Bringing context and critique to the cultural moment. Deep dives, reviews, and debate encouraged.
40675 Members
We'll be adding more communities soon!
© 2020 Relevant Protocols Inc.
Bringing context and critique to the cultural moment. Deep dives, reviews, and debate encouraged.
40675 Members
We'll be adding more communities soon!
© 2020 Relevant Protocols Inc.
Relevant
Hot
New
Spam
Relevant
Hot
New
Spam
0
868
0
868
>"CURA. is a curatorial/editorial platform, founded by Ilaria Marotta and Andrea Baccin in 2009, and consists of a magazine, a publishing house, and an exhibition program that works internationally in collaboration with museums, foundations, galleries, institutions and independents."
>"CURA. is a curatorial/editorial platform, founded by Ilaria Marotta and Andrea Baccin in 2009, and consists of a magazine, a publishing house, and an exhibition program that works internationally in collaboration with museums, foundations, galleries, institutions and independents."
Second Skin Kate Cooper Text by Margot Norton
Second Skin Kate Cooper Text by Margot Norton
Artist Kate Cooper creates works that seek to penetrate the surface of this digital membrane, exposing how these new visual languages might complicate divisions between our physical and virtual selves. Her CG protagonists bleed, bruise, tire, and get sick, displaying a fragility that defies their presumed immortality and ceaseless output. Using an uncanny mix of photographic and pixel-built images, Cooper operates in the increasingly intertwined space between technology and the self. Her works go deeper, cutting into this digital landscape to reveal the unseen labor within. She manipulates her hyperreal, simulated bodies as a sculptor might manipulate clay, transforming their immaterial corporeal forms so that they might appear uncomfortable, vulnerable, even human.
Artist Kate Cooper creates works that seek to penetrate the surface of this digital membrane, exposing how these new visual languages might complicate divisions between our physical and virtual selves. Her CG protagonists bleed, bruise, tire, and get sick, displaying a fragility that defies their presumed immortality and ceaseless output. Using an uncanny mix of photographic and pixel-built images, Cooper operates in the increasingly intertwined space between technology and the self. Her works go deeper, cutting into this digital landscape to reveal the unseen labor within. She manipulates her hyperreal, simulated bodies as a sculptor might manipulate clay, transforming their immaterial corporeal forms so that they might appear uncomfortable, vulnerable, even human.
Some low-ranking comments may have been hidden.
Some low-ranking comments may have been hidden.