimate: if everyones 15 minutes of fame is veering closer to 15 seconds, what will garner attention? like: a boffo instagram Project brings together artists who write have made or adapted work specifically for Instagram, bearing in mind its constraints and possibilities, and considering the platform as a medium that has transformative effects on how we understand, approach, and interact with images. Over a period of five weeks, participating artists will release commissioned social media art on Instagram.
A different artist will debut each week, taking over boffos Instagram account for 5 days. What they do with the account, if anything, is up to each artist. The commissioned work will explore the possibilities of a social media art that encompasses video, photography, and text within tight temporal parameters, exploring the nominally public space of Instagram as a viable platform for artistic experimentation. But this space is not uncontested. Facebooks 2012 acquisition of Instagram yielded questions about the end use of user-created content. Despite, or in some cases because of this implication of user production in a nexus of data collection, participating artists are using Instagram to inventive ends: to disrupt otherwise seamless flows of images, to highlight dissonances of everyday life and its distorted representations, to explore. Through this commission series, boffo aims to support dialogue about the possibilities and potentials of the intersection of art and social media.
My inspiration comes from ballet or dancing poses or from fashion shows. Home » Artist Statement What is Visionary Impressionism? » use translucent washes; instead, they applied paint in an opaque fashion. Struggling to write your artist statement? We have got a few valuable tips that will help you in writing a clear, concise and. integrating performance with my earliest creative impulses- adolescent experiments with androgyny, color, fashion, rebellion, and humor.
literature, formal training in fashion designing and clothing technology, my artworks interconnect art, design and critical theories. conover has taught at Syracuse University since 1995. Conover served as Program coordinator of the fashion design program. the fleeting nature of fashion i have the notion of preserving my impression of fashion and cultural trends through my art. I fashion jewelry that makes my heart sing and celebrates the beauty surrounding. He said he didnt want to do anything about it just yet. The god, we believe to be on the earth is our mother. Though it was the best gift I could ever get.
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research interests, like mental autonomy and the question of free will, are explored in my paintings in a strictly non-academic fashion. «Smell of the studio is so innocent its the smell of the process, which makes one feel alive» / Ksenia senko, contemporary artist. in an artist s statement issued in conjunction with the final Ideas of Fashion exhibition, stating The world of textiles and. Pintosouza - artist Statement hypertext from the master of Color Inspiring write Fashion to this article: m/about/ artist - statement /. makeup Artist fashion Blogger i work as a makeup Artist, a job I have been passionate about since my early childhood. Interdisciplinary interrelational interactive artist person. Aliya bonar Artist Statement by mary rothlisberger: / artist statement.
Two very distinct elements are at play here: fine art and fashion. impressions of fashion feed into my internal library of shapes and. Marilyn's, artist, statement, david's, artist, statement. inspired by the bleached and surgically improved fashion addict Lolitas working in tokyos mega-electronic districts essay cosplay cafés. me to reflect my personal experiences and observations while translating my ideas into flexible concepts for function-able fashion. garments of fashion designer Iris Van Herpen, who has an uncanny eye for highlighting the internal and external architecture of the. As a young fashion illustrator in 1970, i had a mentor who spoke to me of (Chi).
with a tour to lark books in Ashville,. And, worked with students, children and adults at the lake helen Community center. 2013, i was privileged to visit the Etosha game Preserve in Namibia and came back to produce the recent animal watercolors.
Medium, the watercolor journey began in the 1970-80s era under my mentor, robert Bob Mills. He was, at that time, the Art Director of rl bryan Printing Company in Columbia, sc where i was employed as a staff artist, designer. He would do illustrations for magazine covers and I became fascinated with the medium. Substrait, in exploring watercolor, i fell in love with another substrait other than canvas and began my love affair with paper as I watched the water medium respond to the surface, weather hot or cold pressed hand made paper. It was at this point in my personal life that I began to travel and watercolor was portable and traveled well with me wherever I moved. You may be interested in a the personal timeline below: 1970s, in my early stages in sc i worked with and exhibited with the fledgling sc watercolor Society and showed in the 1st annual Juried show in 1977 in Greenville,. 1980s, in the 1980s I painted in seminars taught by tony couch after which I was selected to exhibit at the national Aqueous Open exhibit. In the 1990s moving to roanoke, va i developed further with a year of studio work and immersed myself in Plein air (outdoor) painting and created the first of many interior studio paintings Iris Three in One, that bring the outside in and the inside. 2000, i9s, while in Florida, i have been a charter member of the Florida Chapter of Women in the Arts and exhibited at a special juried Exhibit you held at Orland Museum of Art.
Artist s, statement, about being Fed
Brush, as a young fashion illustrator in 1970, i had a mentor how who spoke to me of (Chi). She said it was: becoming one with the brush. Without computers or the option of google i accepted this definition. She also told me that it would take about six (6) months and that seemed an eternity to me as a 20 year old. Some 40 years later, after learning that life is a journey, i look back to see the real meaning of (chi) as life force; the breath of God and, with great joy, i say that to me Art, as in many of lifes disciplines,. The first thing that popped up on my google search is chi/KT/noun: the twenty-second letter of the Greek alphabet, translated in the traditional Latin style as ch (as in Christ). Color, the next step in my artistic journey, after my black and white fashion illustration and chi awareness of the brush, was a saturation of work in color theory. The munsell color theory stresses intensity or (light and dark hue (the actual colors and Chroma or (saturation). I mixed acrylic paints in baby food jars and worked on large canvases.