Pop-Art in the Digital Media Ecology (Portfolio)

Munt, AC

Pop-Art in the Digital Media Ecology (Portfolio)

Munt, AC

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Citation:: 2015
Issue Date:: 2015-08-31

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Field	Value	Language
dc.contributor.author	Munt, AC	en_US
dc.date.issued	2015-08-31	en_US
dc.identifier.citation	2015	en_US
dc.identifier.uri	http://hdl.handle.net/10453/122324
dc.description.abstract	Research background: in this portfolio Alex Munt uses the affordances of digital media to explore aesthetic questions. 24 Hour Franco is a Two-Channel television sculpture that explores the intersection of celebrity and art-based image economies via cultural icon, celebrity and visual artist James Franco. SPRING BREAKERS 4 EVA is a glitch-based moving image work which explores the aesthetic impact of the error and accident in digital media as a new ‘meta’ mode of Pop-Art. LINDSAY is a short experimental film that revisits the Structural Film movement in the age of Reality TV. The Cloud was a site-specific media arts installation that explored new representations of the vapour cloud in the age of the internet and digital media. Research contribution: these pieces revisit and rework the works of earlier artists in order to demonstrate their continuing relevance and relationship with contemporary culture. They explore the ways in which pop culture collides with the ecology of the art-image and that popular forms of screen entertainment remediate experimental film aesthetics to produce related screen spectatorship and audience experiences. The works show that digital media can create a ‘meta’, or second-tier, mode of pop aesthetics and can unite historical motif from art with the materiality of modern data. Research Significance: the pieces were exhibited at venues including the Vancouver Art Gallery for the ISEA 2015: the International Symposium on Electronic Arts.	en_US
dc.format	Visual art work	en_US
dc.title	Pop-Art in the Digital Media Ecology (Portfolio)	en_US
utslib.location	Vancouver	en_US
utslib.for	1902 Film, Television and Digital Media	en_US
pubs.embargo.period	Not known	en_US
pubs.organisational-group	/University of Technology Sydney
pubs.organisational-group	/University of Technology Sydney/Faculty of Arts and Social Sciences
pubs.organisational-group	/University of Technology Sydney/Faculty of Arts and Social Sciences/FASS Faculty Administration
utslib.copyright.status	open_access
pubs.consider-herdc	false	en_US
pubs.place-of-publication	Vancouver	en_US
pubs.publication-status	Published	en_US
pubs.rights-statement	Research background: in this portfolio Alex Munt uses the affordances of digital media to explore aesthetic questions. 24 Hour Franco is a Two-Channel television sculpture that explores the intersection of celebrity and art-based image economies via cultural icon, celebrity and visual artist James Franco. SPRING BREAKERS 4 EVA is a glitch-based moving image work which explores the aesthetic impact of the error and accident in digital media as a new ‘meta’ mode of Pop-Art. LINDSAY is a short experimental film that revisits the Structural Film movement in the age of Reality TV. The Cloud was a site-specific media arts installation that explored new representations of the vapour cloud in the age of the internet and digital media. Research contribution: these pieces revisit and rework the works of earlier artists in order to demonstrate their continuing relevance and relationship with contemporary culture. They explore the ways in which pop culture collides with the ecology of the art-image and that popular forms of screen entertainment remediate experimental film aesthetics to produce related screen spectatorship and audience experiences. The works show that digital media can create a ‘meta’, or second-tier, mode of pop aesthetics and can unite historical motif from art with the materiality of modern data. Research Significance: the pieces were exhibited at venues including the Vancouver Art Gallery for the ISEA 2015: the International Symposium on Electronic Arts.	en_US
pubs.rights-statement	Research background: In this portfolio Alex Munt explores new forms of digital media via a remediation of 20th century art forms and traditions. Lindsay: For those who don’t have the time (2014) is a short experimental film that revisits the Structural Film movement in the age of Reality TV. Spring Breakers 4 Eva (2015) is a digital glitch work which explores the aesthetic impact of the accident as a continuum of Pop Art aesthetics. 24 Hour Franco (2015) is a 2-channel TV sculpture, after Nam June Paik, which explores celebrity media flows via Hollywood screen icon James Franco. The Cloud (2015) was a site-specific media arts installation that explored new representations of the vapour cloud in the age of networked digital media. Research contribution: These pieces revisit and rework the output of seminal artists in order to demonstrate their ongoing relevance within the digital media ecology. They collide popular screen entertainment with avant-garde and experimental forms in order to produce new models of engagement and spectatorship. The works reveal ways in which the language of digital media can create a ‘meta’, or second-tier, Pop-Art driven aesthetic derived from a shared, diverse, audio-visual heritage. The works in this portfolio demonstrate the capacity to unite historical motifs with formal and aesthetic experiments in media arts to resonate with contemporary themes of digital culture. Research Significance: the pieces were exhibited at venues including the Vancouver Art Gallery for the ISEA 2015: the International Symposium on Electronic Arts.	en_US

Abstract:

Research background: in this portfolio Alex Munt uses the affordances of digital media to explore aesthetic questions. 24 Hour Franco is a Two-Channel television sculpture that explores the intersection of celebrity and art-based image economies via cultural icon, celebrity and visual artist James Franco. SPRING BREAKERS 4 EVA is a glitch-based moving image work which explores the aesthetic impact of the error and accident in digital media as a new ‘meta’ mode of Pop-Art. LINDSAY is a short experimental film that revisits the Structural Film movement in the age of Reality TV. The Cloud was a site-specific media arts installation that explored new representations of the vapour cloud in the age of the internet and digital media. Research contribution: these pieces revisit and rework the works of earlier artists in order to demonstrate their continuing relevance and relationship with contemporary culture. They explore the ways in which pop culture collides with the ecology of the art-image and that popular forms of screen entertainment remediate experimental film aesthetics to produce related screen spectatorship and audience experiences. The works show that digital media can create a ‘meta’, or second-tier, mode of pop aesthetics and can unite historical motif from art with the materiality of modern data. Research Significance: the pieces were exhibited at venues including the Vancouver Art Gallery for the ISEA 2015: the International Symposium on Electronic Arts.

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http://hdl.handle.net/10453/122324