Not Signed-In
Which clippings match 'Aerial' keyword pg.1 of 1
20 JULY 2013

Futuristic fashions: Eve, A.D. 2000!

"Futuristic fashions 1939 style include a dress that can be adapted for day or evening wear, complete with sun–visor (and African–American maid), and a dress made of transparent net with a towering 60s–style hairdo (wouldn't look out of place on a millennium catwalk). The next two outfits are pretty transparent too; then a bridal gown with a cellophane veil and another adaptable dress.

The suit for the man of 2000 looks like a boiler suit with wide chain mail over the top. A circular aerial is worn on the head, to pick up signals for his mobile phone and radio. He also has two natty silver boxes attached to his belt 'for coins, keys and candy for cuties'. The beard is marcel–waved and he has buns of hair at the side of his head. Not a particularly manly look!"

(British Pathé)

1
2

TAGS

1930s19392000 • 2000 AD • adaptable dress • aerial • African-American • beard • boiler suit • bridal gownBritish Pathe • candy for cuties • catwalkcellophane • chain mail • clothing • day wear • dress • Eve • evening wear • fashion designfashion forecastingfuture forecastingfuturistic design • futuristic fashions • futuristic visionhair • hairdo • maid • manly look • millenniummobile phone • natty • newsreel • outfit • Pathetone Weekly • portable radio • predictionretrofuturismstylesuit • sun visor • transparencyveilwomens clothingwomenswear

CONTRIBUTOR

Simon Perkins
27 NOVEMBER 2011

Anne Spalter: Traffic Circle

New York debut of Anne Morgan Spalter
@ Stephan Stoyano/LuxeGallery
November 29, 2011– January 6, 2012

"Stephan Stoyanov/Luxe Gallery is pleased to announce the inaugural New York City solo show of Anne Morgan Spalter, a new–media pioneer who initiated and taught the first fine arts new media courses at the Rhode Island School of Design (RISD) in 1990 and Brown University in 1992. Spalter's exhibition, Traffic Circle, is a milestone in her two–decade odyssey in integrating art and technology. Spalter draws on centuries of work in the landscape genre but brings a new perspective on the modern landscape.

With works created exclusively for this exhibition, Spalter introduces geometrically patterned video works generated from footage she shoots in traffic, from aerial perches, at airports, and on the highway. Several pieces feature iconic New York City landmarks such as Rockefeller Center. The rhythmically structured compositions isolate or abstract features and motion of the landscape, highlighting the passage of taxis down 5th Avenue, for example, and the soaring of planes on takeoff. Inspired by her mathematical background and interest in Islamic art, she uses a symmetrical kaleidoscopic framework to brings order to complexity.

Spalter's art has explored the concept of the 'modern landscape' since first shown publicly at the deCordova Museum in 1992. She draws on her travels and her digital photographic and video database to create still and moving pieces. Works are realized as prints, intimate screen–based works, and large–scale screen and projection works: her work was shown this past summer at Big Screen Plaza's 30–foot LCD screen in New York City as part of Leaders in Software Art (LISA) and at the RISD Museum of Art's Open Call Video Art Screening Program."

(Anne Morgan Spalter)

5). Exhibition Press Release.

1
2
3

TAGS

2011 • 5th Avenue • aerialairportAnne Spalterartart and technologyartistBrown Universitycompositioncomputer artdesign formalismdigital artdigital photographyexhibitionfine artgeometric patterngeometry • highway • iconicIslamic • Islamic art • kaleidoscopelandscape • Luxe Gallery (New York) • mathematicsmirrored effect • modern landscape • motorwaynew mediaNew York City • new-media pioneer • North American artistpatternRhode Island School of Design • rhythmic • RISD • Rockefeller Center • screen-based works • solo exhibition • solo show • Stephan Stoyanov • symmetrical patternsymmetry • taxi • traffic • Traffic Circle • video art • video works • visual communication

CONTRIBUTOR

Simon Perkins
Sign-In

Sign-In to Folksonomy

Can't access your account?

New to Folksonomy?

Sign-Up or learn more.