History of Modern Fine art: Salvador Dali's Flop, Surrealist Fine art »https://href.li/?http://cmalek20.tumblr.com/post/51712193060/salvador-dalis-flop-surrealist-art
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"What will make up one's mind social destiny today is the organic creation of a cast limerick of forces, disciplined, fanatical, capable of exercising, when the time comes, a pitiless authority. That this orientation is inseparable from the theory of proletarian internationalism is suggested by Peret
Works Cited
Breton, Andre.What Is Surrealism Selected Writings. Ed. Franklin Rosemont. Northward.p.: Franklin Rosemont, 1978. Impress.
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Ana Mendieta,Untitledfrom Fetish series, photograph, 1977, feminist art
Feminist art was a move that went hand in hand with the women's liberation movement in the 1960s and 1970s in the United States. Women, in this particular case female person artists, were rebelling against the patriarchal norms in society, and specifically here, the male person-dominated art globe. For thousands of years, the female person form had been the base of many notable male person artists' piece of work, but women as artists had wielded little ability over the fine art world at big, and were more frequently than not ostracized from the boy's club of the fine fine art world through the centuries.
One of the forerunners of the feminist fine art motion, Ana Mendieta was a Cuban-born artist working in America, with the particular focus of reclaiming the female grade as just that - belonging to the female, and using information technology equally a tool to express a woman'due south definition of femininity, as opposed to a male person view. Her work satirized the male person fetishization of the female form and paid homage to ancient fertility rituals, that she believed worshipped the female grade as opposed to objectifying it. This latter theme was especially prevalent in her Fetish series, which were installations, sculptures and photographs of would-be aboriginal ceremonies and rituals focused on the female body.
Arnason, H. H., and Elizabeth C. Mansfield. History of Modern Art. seventh ed. Upper Saddle River, NJ: Pearson, 2013.
Postmodernism is the return of the repressed. Photography was taking a new form. It is no more than just capturing something dissimilar within one frame but information technology has become capturing the emotion, the unseen and creating a new form of fine art within a frame. There is and so much fantasy of freedom within the pieces of Post modern art that it leaves the viewer gasping at the artwork. In 1982 Cindy Sherman appears on the cover of an Anglo AMerican Magazine, ZG. the notion behind this cover was Cindy Sherman wanting to portray herself as MArilyn Monroe. The encompass is easily recognizable with Marilyn Monroe equally the posture, hair style and attitude in the posture maintained is iconographic of Marilyn Monroe. Although cindy Sherman has not chosen to dress equivalent to her she did maintain Marilyn Monroe'due south attitude in her own slacks and shirt. The glamor of the period is well maintained in the piece, with Cindy Sherman property her hands held to thrown back caput, with her optics half closed and lips slightly open. Within this the one thing that lacks back is well said by Laura Mulvey, " ..refracted through Sherman'south masquerade, Mariyln's masquerade fails to mask her interior anxiety and unhappiness seems to seep through the cracks."(Mulvey 75)
Cindy Sherman has a good take of her reflection on this piece: "It's all make-up." Is the cleavage real? "No, that'southward brand-up and maybe some socks I put in my bra. Women used to do that – tissues and socks!".
Even though Cindy Sherman's main overall idea in her piece of work is noted to be her personal appearance in the work, only the paradox of her photographs is a confrontation of the absence of the female in the patriarchal club and an endeavour to reconstruct the act of viewing in a male marked earth. This work is highly post mod as it challenges to the fiction backside photography. It is some sort of challenge to reality. There is a juxtaposition between the way she is the reality form with the piece only she is portraying fictional aspects in the pieces. It is a contest between the unitary and autonomous subject.(Hutcheon 153)
I remember this piece of work is postmodern in every essence of it. It captures glamor of the bailiwick (Marilyn Monroe) and also the emotion of the object, the creative person.
Mulvey, Laura. Fetishism and curiosity. Bloomington, Indiana: Indiana University Press, 1996. 75. Print. <http://books.google.com.hk/books?id=tZWQ6Mp1x88C&pg=PA75&lpg=PA75&dq=1982 marilyn monroe cover cindy sherman&source=bl&ots=n6gU1fOfIZ&sig=Vc_Ryc-MHlooQ1_eSZsUBVdWHHY&hl=en&sa=Ten&ei=e2-lUb3sFJGWiQfC5IC4Ag&redir_esc=y#v=onepage&q=marilyn&f=fake>
Hutcheon , Linda . "The" Politics of Postmodernism New Accents. 2. United Kingdom, Europe: Routledge , 2002. 153. Print. <http://books.google.com.hk/books?id=oUiKNGQ1imsC&pg=PA41&lpg=PA41&dq=postmodernism in cindy sherman's marilyn monroe postmodernism&source=bl&ots=c9Kffw36bs&sig=sOeK1PNj61eD-anGn8bTaYQw7ZE&hl=en&sa=Ten&ei=63WlUfaOJKaOiAf1yoHIBw&redir_esc=y
8 years ago
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Michael Reisch, O.T. 8/013 (left), O.T. 8/013 (right), 2010, digital print, abstractionism
O.T. (Untitled) 8/013 (2010), a landscape- oriented black rectangle with a gradated, fuzzy- edged white circle at its centre. When standing in front of O.T. (Untitled) 8/013 the viewer can see both a mirrored version of herself and the ghostly mirrored prototype of the peak that's behind her. Nevertheless, if the viewer moves from left to right, the effect, on the mirrored image, shifts from lite to dark – resulting in both the viewer's reflection and that of the mountain actualization to fade in and out of focus, as if obliterated by a blizzard whiteout. Terms such as 'abstract sublime' have also been used when talking about Reisch's piece of work, and this seems a far more meaningful description than 'postphotographic'. Whether pixel or negative, abstract or figurative – past, nowadays or mail service – photography is all the same far more than about the magical effects of shadow and light than the processes past which it's made. And that'southward something of which Reisch seems acutely aware.
8 years ago
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Jenny Holzer, "Laments (I Desire to Live…)," 1989, verde antiquarian marble sarcophagus and electronic LED sign, sarcophagus, Conceptual Fine art
Jenny Holzer is an American installation and conceptual artist from New York. Her piece of work is often text-based and fabricated up of bold statements near order, with the intent of sparking public argue.
She is known for using large blazon, one-line statements, and a wide variety of mediums. Her piece of work has been fabricated with digital/LED signs, project on buildings, billboards, TV, T-shirts, hats, benches, and even sarcophagi (every bit seen in the photo above).
Holzer wanted to claiming and explore the idea of where art is shown, for who, and what its intention is.
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"Holzer, Jenny."Grove Fine art Online.Oxford Art Online. Oxford University Printing. Web. 29 May. 2013.<http://0-www.oxfordartonline.com.library.scad.edu/subscriber/article/grove/fine art/T038706>.
eight years ago
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Donald Judd, Untitled, metallic and acrylic glass installation, minimalism
Donald Judd is one i the leading figures in minimalism. His work are by and large in monochromatic. Notwithstanding, dissimilar other works of Judd, these sculptures—accompanied by a trio of pen-and-pencil diagrams—juxtapose the cool silverish-gray metallic from which they are primarily synthetic with sleeky sheets of brightly colored (and in some cases, black) Plexiglas. The works are all identically scaled, simply these chromatic elements announced in a range of straightforward arrangements and combinations.
Tate Modern website "Tate Mod Past Exhibitions Donald Judd".
Tate Modernistic: Donald Judd Feb 5 – April 25, 2004.
8 years agone
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Galleries review, otto li A Halo Of Counting Down
Hong Kong Eye presented by Prudential is a drove of works by 24 Hong Kong Artists encompassing the creative heritage, rich tradition and the rapidly evolving social club of contemporary art scene in Hong Kong.
This exhibition is free to the public at ArtisTree gallery, which is located in TaiKoo Place, and will provide vital international exposure for emerging Hong Kong artists, with the bulk of works existence shown for the starting time time exterior of Asia.Information technology included different medias such as painting, sculpture, cartoon, photography, video and installation.
Otto Li exhibited a sculpture "A Halo of Counting Downwardly" which is a circular timer fabricated by wire, and using a counting downwardly manner to run it. people can thought this timer to encounter the cadre have a a wire skull. I think his work similar russian Constructivist architecture, both of them are conceded the structure, factionally, line, and technology. It combined advanced technology and engineering with an avowedly Communist social purpose.
eight years agone
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Zarina / Abstract Minimalism
"Dividing Line" 2001 Zarina. Woodcut Printed in black
Zarina'south largely abstruse aesthetic is thread together with political consciousness.Oftentimes times she explores the themes of despair, nostalgia and memory. With her impress making skills she was able to demonstrate some of these abstraction and minimalism together through textures and and the carving of a woodblock.Though unlike many minimalist with hard edge techniques, her are often times soften.
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jechen24:
Dan Flavin, Icon V (Coran'southward Broadway flesh), 1962, Oil on cold gesso on masonite, porcelain receptacles, pull chains, and clear incandescent 'candle' bulbs, Minimalism
Flavin combines the conventions of religious fine art with demotic material and metaphors of modern confusion in this piece, equally James Lawrence reviewed. The wood panel in the middle painted with a skin-toned color suggested human being flesh. A frame that simulate the Manhattan's theater bright light, suggests the underlying pregnant and culture; and every bit Flavin hints in the title of the piece, Coran's personal view to the scene. According to Flavin, Coran was a homosexual who loved NYC.
DAVID SMITH is a American sculptor (1906–1965), he produced metal sculptures that have affinities with the Abstruse Expressionist motility in painting.
He learned to weld in an automobile plant in 1925 and later applied to his art the technical expertise in handling metals he gained from that experience. In addition, work- ing in large scale at the factories helped him visualize the possibilities for monumental metallic sculpture. After experimenting with a diverseness of sculptural styles and materials, Smith created his Cubi series in the early 1960s.
These works, for example Cubi XIX , consist of elementary geometric forms cubes, cylinders, and rectangular bars. Fabricated of stainless steel sections piled atop one another and then welded together, these large-scale sculptures make a hit visual argument. Smith added gestural elements reminiscent of Abstruse Expressionism by burnishing the metal with steel wool, producing swirling random-looking patterns that describe attention to the 2- dimensionality of the sculptural surface.
viii years ago
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Richard Long, A Line in Scotland, 1981. Mail Minimalism
Earthworks exist at the intersection of architecture and sculpture. The Environmental Art movement emerged in the 1960s and included a wide range of artworks, most site-specific (created for simply one location) and existing out- doors.
Long chooses to work with mural because since childhood he ever has, and because it gives him the most pleasure and the greatest inspiration.For him nature is the source of his work. the medium of his work is walking (the chemical element of fourth dimension) and natural materials ( sculpture ). for him, the label 'Land Art' represents North American monumental earthworks, and my piece of work has cipher to do with that.
Also, he call back our world is fabricated upwardly of lines, from comet tails to DNA. Everything is connected. Everything is sequential. Everything that moves, from a snail to a lava menses, leaves a line, a trace of its passing. A line tin be fate, a commitment, a fact, a relationship, a place. some lines are well trodden paths, some intersect, some pass at a altitude , some return to their origins. We all walk the line. Nosotros take an end and a start which is joined to a much longer invisible line in the by and in the futurity.
Long, Richard, and Denise Hooker. Richard Long: Walking the Line. Thames & Hudson, 2005. Print.
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Richard Long, A Line Made by Walking, 1967. Post Minimalism
The term "Post- Minimalism" is used to designate art that is influenced by or attempts to develop beyond the aesthetic of minimalism. whose piece of work tin can be seen as a straight response to Minimalism were known–shared the social conscience of their conceptualist contemporaries.
Richard long is not an creative person who works in a studio. all his major works are made in museums and galleries, or in the countryside.
This is the first walking piece, and long strove for an art that was a formal and holistic description of the existent space and experience of landscape and its most elemental materials.
Louise Conservative, "Maman", Steel and marble. 9271x8915x10236mm. Tate.
Maman is a awe-inspiring steel spider, so large that it can only be installed out of doors, or inside a building of industrial scale. Supported on viii slender, knobbly legs, its torso is suspended high above the footing, allowing the viewer to walk around and underneath it. Each ribbed leg ending in a sharp-tipped point is made of two pieces of steel, and fastened to a neckband above which an irregularly ribbed spiralling body rises, balanced by a similar sized egg sac beneath. The meshed sac contains seventeen white and grey marble eggs that hang higher up the viewer'due south caput, gleaming in the darkness of their under-body cavity. Maman was made for the opening of Tate Modernistic in May 2000 as function of Bourgeois's commission for the Turbine Hall, the grand central space of the museum. The sculpture was installed on the bridge, overlooking three alpine steel towers entitled I Do, I Disengage and I Redo, referring to processes of emotional development in relation to motherhood, a primal theme in the artist's oeuvre.
Barbara Kruger. "Untitled (It'southward a pocket-sized world merely non if you lot have to clean it", 1990. Photographic silkscreen on vinyl 143 x 103 in. The Museum of Contemporary Art, Los Angeles.
Kruger's work juxtaposes images and texts that accost 'cultural constructions of ability, identity, and sexuality'. Since 1980, Kruger developed a highly recognizable style in her works, i.e. blackness, white, and red photo-text montages. This artwork features an epitome of a adult female peering at the audience through a magnifying glass, which draws questions about who cleans up after whom that extend from more personal domestic and professional realms to the broader context of social political, and economic issues.
Source: "Collection: MOCA's First Thirty Years". MOCA. <http://www.moca.org/pc/viewArtWork.php?id=35>
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Feminism
Cindy Sherman, "Untitled Film However #17", 1978. All photographs are gelatin-silvery prints, approximately 7/2 x 912"or the contrary. The Museum of Modern Fine art, New York.
Sherman was a feminist creative person, probably best known for her "Untitled Film Stills" series. She once confessed 'to a lifelong penchant for dressing up and a dearest of low-brow film and fan magazines'. Interestingly, fictional identities played a significant office in her real life as well, where she was 'prone to odd attire and showing up at downtown events dressing upward incongruously', for instance, as a nurse. On the other hand, she masqueraded and performed for the camera in individual, which afterwards known equally "Untitled Film Stills". Audience was attracted to Sherman by her novelty self-portraits that were non at all autobiographical, but instead she posted 'as an extra posing for publicity pictures'. While artists, critics, and collectors were entertained at their first sight, they were presently mesmerized by the range of characters she chose to represent, the significance of the costumes, hairstyles, makeup, and even the locations she chose to place herself in. Basically, the oddity in the pictures that strikes audition to reflect and retrieve about the issues behind her work was what brought her success.
Source:
Heiferman, Marvin. "In Forepart of the Camera, Behind the Scene: Cindy Sherman'south "Untitled Film Stills"". MoMA, No. 25 (Summer, 1997), pp. 16-xix. JSTOR. < http://www.jstor.org/stable/4381356>
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