Monday, 31 October 2011
Saturday, 29 October 2011
Concerned with thought and expression of thought, the surrealists were primarily active as both an artistic and intellectual movement during the first half of the 20th century in Paris. They drew on the advancements in psychoanalysis brought on by Freud and the practice of 'spirit mediums' trance-like displays and acted as a reaction to the hard rationalism of the Marxists.
They explored the subconscious, developing automatic art-making techniques that were both literary and visual - taking lead from Freud's theories about free-association - and an 'oneiric' or dream-like style eschewing the traditions of narrative flow and urging a more instinctive and interpretive reaction to their work. The believed that as much wonder was to be found in reality as in the dream world.
The most celebrated surrealist artists were Dali, Magritte and Ernst - creating in a more oneric way - and Miro for his automatism.
Salvador Dali, The Temptation of St. Anthony.
Modernism an art movement during the 20th century which was a movement that rejected the previous conformity of the art styles of naturalism and academicism. It embraced the” experimental, radical, ready made, primitive, the unconscious, spiritual order, expressive truth, art and industry and internationalism.”(Little p 98)
Piet Mondrian a Dutch painter of the time, who is well known for his geometric abstract paintings which are still popular today and have been iconic in there revival; as a dress designed by Yves St Laurent in 1967 and more recently hand bags by Kara Ross, Nike trainers and an Oreca racing car.
Little, s., Isms. Understanding Art. London :Herbert press.
Alley, R.,(1981). Alley’s Notes: Piet Mondrian. (online). Tate Modern available from http://www.tate.org.uk/servlet/ArtistWorks?cgroupid=999999961&artistid=1651&page=1&sole=y&collab=y&attr=y&sort=default&tabview=bio (accessed on 19th October 2011 at 14.50).
Pictures from Google images
Friday, 28 October 2011
modernism in one video, pop art you can sing along with. The bright colours of the lego bricks combined with the quick cuts in the video make for a great abstract video that hits you in the face with fun.
Wednesday, 26 October 2011
Saturday, 22 October 2011
"There was a time when designers were cultural visionaries leading society. They spoke of a visual landscape enhanced by artistic quality, inspired by new techniques and concepts, and created to promote a sense of liberation and enrichment. In its infancy, design was tied to the ambitious aspirations of art, architecture and technology. Many modern designers extended this ambition by seeing design as part of a mission that embraced considerably more than isolated issues of technique and style." (P23, Dan Friedman: Radical Modernism)
Here, Friedman describes the change of perception and motive for artists at the beginning of the Modernist movement, particularly the transition from artworks that emphasised the skills and techniques of the maker to conceptual pieces where the art lies beneath the surface, in the ideas and dreams that first inspired the work. Artists began to distance themselves from skilfully representational and decorative art and began to create works that stimulated the mind and imagination of the viewer.
‘The Guardian Spirit of the Waters’ is an eerie and haunting piece that represents dreams, the subconscious mind and emotional states rather than the surface realities of everyday life. Odilon Redon described his work as “indefinable”, but it was seen as controversial and rejected by many for being so far away from the academic standards of art people had grown so used to.
When I look at this piece, I see the head of a man floating above a boat at sea. The representation is clear, but the narrative of this image has become surreal by the enlargement of the head and its situation on the page above the boat. The facial features are distorted. The whole head looks more round than it should be, the eyes huge and the ears tiny. The boat and gulls seem in proportion with each other, but the head adds another aspect to the piece which makes it difficult to read in a casual way and opposes highly representational and narrative pieces that were the norm before the modern period.
Friday, 21 October 2011
Piet Mondrian was known as “the father of geometric abstraction” an important figure in Modernism around the time of Cubism in the early 20th century and a main contributor to the De Stijl movement in 1917.
Born in Holland in 1872, Mondrian was a self-taught painter and was highly educated from a young age in drawing. After becoming a full –time artist, he began travelling back and forth between Amsterdam and various parts of rural Holland where during his travelling he would devote his time to painting landscapes. Over time his works gradually became more and more abstract where he would exclude details he felt were irrelevant to express movement or the image of what he was trying to represent. The more abstract his work became the more appreciation and recognition he seemed to gain from existing artists, however he gained more criticism from the Dutch art critics.He wished to emphasize the flatness of the surface of a painting rather than create depth.
After returning to Holland in 1914 around the time of World War 1, Mondrian’s works slowly became more and more abstract as curved lines began to disappear in his paintings altogether as well as the identity of objects or nature.The influence of Cubism marked a distinct turning point in Mondrian’s work as he became more familiar with the artists works of Picasso, Braque and other popular artists involved in the movement of cubism. Mondrian moved to Paris in 1912 where avant-garde art thrived at the time. He began to refine his landscapes by using the cubism structure to create frameworks in his paintings.
In 1919, Mondrian moved back to Paris where he began painting his most famous abstract works where he only used a few horizontal and vertical black lines with certain blocks of primary colours where representation in his works were completely eliminated. After moving to London in the 1940’s his more recent works became more vibrant with coloured lines instead of block grids. His paintings showed more energy and rhythm to the composition of his work. His work created a new insight into how architecture was formed, molding a new image to the society after the damaging effects of the Wars.
Thursday, 20 October 2011
Movements in Modern Art, Harrison, Charles, 1997, Page 6
I interpret this to mean that the term modernism has a very broad definition. It encompasses thoughts of modernisation, which relates to the Industrial Revolution, and modernity, referring to the social aspects experienced in relation to this revolution. I feel that modernism describes art which responds to what was up-to-date at that time, whether it be the presence of something or the absence of something else. From this piece of writing alone, I understand that there is a lot of debate with the definition of modernism. One reason for this may be because the term modern surely can be used at any time, not only between the late eighteenth century and the early twentieth century. During modernism, there were many different art movements, spatialism being quite a remote example.
'Spatialism combines ideas from the Dada movement, Tachism and Concrete art. Fontana wanted to create art for "a new age" that would show the "real space of the world." What separated the movement from Abstract Expressionism was the concept of eradicating the art of the easel and paint, and try to capture movement and time as the main tenets in the work.'
http://dictionary.sensagent.com/spatialism/en-en/ - Online, 02.11.2011
Lucio Fontana is an example of a modernist artist. He was an Italian painter, sculptor and theorist. During the 1940's and 50's he pioneered the Italian art movement, Spatialism.
Fontana founded the Movimento Spaziale (Spatial Movement) and worked alongside other artists to produce the Primo Manifesto dello Spazialismo (First Manifesto of Spatialism), which was followed by a second and third. He rejected the ideas that we should perceive an illusion of space on a canvas, and wanted to create a literal space. He believed that traditional, conventional Western art used the painted canvas as a window to look 'into' another world. He criticized this by exposing canvas's where the viewer literally looked into the canvas.
'Ideas are not scorned, they germinate in society and are then expressed by philosophers and artists
(from the Manifesto Blanco, Buenos Aires, 1946)'*
Fontana is also known for being one of the first artists to use neon light within his art work. He had an interest in television and comprised pieces of art with sight, sound, lighting and movement. His works adapted the way the gallery space was used and had a great deal of importance in the later movement of performance art. I have a huge interest in environmental art, and I know it encompasses substantial influence from Spatialism.
http://www.italica.rai.it/eng/principal/topics/bio/fontana.htm - Online
LITTLE, Stephen, 4.10.2004 ,Isms, Understanding Art - Book
Wednesday, 19 October 2011
- Made of wood
- Glass ( Courtesy of Sadie Coles Hq -London-)
this piece can be found at:
Plymouth City Museum and Art Gallery
Drake Circus, Plymouth PL4 8
"Post Modernism defects attention away from the singular scrutinizing gaze of the semiologist, and asks that this be replaced by a multiplicity of fragment and frequently interrupted 'looks'."
Pablo Picasso was just this, his creativity gave us the blue period, the rose period, Cubism, a painter/sculptor (using mix media) with another way of seeing the world .
|Add caption Beach baskets in holland,1904 strandkorbe in holland oil on canvas 24x32.6 cm munich,|
Kandinsky was convinced that there was an inner correspondence between a work of art and the viewer.He called this correspondence "Klang"(sound or resonance).The singer could be an early expression of this belief, which kandinsky later illustrated with a similar image in his theoretical work"concerning the Spiritual in art":"Generally speaking,colour is a power which directly influences the soul.colour is the keyboard,the eyes are the hammers,the sou is the piano with the strings.the artist is the hand which plays,touching one key or another,to cause vibrations in the soul.
Blum, D. (2003) Shocking! The Art and Fashion of Elsa Schiaparelli. London: Yale University Press
from the island 2004_ongoing original frame was seen in plymouth musum bas7,work is done using pencil and ink on tracing paper.i did quick sketch using pencil and for the dark tone i use black pen ,what really liked about this frame is that lady hunter looking up at something and the way she is standing,
i really like this work by the artist and capturing humans figure this kind of practice using pencil to do quick sketch of person and using the messurment to capture the size of human body ,i like to do more of this kind of drawing .and for that i take good example of italian artist such as "Michelangelo"Leonardo davinci"Francesco Granacci"Aristotile da sangello"and so on , i use the lrcto reserch of this artist books and fine the imege than i work on it using pencil in my skitch book. for example the image above its
Michaelangelos pieta is the artists most 'finished work and the only one to be signed'Michaelangelus bonarottus Florentin(us).Faciebat'(on the band the Virgin wears diagonally acoss her breast).The gentleness and refinement of the faces bring to mind the art of leonardo,an undoubted influence on Michelangelo at this stage.the pyramidal composition,with the elegant arrangement of the drapery,achieves an expression of deep harmony between the figures.
|untitled 2010 www.googleimages.com|
This tapestry is displayed on the left hand wall of the gallery entrance.
I was intrigued by the work initially by the amount of layering there was, and also by the fact that it was a tapestry and not a traditional painting.
At first glance I thought it was a digital image simply transferred onto a large rug in some way, but upon further investigation I found that it was actually a hand woven piece completed by three practitioners from Melbourne Australia.
I liked the way that the piece was 'untitled' because it allows you to think about the work without being influenced by any title given by the artist or curator.
The tapestry was completed in monochrome with many of the figures in the image overlapping each other which gives depth and transparency to the work. For me the piece has an oriental theme, with the central figure sat in an almost religious Buddhist pose. The arm in the bottom right hand corner seems to lead you into another narrative, leaving you wondering what's happening in the space not portrayed, also the giving of flowers provides an idea that the central figure is someone to be worshiped.
Peacocks also feature heavily in oriental art and by surrounding the 'monk like' figure, I think the artist provides another indication that the figure is important or even regal.
The figure on the left is pushing a cart carrying a young boy, who has a saw in his hand. This made me think of labourers which I found odd as, for me, they have no place in the piece other than to perhaps re-enforce the importance of the central figure.
About the artist.
David Noonan was born in Australia in 1968 but now lives and works in the UK.
Explaining that that idea of collage is central to his work, Noonan says; 'I take images from different origins and time periods and bring them together to create new narratives.'
Curator notes on the artist's work (Peninsula Arts Gallery)
Using a palette of black, white and grey, his spectral figures populate a theatrical landscape somewhere between reality and illusion. the superimposed peacocks with their defiant stares challenge the gaze of the spectator.
Acrylic and aluminium leaf on linen.
Walking into the room, I first thought that George Shaws paintings were photographs but as I went closer I noticed that they were actually paintings. This painting shows how the area has changed from the time he used to live there. It looks deserted and abandoned as George Shaw decided to eliminate any human activities. I like that there is a contrast between the red garage door and the red letter box and the rest of the surrounding area.
“I see a lot of my work as a resurrection of sorts, not for sentimental or nostalgic reasons, but for survival reasons.”
Initially the Supplicant series, like much of the BAS7, was to me – while certainly pretty to look at - somewhat lacking in the emotive ‘wham’ and connection that usually comes as a part of finding a significant piece of artistry. The portraits certainly seemed like they should have some meaning with their creepy distortions and cryptic hands (and hands always deserve discussion). But something fell flat, clearly, whether it was curatorial or intrinsic to the work, that made the whole feel flat.
Naturally, I turned to the guidebook. Fortunately, the guidebook was no good.
Reading the little paragraph left something to be desired, and rather than give up on what was none-the-less and interesting set to look at I took to thinking and talking it over with whoever would talk and looking up what the lady herself had to say about them. Calling them not psychological studies but “something for the future” the Supplicants, I realised, should probably be considered in the context of the entire show as, rather than the deep and perceptive ‘inner’ portraits of the models, prophetic things that act as both mask and guardian; they are ‘stand-ins’, but hideous ones that maybe reflect something beyond quite what we see, or what exists in the present. Perhaps there is a wryness too in the title; Supplicant - a person who ‘supplicates’ or prays, entreats or petitions humbly.
Who would answer the prayers of something so monstrous?