PIXELREALISM

I predict that post Internet art is the movement that will truly change the art market in the 21st Century.

Something that everyone to do with the art world has to take stock.

THE POST INTERNET DILEMMA


While post Internet artists continue to use the Internet as their default medium my unique interpretation of this movement is that it should eventually be prescribed to ALL types of art developed in the modern climate that we are living in.

The title I have coined for this approach to post Internet art making is Pixelrealism:

Heir apparent to the Photorealism movement of the 1960s that replaces photography, as a reference point, with pixelated aesthetics of the Internet.

A realist approach to post Internet art, Pixelrealism will move the aesthetics found in digital based art in to new modes of thinking and development within traditional mediums of painting, drawing and sculpture.

Innovation will happen when taking the Internet to the canvas, the paper, and the stone in the same way that the Internet has already dominated our human physical reality.

Pixelrealism is also the adaptation that the art market desperately needs to move forward and avoid stagnation.

Collectors find new confidence with a medium they understand and with artistic ideas that is gradually gaining a foothold in the gallery scene and will surely spread to the selling inducing fairs of Frieze and Art Basel.

DEFINING PIXELREALISM


Frustrated with the failure of traditional art mediums to adequately reflect the nature of modern life, I studied the emergence of post Internet art.

Noticing the shift in artistic thinking towards new technological developments and the continued desire for contemporary painting in the art market I decided to create my own movement.

Pixelrealism: a genre of post Internet art that encompasses painting, drawing and other graphic media, in which an artist studies a (pixelated) image from the Internet and then attempts to reproduce the image as realistically as possible in another medium.

I strongly believe that a true representation of our modern times requires a strong foundation in realistic technique and compositions that are inspired by digitalized imagery found on the Internet.

Pixelrealism is an ideology that actively looks at the visual aesthetics that dominates our digital age and translates them into new compositions that innovates representational art.

The principles of modern aesthetics include: pixel compositions, data collages, and cropped paintings.

My vision and hope is for millions of artists and buyers to become more empowered to tackle the contemporary issues and to understand that post Internet art is not exclusive to the confines of digital screens.

FIRST COMPONENT

Network paintings

Signifies the development of multiple canvas paintings that mimic the polygonal visual aspects of pixels.

Pixelrealism painting by James Jarvis

Girl on Bourbon who made me think (2012)

coalition for the homeless painting by James Jarvis

A Passing Comrade (2015)

showgirl painting by James Jarvis

General Audiences - all ages admitted (2013)

calories in hamburger painting

The Latter Day Schedule of Extreme Obesity (2012)

Rollerpop (2014)

mature gay painting by James Jarvis

Stand For Sexual Expression (2015)

Meryl Streep drawing by James Jarvis

Guardian Of The Press (2017)

SECOND COMPONENT

Copypaste Creations

Taking the form of paintings or illustrations, these artworks overlap various pictures to compose the artwork, either taken directly from the Internet for something current or taken directly from an iPhone for reference.

Donald Trump painting by James Jarvis

Inside Trump's Locker (2016)

THIRD COMPONENT

Cropped pictures

Cropped Pictures embodies the play that occurs between the positive and negative space of imagery during the cropping stage of photo manipulation. The resulting effect is a visual dialogue that has become synonymous with the Internet of things.

Taylor Swift painting by James Jarvis

Cropped Taylor (2016)

SUPERFLAT



A main feature of my artistic technique is the apparent flatness of the surface of my paintings.

Void of any indication of brushstrokes, the crispness, edging of lines, colors, and spacing of my paintings suggests a digital perfection that is not relatable to a human hand.

Born out of recognition for the photorealistic painterly technique, I have adopted the flat aspect of painting into my own method after studying the work of Robert Bechtle, whom I argue to be the best photorealist painter of the 20 Century.

The flat surface effects of my paintings are intentionally used to avoid any illusion of depth and perspective the viewer may perceive.

This continues the two-dimensional imagery that runs through the modern day history of Internet aesthetics and is found in every digital image consisting of pixels.

The flatness of the surface of Pixelrealism art is a commentary on a post social media society, in which human level interactions have flattened and are increasingly held more on smartphones than those in close physical proximity.

TRANSITION TO REALTIME



Because of the biggest communications revolution in human history, art making has changed.

The vast majority of human beings, more than 5 billion of us, are connected instantly to each other via web-based and mobile communication devices.

In this technology driven life, we crave humanity.

Updated information about international news stories is available to people everywhere, 24/7, and for free, and anyone can generate attention by publishing valuable content.

With the expense of publishing essentially free, people have a loud voice through social networks and blogging sites.

Therefore the time is NOW.

Authentic storytelling sets the tone with content as the link between artworks and collectors.

Big data enables seamless the distribution of imagery to paintings and drawings.

Agile art brings new attention to post Internet art, and a real-time engagement keeps buyers happy.

Of course, it’s not just the art market that has changed.

Every business is going through transition: customer products, business-to-business products and services, healthcare, nonprofit organizations in search of donations, politicians eager votes… everything.

We have instant access to virtually unlimited information.

Winning artists are no longer determined by the galleries with the best closing technique.

Now success belongs to artists that tell their collectors the best stories, artists with the best content, and whose information aligns perfectly with buyer needs.

I focus on how real-time engagement with our online frontier can affect how art is made in the post Internet art movement.

Real-time means that news breaks in minutes, not days. It means that ideas filter, and then suddenly and unpredictably go viral to a global audience.

It’s when artists develop works instantly, based on feedback from events in the world.

And it’s when artists see an opportunity and are the first to act upon it.

However, too many artists leave themselves fatally exposed by flying blind through this new media environment.

Real-time engagement is about reacting instantly to what’s happening in our contemporary world, following up on international events in seconds, and inserting your thoughts into stories being reported by the mainstream media.

Those skilled at long-term art creation frequently lack the necessary skills of instant engagement. So an understanding of real-time media is essential.

Post Internet artists need to understand the ramifications of people being constantly plugged in and looking for information while on the go.

DIGITAL VOYEURISM



Art has played a role in voyeurism throughout history, yet over the last decade, the Internet has morphed from supporting actor into a leading lady of curiosity and exhibitionism.

Witness the mass usage of Google search for not only answers to general queries but as an access point for information in our private lives.

Today’s Internet engaged society seems perfectly comfortable with engaging in activities that open our once private lives to the online community with the constant Facebooking, Twittering, and Instagramming that has spawned a new generation of digital voyeurs.

There is also something innately voyeuristic, if not fetish-like, about my passion for pushing myself to examine every detail and translating it to canvas via very controlled and purposeful brushstrokes.

This digital voyeurism theme is something that I wanted to translate through Pixelrealism art that is systematically more streamlined, cropped even.

Thus I force into the viewers into my eyes by forcing them to view what I want them to see.

I am orchestrating a vision that I share with my audience.

INTERNET-OF-THINGS



You may have heard of this phrase cropping up in the media recently especially as everyday objects are becoming repurposed for modernity.

You may even be wearing one of these objects right now.

Used to describe an evolution of the shared network we are living in, the “Internet of Things” is actually a parallel moment in time that also helps describe the shift from net art to the post internet within the art industry.

Experts have noted that the last generation of the Internet was a product of people: data, images, recordings, games, books and commerce.

All of that was created by people, for people, and about people - the Internet of People.

The Internet of Things, on the other hand, is a term used to describe a next step in the evolution of the Internet: augmented "smart" objects, accessible to human beings and each other over network connections.

Essentially things are starting to share experience with other things.

It is no coincidence that the transition of the Internet from computer devices to real-world physical objects has happened at the same time that post Internet art started to emerge.

The art world has a tendency to follow the moments of today and, much like other industries, if it fails to adapt and move with the times then it risks irrelevance.

Pixelrealism methodology is the first step to take the Internet of Things from the screen to the canvas.

It will be interesting to find out how myself, and others, may adapt the Internet further into the canvas or the paper.

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