A Quote by Loretta Lux
The images are compositions of photos superimposed over painted backgrounds, then finished off with digital alterations.
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I felt like I was definitely seeing something - the falsely gorgeous images of war, painted, almost invariably, in 'Times' combat photos.
All the old bogeys of 'dignified subject-matter,' of 'balanced compositions,' of 'correct drawing' were laid to rest. The artist was responsible to no one but his own sensibilities for what he painted and how he painted it.
We're not going the photography route. I think there is a real distinction between photos and images, and Flickr is for photos, and Instagram is for photos. You wouldn't put a filter on a meme; you'd put a filter on top of a photo that came from your camera.
When I've painted a woman's bottom so that I want to touch it, then [the painting] is finished.
Digital media are biased toward replication and storage. Our digital photos practically upload and post themselves on Facebook, and our most deleted e-mails tend to resurface when we least expect it. Yes, everything you do in the digital realm may as well be broadcast on prime-time television and chiseled on the side of the Parthenon.
Digital is expensive, from the computers to the professional software to the technicians, but digital helps me to create more beautiful images in less time.
We turn our own lives into an information archive by storing all our emails, SMS, digital photos, and other digital traces of our existence.
I am myself a professional creator of images, a film-maker. And then there are the images made by the artists I collect, and I have noticed that the images I create are not so very different from theirs. Such images seem to suggest how I feel about being here, on this planet. And maybe that is why it is so exciting to live with images created by other people, images that either conflict with one's own or demonstrate similarities to them.
Such compositions, line and color ideas, such wonders come into my mind and have stuck! - They will this time be dismissed only by being painted out.
What bothers people more than anything is that I'm an old guy taking photos of them. But maybe if you look at the photos, 20, 30 years later, it's not going to matter who took the photos. I mean, they would just be there. People will hopefully get over that.
Digital messages and images matter less than their instantaneous delivery; the shock effect always wins out over the consideration of the informational content.
Others of them employ outward marks ... They style themselves Gnostics. They also possess images, some of them painted and others formed from different kinds of material. They maintain that a likeness of Christ was made by Pilate at that time when Jesus lived among them. They crown these images, and set them up along with the images of the philosophers of the world, such as Pythagoras, Plato, and Aristotle, and the rest. They have also other modes of honoring these images just like the Gentiles.
The vast majority of Americans perform sophisticated digital tasks on a daily basis. Grandmas and grandpas e-mail digital photos of their cruise trip and IM their kids in school. So a politician admitting that he or she can't bother to learn those things indicates a horse-and-buggy mentality.
A lot of the pieces I've done over the years have involved alterations of scale and the idea of the viewer's relationship to the object and how we see things by either enlarging or reducing objects, it causes the viewer to look at them again. It's hard to do because our culture is so bombarded by images and media. How do you make something fresh for a viewer? That's a real challenge.
It was just like a digital fixation with cards and math and science and then I started to look at images of great magicians from Houdini down the line.
When I do only images, people don't connect with the images because the images are too weird to understand. But when I explain the weird images with straight words, then all of a sudden there is a tension between the two that the audience wants to see.
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