On our daily commute, we are confronted with issues concerning waste, whether it's walking passed littered debris on the street or incorrectly disposing a plastic bottle in the garbage. These conscious decisions we make every day have effects and a number of artists are currently working with post-consumer material to create new works of art out of something which was deemed unfit for further use and left for dead. By no means is this a new trend, reusing to produce art has been slowly gaining momentum since before the 20th century. The Amish for example salvaged fabric left over from trimmings of fashioned clothing to create quilts. Pablo Picasso first publicizes found objects in art when he pasted a printed image of chair caning on to his painting Still Life with Chair Caning, 1912. Marcel Duchamp’s Bicycle Wheel, 1913 consisted of a bicycle fork with a front wheel mounted upside down on a wooden stool. Although Bicycle Wheel is considered his first, Duchamp’s most well-known ready-made and possibly his most controversial is Fountain created in 1917. Besides for Duchamp’s ready-mades, other art techniques produced from the Dada movement were; collage, photomontage and assemblage. Picasso’s Bull Head, 1942 continues the trend, the artist stated, “Guess how I made the bull's head? One day, in a pile of objects all jumbled up together, I found an old bicycle seat right next to a rusty set of handlebars. In a flash, they joined together in my head.” Artists continued to create art from found objects through a minor movement known as Neo Dada of the late fifties. Robert Rauschenberg as well as Jasper Johns helped revive some of the ideas that rose from Dada, but placed more emphasis on the art produced rather than o...
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The exhibition of recent stoneware vessels by Peter Voulkos at Frank Lloyd Gallery featured the sort of work on which the artist established reputation in the 1950s. The work was greeted with stunned amazement. However now it is too, but it's amazement of a different order -- the kind that comes from being in the presence of effortless artistic mastery. These astonishing vessels are truly amaising. Every ceramic artist knows that what goes into a kiln looks very different from what comes out, and although what comes out can be controlled to varying degrees, it's never certain. Uncertainty feels actively courted in Voulkos' vessels, and this embrace of chance gives them a surprisingly contradictory sense of ease. Critical to the emergence of a significant art scene in Los Angeles in the second half of the 1950s, the 75-year-old artist has lived in Northern California since 1959 and this was his only second solo show in an L.A gallery in 30 years.”These days, L.A. is recognized as a center for the production of contemporary art. But in the 1950s, the scene was slim -- few galleries and fewer museums. Despite the obscurity, a handful of solitary and determined artists broke ground here, stretching the inflexible definitions of what constitutes painting, sculpture and other media. Among these avant-gardists was Peter Voulkos.” In 1954, Voulkos was hired as chairman of the fledgling ceramics department at the L.A. County Art Institute, now Otis College of Art and Design, and during the five years that followed, he led what came to be known as the "Clay Revolution." Students like John Mason, Paul Soldner, Ken Price and Billy Al Bengston, all of whom went on to become respected artists, were among his foot soldiers in the battle to free clay from its handicraft associations.
Throughout the vast history of visual art, new movements and revolutions have been born as a result of breaking past conventions. This idea of moving past traditional styles was done by many artists in the 1950s and 1960s, including those artists who participated in the many different abstract movements. These artists decided to abandon old-fashioned techniques and ideas such as those of classical Renaissance, Baroque, or even Impressionist art. One of these new conventions, as discussed by art historian Leo Steinberg in his essay, “The Flatbed Picture Plane,” is the concept of a flat and horizontal type of plane in a work that does not have a typical fore, middle, or background like that of the traditional art from classical periods previously mentioned. The flatbed picture plane that Steinberg refers to is similar to that of a table in which items can be placed on top of, yet they are merely objects and do not represent any space. In his article, Steinberg explains that the opposite of this flatbed plane is the
The Metropolitan Museum of Art has one of the finest Asian art collections that has enlightened and strengthened my understanding in my personal art experience. The Museum itself is an artistic architectural structure that graces the entire block on 82nd Street in Manhattan. Entering inside, I sensed myself going back into an era, into a past where people traded ideas and learned from each other. It is a past, where I still find their works of yesteryears vividly within my grasp, to be remembered and shared as if their reflections of works were cast for the modern devoted learner.
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When studied with World War 1, “Dada was not an artistic movement in the accepted sense; it was a storm that broke over the world of art as the war did over the nations (Tucker).”
Support action by central and native government, businesses and civil society take advantage of these opportunities (The best recycling programs in US & around the world, 2012)
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One of the most unique figures in the continuum of the art world, Marcel Duchamp changed the way we look at and produce art today. Marcel Duchamp was by far, one of the most controversial figures in art. Two of the most well known and talked about pieces by him are The Fountain and The Bride Stripped Bare by her Bachelors, Even . Duchamp created many other pieces that caught the attention of critics, other artists, and the population in a negative way; however, these two pieces alone, brought about the greatest amount of controversy.
...p 25 Things In Japan Most Likely To Blow Foreigners’ Minds | RocketNews24. Retrieved February 9, 2014, from
Recycling is extremely important for the environment; in the UK recycling is estimated to save more than 18 million tonnes of C02 a year, furthermore the 1,500 landfill sites based in the UK in 2001 produced a quarter of the methane emissions from the UK (Recycle now, 2014). Recycling is therefore an important aspect to sustainable disposal, due to kerbside collections, recycling has become convenient for the consumer; all recyclable objects can be classed as waste and recycled accordingly. Shim (1995) and Joung (2013) have investigated the links between a general recycling attitude and a consumer’s environmental concerns and product disposal behaviours.