George Pusenkoff studied computer science from 1971 to 1976 at the National Research University of Electronic Technology in Moscow.
These works of Pusenkoff are to be understood and perceived as a statement about the present; cultural criticism takes immanently place in the image.
For him this means dealing with the upheavals of our time through the Information Age emergence of computers on an artistic level: "Pusenkoff is a conceptual painter in the sense that he doesn't work spontaneously and intuitively, but that a reflection on questions of image formation, perception, the original and painting in the media age is the basis of his art."
Pusenkoff developed an installation for this room in which the front window was covered by a wooden wall.
"[8] Pusenkoff's painting said Duchamp, in which he integrated an image of Mona Lisa into his work for the first time, was created especially for this exhibition.
It shows a smiling Frank Sinatra as a reminiscence of Readymades of Marcel Duchamp and the Mona Lisa.
George Pusenkoff explains: "Actually, the picture was thus created for a very special place on this wall and became a key work for the entire installation.
Like Warhol, Pusenkoff also uses reproductions and sequences, uses bright colors, and thematizes the comprehensive availability of art objects in the media age.
Nothing in the picture reveals an artistic comment of any kind, it is a pure image of a user interface.
(in German: "Was eine gute Grafikkarte und ein schneller Rechner vergessen lassen, wenn das Bild auf dem Bildschirm erscheint, das möchte Pusenkoff als Maler ins Bewusstsein heben, nämlich das Pixel und damit den medialen Charakter, die 'Gemachtheit' auch der scheinbar so unstofflichen virtuellen Bildwelten.
The human being who processes, manipulates, distorts, brings images into other contexts and can share them with other users on the computer seems godlike.
There is a big difference whether one stands directly in front of a painted work of art, or whether one looks at virtual pictures on the computer.
By transforming the surface of the virtual screen into a real touchable panel painting, Pusenkoff invites the viewer to become aware of this revolutionary change in his sensory perception.
According to Pusenkoff, the computer itself can neither produce art[10] nor create a deep space between viewer and observer that would lead to a resonant vibration.
Leonardo da Vincis masterpiece Mona Lisa has become part of our cultural memory and has inspired many artists of the 20th century to create their own works with the painting.
Newton argued that Pusenkoff's artwork resembled his work in its critical components so much that it was plagiarism.
The black and white photography of Helmut Newton shows a female nude from the front, sitting on a folding chair.
George Pusenkoff's work, on the other hand, is colored – in the typical deep blue tone quoted from Yves Klein.
While Newton is concerned with the objectified representation of eroticism, none of this is visible in George Pusenkoff's work.