Kumis Yamashita: Shadow Art
In spite of the fact that there are numerous talented specialists who work with light and shadows, for example, British craftsmen Tim Noble and Sue Webster or Dutch craftsman Diet Wingman, Japanese craftsman Kumis Yamashita is the one and only whose complete craftsmanship is included both the material she utilizes and the unimportant she makes. Robust items like cut wood or aluminium numbers are hit by a solitary light source to uncover an internal being, an individual understandingly holding up to be uncovered on the other side. Yamashita is additionally gifted at making representations utilizing a solitary, unbroken bit of string or by using surprising materials like a Visa or a shoe. An expert of light and dull, this New York-based
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In 2004, Arsham took an interest in the gathering show Miami Nice at Galerie Emmanuel Perrotin (Paris), which started to speak to Arsham in 2005. As one of the originators of the fundamental Miami craftsman run spaces, "The House", his enthusiasm toward cooperation started early. In 2004 unbelievable choreographer Merce Cunningham asked Arsham to make the stage outline for his work eyespace. Emulating this Arsham visited with the Merce Cunningham Dance Company for exhibitions Arsham's work has been demonstrated at Ps1 in New York, The Museum of Contemporary Art in Miami, The Athens Bienniale in Athens, Greece, The New Museum In New York, Mills College Art Museum in Oakland, California and Carré d'art de Nîmes, France among others. A first monograph of Arsham's work was distributed by the French Center National des expressions plastiques and a second one was distributed by Galerie Perrotin in 2012.
Arsham is spoken to by Galerie Emmanuel Perrotin in Paris, Hong Kong and New York, OHWOW in Los Angeles, Baro Galeria in Sao Paulo and Pippy Houldsworth in
· 1999: Private commissions (2). Continues to work on paintings for traveling exhibition, Visual Poems of Human Experience (The Company of Art, Chronology 1999).
He had produced an unknown ray being emitted from the tube that could pass through the paper. He found that this new ray would pass through most objects, casting shadows of solid substances. He first investigated with his hand and was surprised when he saw his bones. His discovery would open up an exciting field for doctors because now it was possible to stu...
Sue Malvern, 2004,Modern Art, Britain and the Great War, New Haven and London, Yale University Press
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As a conclusion, Mingei and nationalism can be perceived as fundamentally interwoven through Japanese handicrafts. Throughout the first half of the 20th century, many factors came to play a part in bringing the Japanese spirit to the forefront of craftsmen minds, whether as reason to bring attention to themselves and their own work or as a way of providing necessary utensils to the average Japanese home. The efforts of the Mingei movement and the Japanese Traditional Crafts Exhibition cannot be ignored. Yanagi can be said to have foreseen this radical decline in traditional styles and if not for his and his fellow founders collecting and preserving crafts in the Japanese Folk Art Museum, many of the regional methods and styles could be lost today. After the destruction of the war and
One of the things that appealed to me when I went the St. Louis Art Museum(SLAM) was the Contemporary and Modern art. I don’t know what it is about Contemporary art that just draws me to it. The SLAM Contemporary collection comprises majorly of World War II period art. One piece of this art that I really liked, and considered my favorite, was a piece of art titled by the museum as “Untitled” the german Franz Ackermann. This work was made in 1996 is and was constructed of oil on canvas. Contemporary collection spans the post-World War II period until today. In this work, you can see that Franz Ackermann illuminates his art with a great use of vivid colors. When I looked at this painting, I could easily see how his travel in various urban locations influenced him. Overall, the contemporary exhibits were quite impressive and fun to view. The Modern artwork grabbed my attention with some of its works too. Although this was part...
...indow streaming natural light seems to be the only source of light in the room. It falls directly on the action, the man holding the woman. Their shadows then form flawlessly across the canvas and their profiles are in perfect shape. The statue, which is behind the canvas, is in complete shadows, again signifying the conservative part of the image that hides in the shadows.
of light being the main focus in this work. Shadow also plays a large part in the
Brettell, Cachin, Freches-Thory, Stuckey, eds. The Art of Paul Gauguin. Washington: National Gallery of Art, 1988.
World Art Collections Exhibitions, Sainsbury Centre for visual arts, No date given, found here: http://www.scva.ac.uk/education/resources/pdfs/13.pdf, (accessed 26/11/2013).
Williams, B. 1999. A History of Light and Lighting. [online] Available at: http://www.mts.net/~william5/history/hol.htm [Accessed: 5 Jan 2014].
Technology has steadily evolved to develop more innovative and productive techniques in the making of various crafts. In addition to enhancing the quality of products, the ability to create them at a higher rate has been discovered. However, quality and quantity are usually inversely proportional to each other. In more recent times consumers have begun to desire Japanese artifacts. Most producers attempt to sate this desire through mass production. While this alternative may be inexpensive, it lacks the high quality that true artisans can deliver. In these cases, consumers are also at fault as they let their desire for instant gratification outweigh their desire for superior creations. Largely, in the production of crafts, producers sacrifice optimal quality for a high output in order to fill the demand for inexpensive products by the consumer.
Barnett, Peter. “The French Revolution in Art”. ArtId, January 7th 2009. Web. 5th May 2013.
I went to visit this art exhibit on Friday September 7th, the opening night. I had never been to the Meadowbrook Art Gallery so I had no idea what to expect. It was a smaller gallery than I thought it would be, but it didn’t matter when I took a look at the pieces that were on display.
Diarmuid Costello, Jonathan Vickery. Art: key contemporary thinkers. (UTSC library). Imprint Oxford: Berg, 2007. Print.