View allAll Photos Tagged hyperrealism
barton creek austin was full summer of 2007 and i was there a lot with my dogs. this painting is 20 by48 inches.with graffiti on the rock scratched with another rock..by someone this creek has a lot of visitors when it is full and it is summer in austin.
Pele Agridoce (Bittersweet Skin) exhibition + Happening at Península Gallery
Exposição Pele Agridoce + Happening na Galeria Península
Porto Alegre/Brazil
Photos: Fabio Alt
The loss of quality that is so evident at every level of spectacular language, from the objects it glorifies to the behaviour it regulates, stems from the basic nature of a production system that shuns reality. The commodity form reduces everything to quantitative equivalence. The quantitative is what it develops, and it can develop only within the quantitative.
Guy Debord, "Society of the Spectacle"
Dazzled by the hyperreality of digital journalism we may find ourselves questioning the possibility of truth among contradictory narratives and sensations. British MP Jo Cox’s death in June 2016 has represented such a scenario most archetypally with an extraordinary display of media bias provided by the so-called left and right, from national newspapers to independent media.
In this work, the artists aim to create a user-experience of robotic journalism. Audiences can map out and generate news using artificial intelligence and data mined from a range of UK media online by using a mixer interface. The result will be displayed in an installation composed of data visualization, a ticker and research material.
credit: Florian Voggeneder
Pele Agridoce (Bittersweet Skin) exhibition + Happening at Península Gallery
Exposição Pele Agridoce + Happening na Galeria Península
Porto Alegre/Brazil
Photos: Fabio Alt
Hyperrealism in Contemporary Art
Wednesday, December 7, 2011
Fifth Ave at 89th Street
New York City
Scholars discussed concepts of realism in contemporary art, focusing on verisimilitude as a central aesthetic and conceptual strategy in Maurizio Cattelan’s work and its role in his critical practice. Participants included Dorothea von Hantelmann (Assistant Professor, Freie Universität, Berlin), Valerie Hillings (Associate Curator, Abu Dhabi Project, Guggenheim Museum), Alexander Potts (Max Loehr Collegiate Professor, University of Michigan, Ann Arbor); and moderator, Nancy Spector (Deputy Director and Chief Curator, Guggenheim Museum).
To learn more about upcoming public programs, visit www.guggenheim.org/publicprograms.
More ai generated art creations. I'm finally learning to better "Direct" this ai generation program to get the results I've been wanting.
My four latest posts are taken from a single multi-layer, multi-exposure Photoshop file.
The chairs have been lit with multiple, individual strobe flashes, each separately captured, which I can then turn up and down according to taste in the composite image.
In this shot I have added back most of the ambient light for an HDR style effect.
Take a look at the alternative mixes here:
www.flickr.com/photos/peterharnett/633390113/
www.flickr.com/photos/peterharnett/633390029/
www.flickr.com/photos/peterharnett/633390005/
Note - any minor differences between shots are because I decided to correct my converging verticals after flattening the different versions of the file: but they all come from one single file.
Dazzled by the hyperreality of digital journalism we may find ourselves questioning the possibility of truth among contradictory narratives and sensations. British MP Jo Cox’s death in June 2016 has represented such a scenario most archetypally with an extraordinary display of media bias provided by the so-called left and right, from national newspapers to independent media.
In this work, the artists aim to create a user-experience of robotic journalism. Audiences can map out and generate news using artificial intelligence and data mined from a range of UK media online by using a mixer interface. The result will be displayed in an installation composed of data visualization, a ticker and research material.
credit: Florian Voggeneder
Hyperrealism in Contemporary Art
Wednesday, December 7, 2011
Fifth Ave at 89th Street
New York City
Scholars discussed concepts of realism in contemporary art, focusing on verisimilitude as a central aesthetic and conceptual strategy in Maurizio Cattelan’s work and its role in his critical practice. Participants included Dorothea von Hantelmann (Assistant Professor, Freie Universität, Berlin), Valerie Hillings (Associate Curator, Abu Dhabi Project, Guggenheim Museum), Alexander Potts (Max Loehr Collegiate Professor, University of Michigan, Ann Arbor); and moderator, Nancy Spector (Deputy Director and Chief Curator, Guggenheim Museum).
To learn more about upcoming public programs, visit www.guggenheim.org/publicprograms.
History is educational and informative, however it is limited by the written reportage of actual events. Therefore, history will always contain innaccuracies and will be misconstrued by those who read it. Philosophically speaking, one can observe "layers of falsity" that make up written history. Baudrillard called for the "end of History", because history is so flawed that the reality of reported events can never be understood.
I feel that Baudrillard went too far, however his and others observations of a written history that is always, essentially flawed are correct. The emphasis for experimental artists, writers and thinkers is to move towards an "actual" experience of history, that removes the emphasis upon written reportage, what Derrida called "Ecriture". Of course, new media technologies aid this journey, however Baudrillard and others have warned us about the inaccuracies of video and photography when reporting events.
Similarly digital arts attempt to capture a more "real" or "actual" aesthetic. What is clear from the imaginative arts and philosophy is that the emphasis on written text as the superior method of communicating ideas is being questioned like never before.
Simon
Keith More hyperrealistic pencil drawing 'Papa's black eye' A3 size. Inspired by a photograph by Shannon Haughton Gill.
Today I made my first real attempt to use Glenn Karlsen's 'Hyper Real' tutorial and these two photographs are the result. They are for a college brief and are supposed to be potential magazine covers, this gave me the ideal opportunity to play around on photoshop as almost every magazine nowadays features a heavily photoshopped image on the cover. It's probably also worth mentioning that I'm not too fond of this type of portraiture but I'm always willing to give things a try.
The photo is of my friend Dara who is a wrestler, he needed some promotional shots and I needed a model so it worked out great.
Hyperrealism in Contemporary Art
Wednesday, December 7, 2011
Fifth Ave at 89th Street
New York City
Scholars discussed concepts of realism in contemporary art, focusing on verisimilitude as a central aesthetic and conceptual strategy in Maurizio Cattelan’s work and its role in his critical practice. Participants included Dorothea von Hantelmann (Assistant Professor, Freie Universität, Berlin), Valerie Hillings (Associate Curator, Abu Dhabi Project, Guggenheim Museum), Alexander Potts (Max Loehr Collegiate Professor, University of Michigan, Ann Arbor); and moderator, Nancy Spector (Deputy Director and Chief Curator, Guggenheim Museum).
To learn more about upcoming public programs, visit www.guggenheim.org/publicprograms.
The objectivity of the videocamera: some say it portrays things "as they really are"...
But what happens when the image, the representation, becomes more "real" than "reality" itself?
Speaker: Marc Roux
Audiovisual Posthumanism conference, Mytilini. 09/2010
Hyperrealism in Contemporary Art
Wednesday, December 7, 2011
Fifth Ave at 89th Street
New York City
Scholars discussed concepts of realism in contemporary art, focusing on verisimilitude as a central aesthetic and conceptual strategy in Maurizio Cattelan’s work and its role in his critical practice. Participants included Dorothea von Hantelmann (Assistant Professor, Freie Universität, Berlin), Valerie Hillings (Associate Curator, Abu Dhabi Project, Guggenheim Museum), Alexander Potts (Max Loehr Collegiate Professor, University of Michigan, Ann Arbor); and moderator, Nancy Spector (Deputy Director and Chief Curator, Guggenheim Museum).
To learn more about upcoming public programs, visit www.guggenheim.org/publicprograms.
This image was produced using three bracketed exposures of the same subject, combined and tonemapped using Photomatix Pro software, to produce a single High Dynamic Range image - which reveals far more detail and colour than a single exposure. The image was then tweaked some more in Photoshop CS.
[The answer is in the looking.]
Jamie SALMON
Lily 2013 (F)
Paul MCCARTHY
That Girl (T.G. Awake) 2012-13 (R)