Randy Grskovic - “The more he contemplates, the less he lives; the more he accepts recognizing himself in the dominant images of need, the less he understands his own existence and his own desires. The externality of the spectacle in relation to the active man appears in the fact that his own gestures are no longer his but those of another who represents them to him. That is why the spectator feels at home nowhere, because the spectacle is everywhere.

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MESSAGE ARCHIVE SUBMIT Website PRESS THEME

MESSAGE ARCHIVE SUBMIT Website PRESS THEME

"The work of Grskovic tends toward the point of ridiculous. He takes viewers beyond irony to confront them with the improbability of representation, forcing them to consider the fundamental assumptions underlying utopian ideals.

By problematizing representation and making its process transparent, Grskovic sets up a dialogue between what we consider to be real and our propensity to idealize that reality."

- Stephen Foster

Contact: Info@randygrskovic.com

For more information about specific images please click on them

"The work of Grskovic tends toward the point of ridiculous. He takes viewers beyond irony to confront them with the improbability of representation, forcing them to consider the fundamental assumptions underlying utopian ideals.

By problematizing representation and making its process transparent, Grskovic sets up a dialogue between what we consider to be real and our propensity to idealize that reality."

- Stephen Foster

Contact: Info@randygrskovic.com

For more information about specific images please click on them

I Like

Photo via poontankelemegagoo

destructs:

Ashkan Honarvar
The Crust: Chapter 2, 2012

Photo via poontankelemegagoo

“The more he contemplates, the less he lives; the more he accepts recognizing himself in the dominant images of need, the less he understands his own existence and his own desires. The externality of the spectacle in relation to the active man appears in the fact that his own gestures are no longer his but those of another who represents them to him. That is why the spectator feels at home nowhere, because the spectacle is everywhere.

- Guy Debord, La Société du spectacle, 1967

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