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What inspiration and creativity will the next generation of artists utilize in forming their great works and how will the world perceive their masterpieces.
Art Compilation Book Conclusion Who would have ever considered items like chocolate, milk, pollen, and sugar cubes to be capable of anything but their common purpose. Instead, these modern artists took the works to the next level and transformed the items as needed to portray their message. Even more, it can be made into what one considers a masterpiece and then further changed by the artist to make their ritualistic point, such as in "Lick and Lather."
After completing this course I can honestly say that my educational horizon has been expanded. Exploring the vast world of modern art and observing the strange yet innovative techniques used by modern artists has only inspired my personal pursuits and desires to implement such forms within my own art.
As this collection is concluded, I cannot help but think back on Janine Antoni's "Tightrope." This incredible image captures the true heart of modern artwork. Taken directly from Jeanine's imagination and desires to touch the horizon, she transformed this desire into a physical form by spreading out a tightrope across the horizon. She then proceeded to walk across the rope and at times her feet dip from the ocean and then rise to the sky. Then, in just one moment, her movement captures the impossible, walking on the horizon.
Another piece that will remain with me after this course's completion is Wolfgang Laib's ritualistic work. After viewing "Pollen from Hazelnut" and "Milk Stones" it made me appreciate the simplicity of art. Art does not need to be a decade long pursuit requiring years of care pored into one single piece. Rather, art is an outward expression from the imagination. It can be done and left in a static form, or it can be ritualistically performed in order to present the artist's imaginary intent.
Finally, I found it very fascinating how so much of modern life is seeping into artwork and the reactions that modern artists give to this issue. There are some like Stelarc who use their art as a means of revealing to society the horrors of modern technology as it encroach on human life. In his exhibits, everything from flesh hooks to robotic arms are used to reveal the modern disconnect of the soul and body and the manipulation that science is placing on humanity. Others such as Janine Antoni, use images such as her performance of "Loving Care" to challenge modern stereotypes of women and concepts of aging and impotence.
Overall, modern art is both informative and though provoking in forcing the audience to consider the artist's message and weighing that message in their own mind and own way. The ultimate question remains as to whether these images will leave the viewers with the same message as the artist, or a fresh interpretation and what the message will do for the future of art.
Hope the readers found pleasure in reading the history i.e. The experiences of the former innovators. References Betensky, M.G. (1973). Self-discovery through self-expression. IL Springfield: Charles C. Thomas. Case, C., & Dalley, T. (1992). The Handbook of Art Therapy. New York: Routledge. Detre, K.C., Frank, T., Kniazzeh, C.R., Robinson, M., Rubin, J.A., & Ulman, E. (1983). Roots of art therapy: Margerat Naumberg (1890-1983) and Florence Cane (1882-1952): A family portrait. American Journal of
History As Art The past is not real, nor tangible. We cannot revisit the past as we are forever placed here, in the eternal now to navigate our existence. History provides our imaginations with concepts and ideas that allow us to seemingly describe the past. It must be remembered and heavily emphasized that history is in fact an art. It is not a science and it has no capability of being
He also asserts that government participation in the arts beyond its role as a consumer can pose significant hindrances to the artistic processes. He claims that politics tends to "seek stability, compromise, and consensus," and as a result avoids supporting art that may "offend majority opinion or go over its head" (38). The market, on the other hand, has "liberated artists…from the potential tyranny of mainstream market taste" (23). Is
The argument that I have been making is a twofold one. The first branch of this argument is that Pop Art, while it incorporates ordinary images and commercial motifs and tropes just as does commercial design, it does so in different ways and for different reasons than does purely commercial work. It is because the motivations of the Pop Artist (and I suppose we might say of the art objects
In literature, for example, we find this myth in the tragedy of Dr. Faustus, where the protagonist's fall is compared to the ambition of Icarus. In the visual arts this theme and myth is evident in famous paintings, such as, "Landscape with the Fall of Icarus" (1558), by Peter Brueghel. Critics have noted that Breughel used many of the detail from Ovid's story in his painting -- thus proving
These mathematicians recognized that spatial situations which produce collinearity were invariably the result of deep underlying geometric truths. The incidence of a point on a line is invariant under the projective rules. If three or more points are collinear along a line, then incident with a straight line, the images will thus be collinear. Therefore, the characteristics of incidence, collinearity, and concurrence are principle requisites of my work." (Singer,