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Martino Gamper - 100 Chairs in 100 Days (2006)
Throughout Art and Design history, specifically Postmodernism, artists have recontextualised previous styles and forms in their works in order to ‘modernise’ . The common household chair has been an iconic symbol for both history and artistic rebellion in art and design. From the Dada movement, where the ordinary item was stripped of its practical use in the interest of becoming a ‘found object’, to the Bauhaus movement where the chair became a representative vessel for the radical leap towards combining the aesthetic with the practical in Twentieth Century design. Martino Gamper touches on these previous acts of artistic rebellion whilst honing in on the Postmodern take on recontextualisation
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The creation of the series is restricted to one hundred chairs created from a variety of found objects within the limit of one hundred days. This systematic approach also brings to light the importance of process in artmaking. His Musical Chair (2006) from 15th May takes on the notion of changing an everyday objects use to grant it new meaning. The guitar no longer holds its traditional use, rather it takes on another, becoming necessary to the function of the chair. The chair becomes a key vessel to explore both the historical and modern use of the object and display this ‘remix culture’ - “what can they tell us about their place of origin or their previous sociological context and even their previous owners?” (Gamper 2007). By recontextualising the chair, Gamper creates an assemblage that merges not only a variety of found objects - whose purpose has now become unnecessary - but the contemporary work also acknowledges the poignant role of the chair as a representational object in the history of art and design. It is through these hybrid designs that Gamper creates works that make indistinguishable the difference between the functional and the aesthetic. Like his creative practice as a whole, he
Pop Art was a Modern art movement that emerged durring the mid-twentieth century in both England and America. It first began to gain recognition in the early 1950’s, after about twenty years of Abstract, as artists altered their attention and looked to change. In the late 1950’s and early 1960’s, Pop Art became much more popular to the general public and successful for the movement’s artists due to the world growing tired of the repeditive forms of Abstract. Found in the Menil Collection, Seated Woman and Lavender Disaster are two examples of Pop Art. The comparison of these two pieces shows although they differ in medium and subject matter both Seated Woman and Lavender Disaster share common underlying themes possesed by all Pop Art.
The earliest forms of art had made it’s mark in history for being an influential and unique representation of various cultures and religions as well as playing a fundamental role in society. However, with the new era of postmodernism, art slowly deviated away from both the religious context it was originally created in, and apart from serving as a ritual function. Walter Benjamin, a German literary critic and philosopher during the 1900’s, strongly believed that the mass production of pieces has freed art from the boundaries of tradition, “For the first time in world history, mechanical reproduction emancipates the work of art from its parasitical dependance on ritual” (Benjamin 1992). This particular excerpt has a direct correlation with the work of Andy Warhol, specifically “Silver Liz as Cleopatra.” Andy Warhol’s rendition of Elizabeth Taylor are prime examples of the shift in art history that Benjamin refers to as the value of this particular piece is based upon its mass production, and appropriation of iconic images and people.
‘Florated madness, liniar hysteria, strange decoratve disease, stylistic free-for-all’, such were the terms its contemporaries used to describe Art Nouveau, the first international design style. Art Nouveau was the rebellion against the entire Victorian sensibility, steeped as it was in the past. The exponents of the style hoped to revolutionize every aspect of design in order to set a standard that would be compatible with the new age. Art Nouveau was a direct descendant of the Arts and Crafts movement and influenced by celtic ornament as well as Japanese woodcut prints, all this resulted in an international style based on decoration.
In addition to the notably simplistic design, the collection itself provides access to a remarkable breadth and depth of both classic and contempora...
It seeks a balance through process: masculinity with femininity; organic form with geometric shape; two dimensions with three dimensionalities. Balance comes when there is a cohesion of parts in complete harmony. To maintain balance, it is essential to engage the qualities of the antitheses. The work embodies a feminine sensitivity through the bright vibrant colors, softer tones, and the organic nature of the abstraction – the forms are created with industrial tools traditionally associated with conditions of masculinity. The juxtapositions of the organic, fluid nature of the paint, with the imposed geometric shapes produces a resonance and harmonic integration. Although original to a set of ideas responsive to feminist discourse, the polemic of the work is rendered through a medium-atic investigation, producing a transcendent
The reader can disconnect the work of art from its past uses and new combinations can be brought. The liberation of art gains ‘entirely new functions’.
The deliberate reuse or modification or manipulation of preexisting work is known in the art world as appropriation art; its history stemming from the Avant Garde practice of using ‘found’ objects as raw materials for collages, photomontage and other such works. Picasso w...
Though the interiors he designed were created to be useful spaces, his focus was more on aesthetic than function . Within his individual objects of art such as chairs, tables, drawers, staircases and many others he focused more on the form of the object than on its intended use. Instead, Kuramata appeared to want the presence of the piece to surpass its function, something that is only possible when there is a symbolic value . One of the best examples of a work of art fitting these stipulations was his design of the Miss Blanche armchair (fig. 3) in 1988 . The chair is made of acrylic resin and embedded with artificial roses and aluminum . Kuramata’s title of the work, choice of materials, color contrast, process of creation and simple aesthetic combine to create a piece of work that forces the viewer to question whether or not it can even be considered a chair. This work of art allows the functionality to disapp...
The twentieth century has witnessed many transformations in the ways we produce and respond to works of art. It has seen the rise of altogether new media, approaches, and a wealth of new interpretative frameworks. The emergence of manufactured goods, modernism, and a ubiquitous mass culture contribute to the upheaval, in the 1960’s and 70’s, of established art practices and approaches. Pop Art emerges as an important response to, extension of, or parody of what Clement Greenberg called “Ersatz culture” and “kitsch”, which, to paraphrase Greenberg, represent the omnipresent abominations of commercial and replicated art (Greenberg 9). This essay will observe and discuss the interaction of Canadian pop culture, art, and identity in Joyce Wieland’s “O Canada (Animation)”, and will underline how works of Pop Art serve to elevate kitsch into “a new state of aesthetic dignity” (Eco 228).
...t is important to note the historical factors of the 1960s, which are more relevant chronologically in 1970 when Asher created this work, than 1973, when Buren exhibited his work at the John Weber Gallery. Foucault says that his term, genealogy, is the synthesis of scholarly knowledge and local memories that create a historical knowledge of struggles. For Institutional Critique artists of the 1970s, this historical struggle would have been the protests of the 1960s, perhaps even the Paris student/artist protest in 1968. From this knowledge of past struggles, people can use this information in the future, much like Haacke, Buren, and Asher who use the idea of protest in their work. Protesting something unjust is precisely what Institutional Critique does, and Asher’s architectural intervention exemplifies this flawlessly, just as Buren and Haacke’s works do. (82%)
Donald Judd was an American artist central in the development of a movement beginning in 1963 labeled Minimalism, a term and concept, he profusely detested and rejected. His contribution to the progress of art as a whole through challenging European artistic conventions was immense, as a result he revolutionised practices and attitudes surrounding art making and the exhibition of art. After his abandonment of painting in the 1960’s, he progressed to working three-dimensionally producing simple, often repeated forms, with an intrinsic focus on the use of space. In his eyes, he was reducing painting and sculpture to its basic elements through the use of simple forms, industrial materials, solid colour on flat surfaces, and natural light. However he refused for his work to be classed as sculpture, insisting on the term ‘specific objects’, highlighting its distance from previous notions of art-making in sculpture. These were "specific" due to their carefully orchestrated shape, scale, proportions, and materiality. And they were "objects" because rather than being sculpted, they were fabricated by the artist.
Abstraction was a major difference between Morris and Read. While Read advocated about it, Morris’s impression of a post-revolutionary life did not fit the aesthetic ideas that went hand in hand in abstraction. Both Morris and Read showed how there is great art in craftsmanship, and Morris especially showed that in the Red House and Green Dining Room, where they were obviously made for a purpose but still were meticulously crafted by hand to create an aesthetically pleasing work of
Art Deco and Bauhaus are two of the most influential art styles that influenced modern America today. From the avant-garde decorations and design that is still present in Los Angeles, to the flat roof design and simplicity of houses and shops that can be seen almost anywhere, these two designs are still present in our communities. The two movements do have some comparative similarities, but are also very different in design and concept. One should now be able to distinguish the similarities and differences between Art Deco and
If modernism and postmodernism are arguably two most distinguishing movements that dominated the 20th century Western art, they are certainly most exceptional styles that dominated the global architecture during this period. While modernism sought to capture the images and sensibilities of the age, going beyond simple representation of the present and involving the artist’s critical examination of the principles of art itself, postmodernism developed as a reaction against modernist formalism, seen as elitist. “Far more encompassing and accepting than the more rigid boundaries of modernist practice, postmodernism has offered something for everyone by accommodating wide range of styles, subjects, and formats” (Kleiner 810).
Although we considerably live in a ‘post-modern’ world, many of the technologies and principles involved in designing and engineering them are draw influence from the innovative culture of the modern era. This essay aims to explore the contextual ideas behind the modern movement, how it influenced today’s artists and thinkers, how ‘Modernization, Modernity, Modernism’ shaped the world we live in.