This world is full of different concepts, ideas and emotions that artists tries to express in their works. Every each one has it is own unique way and in this assignment I learned about some Earth Art, Conceptual Art, Visual and Installation Art. The first artist I want to write about is Paik, Nam June who was born in 1932 in Korean. He is an American performer and conceptual artist works mainly with video, integrating visual images with music. His works like Fin de Siecle II, Three Elements and Electronic Super Highway incorporated hundreds of television monitors, challenging the viewer with many unforgettable images and sounds. Holding a magnet to the face of a TV screen distorts the picture in strange and wonderful ways. Reconsidering and challenging our ideas about the way television or video should appear or perform is the main idea of Nam June Paik's art. He was educated as a musician in Japan and Europe and in 1964 he arrived in New York to bring his ideas in the so called Fluxus art movement then changed the limits of conventional artistic theory. He proceeded to experiment with film and video even though his most experience was in music and he also had a performance background. His production of spectacular installations of video monitors built into indoor as well as outdoor sculptures. Converting regular TVs into a machine building wall maps of the Unites States using invisible lines around dozens of video monitors, Paik has created a vivid movement of the 20th century. Recent exhibition at the US Museum, this book opened up an excellent overview of Paik's involvement with the New York art world of the Sixties, of his growing fame as a designer of freestanding video sculpture, and of the numerous video works. "The World of Nam June...
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What does the future hold for today's art works that employ ephemeral materials or rapidly obsolescent components?Arts
Here is Stedelijk conservator Kees Herman Aben's description of what the Amsterdam museum must contend with each time it wants to exhibit the Mario Merz igloo Dal Miele Alle Ceneri (From Honey to Ashes, 1984) that is in its permanent collection: Dal Miele Alle Ceneri comes unassembled with a tubular aluminium frame and supporting iron bars, forty-seven tablets or panels of beeswax on gauze, six steel sheets, two fir-cones covered in wax, machine parts and the head of an antelope.... It takes at least two people a full working day to put up the igloo. There are fifteen pages of instructions, complete with drawings and photos. Similar instructions were translated into a form to create Jonathon Dady's Construction Drawings 02: 2003 by Sarah Thomas, a giant ephemeral drawing erected in scaffolding outside the Art Gallery Of South Australia. As the range of forms and materials used by artists has expanded, so have the demands on the individuals and institutions that collect contemporary art. The prevalence of installation art today, which may run the gamut from modest wall arrangements to colossal environments like those of Jason Rhoades, is particularly telling. Depending on their level of complexity, such works may come with detailed instruction sheets and documentation, and may require art handlers or studio assistants to be dispatched to aid in installation. The work may also be accompanied by something like an extended warranty or service contract, with both gallery and artist involved not only in the initial configuration of the work in a specific space but also in the repair or replacement of elements if they break down or decay. The frequently unstable materials found in many of today's sculptures and installations have required artists, collectors and museum conservators to consider questions surrounding the longevity of these art works. In some cases, artists may specify...
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Men, this stuff we hear about America wanting to stay out of the war, not wanting to fight, is a lot of bullshit. Americans love to fight - traditionally. All real Americans love the sting and clash of battle. When you were kids, you all admired the champion marble player; the fastest runner; the big league ball players; the toughest boxers. Americans love a winner and will not tolerate a loser. Americans despise cowards. Americans play to win - all the time. I wouldn't give a hoot in hell for a man who lost and laughed. That's why Americans have never lost, not ever will lose a war, for the very thought of losing is hateful to an American. You are not all going to die. Only two percent of you here today would die in a major battle. Death must not be feared. Every man is frightened at first in battle. If he says he isn't, he's a goddamn liar. Some men are cowards, yes! But they fight just the same, or get the hell shamed out of them watching men who do fight who are just as scared. The real hero is the man who fights even though he is scared. Some get over their fright in a minute under fire, some take an hour. For some it takes days. But the real man never lets fear of death overpower his honor, his sense of duty to this country and his innate manhood. All through your army career you men have bitched about "This chickenshit drilling." That is all for a purpose. Drilling and discipline must be maintained in any army if for only one reason -- INSTANT OBEDIENCE TO ORDERS AND TO CREATE CONSTANT ALERTNESS. I don't give a damn for a man who is not always on his...
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“Art’s inception occurred the instant man was able to think for himself." This fact, uttered by its anonymous speaker, holds true because artistic expression is what allows a person’s thoughts, feelings, and points of view to be represented. Art knows no limits, and has no boundaries. For example, humans today are able to decipher and understand relics of art from million-year-old societies, even though we no longer know their language or customs. Presently, a favorite genre of art to study by art enthusiasts is Chinese painting and sculpture. This is because although hundreds of years separate them, ancient and modern Chinese works of art share many similar characteristics. An example of this parallel can be found in the early painting known as The Great Wave and the contemporary piece known as Untitled, more commonly referred to as Ahead. The Great Wave, painted by Katsushika Hokusai, is one of the most famous pieces of art found in Chinese culture. It’s origin dates back to around 1831, during the Edo Period. The painting is part of a series of masterpieces entitled Thirty-Six Views of Fuji. The painting is mostly dominated by three main colors: white, blue, and brown. Hokusai most likely chose these colors because of their association with the harmony of nature; brown for earth, white for air, and blue for water. The painting itself depicts a torrent seascape with Mt. Fuji looming in the background. In this work, he depicted the darkened curves of the foam of the waves as claws that seem to reach for the fishermen. The forthcoming smash of water delivers tension and suspense to the scene. On an interesting compositional note, the largest wave is said to form a massive ‘yin’ to complement the ‘yang’ of void space below. In the foreground, a small peaked upsurge forms...
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Georgia O'Keefe is a renowned artist with her intelligent use of color and her interesting subject matter. Though she painted many things, her main focus seemed to be flowers in detail. I had the exciting experience of getting to view a special exhibition of her works at the California Palace of the Legion of Honor. One of my favorite things about Georgia's works is her use of color in all of them. In Oriental Poppies (1928) she uses brilliant reds and oranges that make the poppies pop out to the viewer. In another painting called Fish hook from Hawaii No. 1(1937), she uses pastel colors. These make the viewer feel the serene tropical setting in which the fish hook has been placed. Georgia's goal was to show people what they do not have a chance to observe at first glance. She painted the details that people had to look very closely to see by enlarging the item to a viewer. As a part of her exhibit they had photographs by her famous husband Stieglitz. He took numerous pictures of Georgia and of her hands. They also had other pphotographers that seemed to have taken pictures of the same things that Georgia painted. I especially like the grandiose of Ansel Adam's Granite Slabs, High sierra(1935) and the detail in weston's Cabbage Leaf(1931). Seeing this exhibit was very educational and interesting. Seeing the work in person struck me much stronger than otherwise and I know many other people thought so too - it was very crowded. : )...
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If the impulse to create art is a defining sign of humanity, the body may well have been the first canvas. Alongside paintings on cave walls visited by early people over 30,000 years ago, we find handprints, ochre deposits, and ornaments. And because the dead were often buried with valuable possessions and provisions for the afterlife, ancient burials reveal that people have been tattooing, piercing, painting, and shaping their bodies for millennia. All of the major forms of body art known today appear in the ancient world, and there is no evidence indicating a single place of origin for particular techniques. Like people today, ancient peoples used body art to express identification with certain people and distinction from others. Through body art, members of a group could define the ideal person and highlight differences between individuals and groups. In the past, as today, body art may have been a way of communicating ideas about the afterlife and about the place of the individual in the universe. A variety of objects demonstrate the use of body art in ancient times including an Egyptian fish-shaped make-up palette from 3650 BC to 3300 BC; a painted Greek vase from the fifth century BC depicting tattooed Thracian women; a ceramic spout bottle depicting the pierced face of a Moche warrior of Peru from AD 100-700; and ceramics of painted Nayarit women from 300 BC to 300 AD. As people from one culture encounter people from another, the diversity of body art can be a source of inspiration, admiration, and imitation. Yet since body art can so clearly signal cultural differences, it can also be a way for people from one culture to ostracize others. Body art links the individual to a social group as an insider, by asserting a shared body art language. Or it distinguishes outsiders, by...
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On April 7, 2002, I visited the Menil Collection, the Cy Twombly Gallery, and Richmond Hall. I arrived at the Menil Collection at around 2:00pm and stayed until approximately 4:45pm visiting the three collections. As I drove to the museums, I was challenged with normal Houston traffic clutters, but nothing out of the ordinary. The weather was musty, full of humidity in the air with light sprinkling rain, and it seemed that it was about to start pouring outside but never did during my visit to the museum district. I was accompanied to the museum by a friend by the name of Jennifer, and I parked in the designated area for the Menil Collection behind the Menil Bookstore. The best part about the visit to the museums was that it gave me a chance to unwind. With a full time job and the tasks of a full time student on my back, it was enjoyable to be pulled away just to admire the beauty of the artworks free from everyday problems. I chose a piece entitled "L'onde" or otherwise known as "The Wave" by Gustave Dore. Gustave Dore was a French painter who lived from 1832 to 1883. The date of the oil on canvas painting was unknown. "The Wave" is a permanent part of the Menil Collection painted on a rectangular canvas 58 1/4 in. by 46 1/8 in. in height. I chose this piece because it was one of the pieces that stayed on my mind through the entire visit throughout the museums even after seeing all of the other pieces at the other museums. I really enjoyed the way the piece responded to my emotional side and I really liked the piece's aesthetic representation of the ocean. I love the ocean and this piece really seemed to sooth...
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Art Theory leading into the 18th Century The argument of color verses design originated in the Baroque, but extended much further into the eighteenth century in terms of theory. Roger de Piles was the father of this argument based on coloris versus disegno and the Poussinists versus the Rubenists and so on. He joined the Academy in 1699, right on the verge of the Rococo and basically formed the argument for color, rather than classical design in his Cours de Peinture par Principes in 1708. Up until Rubens artwork, the classical style of painting was preferred with a focus mainly on "straight lines, right angles, triangular arrangement of forms, balance, symmetry, and so on" (Minor 367). De Piles believed that color appealed more to human's emotions and that was what truly great art was meant to do. He therefore obviously chose Ruben's work as superior to Poussin's. This was known as the Quarrel between the Ancients and the Moderns, with the Moderns prevailing in the eighteenth century . Ruben's work was monumental in shaping the painting style during the next century. His paintings inspired artist's styles such as Watteau, Gainsborough, and Boucher. Through de Piles arguments within the academy and Ruben's rejection of the classical style the eighteenth century painting theory was born. This essay will attempt to follow this movement from the classical style that dominated the baroque with Poussin to the shift towards Rubens at the end of the century and end with its influence on art theory in the eighteenth century. Throughout most of the Baroque the classical was preferred in painting. Poussin's paintings are usually used as perfect examples of baroque classicism, but the idea of painting in the classic mode goes much further than this. "Literary theory on ideas of painting went back at least to Alberti"...
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Response Essay "Art, Culture, & Cuisine" Although another tough piece to digest, "Art, Culture, & Cuisine," by Phyllis Pray Bober; emitted intermittent flashbacks of Professor McAndrew - as she revealed to us her reasoning to base this class upon food. It had not occurred to me that there is an infinite number ways to use and observe food, in relation to art and literature. Personally I have continued to overlook the fact that a particular … banana, sandwich, pot-roast, etc. may be used by a writer or artist, for a specific - intended purpose. Moreover, the human necessity to require food has caused this relationship to transcend cultures. We all need food to survive, and it is intriguing how we humans have created thousands of flavors of food from differing ethnic areas. These tastes can be influenced by religion, environment, and many other factors that develop within a community. No where more aparent of this, Bober explores the contrast between the cultures of East and West. In particular she talks of Chinese and French cuisine in relation to art. Sometimes the value of a particular edible item may be profound within one population, however another group may lack knowledge of the very same item. For example; rice, a staple of Asian countries, might be more likely to be found on a Chinese painters canvas versus an artist from France who might use another form of strach that has become common in their area. She gives another example of the contrast by discussing the differences between the menus of these very same cultures; siting the French menu to have a "sense of structure, of classical order, in the presentation of a formal French meal. Whereas "a Chinese menu ... unlfold(s) melodically with an ebb and flow like landscape painting on a horizontal scroll."(p. 6)...
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Precisionists have been classified as a group of artist who began to depict the use of machinery using styles and techniques of the previous movements before them such as abstraction, cubism and abstract expressionism. This movement came around shortly after World War 1, when the use of machines began to boom within the United States. The precisionist movement was originally started in nineteen hundred and fifteen when a group of artists got together and decided to look forward to the art of the future. The movement was built around the idea of artists using the precision of their instruments to display these ideas of machinery throughout America. (Precisionism in America . . . 12-13). Construction and machinery were the two main influences of the precisionism movement which became big in the nineteen twenties around the time World War one was ending. With streamlining though mechanization becoming an ideal everyday thing for Americans, and things such as skylines going up in New York, anywhere from fifty to seventy story buildings in cities such as Cleveland and cities like Memphis and Syracuse were beginning to install twenty story buildings. Precisionism became an art movement more as a response to society and the production of new products like motion picture films, antifreeze and cigarette lighters (Lucic. . .16). Cubism, abstraction and abstract expressionism are the common art movements that come to mind when asked about artists. However, these movements all led up to and strongly influenced the movement of the precisionist artists. Precisionism is roughly a combination of these three movements together, using geometrical shapes and using them in abstract forms. These two ways are influenced by cubism and abstraction, while abstract expressionism comes from the expression of the artists' mind and feelings of the subject matter (Doezema, 74-75). American Artists always find it important to...
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