172.09 x 238.76 cm.
Imagine How Many by Margo Wolowiec is a woven polyester depiction of blurred text and floral images found on social media, distorted beyond complete recognition. It resembles a newspaper with a conspicuous “fold” down the middle, but its contents are undoubtedly drawn from Wolowiec’s practice of image aggregation and do not follow the clear formatting newspapers normally possess. Instead, Wolowiec has created an alternative publication of sorts, drawing in a third, comparative source of “networked” imagery and information, inserting the concept of publication and social media into her greater examination of the structures governing dissemination.
Margo Wolowiec uses her multidisciplinary practice to examine space, material versus conceptual practices, and affective responses. Working predominantly with textiles, the artist aggregates “non-images” and controversial texts from the internet, she then creates complex, visually fragmented fabric compositions, which cut in and out like static. She analogizes the networked layering of woven fibers with the technological networks from which she draws her images, articulating a novel, analog means of imagining and relating to the greater technological ontology upon which contemporary society depends. Her forms are largely sourced from visualizations of glitches and aberrations found on Internet-based social networking platforms such as Instagram, Facebook, and Tumblr. In translating pixelated images into fiber art through painstaking technique of hand dye and weaving, Wolowiec offers a wholly original response to producing art in the digital age by narrowing the gap between traditional practices of handcraft and contemporary modes of image making offered through new media technologies.
The Pixelated Revolution is a lecture-performance by artist Rabih Mroué about the use of mobile phones during the Syrian revolution...
Exhibition walk-through of Here We Live with Pheng Cheah, leading theorist of cosmopolitanism, Jerome Reyes, artist, and Marie Martraire, director, KADIST San Francisco Presenting videos and installations, alongside archival materials, the exhibition Here We Live , reveals strategies through which communities cope with the cultural tensions linked to the transformations of the places they live...
In Hole #1 a zebra scull stands in as a representation of Africa, while the plexiglass box and the hole made through it represent the inaccessibility of that culture to African-Americans....
A 49ers Anthem Charges Back From the ’80s for Super Bowl Sunday | KQED Skip to Nav Skip to Main Skip to Footer upper waypoint Arts & Culture A 49ers Anthem Charges Back From the ’80s for Super Bowl Sunday Rae Alexandra Feb 7 Save Article Save Article Failed to save article Please try again Email A 49er and a Dolphin dancing* at the 1985 Super Bowl to classic Narada Michael Walden track, ‘We’re the 49ers.’ [*This is a lie.] (Focus on Sport via Getty Images) Look...
Podcast 60: The Media Landscape in the Philippines | ArtsEquator Thinking and Talking about Arts and Culture in Southeast Asia ArtsEquator Viewpoints Courtesy of Asian Arts Media Roundtable July 4, 2019 Duration: 19 min In our latest podcast, art critic Pristine de Leon gives a comprehensive overview of the media landscape in the Philippines, discussing challenges to the practice and the new platforms that are paving the way for creative, incisive and timely forms of arts criticism...
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A Splinter (Study for Painting) is a large graphite work on paper by Hernan Bas that was intended as a study for a later painting...
The working processes of artists: Sabrina Poon | ArtsEquator Thinking and Talking about Arts and Culture in Southeast Asia Articles April 27, 2020 Singaporean filmmaker Sabrina Poon, better known as Spoon, talks about her work and the value of storytelling by breaking down three of her short films – Sylvia , Hello Uncle and Pa ...