Exhibition Features 30 Of The Most Influential Contemporary Black Artists The following artists address race in a variety of ways through their work -- some spark a dialogue in relation to the artistic cannon, others with gender roles, and some not explicitly at all. An exhibition entitled "30 Americans" features 70 works by 30 of the most iconic African American artists of the last 30 years, spanning a vast array of themes, media, perspectives and aesthetics. Kehinde Wiley revamps the tradition of classical portraiture, retroactively injecting black subjects into the art historical tradition, while Mickalene Thomas addresses understandings of womanhood, identity and desire with her bedazzled interior portraits. Kara Walker's black silhouettes revisit the traumas of slavery while Nick Cave's ornament-happy soundsuits intensify African ceremonial costumes. "As the show evolved, we decided to call it 30 Americans. The following 13 artists are of the most important today, each simultaneously shaping contemporary art and our understandings of racial identity. 1.
Cultural movement A cultural movement is a change in the way a number of different disciplines approach their work. This embodies all art forms, the sciences, and philosophies. Historically, different nations or regions of the world have gone through their own independent sequence of movements in culture, but as world communications have accelerated this geographical distinction has become less distinct. When cultural movements go through revolutions from one to the next, genres tend to get attacked and mixed up, and often new genres are generated and old ones fade. These changes are often reactions against the prior cultural form, which typically has grown stale and repetitive. There is continual argument over the precise definition of each of these periods, and one historian might group them differently, or choose different names or descriptions. This current article covers western, notably European and American cultural movements. Cultural movements[edit] See: Romanesque architecture — Ottonian Art
Surreal Storytelling Illustrations by Andrew Ferez Moscow-based Russian illustrator Andrew Ferez, aka 25kartinok, creates surreal scenes, each with their own fantastical narratives, that seamlessly merge various opposing elements. Digitally drawing his elaborate renderings, Ferez's work has a dark, fantasy-driven appeal. The digital artist manages to incorporate the human face into several areas of his works in creative ways. Whether multiple faces are fused with a crumbling city, facial features are protruding from urban architecture, or a woman's contemplative expression is formed out of the branches and leaves of a golden tree, Ferez does a brilliant job of fusing two normally separate entities. Even a giant typewriter integrated into a cathedral is in one of the artist's illustrations, making for a unique perspective of each component. Though they clearly don't belong to one another in the real world, there's something visually appealing about their combination that, for a second, looks right. Andrew Ferez website via [Republic X]
Dada Dada (/ˈdɑːdɑː/) or Dadaism was an art movement of the European avant-garde in the early 20th century. Dada in Zurich, Switzerland, began in 1916, spreading to Berlin shortly thereafter, but the height of New York Dada was the year before, in 1915.[1] The term anti-art, a precursor to Dada, was coined by Marcel Duchamp around 1913 when he created his first readymades.[2] Dada, in addition to being anti-war, had political affinities with the radical left and was also anti-bourgeois.[3] Francis Picabia, Dame! Illustration for the cover of the periodical Dadaphone, n. 7, Paris, March 1920 Overview[edit] Francis Picabia, (left) Le saint des saints c'est de moi qu'il s'agit dans ce portrait, 1 July 1915; (center) Portrait d'une jeune fille americaine dans l'état de nudité, 5 July 1915: (right) J'ai vu et c'est de toi qu'il s'agit, De Zayas! Dada was an informal international movement, with participants in Europe and North America. To quote Dona Budd's The Language of Art Knowledge, Zurich[edit]
Home - NewHive Modernism Hans Hofmann, "The Gate", 1959–1960, collection: Solomon R. Guggenheim Museum. Hofmann was renowned not only as an artist but also as a teacher of art, and a modernist theorist both in his native Germany and later in the U.S. During the 1930s in New York and California he introduced Modernism and modernist theories to a new generation of American artists. Modernism is a philosophical movement that, along with cultural trends and changes, arose from wide-scale and far-reaching transformations in Western society in the late 19th and early 20th centuries. History[edit] Beginnings: the 19th century[edit] According to one critic, modernism developed out of Romanticism's revolt against the effects of the Industrial Revolution and bourgeois values: "The ground motive of modernism, Graff asserts, was criticism of the nineteenth-century bourgeois social order and its world view […] the modernists, carrying the torch of romanticism".[5][6][7] While J. However, the Industrial Revolution continued.
Cubism A primary influence that led to Cubism was the representation of three-dimensional form in the late works of Paul Cézanne, which were displayed in a retrospective at the 1907 Salon d'Automne.[3] In Cubist artwork, objects are analyzed, broken up and reassembled in an abstracted form—instead of depicting objects from one viewpoint, the artist depicts the subject from a multitude of viewpoints to represent the subject in a greater context.[4] Conception and origins[edit] Pablo Picasso, 1909-10, Figure dans un Fauteuil (Seated Nude, Femme nue assise), oil on canvas, 92.1 x 73 cm, Tate Modern, London Cubism began between 1907 and 1911. Pablo Picasso's 1907 painting Les Demoiselles d'Avignon has often been considered a proto-Cubist work. By 1911 Picasso was recognized as the inventor of Cubism, while Braque’s importance and precedence was argued later, with respect to his treatment of space, volume and mass in the L’Estaque landscapes. Technical and stylistic aspects[edit] "M.
Postmodern art Postmodern art is a body of art movements that sought to contradict some aspects of modernism or some aspects that emerged or developed in its aftermath. In general, movements such as Intermedia, Installation art, Conceptual Art and Multimedia, particularly involving video are described as postmodern. There are several characteristics which lend art to being postmodern; these include bricolage, the use of words prominently as the central artistic element, collage, simplification, appropriation, performance art, the recycling of past styles and themes in a modern-day context, as well as the break-up of the barrier between fine and high arts and low art and popular culture.[1][2] Use of the term[edit] The predominant term for art produced since the 1950s is "contemporary art". As well as describing certain tendencies of contemporary art, postmodern has also been used to denote a phase of modern art. As with all uses of the term postmodern there are critics of its application. Dada[edit]
Abstract expressionism Style[edit] Technically, an important predecessor is surrealism, with its emphasis on spontaneous, automatic or subconscious creation. Jackson Pollock's dripping paint onto a canvas laid on the floor is a technique that has its roots in the work of André Masson, Max Ernst and David Alfaro Siqueiros. Another important early manifestation of what came to be abstract expressionism is the work of American Northwest artist Mark Tobey, especially his "white writing" canvases, which, though generally not large in scale, anticipate the "all-over" look of Pollock's drip paintings. Mark Tobey, Canticle, 1954. Tobey, like Pollock, was known for his calligraphic style of allover compositions. Abstract expressionism has many stylistic similarities to the Russian artists of the early 20th century such as Wassily Kandinsky. Why this style gained mainstream acceptance in the 1950s is a matter of debate. Art critics of the post–World War II era[edit] Barnett Newman, Onement 1, 1948. History[edit]
Roy Lichtenstein Roy Fox Lichtenstein (pronounced /ˈlɪktənˌstaɪn/; October 27, 1923 – September 29, 1997) was an American pop artist. During the 1960s, along with Andy Warhol, Jasper Johns, and James Rosenquist among others, he became a leading figure in the new art movement. His work defined the basic premise of pop art through parody.[2] Favoring the comic strip as his main inspiration, Lichtenstein produced hard-edged, precise compositions that documented while it parodied often in a tongue-in-cheek humorous manner. Whaam! Early years[edit] Career[edit] Cap de Barcelona, sculpture, mixed media, Barcelona Lichtenstein entered the graduate program at Ohio State and was hired as an art instructor, a post he held on and off for the next ten years. In 1951 Lichtenstein had his first solo exhibition at the Carlebach Gallery in New York.[1][17] He moved to Cleveland in the same year, where he remained for six years, although he frequently traveled back to New York. Rise to prominence[edit] Later work[edit]
Visual arts The current usage of the term "visual arts" includes fine art as well as the applied, decorative arts and crafts, but this was not always the case. Before the Arts and Crafts Movement in Britain and elsewhere at the turn of the 20th century, the term 'artist' was often restricted to a person working in the fine arts (such as painting, sculpture, or printmaking) and not the handicraft, craft, or applied art media. The distinction was emphasized by artists of the Arts and Crafts Movement, who valued vernacular art forms as much as high forms.[4] Art schools made a distinction between the fine arts and the crafts, maintaining that a craftsperson could not be considered a practitioner of the arts. The increasing tendency to privilege painting, and to a lesser degree sculpture, above other arts has been a feature of Western art as well as East Asian art. Education and training[edit] Training in the visual arts has generally been through variations of the apprentice and workshop system.
Art Art is a diverse range of human activities and the products of those activities, usually involving imaginative or technical skill. In their most general form these activities include the production of works of art, the criticism of art, the study of the history of art, and the aesthetic dissemination of art. This article focuses primarily on the visual arts, which includes the creation of images or objects in fields including painting, sculpture, printmaking, photography, and other visual media. Architecture is often included as one of the visual arts; however, like the decorative arts, it involves the creation of objects where the practical considerations of use are essential—in a way that they usually are not in a painting, for example. The nature of art, and related concepts such as creativity and interpretation, are explored in a branch of philosophy known as aesthetics.[8] Creative art and fine art Works of art can tell stories or simply express an aesthetic truth or feeling.
De Stijl De Stijl (/də ˈstaɪl/; Dutch pronunciation: [də ˈstɛil]), Dutch for "The Style", also known as neoplasticism, was a Dutch artistic movement founded in 1917 in Amsterdam. The De Stijl consisted of artists and architects [1] In a narrower sense, the term De Stijl is used to refer to a body of work from 1917 to 1931 founded in the Netherlands.[2][3] De Stijl is also the name of a journal that was published by the Dutch painter, designer, writer, and critic Theo van Doesburg (1883–1931) that served to propagate the group's theories. Next to van Doesburg, the group's principal members were the painters Piet Mondrian (1872–1944), Vilmos Huszár (1884–1960), and Bart van der Leck (1876–1958), and the architects Gerrit Rietveld (1888–1964), Robert van 't Hoff (1887–1979), and J. J. Principles and influences[edit] In music, De Stijl was an influence only on the work of composer Jakob van Domselaer, a close friend of Mondrian. History[edit] Early history[edit] Page from De Stijl magazine. References