Ian Bunn | Political & Popular Culture Arts

Enrichment of the French cultural inheritance (January 31st)

Will Barnet the 100 year old US artist renowned for his dream like figurative human and animal paintings and watercolors depicting daily life, has been honored by being named a Chevalier of the Order of Arts and Letters by French authorities. Barnet’s body of works including drawings and prints are recognized worldwide for his original style. Barnet is a member of The American Academy of Arts and Letters, and has been the recipient of numerous awards including being the first Artist’s Lifetime Achievement Award Medal given by the National Academy of Design. The French government’s guidelines for being named a Chevalier state the recipient must respect French civil law, and must have ’significantly contributed to the enrichment of the French cultural inheritance’, although foreign persons can be admitted into the Order. Barnet had been honored earlier by the French National Academy Museum with an exhibition of his works.

Inspired by Judith H. Dobrzynski http://ow.ly/8Jk9x image source Amy Zimmer http://ow.ly/8Jk67

Expert in creating mesmerizing forms of repetition (January 17th)

Anri Sala the 37 year old Albanian artist renowned for his favored medium in video has been announced as a representative for France at the 2013 Venice Biennale. Sala is currently based in Paris, represented by Hauser & Wirth Gallery along with the Marian Goodman Gallery. Sala studied video production at the French Ecole Nationale des Arts Décoratifs in Paris and film direction in Le Fresnoy-Studio National des Arts Contemporains, Tourcoing. Sala currently has a video installation titled ‘Dammi i colori’ (Give me the colors) on display at the London Tate Modern. The installation explores the colour transformation of his hometown Tirana in 2003. The installation includes a discussion between Sala and a personal friend Edi Rama, the Mayor of Tirana. Daniel Birnbaum wrote in Artforum in 2004 that Sala “is an expert in creating mesmerizing forms of repetition that produce strange states of mind, but he never goes so far as to cause pain.”

Inspired by Artinfo http://ht.ly/8qZp9 image source http://ow.ly/8tPHX

Use a camera and put my time into an idea instead (December 7th)

Cindy Sherman the 57 year old US artist photographer has been named by Glamour magazine as one of the ‘Women of the Year’, referring to her as the “queen of radical reinvention”, honoring her works for challenging the traditional representation of women. Sherman’s work will be the subject of a major traveling retrospective by MoMA in 2012. Sherman works along in her studio taking on the various roles of cinema including wardrobe, hairstylist, makeup, director and model; to create series of images of herself in costumes recreating specific scenes from movies. Sherman’s interest in the visual arts began as a painter, however frustrated with the mediums limitations she turned to photography. “…there was nothing more to say through painting, I was meticulously copying other art and then I realized I could just use a camera and put my time into an idea instead.”

Inspired by artinfo http://ow.ly/7G896 image source Nathaniel Paluga http://ow.ly/7G8dn

You need to find people to talk to and to learn (December 1st)

Martin Boyce the 43 year old UK artist renowned for his modernist sculptures and installations has been nominated for Turner Prize following his Swiss exhibition at Galerie Eva Presenhuber. Boyce’s sculptures have been described as a form of nonsensical modernism, appearing to dreamingly merge into each other to form a larger interior modernist installation. Boyce in an interview with Coline Milliard, stated “In my early teens I realized it was as much about looking as it was about making. My world was record sleeves, music and taking in your jeans to give them a narrow leg. Pop art and pop culture were my way in … You need to find people to talk to and to learn about the things that matter to you — it’s essential. Now with college and university fees that crucial breadth of people you might meet will be narrowed.”

Inspired by Coline Milliard http://ow.ly/7A1jg image source artmw http://ow.ly/7A1DG

Now impossible to return to its original state (November 17th)

Martin Kippenberger the deceased German artist at age 44 renowned for his prolific use of media and styles, along with his often provocative but jocular public persona, has had one of his works scrubbed clean by an overzealous cleaner at the Ostwall Museum in Dortmund Germany. The installation piece titled ‘When It Starts Dripping From the Ceiling’ consisted of a trough placed underneath a slatted wooden tower. Kippenberger had painted the inside of the trough representing dried rainwater. The female cleaner made the bucket look like new again, removing the residue. The installation valued €800,000 was on loan from a private collector to the museum. A spokesperson for the museum stated “It is now impossible to return it to its original state”. Kippenberger is regarded as one of the most talented German artists of his generation known as the German ‘enfants terribles’.

Inspired by Shane Ferro http://ow.ly/7kePh image source fansiter http://ow.ly/7kf0G

Everything is shrouded in a big black cloud (October 23rd)

Zwelethu Mthethwa the 51 year old South African artist photographer nominated to include his work in the prestigious Venice Biennale art exhibition, has withdrawn outraged and alleging transparency issues within the organizing group. Monna Mokoena a South African gallery owner who had initiated the South African return to the Biennale following non participation since 1995, has been appointed the commissioner by the government. Mokoena selected the curator and two of his own artists to exhibit, and as a token selected two others including Mthethwa while delaying them access to information and financial budgets. Malcolm Payne a former Dean of Fine Art at the University of Cape Town who had exhibited at the last South African participation in the 1995 Biennale, criticised Mokoena appointment as “A handout … What happened then is happening now”.

Inspired by Matthew Blackman http://ow.ly/6Si7M image source myglobalhustle http://ow.ly/6SiIj

Usually involved with images and narrative (October 11th)

Patrick Keiller the 61 year old UK avant garde film-maker and artist, has been selected to undertake an installation of the central space at the Tate Britain. Keiller is renowned for ‘Robinson in Ruins’ film featuring the narration by Vanessa Redgrave. Released in 2010 the film documents the outcomes of a three-year research project titled The Future of Landscape and the Moving Image, the third in the Robinson series. The Tate Britain commission by Keiller will be its latest in an ongoing series of contemporary sculpture commissions which address the heritage of the space as a sculpture gallery. Keiller stated on accepting the commission, “As someone most usually involved with images and the linearity of narrative, I’m delighted by the invitation to devise an exhibit for a sculpture gallery.”

Inspired by Mark Brown http://ow.ly/6KMdB image source bfi.org http://ow.ly/6KMgx

We just come from a bad place (October 6th)

Steve Rodney McQueen the 41 year old UK artist and filmmaker has released his new work titled ‘Shame’ at the Venice Film Festival to much acclaim. The film is about a 30+ male sex addict having issues managing his sexual urges after his sister moves in with him. The main character Brandon, skilled at the easy pickups, is constrained by his sister’s presence and disastrous activities including self harm, and a relationship with his boss. McQueen’s films are typically black and white minimalistic pieces, projected on an enclosed art gallery wall. He often appeared in his own earlier works, and is renowned for restaging a Buster Keaton stunt titled ‘Deadpan’ where a house collapses leaving him standing and unscathed through a window opening. McQueen is a Turner Prize winner, and received the Caméra d’Or Award at the Cannes Film Festival.

Inspired by Ann Binlot http://ow.ly/6FVTA image source futureshipwreck http://ow.ly/6FW7E

We’re always balancing on our trunks (October 1st)

Miquel Barceló the 53 year old Spanish artist has installed into the famous New York’s Union Square a 9 metre tall, 5 tonne, sculptured bronze circus like elephant titled ‘Gran elefandret’. The sculpture depicts the elephant balancing in a gravity-defying posture holding itself up by the end of its trunk. The highly textured piece depicts the fat wrinkly legs, sagging skin and floppy big ears all delicately balanced on the animal’s trunk. The work is located on a traffic island adjacent to the square secured with a steel base, and has been previously exhibited publically to much acclaim in Madrid and Avignon. Speaking at the unveiling of the work Barceló stated, “I always say it’s a self portrait, because it’s like an artist in difficult times – we’re always balancing on our trunks.”

Inspired by Julia Halperin http://ht.ly/6tYvp image source sightseeing-madrid http://ow.ly/6y5S4

From Parisian palaces to simple Sufi shrines (September 29th)

Rachid Koraïchi the 64 year old Algerian artist has been named this year’s winner of the Jameel prize for his work ‘Les Maitres invisibles’ (The Invisible Masters). The series of banner works created in 2008 are a homage to the 14 great Islam mystics. Koraïchi was born into an ancient Sufi family, studied at the École des Beaux-Arts in Paris, and works with varying medias including installation, painting, printmaking, ceramics and textiles. Koraïchi’s banner series comprise large panels inscribed with calligraphy and symbols from various cultures. The chair of the jury stated at the presentation, “Rachid’s work stood out because his banners have a universal appeal. They work in the white space of a contemporary art gallery, but they also hold their own in historical settings – from Parisian palaces to simple Sufi shrines.”

Inspired by Ahram Online http://ow.ly/6y4yh image source thenational.ae http://ow.ly/6y4OR

Accused of violating the moral code of Angka (September 19th)

Vann Nath the 65 year old Cambodian painter, artist, human rights activist and recipient of the prestigious Lillian Hellman/Hammett Award for his outspoken advocacy for justice to victims of the crimes of the Khmer Rouge has died. Nath had survived along with six others from the Toul Sleng prison where over a period of three years over 15,000 people were executed. The prison was a former school used to torture the prisoners before being taken out to the ‘Killing Fields’ where the prisoners were killed with a savage blow to the back of the neck. Nath had managed to survive due to his portraiture skills in painting the Khmer Rouge leaders including the infamous Pol Pot. Nath a former Buddhist monk was awarded the Lillian Hellman/Hammett Award for recognition of his courage in the face of political persecution.

Inspired by Aljazeera http://ow.ly/6tZCk image source http://ow.ly/6u016

Give the building a bit of an edge (September 8th)

Tracey Karima Emin the 48 year old UK artist of the YBA grouping (Young British Artists), Venice Biennale representative and Turner Prize nominee, has installed a neon artwork at Number 10 Downing Street after being invited to create a work by PM David Cameron. The neon artwork installed outside the Terracotta Room, on the first floor of the prime minister’s official residence, is a sign that reads “More Passion” has been donated by Emin to the UK government’s art collection. Emin a supporter of the current Conservative Party under David Cameron, came to fame at the Charles Saatchi’s Sensation exhibition with her 1997 piece ‘Everyone I have ever slept with 1963-1995’. The Terracotta Room is generally used for hospitality purposes, is visible when climbing the Number 10′s main staircase.

Inspired by Jill Lawless http://ow.ly/6fhLn image source Piers Allardyce http://ow.ly/6fhUb

He has no intention of stopping (August 10th)

Walter F known as “OZ” a 61 year old artist spray painter from Hamburg Germany has been sentenced to fourteen months imprisonment by a local court for vandalism. Not his first stint of imprisonment for his art, OZ has already served an accumulated eight years of imprisonment to date over the past two decades since his first conviction in 1992. None of these convictions and prison terms have swayed OZ from his art which comprises primarily smiley faces and the letters OZ sprayed 120000 times to the walls of buildings, services boxes and access covers. OZ has no intention of stopping when released, believing the authorities are “cleanliness Nazis” intent on keeping him from the happiness he experiences from the spraying activities. His work has been featured in the Sprühling coffee table book.

Inspired by Martina Goy http://ow.ly/5XA4h image source hatcherscene.com http://ow.ly/5XzXK

This shows how nervous the U.S. government is (January 10th)

Birgitta Jónsdóttir the 43 year old artist activist and member of the Icelandic parliament, campaigning for democratic reform beyond party politics, has acted as a spokesperson for various groups that included Wikileaks and the Icelandic Modern Media Initiative. Her work for Wikileaks included an important role in the making of the Collateral Murder video. Jónsdóttir has announced that she had been notified by Twitter that it had been served by the United States Department of Justice with a subpoena demanding information about tweets and account details (including financial) on a significant number of twitter users for the period November 2009 to present. The motive for the subpoena appears to be directed at establishing an extradition case against Julian Assange.

Inspired by Talia Kayali and Moni Basu of CNN http://ow.ly/3Ibzw

Image source http://ow.ly/3Ibz2

On an unsustainable path (June 11th)

This digital work is premised on the basis that Pop art in its beginnings, freeze-framed what consumers of popular culture experienced into iconic visual abstractions. With the advent of the techno age, visual information circulates in such quantities, so rapidly and exponentially, that to comprehend a fraction of it all becomes a kind of production process in itself.  Hence this work considers fragmented elements of Pop Culture through an artistic and conceptual exploration of specific people and events of the day.

www.ianbunn.com

Most significant evidence a carnivore bite mark (June 10th)

Adapting Pop Art’s notion of mass media imagery into a context of the contemporary digital age, the work draws on a myriad points of reference. Utilizing fractured images to provide an allusion to the digital noise pounding away daily into our sub consciousness.  The work diverges from the traditional Pop Art notion of a pronounced repetition of a consumer icon, instead this work focuses on the deluge of contemporary digital content. The compilation of the fragmented imagery is vividly distractive, not unlike cable surfing or a jaunt through Times Square.

www.ianbunn.com

Like a used hanky thrown in the dustbin (June 9th)

This digital art work is about iconic people, places and events of our day.  Recorded visually through daily compilations of manipulated digital images, the work is posted online and disseminated via online media and social networks. The works are diaristic in nature, that metaphorically record a spectator’s experience of the contemporary digital age.  The resulting work intentionally has a painterly aesthetic acknowledging the artists historical painting practice.

www.ianbunn.com

Get the hell out of Palestine (June 8th)

This digital work is premised on the basis that Pop art in its beginnings, freeze-framed what consumers of popular culture experienced into iconic visual abstractions. With the advent of the techno age, visual information circulates in such quantities, so rapidly and exponentially, that to comprehend a fraction of it all becomes a kind of production process in itself.  Hence this work considers fragmented elements of Pop Culture through an artistic and conceptual exploration of specific people and events of the day.

www.ianbunn.com

Sisters in a serious but stable condition (June 7th)

This digital art work is about iconic people, places and events of our day.  Recorded visually through daily compilations of manipulated digital images, the work is posted online and disseminated via online media and social networks. The works are diaristic in nature, that metaphorically record a spectator’s experience of the contemporary digital age.  The resulting work intentionally has a painterly aesthetic acknowledging the artists historical painting practice.

www.ianbunn.com

Cap likely to capture the majority (June 6th)

Adapting Pop Art’s notion of mass media imagery into a context of the contemporary digital age, the work draws on a myriad points of reference. Utilizing fractured images to provide an allusion to the digital noise pounding away daily into our sub consciousness.  The work diverges from the traditional Pop Art notion of a pronounced repetition of a consumer icon, instead this work focuses on the deluge of contemporary digital content. The compilation of the fragmented imagery is vividly distractive, not unlike cable surfing or a jaunt through Times Square.

www.ianbunn.com

Not forthcoming open or transparent (June 5th)

This digital work is premised on the basis that Pop art in its beginnings, freeze-framed what consumers of popular culture experienced into iconic visual abstractions. With the advent of the techno age, visual information circulates in such quantities, so rapidly and exponentially, that to comprehend a fraction of it all becomes a kind of production process in itself.  Hence this work considers fragmented elements of Pop Culture through an artistic and conceptual exploration of specific people and events of the day.

www.ianbunn.com

The subject of pain is the business I am in (June 4th)

This digital art work is about iconic people, places and events of our day.  Recorded visually through daily compilations of manipulated digital images, the work is posted online and disseminated via online media and social networks. The works are diaristic in nature, that metaphorically record a spectator’s experience of the contemporary digital age.  The resulting work intentionally has a painterly aesthetic acknowledging the artists historical painting practice.

www.ianbunn.com

Flotilla massacre is inhumane state terrorism (June 3rd)

My work digital art is about iconic people, places and events of our day.  Recorded visually through daily compilations of manipulated digital images, posted online and disseminated via online media and social networks. The works are diaristic in nature that metaphorically record a spectator’s experience of the contemporary digital age.  The resulting work intentionally has a painterly aesthetic acknowledging my historical painting practice.

Adapting Pop Art’s notion of mass media imagery into a context of the contemporary digital age, the work draws on a myriad points of reference. Utilizing fractured images to provide an allusion to the digital noise pounding away daily into our sub consciousness.  The work diverges from the traditional Pop Art notion of a pronounced repetition of a consumer icon, instead this work focuses on the deluge of contemporary digital content. The compilation of the fragmented imagery is vividly distractive, not unlike cable surfing or a jaunt through Times Square.

This digital art work is premised on the basis that Pop art in its beginnings, freeze-framed what consumers of popular culture experienced into iconic visual abstractions. With the advent of the techno age, visual information circulates in such quantities, so rapidly and exponentially, that to comprehend a fraction of it all becomes a kind of production process in itself.  Hence this work considers fragmented elements of Pop Culture through an artistic and conceptual exploration of specific people and events of the day.

The works are presented as individual pieces printed with Archival-Inks on 308g Cottonrag-paper, along with A3 sized bound monthly editions, and monthly looped video compilations.
www.ianbunn.com

At no point did I consider myself to be in breach (June 2nd)

My work digital art is about iconic people, places and events of our day.  Recorded visually through daily compilations of manipulated digital images, posted online and disseminated via online media and social networks. The works are diaristic in nature that metaphorically record a spectator’s experience of the contemporary digital age.  The resulting work intentionally has a painterly aesthetic acknowledging my historical painting practice.

Adapting Pop Art’s notion of mass media imagery into a context of the contemporary digital age, the work draws on a myriad points of reference. Utilizing fractured images to provide an allusion to the digital noise pounding away daily into our sub consciousness.  The work diverges from the traditional Pop Art notion of a pronounced repetition of a consumer icon, instead this work focuses on the deluge of contemporary digital content. The compilation of the fragmented imagery is vividly distractive, not unlike cable surfing or a jaunt through Times Square.

This digital art work is premised on the basis that Pop art in its beginnings, freeze-framed what consumers of popular culture experienced into iconic visual abstractions. With the advent of the techno age, visual information circulates in such quantities, so rapidly and exponentially, that to comprehend a fraction of it all becomes a kind of production process in itself.  Hence this work considers fragmented elements of Pop Culture through an artistic and conceptual exploration of specific people and events of the day.

The works are presented as individual pieces printed with Archival-Inks on 308g Cottonrag-paper, along with A3 sized bound monthly editions, and monthly looped video compilations.
www.ianbunn.com

This work is about iconic people, places and events of our day.  Recorded visually through daily compilations of manipulated digital images, the work is posted online and disseminated via online media and social networks. The works are diaristic in nature, that metaphorically record a spectator’s experience of the contemporary digital age.  The resulting work intentionally has a painterly aesthetic acknowledging the artists historical painting practice.

Adapting Pop Art’s notion of mass media imagery into a context of the contemporary digital age, the work draws on a myriad points of reference. Utilizing fractured images to provide an allusion to the digital noise pounding away daily into our sub consciousness.  The work diverges from the traditional Pop Art notion of a pronounced repetition of a consumer icon, instead this work focuses on the deluge of contemporary digital content. The compilation of the fragmented imagery is vividly distractive, not unlike cable surfing or a jaunt through Times Square.

The work is premised on the basis that Pop art in its beginnings, freeze-framed what consumers of popular culture experienced into iconic visual abstractions. With the advent of the techno age, visual information circulates in such quantities, so rapidly and exponentially, that to comprehend a fraction of it all becomes a kind of production process in itself.  Hence this work considers fragmented elements of Pop Culture through an artistic and conceptual exploration of specific people and events of the day.

The work is an ongoing artistic endeavor that diarizes visually the daily events of each month.  The work compiles a daily diary of manipulated digital images for the month, with each day’s created image rolling into the following. Guitar solo riff created by Craig ‘Macca’ McDonald.

This piece records the events of May 2010.

www.ianbunn.com

As long as your arm every five minutes (June 1st)

My work is about iconic people, places and events of our day.  Recorded visually through daily compilations of manipulated digital images, posted online and disseminated via online media and social networks. The works are diaristic in nature that metaphorically record a spectators experience of the contemporary digital age.  The resulting work intentionally has a painterly aesthetic acknowledging my historical painting practice.

Adapting Pop Arts notion of mass media imagery into a context of the contemporary digital age, the work draws on a myriad points of reference. Utilizing fractured images to provide an allusion to the digital noise pounding away daily into our sub consciousness.  The work diverges from the traditional Pop Art notion of a pronounced repetition of a consumer icon, instead this work focuses on the deluge of contemporary digital content. The compilation of the fragmented imagery is vividly distractive, not unlike cable surfing or a jaunt through Times Square.

The work is premised on the basis that Pop art in its beginnings, freeze-framed what consumers of popular culture experienced into iconic visual abstractions. With the advent of the techno age, visual information circulates in such quantities, so rapidly and exponentially, that to comprehend a fraction of it all becomes a kind of production process in itself.  Hence this work considers fragmented elements of Pop Culture through an artistic and conceptual exploration of specific people and events of the day.

The works are presented as individual pieces printed with Archival-Inks on 308g Cottonrag-paper, along with A3 sized bound monthly editions, and monthly looped video compilations.
www.ianbunn.com

Bare skin is definitely for me (May 31st)

My work is about iconic people, places and events of our day.  Recorded visually through daily compilations of manipulated digital images, posted online and disseminated via online media and social networks. The works are diaristic in nature that metaphorically record a spectators experience of the contemporary digital age.  The resulting work intentionally has a painterly aesthetic acknowledging my historical painting practice.

Adapting Pop Arts notion of mass media imagery into a context of the contemporary digital age, the work draws on a myriad points of reference. Utilizing fractured images to provide an allusion to the digital noise pounding away daily into our sub consciousness.  The work diverges from the traditional Pop Art notion of a pronounced repetition of a consumer icon, instead this work focuses on the deluge of contemporary digital content. The compilation of the fragmented imagery is vividly distractive, not unlike cable surfing or a jaunt through Times Square.

The work is premised on the basis that Pop art in its beginnings, freeze-framed what consumers of popular culture experienced into iconic visual abstractions. With the advent of the techno age, visual information circulates in such quantities, so rapidly and exponentially, that to comprehend a fraction of it all becomes a kind of production process in itself.  Hence this work considers fragmented elements of Pop Culture through an artistic and conceptual exploration of specific people and events of the day.

The works are presented as individual pieces printed with Archival-Inks on 308g Cottonrag-paper, along with A3 sized bound monthly editions, and monthly looped video compilations.
www.ianbunn.com

What choo talkin bout (May 30th)

My work is about iconic people, places and events of our day.  Recorded visually through daily compilations of manipulated digital images, posted online and disseminated via online media and social networks. The works are diaristic in nature that metaphorically record a spectators experience of the contemporary digital age.  The resulting work intentionally has a painterly aesthetic acknowledging my historical painting practice.

Adapting Pop Arts notion of mass media imagery into a context of the contemporary digital age, the work draws on a myriad points of reference. Utilizing fractured images to provide an allusion to the digital noise pounding away daily into our sub consciousness.  The work diverges from the traditional Pop Art notion of a pronounced repetition of a consumer icon, instead this work focuses on the deluge of contemporary digital content. The compilation of the fragmented imagery is vividly distractive, not unlike cable surfing or a jaunt through Times Square.

The work is premised on the basis that Pop art in its beginnings, freeze-framed what consumers of popular culture experienced into iconic visual abstractions. With the advent of the techno age, visual information circulates in such quantities, so rapidly and exponentially, that to comprehend a fraction of it all becomes a kind of production process in itself.  Hence this work considers fragmented elements of Pop Culture through an artistic and conceptual exploration of specific people and events of the day.

The works are presented as individual pieces printed with Archival-Inks on 308g Cottonrag-paper, along with A3 sized bound monthly editions, and monthly looped video compilations.
www.ianbunn.com

Confrontation with confrontation, war with all out war (May 29th)

My work is about iconic people, places and events of our day.  Recorded visually through daily compilations of manipulated digital images, posted online and disseminated via online media and social networks. The works are diaristic in nature that metaphorically record a spectators experience of the contemporary digital age.  The resulting work intentionally has a painterly aesthetic acknowledging my historical painting practice.

Adapting Pop Arts notion of mass media imagery into a context of the contemporary digital age, the work draws on a myriad points of reference. Utilizing fractured images to provide an allusion to the digital noise pounding away daily into our sub consciousness.  The work diverges from the traditional Pop Art notion of a pronounced repetition of a consumer icon, instead this work focuses on the deluge of contemporary digital content. The compilation of the fragmented imagery is vividly distractive, not unlike cable surfing or a jaunt through Times Square.

The work is premised on the basis that Pop art in its beginnings, freeze-framed what consumers of popular culture experienced into iconic visual abstractions. With the advent of the techno age, visual information circulates in such quantities, so rapidly and exponentially, that to comprehend a fraction of it all becomes a kind of production process in itself.  Hence this work considers fragmented elements of Pop Culture through an artistic and conceptual exploration of specific people and events of the day.

The works are presented as individual pieces printed with Archival-Inks on 308g Cottonrag-paper, along with A3 sized bound monthly editions, and monthly looped video compilations.
www.ianbunn.com

Ready to prove I am not a terrorist (May 28th)

My work is about iconic people, places and events of our day.  Recorded visually through daily compilations of manipulated digital images, posted online and disseminated via online media and social networks. The works are diaristic in nature that metaphorically record a spectator’s experience of the contemporary digital age.  The resulting work intentionally has a painterly aesthetic acknowledging my historical painting practice.

Adapting Pop Art’s notion of mass media imagery into a context of the contemporary digital age, the work draws on a myriad points of reference. Utilizing fractured images to provide an allusion to the digital noise pounding away daily into our sub consciousness.  The work diverges from the traditional Pop Art notion of a pronounced repetition of a consumer icon, instead this work focuses on the deluge of contemporary digital content. The compilation of the fragmented imagery is vividly distractive, not unlike cable surfing or a jaunt through Times Square.

The work is premised on the basis that Pop art in its beginnings, freeze-framed what consumers of popular culture experienced into iconic visual abstractions. With the advent of the techno age, visual information circulates in such quantities, so rapidly and exponentially, that to comprehend a fraction of it all becomes a kind of production process in itself.  Hence this work considers fragmented elements of Pop Culture through an artistic and conceptual exploration of specific people and events of the day.

The works are presented as individual pieces printed with Archival-Inks on 308g Cottonrag-paper, along with A3 sized bound monthly editions, and monthly looped video compilations.
www.ianbunn.com

Party was becoming to conservative (May 27th)

My work is about iconic people, places and events of our day.  Recorded visually through daily compilations of manipulated digital images, posted online and disseminated via online media and social networks. The works are diaristic in nature that metaphorically record a spectator’s experience of the contemporary digital age.  The resulting work intentionally has a painterly aesthetic acknowledging my historical painting practice.

Adapting Pop Art’s notion of mass media imagery into a context of the contemporary digital age, the work draws on a myriad points of reference. Utilizing fractured images to provide an allusion to the digital noise pounding away daily into our sub consciousness.  The work diverges from the traditional Pop Art notion of a pronounced repetition of a consumer icon, instead this work focuses on the deluge of contemporary digital content. The compilation of the fragmented imagery is vividly distractive, not unlike cable surfing or a jaunt through Times Square.

The work is premised on the basis that Pop art in its beginnings, freeze-framed what consumers of popular culture experienced into iconic visual abstractions. With the advent of the techno age, visual information circulates in such quantities, so rapidly and exponentially, that to comprehend a fraction of it all becomes a kind of production process in itself.  Hence this work considers fragmented elements of Pop Culture through an artistic and conceptual exploration of specific people and events of the day.

The works are presented as individual pieces printed with Archival-Inks on 308g Cottonrag-paper, along with A3 sized bound monthly editions, and monthly looped video compilations.
www.ianbunn.com