View allAll Photos Tagged HyperCapitalism,
The Arch and Sky Tower are an amazing sight but the density and height of the surrounding residential complex are hard to believe, difficult to capture in pictures one you have to be there to see.
The Arch and Sky Tower are an amazing sight but the density and height of the surrounding residential complex are hard to believe, difficult to capture in pictures one you have to be there to see.
The Arch and Sky Tower are an amazing sight but the density and height of the surrounding residential complex are hard to believe, difficult to capture in pictures one you have to be there to see.
DeLillo, Don COSMOPOLIS, Scribner '03, 1st, (An all-day--and book-length--chauffeured trip across midtown Manhattan exposes author's cool, New Economy protagonist to an assortment of characters in this critique of hypercapitalism)
The Arch and Sky Tower are an amazing sight but the density and height of the surrounding residential complex are hard to believe, difficult to capture in pictures one you have to be there to see.
Artist Statement:
At Capacity captures the breaking point of decorum in a world addicted to appearances. The man in the suit is not falling he’s floating, suspended in a system that no longer makes room for the living. Above him: another body, limp, thrown or displayed like merchandise. Behind him: shells of humanity, abstracted, slick, inflated to the point of parody. This is not about fashion. This is about the grotesque inflation of status and the silent, complicit collapse that follows. The suited man is the consumer, the product, and the corpse, all at once.
—
Hashtags:
#RhondaMelo, #Melora, #Melora<3, #MeloraArtist, #10000HourProject, #ContemporaryInstallation, #SurrealRealism, #VisualCommentary, #DisplayWindowArt, #HyperCapitalism, #GallerySubmission, #HauteHorror, #SuitsAsSymbols, #ConsumerSpectacle, #BodyPoliticsInArt, #DarkLuxury, #ModernVanitas, #ExcessAndAbsence, #ArtAsMirror, #MeloraVisuals
Artist Statement:
In a world where anonymity is a virtue, one figure still dares to feel. The Only One with a Head explores the agony of remaining conscious within systems that demand compliance. The headless suits symbolize institutions dressed up, faceless, and devouring. The central figure, arms bound, gazes upward not in hope, but in surrender. His torment is not from rejection, but from being seen.
This is the pain of nonconformity in a world that only rewards silence.
Hashtags:
#RhondaMelo, #Melora, #Melora<3, #MeloraArtist, #SuitsOfConformity, #LuxuryCritique, #PainInPublic, #MaleVulnerability, #GlassAsPrison, #HyperCapitalism, #FashionAsControl, #WindowGallery, #CorporateCollapse, #BrokenElegance, #RetailSuffering, #PerformanceOfPower
"It’s energizing to read a book about tech philosophy aimed at thinkers in beater cars and not thought leaders in Teslas, and certainly not aspiring “founders,” the runaways and dropouts who study Andreessen’s essays chiefly to ventriloquize them in PowerPoint investor decks. In Daub’s hands the founding concepts of Silicon Valley don’t make money; they fall apart. He shows how tech-world shibboleths like “dropping out,” “disruption,” “genius” and “failure” help shore up an industry built on privilege, machismo and even cruelty."
www.nytimes.com/2020/10/13/books/review/what-tech-calls-t...
Barcode Love is a screen print from my Consume series — a conceptual artwork dissecting how love is increasingly entangled with systems of capital and control. By embedding the word “LOVE” into a barcode, the piece blurs the line between genuine emotion and marketable product.
This work critiques a culture where everything — even intimacy — can be branded, scanned, and sold. The barcode becomes a symbol of emotional commodification, asking what is left of love when it’s packaged for consumption.
Minimal in palette but maximal in impact, Barcode Love turns a commercial interface into a critical mirror, reflecting the hyper-mediated, hyper-consumable realities we live in.