Lygia Clark’s work transcends her time and continues to become relevant in our post-modern world. Her work is recognized today as one of the founding bodies of Brazil and is important internationally. Her artistic path holds a position in the critical movement that changed the art world in the 1960’s and 1970’s. Clark’s work has continued to define our post-modern obsession with situation. Lygia Clark’s work transcends her time and continues to become relevant in our post-modern world. Her work is recognized today as one of the founding bodies of Brazil and is important internationally. Her artistic path holds a position in the critical movement that changed the art world in the 1960’s and 1970’s. Clark’s work has continued to define our post-modern obsession with situation. Lygia Clark’s path began in the 1940’s and her first sixteen years of work was dedicated to painting and sculpture and by the 1960’s she began to have an international presence. In 1963, Clark’s research led herto the creation of Caminhando (Walking) and with this work was an examination made for her work, Bichos (Beasts): while cutting a piece of paper, Lygia realized that the artwork was the experience of cutting that surface and not the relic that was left behind. This led to her artistic proposal: her viewers (called receivers and participants) would experience a present, not a before or after, and one without a defined space. The experience defined the work. This experience was created through the act of a joining of the body, the hand, the papers and the scissors. This simple notion changed the frontiers that enclosed the field of art during that time and allowed Clark to explore an unknown territory. This proposition began a new field of study. Th... ... middle of paper ... ...her students, she was able to closely follow the effects of her objects and procedures on the “subjectivity of the receivers”. Due to the extended period of time spent with a group of people, Clark was able to achieve a higher understanding of her proposition: the receivers were able to more freely evoke and verbalize their experience. The process was amplified by the availability of reoccurring sessions between the receivers and her objects and the presence of Clark herself in the experiences. Clark participated in the process. The major difficulty faced by her students was to free themselves of their “aesthetic experience and the poetic capacity they mobilized.” Clark then realized that “the subjective event presupposed and mobilized by her objects and dispositives as the condition of their expressivity” clashed with barriers Clark called the “memory of the body”.
Contextual Theory: This painting depicts a portrait of life during the late 1800’s. The women’s clothing and hair style represent that era. Gorgeous landscape and a leisurely moment are captured by the artist in this work of
Louise Bourgeois and Constantine Brancusi were both two artists that had very abstract pieces of art. Though the two artists had very different pieces of work they also shared a lot in common. Bourgeois and Constantine both had very visually dramatic styles of art that focused on sexuality and reproduction in forms of the human body. In this paper I will be talking about both artists backgrounds and works as well as what they share in similiarity and the underlying message of their work.
During the Art Deco era the calla lily became one of the most popular flowers around. Whether in florist shops or on artist canvases the calla lily became a recurring theme. Like many flowers before it the calla lily came to be more than a flower on its own but it represented the idea of femininity. The calla lily was used by artists such as Tamara de Lempicka, Diego Rivera and Georgia O’Keeffe as a symbol of femininity and feminism. Through examining their works, in relation to their own lives and the events of the day, I will explore how the calla lily came to represent a new type on femininity and feminism.
Nevertheless, I deem Dewey’s perspective inherently compelling because he wants to place art back to the people, who are disengaged from it and allow them to understand that the experience is supposed to personally affect you on some level within your life. Dewey’s aesthetic experience expresses a relationship between the artist and active viewer, as they are now unified together, on the basis of manifesting an experience that moves from disturbance to harmony (AE., 8).
I look to other artists for inspiration and affirmation in regards to my work. I am certainly not the first artist to portray ideas of the body and its fragility. Hannah Wilke, whose work dealt with ideas of beauty and vulnerability, is perhaps one of more influential artists for me. While her work greatly differs from mine, I believe that fundamentally she was asking similar questions of society through her work as I am. When I first saw her work, I felt f...
These assemblages of work mirrror a reflection of glimpses of landscape beauty, a particular solace found in the nature surrounding us during her time in the outback, elegance, simplicity and the lifestyle of the physical world around us. Gascoigne has an essential curiousity displayed in her work exploring the physical word that is captured in an essence of this rural home which brings evocate depictions, subject to the arrangement of these simple remnants that offer so much more. The assemblages focus us on viewing the universe from a unique turnpoint, compromising of corrugated iron, feathers, worn linoleum, weathered fence palings, wooden bottle crates, shells and dried plant matter. The art works offer a poetic expression that traces remnants around the world that individually hold meaning to their placement in the
...e multiplicity of meaning embedded in these works suggests the importance of the body as a liminal site, a site of inscription and meaning making, in both historical-contemporary and more recent feminist work. It is, of course, unlikely that Antin or Kraus draws directly upon any singular theory explicated in this essay. Both artists are, however, undeniably interested in the formations, constructions, and shifts of subjectivity. Both Carving: A Traditional Sculpture and Aliens and Anorexia address the body’s uncontained boundaries, exploding the dual Cartesian model of interior/exterior self. As feminist artists, both Antin and Kraus are also surely aware of the complexity of discourses around food, self, and the body. Through the artists may not be speaking “to” or “through” any particular theoretical model, they are contributing to these discourses all the same.
The exhibition, Same but Different: Not Seen from the Naked eye, investigates the deeper meanings between similar art pieces. Some older masterpieces from Barnett Newman and Mondrian are also present within the enclosed venue. However, the selected pieces from the old Modern Artists are in relevance to the Co...
Becoming widely known through the publishing of his book Relational Aesthetics in 1998, Bourriaud defines the concept as ‘a set of artistic practices which take as their theoretical and practical point of departure the whole of human relations and their social context, rather than an independent and private space. (pg. 113)’ that is to say that relational aesthetic works tended to be a break from the traditional social and physical space of the gallery and the artists secluded workshop or studio. Relational aesthetics uses life as it lived and the social environment in its entirety as the subject, rather than an attempt to represent an object that has been removed from daily life to an independent space, much like a ‘Dutch Baroque still life’, for instance. Differing from earlier aesthetic models that seek to recreate human culture in its entirety, directed by ‘aesthetic ideals’ (a romanticised view seeming to have persisted much in postmodern theory) relational aesthetics refers to ‘learning to inhabit the world in a better way’ in contrast to commonly ‘escaping’ the social structure that shapes our lives, the artists are to work with the ‘given real’ and within ‘the realm of human interaction and its social context’. In Bourriaud’s text he states relational art “strives to achieve modest connections, open up (one or two) obstructed passages, and connect
The word art is an encompassing one, vastly interpreted and with multiple definitions. In the case of Picasso's painting Guernica, art informs, educates and expresses. Its power lies in its ability to capture and compel an audience nearly six decades after the modern world's "other" day of infamy. To understand fully the painting that evolved out of the Spanish painter's outrage, one must know its context. "Why do you think I date everything I do? Because it is not sufficient to know an artist's works--it is also necessary to know when he did them, why, under what circumstances" (Picasso). An appreciator who knows the saga of Spain's historical fishing village is given a depth of experience that only a genius like Picasso could portray --"it may well be the most terrifying document on the horrors of war ever to be produced by an artist" (Wertenbaker 126).
...p from the world they live in, a world of separation and indicate themselves with their own realities. Art is handed over into society’s hands, as in one movement it is suggested - to fixate what is real, live like you create and create like you live; in other – abandon media’s proposed ideas and take the leadership of life in our own hands.
"Art is dead," says Sontag; however, according to Parry[2] , it is not so much art that is dead, but rather the fatal flaw, and some would say the failure, of art. Therefore, Marx uses the term 'the subcapitalist paradigm of reality' to denote the role of the reader as participant. Any number of deappropriations concerning postmodern materialism may be discovered.
And now, it was about the work’s relational aspects as well. This was exemplified in Donald Judd’s works. (his work with cubes and boxes) Repetition and progression were key elements. Richard Serra’a works, on the other hand, relied on the power of materiality(extreme) to evoke a response. (Union of Torus and Sphere, Consequence) On the other hand, Sol Lewitt attempted to purge the hand of the artist and present art in an unemotional and unbiased form f...
These artist have shown the true meaning of realism and it is due to this that we are grateful and privileged to announce that the famous works of Michelangelo (Rebellious Slave), Margaret Preston (her floral series) and Auguste Rodin (‘The Kiss’) will be featured at this event. Each piece have a unique undertone to them giving each individual emotions and meanings to every different person who views them. The physical can be shown by the objects or peoples positions in the artworks and the realism behind the movements of such. Colours, tone, lines are just a taste of the many details to examine in the works of art that make up the depth of the piece giving more then what first meets the eye and giving a realistic view that things run deeper then they appear. The concept of the physical can be found in most pieces as long as they consist of realistic things and movement and can be something in which you can touch and hold in your hand. All these reasons and more were the criteria used in order to find the most inspiring and best representatives for this concept to display in debatably the most progressive and innovative exhibition of New York
Painting in the 19th century, still highly influenced by the spirit of Romanticism, proved to be a far more sensitive medium for the kind of personal expression one should expect from the romantic subjectivity of the time. At the very beginning of the “modern period” stands the imposing figure of Francisco Goya (1746-1828), the great independent painter from Spain. With much indebtedness to Velazquez, Rembrandt and the wonders of the natural world, Goya occupies the status of an artistic giant. His artistic range goes from the late Venetian Baroque through the brilliant impressionistic realism of his own to a late expressionism in which dark and powerful distor...