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teristics of the internet reflect the S.I.'s utopic city. The things considered prerequisite for their utopia: an ephemeral, negotiable type of city, where uses were determined by the population, surfing the web is like the idea of drifting or “deriving”, flaneur-like, through a city. The Situationist city and the web are uniquely flexible, anarchically dynamic: spacial relations secondary on any given route. The internet always seems to somehow recall the old Surrealist idea of using a map of one city to find one's way around another.

艺术伴随着资本主义：媒体对图像的鉴赏力——Art as Capitalism: the Media's Re-appropriation of Images

Increasingly, the media is becoming governed by imagery, and the average consumer is overwhelmed by visual information on a daily basis. Through sheer competition, the commercial sphere has been forced to use stranger, scarier, more extreme imagery to earn the attention of bewildered customers. Magazines such as Vogue have lured artists to their pages, where they are seen as innovative, visionary powers for re-inventing a complacent visual vocabulary. Thus, the traditional hierarchy of photography, in which the commercial and conceptual worlds were segregated, has been broken down into a fluid, integrated world- mutual respect has ensured that crossing the boundary either way no longer carries the taint or disrespect it once did.

A new generation of artists have grown up with the rather cynical and postmodern idea that all things are commercially viable. Contemporary art school graduates are less likely to see their ventures into the commercial realm as contamination, and more as a necessary aspect of their endeavor. Commerce is incorporated into art at every level, from the means to the ends to the theme. That the common thread of art and fashion- the human body- has become such a commodity, seems like an obvious extension of this. Fashion spreads frequently borrow art photographers for their pages and mimic, in the case of Diesel and others, with considerable irony- the current art world trend towards narrative ambiguity and deliberately theatrical tableaux that recall “theoretical” artists like Jeff Wall and Cindy Sherman.

Russel Wong is one such new generation artist, his work strongly informed by today's cultural fascination with celebrity. Wong has become famous through striking portraits of personalities from sports to music and movies, famous for capturing moments of vulnerability, warmth and humor. A number of Wong's photos have been used on the covers of international magazines.

 'My photos are never confrontational,' he says, 'I want to bring something from the inside and not just show the pretty face, but I also want my subjects to look good.'

One of Wong's recent exhibitions, a series of prints, straddles the line between photography and fine art, and includes a commentary on celebrity that implicitly involves him with the commercial world. He has been painting, crayoning and etching on the photographs he works from, and uses this process to build a social commentary about the cult of celebrity. He explains,

'I wanted to look at how a star's identity is fabricated…Each image explores the relationship between the person, the entertainment industry and the public - the cult of celebrity.'

Wong's print work is a little increasingly wry本论文由英语论文网提供整理，提供论文代写，英语论文代写，代写论文，代写英语论文，代写留学生论文，代写英文论文，留学生论文代写相关核心关键词搜索。