Name: Tutor: Course: Date: The works of Vincent van Gogh and sol LeWitt and Japanese influence on European art 1. In drawing a comparison and contrast between the works of Vincent van Gogh and sol LeWitt, Vincent van Gogh’s application of symbolic colors and paint to express subjective emotion have created the basis of defining abstract expressionism, which started with the Americans after the World War II movement of art creation and presentation. LeWitt’s work, on the other hand, has been used as a basis for the use of traditional art materials during the creation of artworks. However, his use of traditional art materials had been improved, to involve the use of digital technology and computers to create and edit these materials. Some
Primary sources are also able to offer an inside perspective on things. In comparison secondary sources often analyze primary sources and are written in a much later date. For example, Thomas Hutchinson’s view on The Massachusetts Bay Colony Case was written in 1767, nearly one hundred and thirty years after the case in Massachusetts, opposed to Wellington Newcombe’s view of the case, which was written over three hundred years later in 1974. Saying so, Thomas Hutchinson was able to provide first-hand evidence of the case, while Newcombe interpreted the primary historical source, making his source less factual. The second determining factor between the primary and secondary source is the author.
Street art, c. 2010, is a paradigm of hybridity in global visual culture, a post- postmodern genre being defined more by real-time practice than by any sense of unified theory, movement, or message. Many artists associated with the “urban art movement” don’t consider themselves “street” or “graffiti” artists, but as artists who consider the city their necessary working environment. It’s a form at once local and global, post-photographic, post-Internet, and post-medium, intentionally ephemeral but now documented almost obsessively with digital photography for the Web, constantly appropriating and remixing imagery, styles, and techniques from all possible sources. It’s a community of practice with its own learned codes, rules, hierarchies of prestige, and means of communication. Street art began as an underground, anarchic, in-your-face appropriation of public visual surfaces, and has now become a major part of visual space in many cities and a recognized art movement crossing over into the museum and gallery system.1 This chapter outlines a synthetic view of this hybrid art category that comes from my own mix of experiences and roles—as an art and media theorist in the university, as an owner of a contemporary gallery that has featured many street artists, and as a colleague of many of the artists, curators, art dealers, and art collectors who have contributed to defining street art in the past two decades.2 The street artists who have been defining the practice since the 1990s are now a major part of the larger story of contemporary art and visual culture.
When books are written, they often address topics that currently affect one's culture or society. One of these books is Bradbury's Fahrenheit 451. In this book, the topic of choice was technology. During the era that Fahrenheit 451 was originally written, the amount of technology seen in the book was not a reality. However, many comparisons between the technologies in Fahrenheit 451 could be made to the present technology.
She is particularly interested in abstraction in terms of the use of symbols, precision of objects and their spatial relations. Her artwork reflects themes of universal significance as well as life and lunar cycles. Hossein Valamanesh works mainly with installations and sculptures to represent his ideas. He explores his ideas through visual metaphors and symbolism. His works are mainly based on his feelings and personal responses and his two cultures of his native Iran and Australia.
In view of the brief notes above and with reference to the readings in your coursepack combined with your own research please respond to the following questions: 1. How would you define art? What criteria would you use? To me art is a way for and artist to express their emotions. Through the wide spectrum of mediums, there are very many kinds of art that can be created.
Plate Number: 2.28. Historical time period: Buddhist religions. The art movement: Japanese art. Materials of the work of art: Gilded wood. • Theme: The Sacred Realm • People throughout history have turned to a world we cannot see except through faith, the sacred realm of the spirit (Getlein, 2010, p. 49).
Art Essay When applying the conceptual framework to art and art making; one considers the relationship between the artist, the artwork, their audience and their world. This essay, more specifically, focuses on a relationship between artist, artwork and their world. Rosemary Laing and Ricky Swallow both explore interpretations of a sense of time or timelessness in the world around them through their methodologically unrelated yet conceptually paralleled bodies of work. Chronologically following the evolution of the works of Ricky Swallow, one might begin to doubt the authenticity of the claims that all were created by the same hands. In the late 20th century and early 21st, Swallow seems unable to focus on one particular medium, or set of
Art Comparison: Los Angeles Arts District Art is a powerful medium through which we can express many emotions, ideas, concepts, and feelings. The Los Angeles Arts District is in Downtown LA east of little Tokyo and west of the LA River. This arts district is bounded by Alameda Street, First Street, the LA River, and Violet Street on the south. The history of the arts district is interesting. Because it used to be illegal to use abandoned building to make art, an “Artist in Residence” ordinance was passed in 1981 which allowed artists to use these abandoned industrial buildings to make art.
But what we may not think about is the notion that sculpture can be created solely for the purpose of conveying the feeling of movement through space and volume. Enter Richard Serra, a sculptor and artist emerging from the post-Abstract Expressionist period. Sculpting often very massive site-specific pieces, Richard Serra has been in the forefront of modern abstract sculpture since the late 1960’s. Beginning in the 1990’s, inspired by Francesco Borromini’s San Carlo alle Quattro Fontane (Church of Saint Charles at the Four Fountains) in Rome, he began to experiment with the idea of torqued ellipses. He began by making small wood ellipses held together at an angle by a dowel.