View allAll Photos Tagged Recontextualizing
JBG Companies 13|U Project Construction Site Murals in the 1300 block of U Street, NW, Washington DC on Monday morning, 17 August 2015 by Elvert Barnes Photography
HEY LOOK AT ME! I'm Recontextualizing paste-up STREET ART by Dana Jeri Maier
Learn more about JBG 13|U at www.jbg.com/#article-21614842
Construction by BALFOUR BEATTY CONSTRUCTION
Layer by Layer: Revelation of Process
Showing Sept. 19 - Oct. 8 at St. Edward's University Fine Art gallery.
Not delviking's Yokohama warehouse . To that very fine photograph of a very fine wall I had written:
"if it were a picture of some sculptor's statue, everyone (including me) might say "oh but it's somebody else's art." ...but since it's a picture of some brickmason's wall, we'll say "wow, great idea."
It's a hell of a nice wall. Major credit to the guys who built it.
Good job recontextualizing it too, though."
For this wall, I'm just the reporter, but give some credit to the guys who keep patching it! Establishing shot here.
TodaysArt
Theater aan het Spui, Den Haag 2012
TodaysArt presenteert in samenwerking met Nippon Television Europe (NTVE) een Japans gericht programma binnen het festival. Naast ‘Open Reel Ensemble’ presenteert Ei Wada ook zijn solo ‘Braun Tube Jazz Band’, een unieke audiovisuele performance waarin hij gebruik maakt van zijn lichaam en 12 oude CRT-televisies. Hij gebruikt het elektromagnetische veld van de TV’s om licht in geluid te veranderen en manipuleert het geluid door de TV’s te transformeren in percussie instrumenten en synthesizers.
In collaboration with Nippon Television Europe (NTVE), TodaysArt has created a program that focuses on Japan. After composing a number of musical pieces Ei Wada (b. 1987) subsequently switched his attention to outmoded electrical appliances, interested in their supposed obsolescence. He recontextualized and modified them to be played as musical instruments. In addition to ‘Open Reel Ensemble’, Ei Wada presents his solo ‘Braun Tube Jazz Band’, a unique audiovisual performance in which he uses his body and 12 old CRT televisions. He uses the electromagnetic field of the TVs to change light into sound and manipulates the sounds by turning the TVs into percussion instruments and synthesizers. Braun Tube Jazz Band won the 'Art Division Excellence Prize' at the 13th Japan Media Arts Festival.
COMIC BOOKED
June 12, 2012
Review: Fatale 5
As usual, the distinctive look of artist Sean Phillips and colorist Dave Stewart gels with Brubaker’s writing the way Steve Epting’s work did on the writer’s Captain America run.
The art wears its ’50s influence on its sleeve, particularly in the first three pages, where a number of the panels look like something John Romita or Tony Abruzzo would draw (and Roy Lichtenstein would then… *ahem* … “recontextualize“).
Written by Andrew Taylor
REFF, FakePress, AOS and Ossigeno
present
REFF on tour
Ancona, Osimo, Macerata
REFF on tour
REFF on tour
30-31 marzo 2011
Just back from London REFF, the fake institution promoting from 2009 cultural policies, artworks and technologied inspired to the systhematic reinvention of reality, will arrive in Marche (Italy)
Thanks to the collaboration of Ossigeno, REFF A/R Youth Program, the special program in Education & Learning dedicated to yung gneration, will be presented in public shool, Academias and Universities of Ancona, Osimo and Macerata cities.
Everyones – students, professors, citizens – will have the possibility to experiment the extraordinary effects of REFF AR Drugs, the augmented reality drug recently lunched by the fake institution.
REFF – Remix the World! Reinvent Reality!
Program of activities
30th March 2011 , 10,40am – Aula Magna
Liceo Artistico Mannucci “E. Mannucci” – Ancona
Introduction by Prof. Francesco Colonnelli
30th March 2011 – 17.30pm
Libreria Il mercante di Storie – Osimo (AN)
31th March 2011 – 10am – Aula Magna
Accademia di Belle Arti Macerata – Macerata (http://www2.abamc.it/)
Introduction by Prof. Antonio G. Benemia
More info on:
ABOUT REFF AR YOUTH PROGRAM
REFF AR Youth Program is a special program of Education & Learning enacted by REFF to ensure the immediate distribution of REFF AR Drug to young generations.The Program consists in a series of theoretical and practical workshops exploring the possibilities offered by fake, remix, recontextualization, plagiarism and reenactment as a tool for methodological reinvention of reality.
REFF AR Youth Program was lunched in London as a part of the exhibit “Remix the World! Reinvent reality!” (Fourtherfield Gallery, 25th Feb – 26th Mar 2011). The agenda of the Fake Institution inspired approval and enthusiasm in the academic world. Six different universities in London already guested REFF workshops and presentations.
Learn mere here:
ABOUT REFF AR Drugs
From the information sheet:
“REFF is an Augmented Reality (AR) Drug. Also referred to as Simulata Realitas per Activam-Industriosam-Laboriosam Multiplicationem, REFF AR Drug is a psychotropic antidepressant administered cross-medially.This drug is used to treat social depression, fear of the future, precariety, anthropological distress, lack of opportunities, communicational totalitarianism, scarcity of freedoms and intolerant social ecosystems.Compared to other drugs acting on the same areas, REFF AR Drug is designed with accessibility in mind and as an enabler of the spontaneous generation of forms of expression and of collaborative practices.
REFF AR Drug is also used (off-label) to treat numerous other conditions such as the UFPS (Uncertainty for the Future of Publishing Syndrome), and the LDSBMS (Lack of Decent Sustainable Business Models Syndrome).”
Learn more here:
ABOUT REFF – RomaEuropa FakeFactory
REFF is a fake cultural institution enacting real policies for arts, creativity and freedoms of expression all over the world.
REFF was born in Italy in 2009. Since then it continuously operated using fake, remix, reinvention, recontextualization, plagiarism and reenactment as tools for the systematic reinvention of reality. Defining what is real is an act of power. Being able to reinvent reality is an act of freedom. REFF promotes the dissemination and reappropriation of all technologies, theories and practices that can be used to freely and autonomously reinvent reality.
To do this, REFF established an international competition on digital arts, a worldwide education program in which ubiquitous technologies are used to create additional layers of reality for critical practices and freedoms, a series of open source software platforms and an Augmented Reality Drug.
REFF collaborates with art organizations, student groups, research institutions and all other subjects wishing to promote the freedoms to reinvent their world. REFF has received several official recognitions worldwide: it was hosted in the Cultural Commission of the Italian Senate, and was an official initiative of the European Community’s Year of Creativity in 2009.
Official site:
REFF in the world:
Photos by Marco Fagotti and Giacomo Cesari
From the photo series, 'An Atlas of Scarborough'.
...At the Guild Inn, neoclassical columns from demolished banks are recontextualized in a sculpture garden, ironically becoming a civic graveyard of private institutional architecture...
Layer by Layer: Revelation of Process
Showing Sept. 19 - Oct. 8 at St. Edward's University Fine Art gallery.
Project Maybach Concept (2021)
We saw this at the Mercedes-Benz Pebble Beach display.
The following text is from a December 1, 2021, Mercedes-Benz Media Group press release mourning the loss of designer Virgil Abloh.
“Mercedes-Benz is devastated to hear of the passing of Virgil Abloh. Our sincere thoughts are with Virgil’s family and teams. Now opening the world of our collaboration, and Virgil’s unique vision, to the public we want to respectfully celebrate the work of a truly unique design talent, who created endless possibilities for collaboration through his unbridled imagination and inspired all that knew his work.” Mercedes-Benz AG.
Introducing Project MAYBACH
A design unlike anything that has been developed by Mercedes-Benz, every element of Project MAYBACH has been built from scratch. Abloh, collaboratively with Gorden Wagener, has interpreted Mercedes-Maybach’s luxury identity with a new design language and pushed the boundaries of function, style, and collaborative creativity. Inspired by the great outdoors and recontextualizing a traditionally urban brand within a distinctly off-road environment, the 2-seater, battery-electric off-road coupé combines huge Gran Turismo proportions, large off-road wheels and distinctive attachments.
Key for both Abloh and Wagener was a responsible vision of future design. Complete creative freedom – untethered by production requirements - enabled the design teams to conceptualize what the future of electric travel could look like. Under the transparent surface of the show cars front hood for instance are solar cells that increase the imagined range of the Project MAYBACH.
Never afraid to spark conversation through provocative design, Project MAYBACH channels Abloh’s passion to challenge the status quo and re-write the rulebook of aspirational design. The X-Factor nature of Project MAYBACH results not only from its breathtaking size - almost six meters long - and characteristics, but above all from its unique contrasts; most notably through how naturally authentic Mercedes-Maybach design elements are harmoniously combined with a new Outdoor Adventure design motif.
The power of Abloh’s work is not only from the product design, but also the exploratory conversations that his work ignited. Whilst the Project MAYBACH show car was inspired by how one could explore nature within a uniquely luxury context with Maybach, the Mercedes-Benz teams thank Virgil Abloh for the inspiration to explore every day the power of cross-industry dialogue to imagine a better, more inclusive future.
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Mercedes-Benz vehicle exhibit. After some great auction viewing at Gooding & Company, we visited the nearby Pebble Beach Concours d'Elegance exhibit and vendor tents.
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Had a blast with our auto-enthusiast friend and neighbor, Fred, at Monterey Car Week 2022.
Recontextualizations from @JulianSchnabel 's Basquiat 4 the Amazing Director of Buffalo 66, @gallo_vincent #BigLove from #DetroitRockCity! #iphone #hipstamatic
Layer by Layer: Revelation of Process
Showing Sept. 19 - Oct. 8 at St. Edward's University Fine Art gallery.
Layer by Layer: Revelation of Process
Showing Sept. 19 - Oct. 8 at St. Edward's University Fine Art gallery.
This abstracted Brutalist exploration of space and light was ostensibly inspired by Okada's trip to the Middle East, taken while the client haggled with the city over the building site. The "solid" exterior works to close off the outside world, with entry through a narrow gap (described as a "fissure"). The top-lit volumes are intended to create a "gentle connection and layering" between spaces, while the tiles (on the ceilings and exterior) and the massing, according to Japan Architect, evoke "the ancient ziggurat." At the same time, the project also supposedly evokes Buddhist temple complexes ; presumably the idea is that the abstract forms can incorporate and recontextualize these all these references into some new synthesis.
I like it. The exterior, as everyone agreed, could have done with a few more drafts (though we liked the light-admitting alabaster panels), but for a smallish local museum with an impossibly good collection, this has a really nicely-scaled and spatially interesting interior. Okada allowed that the organization of galleries around an atrium was "extremely textbook" - but it feels more complex than that when you're inside, and he was right that the effects of the light on the tile, the textured concrete, and the displayed objects would all create an uplifting environment.
This was a rather late addition to the itinerary, but it paid off: this is the good kind of Brutalism, with a good sense of space, scale, light and material that makes a lot out of a few moves.
A contemporary recontextualization of The medium is the massage, a book by media theorist Marshall McLuhan.
"This experimental website shows, in a symbolic way, our total immersion in the informational media, and the way it influences not only our minds but also our bodies and self image. The various body postures onto which information is projected symbolize various facets of our relationship with media and technology."
Ramona Todoca, SCAD'11
Layer by Layer: Revelation of Process
Showing Sept. 19 - Oct. 8 at St. Edward's University Fine Art gallery.
Layer by Layer: Revelation of Process
Showing Sept. 19 - Oct. 8 at St. Edward's University Fine Art gallery.
Layer by Layer: Revelation of Process
Showing Sept. 19 - Oct. 8 at St. Edward's University Fine Art gallery.
Ecopoetics addresses the environment in all of its complexity; it includes both the butterfly and the bulldozer. Although the term "ecopoetics" didn't exist when Bern Porter started writing poetry, it is a term that now helps us to better understand his projects. Porter started out as a scientist and worked on the Manhattan Project, which created the first atomic bomb. After the bomb was detonated, he quit his job and devoted his life to making art. Porter is perhaps best remembered for his founds, which were spare collages that recontextualized words one can find in everyday places like fashion magazines or junk mail. During the course of this event at Temple Gallery, participants will listen to Bern Porter poetry (read by CA Conrad), discuss entropy and recycling in relation to Porter's work, the idea of waste as an essential component of energy, and the notion of permaculture. Additionally, participants are asked to bring a non-precious piece of paper with text (from a magazine or newspaper, or perhaps selected randomly), which will be incorporated into a collective found and hung in the Temple Gallery at the culmination of the workshop.
ABOUT OUR GUESTS:
Jena Osman's latest book of poetry is The Network (selected for the National Poetry series in 2009 and published by Fence Books). Other books include An Essay in Asterisks and The Character. She co-edits the Chain Links book series with Juliana Spahr, and she teaches creative writing and literature in the English Department at Temple University. You can read Osman's essay Bern Porter: Recycling the Atmosphere by clicking here.
CA Conrad is a recipient of a 2011 Pew Fellowship in the Arts. He is the author of A Beautiful Marsupial Afternoon: New (Soma)tics, (Wave Books, 2012), The Book of Frank (Wave Books, 2010), Advanced Elvis Course (Soft Skull Press, 2009), Deviant Propulsion (Soft Skull Press, 2006), and a collaboration with poet Frank Sherlock titled The City Real & Imagined (Factory School, 2010). He has taught poetry at St. Mark's Poetry Project, CUNY Graduate Center, Naropa University, Goucher College, and elsewhere.
Layer by Layer: Revelation of Process
Showing Sept. 19 - Oct. 8 at St. Edward's University Fine Art gallery.
Layer by Layer: Revelation of Process
Showing Sept. 19 - Oct. 8 at St. Edward's University Fine Art gallery.
Layer by Layer: Revelation of Process
Showing Sept. 19 - Oct. 8 at St. Edward's University Fine Art gallery.
Layer by Layer: Revelation of Process
Showing Sept. 19 - Oct. 8 at St. Edward's University Fine Art gallery.
Layer by Layer: Revelation of Process
Showing Sept. 19 - Oct. 8 at St. Edward's University Fine Art gallery.
Nathan Mabry's "Process Art (B-E-A-G-G-R-E-S-S-I-V-E)" (see my photo next door, stage left) is a riff on Rodin's "The Burghers of Calais", which I also photographed at the Hirshhorn Sculpture Garden in Washington, D.C. Here, I reversed Mabry's process and merged my 2 photos to show his "recontextualized metaphor" in context.
Nathan Mabry's bio and examples of his other works can be found here: www.skny.com/artists/nathan-mabry/bio/..
More about Mabry and "The Burghers of Calais": www.cherryandmartin.com/content/File/NM_1304_StarTelegram....
An excellent recounting of the events that inspired Rodin's"The Burghers of Calais": bytesdaily.blogspot.com/2011/12/burghers-of-calais.html ...
What kinds of new knowledge can be invoked from the recontextualization of the most frequently used words within the text? I have begun to work on Banned Written works as a source- the three pieces here are just a starting point.
The card reads:
JULIE MEHRETU
American, born Ethiopia 1970
Empirical Construction, Istanbul 2003
Ink and synthetic polymer paint on canvas
Fund for the Twenty-First Century, 2004
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For Mehretu, abstraction "allows for thinking of an issue from different perspectives, from many points of view." "I work with source material that i am interested in conceptually, politically, or even just visually," she has explained. "I pull from all of this material, project it, trace it, break it up, recontextualize it, layer one on the other, and envelop it into the DNA of the painting. It then becomes the context, the history, the point of departure. It becomes the place of the painting."
Peter Goin says, ignorance is not the path to originality. This is why we research before every photography project. However, every so often, when I do my research I start feeling defeated. I think that everything has been done before, and that I have nothing new to contribute to the history of art. There have been so many artists throughout history, many of which have never even made it into the history books. For the most part I understand why the artists in my art history books are in there, but why were they canonized and not someone doing the same type of work, why aren’t there more women, and who chooses who makes it and who doesn’t? I feel like these canonized “masters” are put up on a pedestal and worshiped. With this project I want to show that these “masterpiece” paintings shouldn’t be taken so seriously and at the same time I want to elevate photography to the hierarchical level of painting. Since the invention of photography, photographers have been considered mere technicians of a machine and not artists. In an attempt to prove that I’m an artist I made my photographs more painterly and showed the hand of the artist by using body painting to recreate and recontextualize some of the canonized paintings that have really stuck out to me, done by artists that I respect.
2006 | 17th Annual James A. Porter Colloquium
Art, Artists, and Activism: The Black Arts Movement Revisited, Recontextualized. Photos by Barbara F. Wallace.
2006 | 17th Annual James A. Porter Colloquium
Art, Artists, and Activism: The Black Arts Movement Revisited, Recontextualized. Photos by Barbara F. Wallace. www.portercolloquium.org/schol_2006.htm
2006 | 17th Annual James A. Porter Colloquium
Art, Artists, and Activism: The Black Arts Movement Revisited, Recontextualized. Photos by Barbara F. Wallace. www.portercolloquium.org/schol_2006.htm
Secure the Bag, Mint the Soaps and Throw the Bones is a site of exchange that aims to recontextualize the intricate histories of the brown paper bag and Hispano cuaba soap while inviting the audience to play a game of dominoes. This is based on the artist’s ongoing examination of these items found in private and domestic settings. Nonetheless, their combined racialized, colonial and social complexity reverberates in the customs and dynamics of collective space within a black diasporic subjectivity and imagination. To learn more visit www.recessart.org/francheskaalcantara/
A contemporary recontextualization of The medium is the massage, a book by media theorist Marshall McLuhan.
"This experimental website shows, in a symbolic way, our total immersion in the informational media, and the way it influences not only our minds but also our bodies and self image. The various body postures onto which information is projected symbolize various facets of our relationship with media and technology."
Ramona Todoca, SCAD'11
A contemporary recontextualization of The medium is the massage, a book by media theorist Marshall McLuhan.
"This experimental website shows, in a symbolic way, our total immersion in the informational media, and the way it influences not only our minds but also our bodies and self image. The various body postures onto which information is projected symbolize various facets of our relationship with media and technology."
Ramona Todoca, SCAD'11
Michele is honoring our mother. Coni Porter Uzelac, James Porter's daughter took this photograph
2006 | 17th Annual James A. Porter Colloquium
Art, Artists, and Activism: The Black Arts Movement Revisited, Recontextualized. . www.portercolloquium.org/schol_2006.htm
Melissa Peterman, right, is wearing a 19th century style ball gown made from material similar to that which Julie Andrews' character used to make childrens' clothes from old drapes. She interviews one of a family all dressed in night clothes, who are becoming Updated My Favorite Things for the costume contest. A person who is apparently the father holds up his favorite thing, on a sign that resembles millions of favorite things carried (mostly to no avail) through the streets of the world.
That's Charmian Carr on the left. She played Liesl in the movie. She's still youthful looking and generally fun.
This bunch didn't win. The winners were three adorable children dressed up as tea with jam and bread.
Sing-A-Long Sound of Music, Hollywood Bowl, September 16, 2007.
Motion capture data mapped onto an object. Project done with Adrian Herbez and Pei-Yi Ko in fall 2003.
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Aesthetic Objectives
This software system is designed to explore the translation of human movement onto non-human objects, in the process separating bodily movement from its original source and recontextualizing it. By re-mapping human motion and analyzing its dynamics in time, space and shape, we will explore perceived humanness within gestures and the essence of expressive motion.
By creating our own application, we will be able to provide an environment that allows the viewer to engage the data in three dimensions and interact with it in real time. This application also has the potential to serve as a choreographic tool to create aesthetically enchanting composition of movements.
Technical Objectives
The project must be able to read CSM files and render them in realtime 3d. The CSM is read into an internal representation that includes both the positional data it contains as well as angles of joints that are extrapolated from the positions of the markers. In other words, this application takes the CSM point data and translates it into angles.
Also, we will define a custom file format to represent the manner in which the human-based motion of the CSM is re-mapped onto a non-human subject. This file type will be referred to as "BOD" (for body, as opposed to motion) and is composed of human-readable text.
The BOD format contains:
- positional data offset that maps the position of markers on a human body to the position they would occupy on the non-human object/subject
- a mapping of the angular values of the translated CSM onto parts of the non-human subject
By Carrie Fonder
Located next to DO302
Expanding traditional gender roles. Materials that are traditionally soft are recontextualized in steel. Traditional "women's work" -quilting, and weaving- is replaced with welding.
All faces light up at the beautiful word “earn.”
Hans-Peter Feldmann walked up and down the aisles between the booths of the 2015 Art Cologne art fair with this sign. He ironically alluded to how the thought of money makes people's faces light up, how the prospect of earnings lifts the spirits. In his performance, Feldmann criticised how art becomes a luxury commodity at fairs: something that confers status and whose value is expected to grow constantly. Throughout his life, he was preoccupied with the factors and trends that determine the art market and how little they have to do with art itself at times.
The "Hans-Peter Feldmann. Art Exhibition" at the Kunstpalast Düsseldorf is a significant retrospective dedicated to the work of the influential German artist (1941–2023). Spanning his 60-year career, the exhibition is a comprehensive survey featuring around 80 works, including early photographs from the 1970s, sculptures made from everyday objects, painted-over paintings, and expansive installations. The presentation, which occupies ten rooms of the museum, is notable as the first major exhibition following Feldmann's death in May 2023, and it holds the special distinction of being the final museum show he was actively involved in planning, with the title itself coming directly from the artist.
Feldmann's oeuvre consistently revolves around fundamental questions: What is art? Where do its boundaries lie? The exhibition powerfully illustrates his rejection of the traditional distinction between "art" and "everyday life," showcasing how he elevated the seemingly banal and incidental to the realm of high art. Recurring themes throughout his work include social clichés, voyeurism, and consumerism, often approached with a direct, playful, and humorous sensibility. Key works on display highlight his artistic strategies of appropriation, alienation, and recontextualization, inviting viewers to re-examine familiar objects and images from a new perspective.
A central thread of the exhibition is Feldmann's profound fascination with visual imagery and the photographic medium. His artistic practice, which he described as a three-stage process of cutting out, collecting, and gluing, began with his archive of found photographs, postcards, and newspaper clippings. Notable works that embody this approach include his "Zeitserien" (Time Series), which document simple, everyday moments in sequence, and his collection of 156 international newspaper front pages from September 12, 2001, which collectively explore the impact of mass media and the power of image-text combinations in shaping public perception.
Beyond the formal presentation of works, the exhibition maintains Feldmann's desire to break with institutional conventions and engage a broad audience. It features interactive and participatory elements, such as his large installation "Schattenspiel" (Shadow Play, 2002), where shadows of rotating toys and found objects are fantastically distorted, and a "Feldmann Shelf" (or "Swap Shelf") where visitors can engage with his ethos of value and exchange. The retrospective ultimately celebrates Feldmann's enduring legacy as an artist who humorously and radically questioned the mechanisms of the art world and the formation of taste, proving the continuing relevance of his playful, anti-establishment spirit.
Secure the Bag, Mint the Soaps and Throw the Bones is a site of exchange that aims to recontextualize the intricate histories of the brown paper bag and Hispano cuaba soap while inviting the audience to play a game of dominoes. This is based on the artist’s ongoing examination of these items found in private and domestic settings. Nonetheless, their combined racialized, colonial and social complexity reverberates in the customs and dynamics of collective space within a black diasporic subjectivity and imagination. To learn more visit www.recessart.org/francheskaalcantara/