unchicodisperso

[unchicodisperso]

Importance of Abstract Artwork in Modern Art

The origin of abstract artworks has changed the way we look at modern art in general. It was a significant shift from the traditional painting styles and allowed the artists to go beyond the references to real-world objects. Depending on the choice of artists, abstract paintings can be quite simplified or filled with complex shapes and patterns, pulling your attention to the composition. 

It has been almost 100 years since abstract art came into existence. Not to mention, it was quite a radical transformation at the time of its origin. However, despite being around us for so long, many artists as well as art collectors and lovers still don’t feel comfortable exploring this unique form of art. Many people do not understand its significance and how it has revolutionized our perception and ways of perceiving artworks. In this blog, we will explore some unique reasons that would help establish the importance of abstraction in present times. 

Creating Abstract Artwork Offers the Freedom to Explore

Since this art style steers away from the traditional style of creating fine art paintings, it also offers more room for artists to explore. It is an independent style of art that doesn’t rely on illustrations or representations from the real world. Hence it frees artists to explore the depths of their own thoughts, creativity, and perception of art with these paintings. 

Elevates the Burden of Accuracy and Realism

Artists often feel scared of taking up difficult compositions out of fear that they may not be able to depict them accurately. There is always a looming fear of doing justice to the subject that they want to depict. However, with abstract artworks, this fear can take a backseat. It puts them at ease because they do not have to worry about the accuracy of the depiction. An artist can always create abstract paintings with unintended inspiration and no worries about accurate depiction. 

An abstract painter might look at a room full of people and decide to paint it only with geometric shapes and patterns. Instead of using accurate proportions to draw human figures, they might choose to only paint their silhouettes or just create random patterns in different colors to express what the room makes them feel. 

It Encourages Viewers’ Involvement

Unlike other schools of art, you cannot take a glance at an abstract painting and tell what it is about. To truly interpret the painting, you will have to observe the composition and study the nuances of its colors and shapes. It compels you to engage with the work. You will have to spend time with the painting and then look within yourself to decide how it makes you feel. Depending on your emotions, mood, and feelings, you can interpret it however you feel it best.

What makes it even more beautiful is the fact that abstract art is always open to interpretation by the viewers. A painting that may make you feel gloomy might be inspiring for someone else. Every individual is free to interpret an abstract composition as they wish and none of it is ever wrong. The open-ended nature of these paintings has made them an interesting choice among viewers and modern art collectors. 

It is not a Hall Pass to Skip Technicalities

If you think abstract art is your free ticket to creating artwork without any basic knowledge of art, you couldn’t be more wrong. While it may seem like a random canvas of colors and patterns it is not. If you look at any famous abstract art of old masters, you will realize that they are well-thought-out art pieces. Just because they had the freedom to explore, they didn’t forgo basic rules like the color theory, balancing of the composition, and other minute details. They were just smart enough to camouflage these rules under the cloak of abstraction and wilderness. 

Abstract Art is a Legitimate Form of Art

If you are still worried about the legitimacy of an abstract artwork, wondering if it truly is art or not, you can now set that worry aside. Abstract art is a perfectly legitimate piece of art and it was established years ago after different abstract art movements emerged and taught people why they are relevant. 

To elaborate on this point further, think about what art truly means to you, or anyone else for that matter. Most people call it a means of expression and an outlet for freedom. Since it is a mode to freely express then how can we limit it to real-world objects or anyone’s idea of what art is? The core of art lies in its adaptability, flexibility, and creativity and it can vary for every individual artist. 

Abstract Artworks Are Changing The Perception of Modern Art

With the adaptive and dynamic nature of abstraction, it is slowly gaining popularity among art collectors. Even though many people still do not understand it, it is now gaining the recognition it truly deserves. With efforts from different art galleries like TERAVARNA, which often organizes abstract art competitions and different exhibitions, people have started embracing it with open-heartedness. If you have come this far, I hope the blog might have helped you change your perception of abstract art and help you understand why it is so important.

For more info, Visit -

[unchicodisperso]

Anyone else not understand why people are moving to cara. Like I understand it’s because ai and shit,, but like. What confuses me is as long as your art is on the internet, aslong as you chose to post your art online anywhere, doesn’t matter where, it is prone to being stolen by ai. To me ai is nothing more then when people trace your art and call it their own. Ofc I don’t want people to do it, but ultimately that will not stop them. I do have a cara account, I was the first to claim abacus. When I tried posting there a few times I’ve been met with an error message, alongside that the app is really buggy and slow. I don’t see why people feel the need to come up with new apps to post art on when you could just use tumblr, but then the argument with tumblr is that there’s no engagement. But if we all flock to tumblr like people are flocking to cara then I don’t see why engagement would be such a big issue. Even then, if engagement is your main concern with your art I feel like you should reevaluate why you are pursuing art in the first place. I had this struggle ages ago where I didn’t feel my art was worth anything because I couldn’t cap 10 likes. But I realized, my art is for me. I’m the one that should be enjoying it, and my reason for posting now is for other people to enjoy it, so if they don’t,, I really don’t care all the much. I understand it is really detouring to post ocs and to have zero engagement, but that’s just the way art is. Unless you are producing fanart consistently of shit that is made into content farms, I really don’t see how you can garner a following just doing ocs. That’s why, doing art for your own sake is more important than trying to please everyone. I can guarantee there’s atleast one stranger on the internet that will fw your stuff the way you want. And the more you post, the more the number will grow. Most of the time it’s gradual, but one goes to two, two goes to three. And maybe you’ll only get one or two. But the important thing is, there’s someone. If you feel like you have no one, remember your art is for yourself. You’ll always have one, even if that is yourself. This might all seem contradictive. But trust, only you matter when it comes to your own artwork.

This “speech”, if you can call it that, isn’t to deter people from drawing and posting their ocs. This is just to say, engagement shouldn’t matter. As long as you’re happy, that’s all the matters. Post and draw what you want aslong as it’s not straight ripping from someone else. Idc.

This whole thing was supposed to be abt Cara but it turned into a uhh,, Ted talk of sorts. I’m not saying people shouldn’t use cara, if it works for them then by all means go for it. But personally I will not be making it my main form of social media. In my opinion, it’ll be like that other art app people were using for a week before they forgot abt it, I forget the name of it but I remember the interface was a light pink, similar to Instagram,, but somehow worse.

IM GONNA SPECIFY THAT I DONT CONDONE AI STEALING PEOPLES ART EITHER,, just putting that out there because some people have a way of misunderstanding or misinterpretating things. Which is okay!! Because some people genuinely get confused and that’s alright. But like please don’t use so first handedly. With that being said, I’m just a nobody on the internet so why would you listen to me,, you won’t. But i uhh,, am gonna put that there anyways

Thanks if you read allat,, idk why you would but that’s anyways I guess😭😭😭

[unchicodisperso]

Football Field Confessional

Ekphrastic poem

Did Jesus love his father

when he woke up with scars on his palms

and blood in his eyes?

Did instinct tell him to be good,

even when his body bore

the holes of human hate?

Sitting on the bleachers, cheap

liquor hot in the pit of my stomach,

I can’t find him to ask.

I don’t feel so good, I want to tell him.

You’re supposed to make sure I’m not alone.

The rage in me is ancient, Roman;

the same kind that killed Jesus.

I want all the men who punch holes in walls

and put their hands on little girls

to die slowly and painfully.

I want the boy who fucked me

into a dirty yellow mattress to come

back home so I can tell him

I never loved him.

I want his brother to come back

so I won’t have to see the half-mast flag

on his mother’s rotting porch.

I want to find the edge of the world

in California, where I know there is love

and so many other bright, wonderful things.

[unchicodisperso]

Abstraction:

"Abstraction is flying. Abstracting is ascending to higher and higher levels of conceptual generalization; soaring back and forth, reflectively circling around above the specificity and immediacy of things and events in space and time, from a perspective that embeds them in a conceptual framework of increasing breadth and depth, a framework without horizon, ceil-ing, or basement; a framework composed of increasingly comprehensive concepts that generalize over increasingly comprehensive classes of things, organize them relative to one another, unify them into a coherent tapestry, a dizzying object of contemplation the details of which stun one into panic by their connectedness, significance, and vividness.

Abstraction is also flight. It is freedom from the immediate spatiotemporal constraints of the moment; freedom to plan the future, recall the past, comprehend the present from a reflective perspective that incorporates all three; freedom from the immediate boundaries of concrete subjectivity, freedom to imagine the possible and transport oneself into it; freedom to survey the real as a resource for embodying the possible; freedom to detach the realized object from oneself more and more fully as a self-contained entity, fully determined by its contextual properties and relations, and consider it from afar, as new grist for the mill of the possible. Abstraction is freedom from the socially prescribed and consensually accepted; freedom to violate in imagination the constraints of public practice, to play with conventions, or to indulge them. Abstraction is a solitary journey through the conceptual uni-verse, with no anchors, no cues, no signposts, no maps, no foundations to cling to. Abstraction makes one love material objects all the more."

--Adrian Piper

From Adrian Piper: Reflections 1967-1987, Alternative Museum, New York City April 18-May 30, 1987.

[unchicodisperso]

Italian Landscape - Daryl Storrs , 2009.

American , b. 1960s -

Colour woodcut , 12 x 9 in.

[unchicodisperso]

In some corners of the internet there is a readiness to call anything pretentious whenever it is complex, abstract or deliberately alienating. Some people are also eager to claim that artists are too self-serious, snooty and elitist whenever they create something that is not straightforwardly understood.

They pretend art has always existed to appeal to the greatest number of people and appeal in a way that is simple and explicable. If you look at the history of art that could not be further from the truth. Even art that was performed to an ‘illiterate’ public often maintained layers of meaning and ambiguity throughout long periods of history (just look at the global historical traditions of oral storytelling)

The simplification of art and the expectation that everything should appeal to a wide audience is the result of commodification not democratisation. Art has arguably never been less revered than now and still there are people who think it has further to fall in esteem. Just look at the AI movement’s desire to undermine artists while stealing their work.

I believe that the ‘it’s not that deep’ crowd who is eager to wield the accusation of pretentiousness whenever something doesn’t connect to them is part of an anti-artist, anti-intellectual movement to do away with mainstream non-consumerist (non-recuperable) art.

There has been a concerted effort by corporations and those purely interested in consumerism to erase the notion that art is primarily a human expression that is not necessarily made to pander to a wide audience. Every day we see more efforts in the social media & technological culture wars to devalue art and demonise artists who wish to create artistically fulfilling works rather than crowd-pleasing content.

I think we need to push back harder against this. The anti-complexity consumerist mindset is not only incurious and subservient to corporations, it’s also anti-intellectual, anti-cultural and insidiously reactionary.

[unchicodisperso]

Digital walls, but walls

I encourage you to have a seat and read this little ‘essay’ I wrote back in 2014 if you really want to understand what I’m doing today. I would be really grateful and I’m sure you’ll have a much better understanding of my whole work.

Digital walls, but walls

On the way to space and public art | came across the digital walls. They can be “painted” but they also have the function of limiting, of delimiting, of separating…

A change of paradigm has been happening for some years now with the arrival of the internet, which has completely changed some aspects and concepts that have to do with the world of art and more specifically with urban art or public art. From the beginning, this type of art has been carried out in public places with the aim of being observed by anyone on the street and thus making it free, accessible and free from any premise or institution when it is created. (not considering the “warlike coexistence” with the advertising).

The appearance of the Internet has changed it. A vast majority of the art is seen online on a screen, what questions that the street is the natural canvas of this art discipline. While it is for the one who creates the piece, it is almost never for the one who looks at it. Public spaces are no longer just physical, in the same way that the plastic arts are no longer just plastic.

Due to the access to technology and its cheapness, nowadays it is inconceivable to think of art without considering the whole digital sphere, whether as a tool, a method of creation or of dissemination. But at the same time, all these centuries of art history condition the understanding of art, sometimes acting as a burden in terms of understanding what art is.

The dragging of already preconceived ideas and the weight of the genetic inheritance makes us repeat concepts about what art is and was. In the face of such a rapid change of paradigm, it seems that we find it difficult to understand that this whole new digital world is still the world. Both virtual and augmented reality are also reality, but the fact that it is appreciated through a screen sometimes causes it not to be considered as something artistic or even real. Thinking that way we could say that looking at a piece of art on the Internet does not have its complete experience, since we are not seeing it in the place for which it was devised, and neither are we perceiving it in a direct way, but with a screen as an intermediary. But at the same time, I think about all the content that we consume today with these devices - movies, series, photographs, news, and even art, current and classic - and not because of that we think or say that they are unreal.

At this point, where the analog space merges with the digital space, a new artistic expression is born that is entirely digital, where the final piece is born and ends up in the digital realm. Conceived through digital tools and deposited in the public digital space. These pieces of art suggest skipping the step of "existing” first in the ‘real reality’ to reach directly the virtual reality, which is also reality, and once from there, to have an impact on the analog reality.

It would also be curious to reflect on the parallelism between urban art and digital art, since, being in public places, both are susceptible to being stolen, altered or appropriated by other people for different purposes. And also, on the idea of anonymity, always used by urban artists to be able to work in the street without risk of infringement, and now also used in the digital environment. Either by often using copyrighted content that we find on the web (street 2.0) for an artistic purpose or by the “erosion of sharing” in which at some point someone does not credit the work, but it is still shared. In this case there should be a new word to define those people that everybody knows, but nobody knows who they are. “Famonimous” characters or the concept of “famonimity”; people or artists who are known precisely because they are anonymous.

Since the beginnings of urban art, the idea was to use public space to express oneself freely, but we must bear in mind that public space is nothing more than the remainder of the space divided by the private, the “leftovers” after the developers pass, the worthless places left open to the common people by institutions, etc., etc….. With the change of social, technological and artistic paradigm, urban art has been normalized and is now used as a method of decoration of places in poor condition, as a complement to a public road or simply as a means of open artistic expression as it has always been. Because if the initial objective was to make art accessible, direct and open to everyone, that idea has moved to the internet and, in some ways, the radical idea of urban art would no longer have that sense.

Therefore, if we understand urban or public art as a type of art accessible to everyone, free of charge and without any kind of condition, | believe that digital art fulfils this role today, since it inhabits all public places, whether analog or digital. Urban art needs this digital sphere to be able to expand and be visible. Because nowadays most urban art is seen through screens, not in the place where the piece has been created, which makes all these works more accessible to everyone at any time. And so, the ’paradox of the graffiti artist’ is born, the one who expresses his freedom in the walls that imprison him. These walls generate private spaces and what is outside them is considered public space by the mere fact of being spaces where people pass through. But it does not mean that this public space is open to intervention. Every public space is under the supervision of a privative entity, whether it is a municipality, a company or simply, the property of an individual. Public space does not exist, neither in the ‘real reality’, nor in the virtual one. It is always subject to something superior that manages it.

Within this dilemma, augmented reality becomes another alternative to the path of public art. It gives the possibility of creating art in public spaces, only seen on digital devices, and using the ‘real reality’ as the piece’s canvas. Until recently, photography and/or video were methods of capturing reality. Now, with this change of prism, these disciplines moved from being the purpose itself, to becoming raw material for the creation of other new artistic expressions. In this direction, | want to focus on the gif format. This format is strictly digital, so it gives us the option to edit, to add movement to pieces that, before, condemned to live still. We can spread in on the Internet and make it accessible to everyone at any time. When adding augmented reality, the two concepts intertwine, urban/public art and digital art, what gives rise to new artistic expressions that call into question deep rooted concepts such as museum, art and reality.

There are already many centuries researching, testing and creating the same type of art, whether sculpture, painting…. Except for the birth of new “isms” within these disciplines, it gives the impression that they are exhausted. At this point it would be convenient to think about the idea of unique work, copy, forgery, recreation… Thinking about the evolution of art we must consider that all new progress is born of the technological options that occur in each era. Nowadays, the difference is that progress happens every day, very fast, and it seems that it is difficult (or unwilling) to understand this change because of the speed of it. This cultural and genetic heritage blurs our vision and sometimes prevents us from conceiving new artistic expressions as such, since there are no previous references to support them.

But, at the end of the day, every new artistic expression, in its beginnings, was not art. “Science develops ideas that come from art that is inspired by science.” The world of classical art enjoys an aura of untouchable deity because when we are born it has always been there, but we cannot forget to think for a moment with perspective that all this classical art was created mainly by the entities of power of each era: kings, church, political powers…

This is why today (without underestimating the technique and the work of the artists) these types of classical art enjoy an invulnerability as, in the end, it was created by and for the power itself.

Then, this type of art collides with the urban and/or public art, along with digital art. In the public and digital space those who decide what is "art” are the people.

I am sure that the first Cro-Magnon who used a tuft of horse hairs instead of his own hands to paint was seen as an art/magic/belief apath.

Now we live in a new paradigm shift, but in this case it is not local or national, it is global and immediate.

A. L. Crego, 2014.

[unchicodisperso]

What is Aesthetics? A Study of the New Art Movement that Art History is Looking Over

It started on tumblr [citation needed], we've all seen the "a e s t h e t i c" tags and all the blogs dedicated to the many many different types of aesthetics. I have spent the better part of 4 years collecting, studying, and categorizing theses aesthetics. I do have a formal education in art and architecture so I sort of know what I'm talking about. I'd like to share with you what I've found. I've also made a chart (link) of my findings. This chart is very rough and not meant to be taken as fact. It is how I've categorized almost 700 different aesthetics but that is not even close to how many there are. I do plan on expanding it more. If I get some attention, maybe I'll make more posts that dive deeper into defining this new art movement.

In short, today's use of the word "Aesthetic" is a noun that refers to a title/word given to a specific atmosphere, emotion, feeling, or vibe that a collection of images evokes when viewed together. A comparable approximation would be a "mood board".

Anything can belong to a particular Aesthetic; an art piece, a song, an entire show, an outfit, etc. In my opinion however, its very rare that a singular work can express an entire aesthetic. As stated, an aesthetic is a very specific emotion. Thus, in most cases, a singular work (work here referring to any form of expression) is likely to be interpreted in a multitude of different ways. The only exception to this is if a particular aesthetic is based on a very specific motif found in a particular work that is unique to only that work and from there new pieces can be made that also carry that motif or relate to the original work that the aesthetic was built upon. This will be discussed later. Not every genre of art can express an aesthetic, for example, some aesthetics may not translate very well to fashion, imagery, music, etc. That is to say that it may not be possible to express the emotion evoked by the aesthetic through other mediums other than the original medium the aesthetic was created in.

In summary, an aesthetic is a collection of images that evokes a specific emotion. Most often, this emotion is evoked through the combination of particular motifs found in each work that contribute to an overall "vibe" or atmosphere. These motifs can then be used to create new original works that belong to this aesthetic.

There are a multitude of categories of Aesthetics that I have identified and some of them may seemingly contradict this definition. We will discuss these later. There is also much overlap between specific aesthetics, it is extremely common to find that an art piece may belong to multiple different aesthetics.

This is a very brief definition of the movement. But to fully grasp the depths of this new art movement, we will need to discuss a lot of art history and definitions.

[unchicodisperso]

I was meeting a client at a famous museum’s lounge for lunch (fancy, I know) and had an hour to kill afterwards so I joined the first random docent tour I could find. The woman who took us around was a great-grandmother from the Bronx “back when that was nothing to brag about” and she was doing a talk on alternative mediums within art.

What I thought that meant: telling us about unique sculpture materials and paint mixtures.

What that actually meant: an 84yo woman gingerly holding a beautifully beaded and embroidered dress (apparently from Ukraine and at least 200 years old) and, with tears in her eyes, showing how each individual thread was spun by hand and weaved into place on a cottage floor loom, with bright blue silk embroidery thread and hand-blown beads intricately piercing the work of other labor for days upon days, as the labor of a dozen talented people came together to make something so beautiful for a village girl’s wedding day.

What it also meant: in 1948, a young girl lived in a cramped tenement-like third floor apartment in Manhattan, with a father who had just joined them after not having been allowed to escape through Poland with his pregnant wife nine years earlier. She sits in her father’s lap and watches with wide, quiet eyes as her mother’s deft hands fly across fabric with bright blue silk thread (echoing hands from over a century years earlier). Thread that her mother had salvaged from white embroidery scraps at the tailor’s shop where she worked and spent the last few days carefully dying in the kitchen sink and drying on the roof.

The dress is in the traditional Hungarian fashion and is folded across her mother’s lap: her mother doesn’t had a pattern, but she doesn’t need one to make her daughter’s dress for the fifth grade dance. The dress would end up differing significantly from the pure white, petticoated first communion dresses worn by her daughter’s majority-Catholic classmates, but the young girl would love it all the more for its uniqueness and bright blue thread.

And now, that same young girl (and maybe also the villager from 19th century Ukraine) stands in front of us, trying not to clutch the old fabric too hard as her voice shakes with the emotion of all the love and humanity that is poured into the labor of art. The village girl and the girl in the Bronx were very different people: different centuries, different religions, different ages, and different continents. But the love in the stitches and beads on their dresses was the same. And she tells us that when we look at the labor of art, we don’t just see the work to create that piece - we see the labor of our own creations and the creations of others for us, and the value in something so seemingly frivolous.

But, maybe more importantly, she says that we only admire this piece in a museum because it happened to survive the love of the wearer and those who owned it afterwards, but there have been quite literally billions of small, quiet works of art in billions of small, quiet homes all over the world, for millennia. That your grandmother’s quilt is used as a picnic blanket just as Van Gogh’s works hung in his poor friends’ hallways. That your father’s hand-painted model plane sets are displayed in your parents’ livingroom as Grecian vases are displayed in museums. That your older sister’s engineering drawings in a steady, fine-lined hand are akin to Da Vinci’s scribbles of flying machines.

I don’t think there’s any dramatic conclusions to be drawn from these thoughts - they’ve been echoed by thousands of other people across the centuries. However, if you ever feel bad for spending all of your time sewing, knitting, drawing, building lego sets, or whatever else - especially if you feel like you have to somehow monetize or show off your work online to justify your labor - please know that there’s an 84yo museum docent in the Bronx who would cry simply at the thought of you spending so much effort to quietly create something that’s beautiful to you.

[unchicodisperso]

People said that Tumblr isn't a great place to post original art that isn't fanart, but I'm doing it anyway because I haven't got the motivation to draw anything else

Happy pride month lads! 🧡💛🤍💙

from an aroace potato :)

[unchicodisperso]

Review: Twelve Caesars: Images of Power from the Ancient World to the Modern, by Mary Beard

A good book for anyone interested in art history, historical propaganda, or in our responses to it. Mary Beard is a strong writer as always: clear, grounded, and brings the past to life without sensationalizing it. I think she did an especially good job of acknowledging the role of art in propaganda and issues of racism, sexism and imperialism, without being preachy or condescending. It reads as if she trusts you to be an intelligent and caring person who is ready to move beyond "social justice 101."

I love politics, but I admit Beard made the right choice by only mentioning it briefly, to give context for each artwork featured. You don't need to know any history before reading this book. You don't need art theory, either - she skips talking about artistic techniques like composition, linework, and color. Instead, her focus is on how people react to art and use it for their own purposes. It's about the role that images of Suetonius' twelve Caesars have played in European culture.

I particularly liked that she explores a variety of media, from coins to teacups to book bindings, as well as the usual busts and paintings. She even steps out of the aristocrats' homes into middle-class kitsch and raunchy pamphlets. The chapter focusing on imperial women was also very good.

I would have liked to see more Roman art of ordinary people, and of art about Romans made after 1900. There's also no discussion of how the Papal States, Holy Roman Empire, and Byzantines used images of the Caesars for their own political ends, either. But these are huge topics worthy of books in themselves, so I can accept Beard didn't have room for everything.

I learned that western cultures can't really separate our art from Roman influence. It's often very subtle, but our ideas of "What makes a good portrait?" are shaped by how Renaissance artists borrowed Roman postures, gestures, and realistic features. If an English speaker points at an abstract sculpture and says, "That's not real art," his assumptions about what art is likely derive from this tradition. And European pseudosciences like phrenology and physiognomy were partly inspired by studying Roman portraits, and feed into modern ideas of biological racism and discrimination against the unattractive and disabled.

I also came to realize that celebratory and contemptuous portrayals of the Romans can both represent at reactionary ideology. A prejudiced person could either glorify Rome to pretend that modern society is degenerate in comparison, or he could claim we're degenerate just like the Romans and thus doomed to "fall" like the Roman empire did. I suspect prejudice against modern pagans has also been encouraged by centuries of art portraying Roman pagans as cruel, corrupt, and lascivious.

Anyway. If you want to better understand the relationship between art and the people who make, view, and buy it, check this book out.

[unchicodisperso]

“Ci sono fotografi che pensano in termini di "doppia pagina", "copertina", "orizzontale", "verticale". Non mi interessano (…), non li voglio frequentare anche se riconosco che sanno come commuoverti, come fare le foto. Ma io preferisco i fotografi che vanno, incontrano, escono.

In una scuola o un'accademia di fotografia e pubblicità, o qualcosa del genere, ho chiesto ai ragazzi di dirmi il nome di un fotografo o di una fotografa che gli piaceva. Silenzio assoluto. Va be', cito Koudelka, Cartier-Bresson, oppure Berengo Gardin, Ugo Mulas, per parlare degli italiani... Niente. Dico: "Ragazzi, ma avete mai sentito parlare di Pier Paolo Pasolini?". Giuro, hanno risposto "No". Gli insegnanti non gliene avevano mai parlato! Questi ragazzi sono letteralmente "vuoti". Ho chiesto loro: "Ma allora cosa studiate, di fotografia?". "La tecnica". Che è il peggio che si possa insegnare, perché ormai la tecnica non esiste più: fai degli scatti, e basta. Mentre il linguaggio, la trasmissione, il racconto, il documento, l'invenzione... niente!

lo sono sempre stata fortemente ancorata nel presente. La fotografia bella ed elegante mi interessa, mi piace, ma mi interessa di più quando racconta e denuncia lo stato delle cose. La resistenza la si fa anche con le piccole cose, come una mostra, un dibattito... (...) Non è che mi metto lì a fotografare i trulli di Alberobello, no, io fotografo quello che mi è vicino, che mi interessa, che mi coinvolge. Qualcosa da difendere, da amare, da apprezzare, da odiare..."

Letizia Battaglia - Volare alto volare basso: Conversazioni, ricordi e invettive.

[unchicodisperso]

The problem with "I could do [X popular modern art piece]" being responded to with "then go ahead and do it!" is that I think the point that a lot of people are making is not so much "this artwork has no value" but rather "modern popular art is a heavily gatekept industry that you cannot enter into without requisite pre-existing social cachet".

So even if someone is technically/artistically able to create something on the level of a gallery piece (and, to be honest, I think substantially more people have that ability than anyone would be likely to admit) they do not exist in an environment where they have the financial freedom or recognition for that to be possible or worthwhile.

I assure you that there are millions of people who absolutely could and would want to make Pollock style abstract paintings or giant time-consuming sculptures made with garbage or whatever, but they're currently stuck in a low wage job and if they quit in order to make their masterpiece then nobody would bat an eye and they would go broke because they wouldn't have the sociocultural weight to impart that special numinous reverence that "high art" is granted, and which makes it financially viable as a thing to spend your time doing.

It is also true that a lot of people who have that cachet are able to spend their time making pretty much whatever, and will still be able to support themselves even if the art itself is fairly mediocre outside of the time dedicated to its creation.

Anyway, I feel that people are perfectly valid in feeling a sense of vague resentment at that when they visit galleries holding paint/canvas combinations that sell for more than they will earn in several years. I mean it speaks to what society is implying about their worth as a person. I don't think that it's as much about arrogance and entitlement as people like to pretend, because a lot of that comes from buying into the mystique of the Worthy Artist anyway.

[unchicodisperso]

Art by Alariko

[unchicodisperso]

Writing Tips For You (as if I don’t currently have insane writer’s block)

-Can’t start a scene? Write the setting instead. What is the lighting like? Is this place comfortable? Is it familiar or not? What should you point out now so it doesn’t suddenly appear when it becomes important for the characters? SET! YOUR! STAGE!

-Everyone says “show, don’t tell”. I like to think of that as “what are your character’s physical reactions? What are they feeling?” You can say “Character looked dismayed”, or you can say “Character grimaced with dismay.” See the difference?

-Struggling with dialogue? Talk to yourself while you’re writing. You might be blocking yourself if you subconsciously think some dialogue feels unnatural.

-Context, context, context! This applies to everything from the small interactions to the big plots. Every force has an equal and opposite reaction, allow interactions and events to grow as such.

-Context, context, context pt 2! But worldbuilding! If your character is performing an act, how does that fit into the physical reality they already exist in? How is it possible? Can you imply (imply, not explain) that these things are commonplace or why they wouldn’t be?

-Build the action. (Stealing this from theater class like twelve years ago.) You can’t just put a character into the scene and say ‘they made a sandwhich’. What has to happen for the sandwhich to be made? Your character has to walk into the kitchen, open the cupboard, get out a plate, get out the jam and peanut butter, get out a plate, get out the knives, open the fridge, get out the bread, close the fridge, open the bread bag, lay down two slices of bread on the plate, close the bag, open the first jar, pick up the first knife, scoop up the jam, slather it on the bread, put the knife down, close the first jar- and so on and so forth. Every small step is necessary for you to understand, and to engage your readers. You don’t have to go into ridiculous detail like I just did, but even understanding that for yourself.

-See above, but it’s not a scene and a sandwhich. The scene is your whole story and the sandwhich is your plot. What small steps MUST happen to reach the climax? Does changing one of those small steps change the result? How?

-Emotions are best portrayed when you have experienced them or can get insight from those who have experienced them. Let yourself get emotional in a scene. Allow yourself to be empathetic and vicariously experience what your characters are.

-Reread your own work! Your writing style and characterizations can change over time, but if you feel like you’re losing them, don’t be afraid to look at where you started to ground yourself!

-Proofread your own work 2-12 hours after you finish a section! Not while you’re writing! Don’t let yourself get carried away with writing things ‘right’, just get the ideas out.

-Have a friend or volunteer proofread for you too! This can help pick out things you repeatedly say, words you might misuse, grammar and punctuation that might need correction, and phrases that are hard to digest or don’t make sense.

-Make sure you’re making an effort to use regionally/era specific words and slang both in dialogue and in your writing. There are plenty of websites and videos online that list and discuss regional and era slang worldwide. Not to mention, we can connect with people all over the world using the web just to ask! Using incorrect phrases can really break immersion and make characters feel- well, out of character! I.E. an 80s jock saying ‘dope bruh’, American characters (generally) saying ‘lift’ instead of ‘elevator’, so on and so forth.

-Research research research! Research bloodloss limits, research how laws and jobs operate in different regions and countries, research weirdly specific myths and biblical themes, research as much as you can! You can only build a richer environment to write in!

-If you actively want to implement themes, allow them to reflect the experiences of your character. Example character is an Italian American who was orphaned at 13 after his orthodox Catholic parents died, he has been in and out of foster care his whole life, and the moment he got out his military job became strict and he allowed himself to be blackmailed to protect a child in a similar position. This has plenty of fun themes and symbolisms, like sacrifice, fate, lack of control, love, losing autonomy, etc, all of which can be framed under the impactful history of his Catholic childhood. This evokes the imagery of farm animals, servitude, animal tags/dog tags, holy spaces being used for other purposes. Play with it!

-Build three base playlists! One for your overarching story, one for songs that remind you of the main character and their story arc, and one for how you feel when you’re writing/songs that weirdly remind you of your story. You can cycle through these to help get into your mood.

-Consume other media! If all you do is focus on writing, you WILL lose steam and inspiration. Don’t be afraid to watch new shows, read new books, look at more artwork, read more poems, listen to more music. You might get a flicker of inspiration for themes, motives and ideas, and you’ll continue to fill yourself instead of dumping your focus out on your writing.

-Understand how each major character thinks and instinctively reacts to things. Some characters can stay calm, but others might instinctively react to things ‘angrily’, others might try to run away. This is an easy way to figure out character flaws and impliment easy conflicts.

And last but not least:

-Take breaks! Don’t worry about forcing yourself to keep a posting schedule (unless you’re being paid. I’m not. I’m doing this shit for free and for funsies) if all you do is spend all your time worrying about your writing, you won’t be able to relax your brain. Spend time with friends, play games, go outside!

I hope this helps!

[unchicodisperso]

Excersizes for fighting art block ✨

P.S. these work best for people more focused on character design

1: no-pressure DTIYS

go on a social media page (I like Pinterest the best) and try to find a simple non-competitive DTIYS that you like. I usually find random sketches

2: the emoji combo challenge

Randomly or have a friend pick out 3 or 5 (or any number) of emojis, and try to make a character while incorporating all the emoji motifs!

3: the cursed Pinterest method

I stole this one from PricklyAlpaca on YT— just go on Pinterest and find some image you enjoy. Whether it be cursed, cute, or just strange or random, try and make a character out of it

4: the basic technique

try different mediums. I know you might have heard this one before, but I found that, as a digital artist, just sketching on paper and working with different pencils and pens really helps me enjoy my art more. Especially when it’s a big doodle page, so once you start you’re not intimidated by a blank canvas.

5: the inking method

I saw this somewhere but I don’t remember who said it— when doing traditional doodles, don’t sketch with a pencil. Go in with the ink. You spend less time erasing and more time drawing that way. Also, I like to cover up mistakes with post-its and redraw it

Reminders:

You don’t have to clean your sketch’s unless you want to

you don’t have to do inking unless you want to

you don’t have to color or render unless you want to

you don’t have to do ANYTHING unless YOU want to!

Also:

Art block and burnout are not the same thing, these are methods for dealing with the former. Art block is the lack of ideas and motivation, burnout is the fatigue from creating too much. If you’re experiencing burnout, let yourself rest, don’t force yourself to draw.

EDIT: the last tip is from @/heikala

[unchicodisperso]

Falling Through Dreams.