#abstract expressionism art defi

[artmialma]

Daniel E. Greene PSA, NA, AWS (1934 – 2020)  American

Nude With Blue Cup

Greene studied at the Art Academy of Cincinnati and in New York with Robert Brackman at the Art Students League. 

There he defied the prevalence of Abstract Expressionism to embark on a career as a realist painter, with an emphasis on narrative figure compositions. He taught painting and drawing at the Art Students League and the National Academy of Design from the 1960s to the 1980s.

[sophieteas]

Sophie Tea: A Rising Star in the Contemporary Art Scen

Sophie Tea's journey from a budding artist to a celebrated sensation in the contemporary art scene is nothing short of inspiring. Her vibrant pieces, characterized by bold strokes and vivid colors, have captured the imagination of art lovers worldwide. Let's embark on a journey to discover the essence of Sophie Tea's artistic prowess and the impact she's making in the realm of modern art.

The Beginnings

Born and raised in [insert birthplace], Sophie Tea discovered her passion for art at an early age. With a paintbrush in hand and boundless imagination, she began to weave her dreams onto canvas. Despite facing initial skepticism, Sophie remained undeterred, fueled by her unwavering determination to pursue her artistic aspirations.

Unconventional Style

Sophie Tea's artistic style defies conventions, embracing a fusion of abstract expressionism and contemporary techniques. Her fearless approach to experimentation breathes life into her creations, each piece bearing the hallmark of her unique vision. Through a symphony of colors and textures, Sophie invites viewers into a world where boundaries blur, and imagination takes flight.

You Can Read Also : The Artistic Journey of Sophie Tea: A Modern Creative Innovator

Inspirations

Drawing inspiration from the world around her, Sophie Tea finds beauty in the mundane and the extraordinary alike. Whether it's the vibrant hues of a sunset or the intricate patterns of nature, Sophie's art reflects the kaleidoscope of experiences that shape her worldview. Her ability to infuse emotion into every brushstroke resonates deeply with audiences, forging an intimate connection that transcends boundaries.

Breaking Barriers

As a female artist in a male-dominated industry, Sophie Tea has faced her share of challenges. Yet, she refuses to be confined by stereotypes or limitations, blazing a trail for aspiring artists everywhere. Through her resilience and determination, Sophie has shattered glass ceilings, proving that talent knows no gender.

Connecting with Fans

Central to Sophie Tea's success is her ability to connect with her audience on a personal level. Through social media platforms and intimate gallery exhibitions, she invites fans into her creative process, offering glimpses behind the curtain. This sense of accessibility fosters a loyal community of supporters who champion her artistry and celebrate her achievements.

Social Media Presence

With a strong presence on platforms like Instagram and TikTok, Sophie Tea leverages the power of social media to amplify her voice and reach a global audience. Through captivating visuals and engaging content, she shares snippets of her artistic journey, inviting followers to embark on the adventure alongside her. This digital landscape serves as a canvas for Sophie to showcase her artistry and connect with fans in real-time.

Art as Empowerment

Beyond aesthetics, Sophie Tea views art as a powerful tool for empowerment and social change. Through initiatives like charity auctions and collaborative projects, she harnesses the transformative potential of art to effect positive impact in the world. Whether raising awareness for important causes or inspiring others to pursue their passions, Sophie's art transcends the confines of the gallery, sparking meaningful conversations and driving meaningful change.

Collaborations

Sophie Tea's collaborative spirit extends beyond the confines of her studio, as she partners with brands and fellow artists to create immersive experiences that push the boundaries of creativity. From exclusive merchandise collections to joint exhibitions, these collaborations serve as platforms for artistic experimentation and exploration. By embracing collaboration, Sophie continues to expand her horizons and inspire others to do the same.

Future Prospects

As Sophie Tea continues to evolve as an artist, the future brims with endless possibilities. With each new creation, she pushes the boundaries of her craft, exploring new mediums and techniques that captivate the imagination. Whether through solo exhibitions or innovative digital projects, Sophie's journey promises to be an exhilarating odyssey of artistic discovery and self-expression.

Conclusion

In a world hungry for creativity and inspiration, Sophie Tea emerges as a beacon of hope and possibility. Her unwavering passion, coupled with her fearless pursuit of artistic excellence, serves as a testament to the transformative power of art. As we bid farewell to this exploration of Sophie's journey, let us carry forward the spirit of creativity and innovation that she so beautifully embodies.

[articledude]

Exploring the Artistic Realm of JeffStollBlueKatArt's Diverse Collection

Unveiling JeffStollBlueKatArt: A Confluence of Creativity

JeffStollBlueKatArt stands as a beacon in the vast ocean of artistic expression. Nestled within its digital corridors lies a treasure trove of creativity waiting to be explored. With a diverse collection spanning various mediums and themes, JeffStollBlueKatArt transcends conventional boundaries, inviting visitors to embark on a journey through the boundless realm of artistry.

The Mastermind Behind the Canvas: Jeff Stoll

At the helm of JeffStollBlueKatArt is the visionary artist himself, Jeff Stoll. With an innate passion for creativity and a keen eye for detail, Jeff infuses each piece with a unique essence, captivating audiences worldwide. His eclectic style defies categorization, weaving together elements of surrealism, abstract expressionism, and contemporary art into a harmonious tapestry of visual delight.

Diving into the Collection: A Multifaceted Experience

Step into the virtual gallery of JeffStollBlueKatArt, and you'll find yourself immersed in a kaleidoscope of colors, shapes, and emotions. From striking acrylic paintings to intricately crafted sculptures, each work bears the unmistakable imprint of Jeff's artistic prowess.

Exploring Themes and Motifs

unique prints transcends the confines of conventional art, delving into a myriad of themes and motifs that resonate with the human experience. From introspective explorations of identity to whimsical interpretations of nature's wonders, every piece tells a story, inviting viewers to ponder and reflect.

Celebrating Diversity: Mediums and Techniques

One of the hallmarks of JeffStollBlueKatArt is its embrace of diversity in mediums and techniques. From traditional canvas paintings to digital illustrations, Jeff fearlessly pushes the boundaries of artistic expression, experimenting with new tools and technologies to bring his vision to life.

The Journey Continues: Engaging with the Audience

Beyond the confines of the gallery, JeffStollBlueKatArt fosters a vibrant community of art enthusiasts and aficionados. Through interactive workshops, live demonstrations, and virtual exhibitions, Jeff invites audiences to engage with his work on a deeper level, fostering dialogue and connection in a digital age.

Conclusion: A Testament to Creativity and Innovation

In conclusion, JeffStollBlueKatArt stands as a testament to the enduring power of creativity and innovation. Through his diverse collection and unwavering commitment to artistic expression, Jeff Stoll invites us to explore the depths of our imagination and embrace the beauty of the human spirit.

[anibalglez]

Alice Kneel, Willem de Kooning & Lucian Freud

Alice Kneel was a painter that focused on capturing live in the way of painting portrait of people which for her was what mattered the most. People often get shocked by the authenticity of her portraits and how you could see the feeling and expressions of the persons she drew.

Willem de Kooning was a painter that defied abstract expressionism. His painting changed from “quiet and serene” to “turbulent” where he used bigger mix of colors and more abstract lines.

Lucian Freud was an artist that specialized in figurative art mixing both realism with abstract paintings and highlighted the imperfections of each portrait.

All of these painters focused in the lives that surrounded them such as partners and friends which gave them step into rediscovering their own way of painting

My favorite painter was Lucian Freud because I see it as the perfect combination of Willem de Kooning’s abstract portraits and mix of colors with the realism, authenticity, and expressions that Alice Kneel had.

[nikographyart]

The Intersection of Expressionism in Modern Fashion and Home Wall Decoration

Introduction: Art, in its myriad forms, has always been a reflection of society’s emotions and desires. One such artistic movement that emerged during the early 20th century is Expressionism. With its bold and emotive brushstrokes, Expressionist art aimed to capture the inner complexities of human emotions. In today’s modern world, we witness how various art movements influence different aspects of our lives, including fashion and home decoration trends. This essay delves into the incorporation of Expressionism into contemporary fashion choices and explores how it has found its place in innovative frame wallpapers for TVs, monitors, homes, offices, and bars.

Expressionism in Fashion: Fashion has long been regarded as a means of self-expression. It serves as a canvas upon which individuals showcase their personalities and unique identities to the world. Drawing inspiration from Expressionist art techniques allows designers to infuse garments with vibrant colors, exaggerated silhouettes, asymmetrical shapes, and chaotic patterns.

Expressionist fashion encourages individuals to embrace their innermost feelings through clothing choices that defy societal norms. These designs often evoke strong emotional responses by challenging conventional aesthetics with avant-garde concepts. From runway shows featuring abstract prints reminiscent of Edvard Munch’s “The Scream” to garments adorned with unconventional textures emulating Ernst Ludwig Kirchner’s expressive brushwork — expressionistic influences can now be seen on global catwalks.

Home Decoration Meets Expressive Brushstrokes: The desire to create visually stimulating spaces within our homes has led interior designers to experiment with diverse artistic styles like Expressionism when it comes to home decoration trends. Embracing these abstract forms adds depth and character to living spaces while evoking emotional connections between inhabitants and their surroundings.

One notable trend inspired by Expressionism is the use of bold color palettes reminiscent of artists like Wassily Kandinsky or Franz Marc who employed vivid hues to convey intense emotions. From vibrant reds symbolizing love and passion to deep blues representing tranquility, these expressive colors find their place on walls, furniture, and decorative accents.

Another way Expressionism is manifesting in modern home decoration is through the integration of abstract forms and patterns. Furniture pieces adorned with dynamic brushstroke-like designs or wallpapers featuring distorted figures echo the unrestrained energy found within Expressionist artworks. By incorporating these elements into interior design, homeowners can imbue their spaces with a sense of artistic freedom and self-expression.

Frame Wallpaper: A New Canvas for Expressionism: The rapid advancements in technology have revolutionized how we consume media, leading to a rise in the use of televisions and monitors not just for entertainment but also as design focal points within homes, offices, and bars. To elevate the visual experience further, frame wallpapers have emerged as a popular choice for enhancing these screens’ aesthetics while paying homage to various art movements like Expressionism.

By selecting frame wallpapers inspired by Expressionist art styles, individuals can transform their screens into captivating works of art. These wallpapers often feature bold brushstrokes, exaggerated shapes reminiscent of human figures or landscapes found in famous expressionistic paintings. This fusion between technology and art allows users to immerse themselves in visually stimulating environments that go beyond mere functionality.

Conclusion: Expressionism’s influence extends far beyond traditional canvas boundaries; it has permeated contemporary fashion choices and innovative approaches to home decor seamlessly. By integrating elements from one of history’s most influential art movements into our daily lives — be it through expressive fashion statements or thoughtfully designed living spaces adorned with abstract motifs — we embrace individuality while indulging in the rich tapestry of human emotions depicted by expressionistic masterpieces. As we continue evolving creatively alongside technological advancements like frame wallpapers for TVs and monitors, let us celebrate the harmonious union between past artistic endeavours and modern trends that enhance our surroundings aesthetically while allowing us to connect with our innermost selves.

The article uses author paintings images from NikoGraph’s Etsy Shop

[10slash12]

Elevate Your Space with Captivating Artworks by 10Slash

Art has the power to enrich our lives, evoke emotions, and transform the spaces we inhabit. At 10Slash, we believe that art is not just an object; it's an experience. With our curated collection of artworks, we invite you to embark on a journey of aesthetic delight and creative expression. From thought-provoking paintings to awe-inspiring sculptures, our diverse range of artistic creations offers something for every art enthusiast. Let 10Slash be your gateway to a world of captivating artworks that breathe life into your space.

Section 1: Unveiling the Essence of Art

Artworks are more than mere decorations; they tell stories, ignite imaginations, and reflect the essence of the human experience. At 10Slash, we curate a collection that celebrates the power and diversity of artistic expression. Our artworks encompass a wide range of styles, mediums, and genres, ensuring that every individual can find pieces that resonate with their unique taste and aesthetic vision.

Section 2: Contemporary Masterpieces

In a rapidly evolving world, contemporary art captures the spirit of the present moment. 10Slash features an impressive selection of contemporary masterpieces crafted by renowned artists pushing the boundaries of artistic expression. From bold abstract compositions to thought-provoking conceptual pieces, our contemporary artworks will infuse your space with a fresh, modern energy and become captivating focal points that ignite conversations.

Section 3: Timeless Classics

The allure of timeless classics never fades. Our collection includes exquisite artworks that have stood the test of time, preserving the beauty and legacy of artistic traditions. With paintings that evoke the elegance of the Renaissance, the vibrancy of Impressionism, and the emotion of Expressionism, our timeless classics bring a touch of sophistication and cultural richness to any environment.

Section 4: Sculptures that Transcend Dimensions

Sculptures have a unique ability to engage viewers in a tactile and three-dimensional experience. At 10Slash, we offer an array of sculptural artworks that defy conventions, featuring captivating forms, textures, and materials. From bronze and marble masterpieces to contemporary mixed media sculptures, our collection will add depth, intrigue, and a sense of physical presence to your space.

Section 5: Customization and Expert Guidance

At 10Slash, we understand that art is deeply personal, and finding the perfect artwork can be a transformative experience. That's why our team of art experts is here to guide you through the selection process, offering personalized advice and recommendations tailored to your preferences and space. Additionally, we provide customization options, allowing you to commission unique artworks that perfectly align with your vision, ensuring a truly one-of-a-kind masterpiece.

Conclusion:

Experience the magic of art with 10Slash's captivating collection of artworks. From contemporary marvels that push boundaries to timeless classics that embody cultural heritage, our diverse range of paintings, sculptures, and mixed media creations will elevate your space and inspire your soul. Immerse yourself in the world of artistic expression, guided by our expert team, and discover the perfect artwork that resonates with your aesthetic sensibilities. Explore the transformative power of art with 10Slash today and let creativity adorn your space in mesmerizing ways.

[rabbitcruiser]

Public Art in Bilbao (No. 2)

Jeff Koons rose to prominence in the mid-1980s as part of a generation of artists who explored the meaning of art in a media-saturated era and the attendant crisis of representation. With his stated artistic intention to “communicate with the masses,” Koons draws from the visual language of advertising, marketing, and the entertainment industry. Testing the limits between popular and elite culture, his sculptural menagerie includes Plexiglas-encased Hoover vacuum cleaners, basketballs suspended in glass aquariums, photographs of himself coupled with his then-wife Ilona Staller, also known as La Cicciolina (former adult-film star and member of Italian parliament), and porcelain homages to Michael Jackson and the Pink Panther. In extending the lineage of Dada and Marcel Duchamp, and integrating references to Minimalism and Pop, Koons stages art as a commodity that cannot be placed within the hierarchy of conventional aesthetics. Koons’s series Easyfun-Ethereal foregrounds happy-face deli sandwiches, spiraling roller-coaster rides, and windswept hair all set against sublime landscapes. The artist combines familiar yet unrelated images to create collagelike paintings rendered with photorealist perfection. These works recall the advertising iconography and billboard-style painting technique present in James Rosenquist‘s canvases. Koons’s new brand of Pop painting cleverly engages other art-historical references, in particular Surrealism and Abstract Expressionism. Sandwiches, for example, is a disjunctive, free-floating fantasy. The collage of animated deli-meats, the turkey made of ice cream, and the cartoon eye and moustache recall the free-associative visual games of Salvador Dalí, Max Ernst, and René Magritte, while the background streams and splashes of milk echo the abstractions of Jackson Pollock. Koons’s fusion of Pop representations with Surrealist and abstract overtones creates a hybrid of fun and fantasy, yielding a body of work that depicts gravity-defying forms of dreamlike pleasure.

In Puppy, Koons engages both past and present, employing sophisticated computer modeling while referencing the 18th-century formal garden. A behemoth West Highland terrier carpeted in bedding plants, Puppy combines the most saccharine of iconography—flowers and puppies—in a monument to the sentimental. Its size—seemingly out-of-control (it is both literally and figuratively still growing) but carefully constructed and tightly contained—can be read as an analogue of contemporary culture. Dignified and stalwart, this work fills us with awe, and even joy, while standing guard at the Guggenheim Museum Bilbao. In keeping with themes in his past work, Koons has, by combining elite references (topiary and dog breeding) with those of the masses (Chia Pets and Hallmark greeting cards), designed this public sculpture to relentlessly entice, to create optimism, and to instill, in his own words, “confidence and security.

Source

[homedecor-shop-online]

5 essential modern art painting styles everyone must know

Introduction

Modern art painting is a broad term that refers to the creative movements and styles that evolved in the late nineteenth and early twentieth centuries, which were distinguished by a rejection of old artistic conventions and a concentration on experimentation, creativity, and personal expression.

Modern art painting spans a vast range of styles, techniques, and mediums, ranging from Impressionism and Cubism to Abstract Expressionism and Pop Art, representing the diverse and fast-changing world of the twentieth century. Painting in modern art pushed the boundaries of what was considered "art" and who could create it, creating new avenues for artistic expression and cultural interchange.

Abstract art: Abstract art is a type of visual expression in which colours, shapes, and textures are used to produce a non-representational image. It's like a visual symphony that captures the attention of the viewer and urges them to join in on the creative process. Abstract art can evoke emotions, conjure memories, and inspire new ideas while challenging traditional artistic standards.

Pop art: Pop art is a modern art style that arose in the 1950s and 1960s and is distinguished by the use of bright colours, graphic patterns, and imagery from popular culture, such as comic books, ads, and consumer products. Pop art highlighted common items and experiences, defying established notions of what art should be and who it should appeal to. Pop art's irreverent and joyful character continues to inspire contemporary art and design today.

Postmodern art: Postmodernism is a late-twentieth-century art movement that challenged traditional definitions and traditions of art. Postmodern art is characterised by a wide range of styles, techniques, and mediums that often combine parts from different times in history and different cultures.

Postmodern artists reject the concept of objective truth or universal narrative in favour of a diversity of opinions and ideas. Irony, parody, and satire are frequently used to criticise established institutions and power systems while also enjoying popular culture and everyday experiences. Postmodern art can be both playful and provocative, reflecting current society's complexity and fragmentation.

Surrealism art: Surrealism is a subgenre of modern art painting that arose in the 1920s and 1930s and is distinguished by surreal and magical imagery that questions established concepts of reality and rationality. Surrealist painters aimed to investigate the world of dreams by tapping into the subconscious mind and adding weird and unexpected juxtapositions of items and figures to generate a sense of disorientation and surprise.

Several of their works contain symbolic and allegorical elements, as they were influenced by Freudian psychoanalysis and the study of the human mind. Surrealism is noted for its vivid and often disturbing imagery, which can be both playful and scary, and has left an indelible mark on the art world and popular culture.

Expressionism art: Expressionism is a style of modern art painting that arose in the early twentieth century and is distinguished by the use of bright colours, powerful brushstrokes, and emotional intensity to communicate a subjective and personal image of the world. Expressionist artists used their paintings to represent their inner feelings and experiences, frequently distorting reality and employing abstract forms to convey a sense of emotion and turmoil.

They abandoned conventional concepts of beauty and realism in favour of a more raw and spontaneous approach to painting. Expressionism is noted for its vivid and often disturbing imagery, which can be very personal as well as universal in appeal.

Top modern art paintings you can buy from Satguru’s

Satguru’s is a well-known decor shop based in Mumbai. They have an amazing collection of paintings, both traditional Indian paintings and modern art paintings, that can elevate the beauty of your house.

Red Abstract Small: This painting is filled with beautiful colours and is sure to add life to your space. It can be the perfect painting for your living room or your office cabin.

Abstract 7 horses: A feng shui lucky seven horses image in your home is thought to ensure financial stability in your life. And having it in your office guarantees job advancement as well as company success.

Abstract Cut Painting: This gorgeous abstract artwork is sure to add colour and energy to your home, and it provides a touch of contemporary style with attractive geometric figures.

Men in Line: This piece is mostly figurative, with a single centre person taking up the full canvas. It also incorporates subtle textures, lending this artwork a distinct appeal. It can be the perfect handmade painting for your living room.

Conclusion

Modern art painting is not bound by any rules and continues to evolve to this day. Modern art painting has had a major impact on how we view and understand art since it has questioned traditional beauty and realism standards. While modern art painting has received criticism and controversy, it has provided artists with new avenues to explore and express themselves. Overall, modern art painting continues to be a strong and dynamic force in the art world, inspiring, challenging, and provoking new ways of thinking about art and creativity.

At Satguru’s there is something for every occasion. You can buy dinnerware, wall art, god idols, and home decor items. Visit their website to learn more about their services.

[caitlynmatthewsmaart]

Carolee Schneemann “Body Politics” Exhibition London

In December 2022 I was fortunate enough to attend the “Body Politics” exhibition in London featuring Carolee Schneemanns collection of work. This was the first landmark monographic exhibition since Schneemanns death in 2019.

Carolee Schneemann paved the way with her provocative art, which defies classification. She experimented with paint, found objects, her own body, text, performance, film, and expansive multimedia installations over the course of six decades, from the late 1950s until her death in 2019. She used these varied mediums to examine her own sexual expression as well as the objectification and oppression of women. interactions between humans and animals, the harm caused by Western military intervention, and more.

Schneemann courageously confronted enduring taboos in the world around her because for her, the personal was political. The exhibition recounts the extraordinary life and creative output of a woman artist who is still regarded as a feminist icon and a point off inspiration for many modern artists and philosophers.

Schneemann was involved in a broad-minded form of body politics; she sought to refute the constrictive notion that the body and the thought were separate. She began with the sensory experience of her own body, but she never considered it in isolation. Instead, she saw how closely connected her body was to both its environment and the bodies of others, whether they were in close proximity or not (for example, those experiencing the brutal effects of war).

She was aware of the exploitation that historically defined and restricted the lives and bodies of women, and she opposed it. She pushed for sexual autonomy, asserted her agency as an image maker, questioned historical depictions of women as being harmful, looked for "missing precedents," and addressed taboos around menstruation. Schneemann, however, was not simply interested in the particulars of being a woman; in her writing from the 1970s, she also considered the advantages of using neutral terminology as opposed to gendered ones. Additionally, her body politics critiqued the violence of (patriarchal) militarism and engaged with the misuse of power in international conflicts.

The exhibition begins with some of Schneemann's first painting experiments, during which time she struggled with the heritage of Abstract Expressionism and developed her own unique aesthetic. When Schneemann wanted to go beyond the constraints of the canvas, he started creating kinetic sculptures and sculptural assemblages that included bits of ordinary life and expanded to the size of stage sets.

These settings provided the first backdrop for her groundbreaking performances, which directly addressed both the misogyny she had personally experienced and the historical oppression of women. She used her own body as a medium in these performances. Schneemann has created a number of ground-breaking group performances in addition to these solo pieces. The artist responded to the uniqueness of her collaborators in these works of "kinetic theatre," which incorporate intricate movement scores, sets, lighting, sound, and technical innovations. She treated their bodies as a "physical palette."

Through her video work, she created a new experimental vocabulary by exploring sexual desire, subverting the male perspective, and drawing inspiration from her interactions with both people and other animals, particularly cats. The last part of the exhibition is devoted to a collection of motion pictures and multi-sensory immersive installations that explore the precariousness of life and the politics of human suffering in the context of the Vietnam War, the Lebanese Civil War, 9/11, and Schneemann's battle with cancer. Archival information enhances the book and sheds light on Schneemann's life and creative process.

A key example of the artists use of her body as a studio is her work is “Body collage”. “Body Collage” was staged at the artist's studio as a 'movement event' with the hope to discover an image which would carry the visual metaphor of the performance. Schneemann covered her naked body in wallpaper paste and molasses before scurrying through shreds of torn paper. When she fell, the momentum of her movements caused the paper to adhere to her body in unanticipated shapes and proportions.

When taking into consideration this idea of the body being the studio, we can see that Schneemann is doing this. If the dictionary definition of “the studio” being “a place where an artist, photographer, sculptor, etc. creates works” But then contrasting that with the literature review “The Function of the Studio” essay we have an understanding that the ‘studio’ isn’t limited to a ‘room’. If the artists body is used to make the work, where the work is made and is the work, can we then consider the body the studio? The answer is yes.

[cryptoheard]

reluctant Pop Art pioneer and maker of outsize sculptures

reluctant Pop Art pioneer and maker of outsize sculptures

Claes Oldenburg defied the rules of Abstract Expressionism, making sculptures and sewn creations from materials found on the streets of New York. Eventually, he crafted ordinary objects on a grand public scale in the US and Europe but chafed when his colossal sculptures were called Pop Art as debates raged over whether they were monuments, municipal marketing or just monstrous. Oldenburg died at…

[xylo--phone]

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[longlistshort]

Blum & Poe in Los Angeles is currently showing two very different exhibitions. In the main gallery is a selected survey of work by Harvey Quaytman spanning three decades.

From the press release-

Harvey Quaytman (b. 1937, Rockaway, NY; d. 2002, New York, NY) came of age in the downtown art scene of 1960s New York, living and working in SoHo studios first on Grand Street and later at 231 Bowery, where he would remain through the late ’90s. Long considered an artist’s artist, the painter enjoyed a close-knit and vibrant artistic and social milieu, over the years sharing studio addresses with Brice Marden, Ron Gorchov, and James Rosenquist, among others. Quaytman’s emerging career as a young painter began in the heyday of Ab Ex with a marked allegiance to Gorky and de Kooning. This approach was slowly shed as the decade unfolded, as his work began to lean towards sculpture—compositions with curvilinear shaped canvases and rectilinear U-shaped bases that inhabited a newfound objecthood. This was followed by a forty-year engagement with geometric abstraction, his approach to painting in contradistinction to the prevailing trends of the era—first with Pop Art and later Neo Expressionism. Despite painting being declared “dead” by Minimalist and Conceptual artists of the time, Quaytman maintained a commitment to the medium and to his vision throughout, helping to shape an alternate trajectory for American painting.

The artist’s work in the ���70s developed into shield-like forms that balance on curved platforms, conjuring a motion that would result in a critic calling them “rocking rectangles”—the body of work later known simply as “rocker” paintings. These eccentrically shaped works were hand-crafted (he would steam and bend the wooden stretchers himself), and inherently related to movement—inspired by Islamic calligraphy, rocking chairs, and the flight patterns of airplanes and birds. His experiments with shape continued in the late ‘70s, and through the manipulation of geometric intersections and overlapping forms that all the while imply motion, a unique group of paintings resembling anchors or pendulums emerged. In the 1980s, Quaytman began his cruciform paintings, investigations of the cross shape not as emblem but as two meeting vectors; Constructivist, perpendicular geometric compositions that focused on the reduced palette of black, white, red, rusted iron, and metallic gold. While these paintings represented a stark departure from his previous work, Quaytman continued to pursue visual movement as he conjured an interplay of symmetry and asymmetry.

Many of the works become even more intriguing up close.  His use of different materials to achieve varying tones and textures makes them come alive.

The press release discusses a bit about his process in creating them-

As his paintings evolved in form and shape, variously touching upon Abstract Expressionism, Minimalism, Process Art, and Constructivism, Quaytman simultaneously developed a rigorous practice of experimentation with pigment. He was interested in the history, alchemy, and chromatic effects of color, seeking out unique tonalities at specialty stores at home and abroad, becoming a master of color and texture. He skillfully poured paint, spreading Rhoplex over canvas with broad wallpaper brushes after dusting it with pure pigment that settled in thick, unpredictable strata. He later flecked canvas with glass or iron filings and used additives such as marble dust in paint he always mixed himself. On this subject, he said: “It is very important to me to be reminded that I am not an alchemist but a man engaged in coded, layered conversation with my fellow man on what I hope to be (on another) level than words or music.”

On the second floor are Matt Johnson’s delightful sculptures whose familiar materials seem to defy gravity as they balance on each other in the compositions.

From the press release–

In an ever-expanding practice in search of the peculiar and the sublime, Johnson elevates the mundane to the exceptional. With a new body of work in carved and polychromed wood sculpture, Johnson depicts configurations of raw industrial materials from cinder block, brick, rebar, to traffic cones—permutations of information composed according to gravity, balance, and primitive instinct. A crude horse, a procession of block figures, cantilevered props, and fragile towers make reference to the concept of knowledge with small gestures—a lighter, a match book, a lightbulb, an atlas, and a monograph on Matisse. The doweled joints of glue and/or epoxy between bricks, blocks, and bars exist here not to defy gravity but to freeze balance and preserve delicate moments of experimental groupings. Like a still life, these works are organized information, like subatomic particles, atoms and elements, molecules and compounds, glued by gravity, and magnetic polarity, surfing in a sea of electrical conductivity.

Both of these exhibitions close 1/11/20.

[chocolateheal]

Why Is Everyone Talking About Abstract Expressionism? | abstract expressionism

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Vikash Jha, a abreast artisan based in the Greater New York area, will appearance paintings from his best contempo alternation of works, ‘Introspection’, at Clio Art Fair 2019, 550 West 29th Street, from March 7 to March 10. Clio Art Fair is a absolute art fair in the United States curated from an all-embracing alternative of artists. The fair will affection several of Vikash’s contempo works from the alternation ‘Introspection’ absorption on the affections evoked back the artisan starts to attending inward. These affections ambit from joy, happiness, sadness, satisfaction, hopefulness, hopelessness, openness, shyness, and to all the altered shades in-between.

For added advice and admission, amuse go to: www.clioartfair.com

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Born and brought up in eastern India, Vikash’s paintings are afflicted by the active colors and textures all-knowing in Indian cultural landscape, fabrics and daily-life. His paintings accept a flamboyant, ablaze yet absorbed style. Having lived in the U.S. for over a decade, his paintings present the western access of addition abutting with his inherent meditational and awkward charm. Skillful acceptance of adventurous besom and palette-knife strokes, appropriate use of alloyed mediums to actualize textures and visuals, and imaginatively acceptable use of ablaze and shuttle colors transforms Vikash’s abstruse paintings into joyful, animated and bent experiences.

“This alternation (Introspection) is acme of abounding such attentive imageries that I acquaintance and anticipate every time I abutting my eyes cerebration about my activity adventures in a acutely claimed way. It brings out a deluge of affections about consistently embodied and bidding in a absolute and ablaze way” – Vikash Jha

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Vikash was built-in in eastern India with all-encompassing cultural influence. The allure to the colors and adulation for painting came to him early-on in his life. The cultural access eventually aggressive him to alum in Accomplished Arts through a celebrated non-profit university affiliated program. Vikash additionally holds an MBA amount from a top academy in India and works in Financial Services industry. He has been a apprentice of accomplished arts all his activity and has experimented in assorted mediums – from baptize colors, acrylics and oil paints to charcoals, pastels and alloyed media throughout his apprentice and able activity that has taken him to New Delhi and the western accompaniment of Gujarat in India, Dubai in UAE and New York.

In contempo years his works accept been focused mostly on abstruse expressionism – with both avant-garde and post-modern/contemporary influences.

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Vikash has fatigued afflatus from the greats such as Vincent Van Gogh, Henry Matisse, Pablo Picasso, Andy Warhol, Jackson Pollock, Willem De Kooning, James Rosenquist, and Robert Rauschenberg and the brand and abounding Indian greats like S.H.Raza and V.S.Gaitonde as he is growing as an artisan and developing different appearance and acuteness of his own.

His paintings accept been apparent at assorted celebrated galleries and locations in New York City and New Jersey and additionally at Sotheby’s New York as allotment of AD ART SHOW 2018.

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To chase his art, amuse appointment – Instagram (AdvayaCreatives) and website www.VikashJha.com

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[thebethbits]

on beauty and art.

Marble busts. A clean, organized desk. Pastel colors, Baroque art. Listed, these items may not seem at first related, but they do in fact share a commonality: they are all different examples of aesthetics. Meaning: they are ideas, concepts, or items that all have a very specific appearance or style to them, that one may find enjoyable to experience. This could stem from the appearance of an object, to the history of it, the way it is made, or colored, or simply gleams in the light. The impact, or experience we receive from looking at one of these items or others, may have a certain aesthetic appeal to you, or others.

To grapple with the relationship between art and beauty is to grapple with how we go about seeing art, seeing the world. Asking the question what is art, what is beauty, can feel vulnerable. It tilts our worldview on an axis we aren’t always comfortable with. It questions how we view our reality, which can feel like standing on crumbling ground.

This is why, historically, “beautiful art” over the last few thousand years, before the nineteenth century, has meant objectivity. That beauty lies within the piece of art, in the harmony of its elements, the symmetry in its appearance, as well as the emotion expressed or conceived that made a piece beautiful. But this perspective changed in the nineteenth century, when Immanuel Kant and colleagues wrote that it is within judgement, within critique that beauty is found, relying on the subjectivity of the experience of art, as its audience, to find beauty. (Art Must Be Beautiful) This changed the game, leaning on audiences to find beauty rather than the objectivity of beauty from the art itself. Traditional western ideals have commonly attributed “beauty” to pieces that showcase incredible skill: landscapes, still life, portraits, where traditionalism and true-to-life, near-photographic styles, or examples of Realism, are favored.

The relationship of art and beauty dances on this line of objectivity and subjectivity. Some say that you cannot have one without the other, others saying that art can exist without having to be considered beautiful at all. In this argument, many bring up Marcel Duchamp’s Fountain. It is incredibly hard not to, the piece is incredibly controversial, and considers the arguments of beauty and art’s edges, the argument’s extremes. The title of Duchamp’s piece may remind one of the many majestic fountains from all over the world, with statues and architecture that is synonymous with traditional ideals of beauty. But the actuality of it is a little more every-day than, say, Florence’s Trevi Fountain.

Marcel Duchamp, Fountain, 1917, replica 1964. Tate.

Pieces along this narrative are defined as “anti-art,” or art that defies existing expectations of what art is supposed to be. (Anti-Art, Tate) Here is where the relationship between art and beauty splits, depending on your own view of the discussion. To some, a urinal brought into a gallery may be called art, but it isn’t beautiful. To others, the message of what the action of bringing a urinal into a gallery means, makes the piece beautiful. There is another group, to who a urinal could just be beautiful. The architecture of it, all slopes and curvature, may be considered beauty and worthy of being art in itself, whether it is being shown in a gallery or bathroom.

This challenge of expectations, this split from the ideals of western traditionalism, was a curveball thrown into the history of art. What started as objectivity, symmetry and fractals, turned to subjectivity, as observers sought to define their own beauty in art. Changing again in the late nineteenth century, with the start of Expressionism rebelling against Impressionistic ideals and traditionalist art, where the likes of Vincent Van Gogh and Edvard Munch, among others, were famous for their Expressionist works, inspired by widespread anxiety of divergent views worldwide of authenticity and spirituality. (Wolf, 2019) Through Expressionism, beauty in art was shown through what was within, complex thought and processes, rather than from the current affairs of what the world had to offer.

Then, an explosion of radical and new age thinking in the early twentieth century. Movements like Surrealism, Bauhaus, Dada, Abstract Expressionism, Pop Art, among many, many others created as time went on. More artists were moving away from Realism and towards different ways of showing the world through a stylized lens, testing boundaries of meaning and definitions of what art is, what art could be.

These changes are attributed to the postwar culture left after the second World War. America having escaped generally unscathed, victorious of both a cultural and military war, among the millions of traumatized immigrants starting new lives far from their home countries. The culture that began of this mixing of ideals, of histories and cultures, jumpstarted a new age of movements every decade, one rebutting against the next. Art made in protest against elitism, against simplistic thought, against capitalism, against traditional limitations. (Willette, 2012) Like dominoes, one is the critique of the next, again and again. Old ideas turned on their head into new ones, beauty reinvented, revisited, over and over.

To talk about the change of art and beauty in art history and not mention the works of Mark Rothko would be a tragedy. Rothko’s works have been a centerpiece of abstraction and a spark to the discussion of art and beauty since their creation. His works are featured in museums around the globe, and have started a conversation of massive discontent and debate of beauty in the art world.

Mark Rothko, No. 37/No. 19 (Slate Blue and Brown on Plum) 1958. MOMA.

To many, Rothko’s works don’t feel beautiful when you first walk up and look at them. They may seem misleadingly simplistic. They may seem dull, rectangle upon rectangle of hazy dim color. But there is something about them that one cannot discount: there is a ubiquity present. Rothko’s pieces seem to loom over the gallery, viewers walking between them like they’re drowning in them, swimming from depth to depth. They are not pieces you forget it after you’ve walked away. Rothko didn’t need narrative to assist the color present in his works, an idea new in the 1950s, where having color, and color alone drew out emotion in audiences. (The Case for Mark Rothko, 2015) With this structure for his art, Rothko has said that: “‘he could deal with “human emotion; with the human drama, as much as I could possibly experience it.’ He said this style offered him ‘the elimination of all obstacles between the painter and the idea, and between the idea and the observer.’” (The Case for Mark Rothko, 2:02-2:13) This experience-based narrative that Rothko stood so strongly by – in my eyes, is the goal of beauty, down to the simplest, core concepts, of color and shape.

Who’s Afraid of Red, Yellow, and Blue is a series of four paintings by the late artist Barnett Newman (1905-1970). The third in the series, Who’s Afraid of Red, Yellow, and Blue III, isn’t particularly groundbreaking at first glance, the same perspective as Rothko’s pieces showcase.

Who’s Afraid of Red, Yellow, and Blue III, Barnett Newman, Stedelijk Museum.

The piece features an ocean of startling red, bracketed by vertical stripes on either side: blue on the left, and yellow on right. It is featured on a massive piece of canvas, nearly 18 feet wide by 8 feet tall. It hung in the Stedelijk Museum in Amsterdam for seventeen years. Then, in 1986, it was murdered. It was actually murdered twice, within the timespan of about five years, but we’ll come back to that.

These pieces look similar because they are both connected by being created in the same style, that of the movement of art that began in the 1940s: Abstract Expressionism. This movement has a power that not all movements of art do: their presence alone enrages some viewers. The simplistic look of the paintings makes some feel like they, or even their children, could reproduce an exact-looking copy with little to no effort, compared to some of the other, more traditionally styled pieces featured in museums. This elicit and intense reaction from audiences goes so far to where some even leave museums entirely – vowing to never go back in. (99 Percent Invisible, 2019)

Abstract Expressionists are shaped by Surrealism, a movement known to have been created as a response to the global attitude shaped by post-war anxiety and fear and trauma. These artists vowed to explore art through self-expression, through color, and abstraction, and gestural emotion featured loud and proud on the canvas. (The Art Story Contributors, 2011) Some may say that these pieces should not be considered art, let alone carry the title of beautiful. But when we are grappling with the idea that we are capable, as a species, of such intense horror by our own hands, how do we go about making something like that – beautiful? How do we look at these faces, these beautiful landscapes, and not think of those who will never be able to see them again, or those who were never able, and will now never even get the chance? How do we hold that, and how can we capture it within art?

Beauty is constantly evolving, and not everyone is comfortable with that fact. But there is a difference in turning your nose up at modern art movements, and actively seeking out to destroy them. Here is where we come back to Who’s Afraid of Red, Yellow, and Blue III, and it's unfortunate murders. The first begins when the painting is being exhibited at a museum called the Grande Parade, where it is being shown among other pieces to pose the question of what makes a painting, a painting. (99 Percent Invisible, 2019) During the exhibition, a man devastated the canvas, making long horizontal slashes with a box cutter. By the time he was finished, fifty feet of the fabric had been gouged out.

The man, Gerard Jan van Bladeren, was an artist himself. He considered this action one of artistic vandalism, where the painting itself was asking for it, that it provoked this action out of its audience, and he, the first to act upon it. (99 Percent Invisible, 2019) After, many Dutch citizens wrote to the museum letters of recognition, not for the fallen painting, but for the destroyer of it. “‘This so-called vandal should be made the director of modern museums’ read one. ‘He did what hundreds of thousands of us would have liked to do,’ read another.” (99 Percent Invisible, 2019)

The restoration of the piece led to another issue: how do you make a piece so thoroughly destroyed, whole again? How do you make it the same, colors beautiful and dimensional once more? Conservators have a rule of only using restorative elements that can be removed at a later point in time, in case the piece needs to be worked on later. (99 Percent Invisible, 2019) But Who’s Afraid of Red, Yellow, and Blue III was a momentous task to uphold: the simplicity of it would make a restoration job incredibly easy to spot.

The Stedelijk ended up hiring a New York based conservator to take on the task, one by the name of Daniel Goldreyer. The job took three years to finish. By the end of it, Goldreyer was paid $270,000 plus expenses for his work and the museum finally had their painting back, sans slashes. (Vogel, 1993) Happy ending, except, when the museum put the painting back up, there was another immediate reaction from its audience. Not of violence (though this was not the last of Newman’s work to be vandalized in such a manner, or by the same man that had attacked this one), but of confusion. There was no sign of the gashes, yes, but the painting was now different in another way. The red, the color that took up nearly the entirety of the painting, didn’t have the same quality anymore. The painting had lost its depth, it’s shimmering dimensions within the red color. (99 Percent Invisible, 2019) The museum was now stuck with a different painting than one that had hung on its walls for nearly two decades.

The story of this painting brings up an important question: though “fixed”, and similar from afar, was the painting considered the same by some in the quality of its beauty? If audiences could tell the difference, was it still beautiful to those who found it so before? And to those who did not, was there a new beauty found in its narrative deaths, a “rebirth”? Further, if more people know about Newman’s work and the journey of this piece, would they think different about abstract art? If they were more educated on Rothko’s works, emotion and color and asking more of the viewer than a common passing, but to think, and feel, and spend time with his pieces, would they do it? Or is it easier to follow the group mindset, to snidely object to these types of art as not beautiful? To not think that the thought, the hours, the concept behind the piece as motivation for the beauty of the piece itself? If this would not change their minds, what would?

Today, the way we see beauty and art has changed. We have art museums that have been built to focus on abstract, modern concepts of beauty. Where photo-like accuracy, traditional western concepts and ideals do not equal the experience of beauty we get from viewing art. Where beauty is treated like an involuntary action, seeing an aesthetic and feeling like it fits into our catalogue of likes and views subjectively.

Beauty and art still have a complicated relationship. Beauty is specific, striking, hard to pin down and define. Art, as we considered last week, hides both in plain sight, and bursts from every corner, expressive and blinding. There is a connectedness between them that feels like a balancing act – one leaning into the other. But this doesn’t mean that art needs to be beautiful to be considered art, or to be considered worthy of attention versus another piece.

All of this leads me to believe that maybe beauty, below the surface, is subjective, but in a way that is almost domesticated. Habitual. If we truly felt the beauty in everything, we’d be struck still by it. We’d have to stop what we were doing – walking, talking, breathing – and stare. It would be like seeing everything for the first time, over and over. The stars. Mountains rising into view over the horizon. Every color of the sky. The sound of someone’s laugh. Where beauty is both caught in the fleeting feeling of itself, alongside a kind of seeping feeling, full of contentment. But this is only half the story.

There is another side to beauty, and one that has only seen light since the movements started in the twentieth century: unorthodox beauty. Experiences, pieces of art that do not fit the contented, fleetingly tender concept of beauty. Genres like horror, for instance, can be beautiful. Sad movies with unfulfilling endings can be beautiful. Historically, from the many, many pieces of religious art, and especially seen in old Greek theatre: tragedy can be beautiful. These pieces do not fit into the general and common notions of beauty that we are comfortable with. They split at the seams, they are filled with the unknown, full with the feeling that something is waiting just beyond the corner, and it is waiting for us. In this way, curiosity is beautiful. Mysteries, stories that end mid-sentence, art that is worn, fragmented, broken by the process of time, can still be beautiful.

So this leads us to the ultimate question: where is the line drawn? Where does beauty begin, and where does beauty end? What happens if we ask, rather: where do we stop looking for beauty? In our environments, our interactions, in ourselves? But if art is an expression of who we are, and art is capable of beauty, what does that say of the source? The subject? Maybe whether or not beauty is really found – as in named, as in seen or discussed – subjectively or objectively by anyone other than you, as the viewer or the artist – doesn’t really matter. But even if beauty is relative, that doesn’t make it unimportant. Rather instead, it makes it the most important quality of art. Because to see beauty is to be affected by everything. To pursue beauty is to be affected by everything. By finding beauty you are finding the light in how you see in the world, whether it is peeking through the cracks, or pouring from the sky. You are looking, actively, for where and who and what is calling for your attention, demanding your eyes.

If you find beauty, and think about it, just hold it in your mind for even a moment, there begins a possibility that someone else is seeing the beauty there, too. And there, you are bridging a gap – between geographies, millennia of lives lived, stories told, meals cooked and served, sunsets and sunrises – by finding beauty, you are bringing all of us, just a little closer together.

So as you go about your day, commuting, doing work, finishing deadlines and attending meetings, try looking up. Try to see. The world is exploding with beauty.

Works Cited

“Anti Art.” Tate, The Tate, URL.

“Art Must Be Beautiful”, YouTube, uploaded by The Art Assignment. 15 Feb. 2018. URL.

The Art Story Contributors. “Abstract Expressionism Movement Overview and Analysis”. The Art Story, The Art Story Foundation. 22 Nov. 2011. URL.

“The Case for Mark Rothko”, YouTube. uploaded by The Art Assignment. YouTube, 2 July, 2015.  URL.

Fecile, John. “The Many Deaths of a Painting” 99 Percent Invisible, Radiotopia. 26 March, 2019. URL.

Vogel, Carol. “Inside Art.” The New York Times. 10 Dec. 1993. Section C, p. 26. URL.

Willette, Jeanne. “Post-War Culture in America.” Art History Unstuffed, 21 Jan. 2012. URL.

Wolf, Justin. “Expressionism Movement Overview and Analysis”. The Art Story, The Art Story Foundation. 01 Oct 2012. URL.

Art Cited

Duchamp, Marcel. Fountain. 1917, replica 1964. Tate Modern, London. Tate. URL.

Newman, Barnett. Who’s Afraid of Red, Yellow, and Blue III. 1967-1968, Stedelijk Museum, Amsterdam. Stedelijk. URL.

Rothko, Mark. No. 37/No. 19 (Slate Blue and Brown on Plum). 1958, MOMA, New York. MOMA. URL.

[eden-rosebct]

Modular

The journal Modernism, Revisionism, Pluralism, and Post- Modernism (Sandler 1980). Refers to the fundamental premise of architecture and the visual arts to be “called into question”. With the argument that we have entered a post-modernist age, which seems to be what Sandler exclaims is a regression past pre-modernism. Sandler begins with defining the labels modernism, revisionism pluralism, and post-modernism. Talking about inclusive modernism and exclusive modernism. 

“modernism can be defined narrowly, arbitrarily limited to a single tendency, proclaimed as mainstream and avant-garde”. He further describes it as unbounded, with the tendency to be inclusive of everything “progressive”. The reason why I am referencing postmodernism in this look into minimalism is put clearly by Sandler as recently “the central form of modernism, perhaps its icon or emblem, has come to be considered the minimalist grid.” The link between the two as I am reading seem to be hand in hand. 

“In architecture too, modular buildings-the extreme, functionalist, and commercially debased variants of the modular international style have been considered by postmodernism as equivalent to minimalism.” The further I looked into this idea of modular buildings I came across these ones below as examples of recent modular homes. 

1 https://wikkelhouse.com

Wikkel house is a project that I found to draw inspiration from. Embracing this idea of modular homes and minimalist approaches to living. Using cardboard as their main building material, creating a robust sandwich structure by wrapping the cardboard using eco-friendly glue, the modular pieces of the home can be connected and disconnected creating a highly flexible environment. Its placed in a day, sustainable, eco-friendly and most of all durable. I find this project, in particular, it embodies incredibly key necessities. Such as convenience, functionality and flexibility. I find these might relate to the key ideas of postmodernism, progression in home building to be more sustainable and functional. 

2 https://www.coodo.com

Modular homes like this Coodo home also I think to embody ideas of minimalism. That you have the bare minimum. Below also the Muji home takes this idea to the extreme. With only 9sqm they created a home, purely functional. 

I think as spaces and general land gets more used, the fight for space will be greater. As the population rises, especially in urban environments, the sustainable modernistic, minimalist homes I think have a place to serve us. 

3 https://www.muji.com/jp/mujihut/en.html

“by abstraction or, more accurately, by non-objectivity….Modernism is identified with minimalism”. He goes on to discuss how minimalism could be seen as the last stage of modernism. John Perreault who is referenced challenges this idea of the modular code stating that “Presently we need more than silent cubes, blank canvases and gleaming white walls. We are sick to death of cold plazas and monotonous ‘curtain wall’ skyscrapers” Addressing plain spaces as “empty meat lockers than rooms to live in” I think this raises an interesting point on the extremes of minimalism, where things are purely for function and operation. From what I understand these modular style homes were a result of postmodernism and minimalism. Having only what we need to me does not being homeliness and joy to space. And this idea of the home is abstract, it is not just space, though memories can be applied to certain spaces which make it a home. That's for me at least. 

Most of all I would have missed the plot if I didn’t read this link early on, now understanding more of what postmodernism is as the encouragement of the progressive, makes me wonder why this functional style of architecture was the natural progression. 

He further brings up this idea of the avant-garde and the challenges of this during the 1970s, to point where it was a questioned idea. “frontiers may remain, but the artists who discover they cannot be considered avant-garde since the impulse to press to the limits has become established as a tradition:” I guess this is meaning because pushing limits is now more encourages and even celebrated that this cancels out the characteristics of avant-garde. 

This idea of pluralism was used throughout the 70s, as postmodernism came into frequent use. “Pluralism was opposed to modernism but it embraced every tendency and implied that each was of equal value”. Post-modernism also at this time is better described as sensibility than a style or complexity of styles. I find this an interesting turn of events, it seems that post-modernism is forever changing its habits and ideas to be continually progressive. Which makes perfect sense. I am new to this topic of study and there is honestly so much to chew on. Again I ask the question, why was minimalism a natural progression of ideas in post-modernism (if that makes sense). 

Sandler states this “Consciousness-raising played a vital role in the evolution of an introspective, personalist, anti purist art, as did the brilliant proselytising of feminist art critics”.

Through exploration of postmodernism, minimalism, pluralism he moves on to abstract expressionism. Juxtaposing the functional, operational minimalist, post-modern ideas. “defying all the prescriptions of modernist purity. The mainstream trickled on, minimalising and conceptualising itself into oblivion”. Claiming that we are now more recently bored with all the arctic purity. 

The only concern I have with these tiny spaces and homes is are we able to be fully content with only a necessary space. I find for me the home is a place of community, to have people around your OWN dinner table and to serve and be a host. Family dinners are one of the highlights of a home for me. I wonder if the small spaces will bring people closer together or cause a claustrophobic reaction, and as a result having the need to be in larger spaces. Is that good? Maybe this will bring more people to be more involved in urban communities and activities. This idea of the home is changing. What we value about the home is changing.

Modernist 

Irving Sandler(1980) Art Journal, Vol. 40, No. 1/2, Modernism, Revisionism, Pluralism, and Post- Modernism

https://www.jstor.org/stable/pdf/776598.pdf?refreqid=excelsior%3A5464d01904eb194bc09a54478c1df729

Modular homes

Blue Future Partners (2018) Medium: Our 7 Favourite Modular Eco-Homes

https://medium.com/@BlueFuture/our-7-favourite-modular-eco-homes-4d19a91e2bd2

[isabellasblogart-blog]

Glossary

Abstract art Abstract art is art that does not attempt to represent an accurate depiction of a visual reality but instead use shapes, colours, forms and gestural marks to achieve its effect.

Abstract expressionism - Abstract expressionism is the term applied to new forms of abstract art developed by American painters such as Jackson Pollock, Mark Rothko and Willem de Kooning in the 1940s and 1950s. It is often characterised by gestural brush-strokes or mark-making, and the impression of spontaneity

Actionism - Actionism is the English version of the general German term for performance art, specifically used for Vienna-based group Wiener Aktionismus founded in 1962 whose actions were deliberately shocking, often including self-torture.

Allegory - Allegory in art is when the subject of the artwork, or the various elements that form the composition, is used to symbolize a deeper moral or spiritual meaning such as life, death, love, virtue, justice etc.

Chiaroscuro - Chiaroscuro is an Italian term, which translates as light-dark, and refers to the balance and pattern of light and shade in a painting or drawing

Contemporary – Contemporary art is the art of today, produced by artists who are living in the twenty-first century. Their art is a dynamic combination of materials, methods, concepts and subjects that challenge traditional boundaries and defy easy definition.

Depth – The apparent distance from front to back or near to far in a work of art. Techniques of perspective are used to create the illusion of depth in a two-dimensional painting.

Expressionism – Refers to art in which the image of reality is distorted in order to make it expressive of the artist’s inner feelings or ideas.

Form – Can refer to the overall form taken by the work – its physical nature: or within a work of art it can refer to the element of shape among the various elements that make up a work.

Hierarchy – A system in which members of an organisation or society are ranked according to status.

Impressionism - A style of painting associated mainly with French artists of the late nineteenth century, such as Edgar Degas, Claude Monet, and Pierre-Auguste Renoir. Impressionist painting seeks to re-create the artist's or viewers general impression of a scene.

Movement – Is a tendency or style in art with a specific common philosophy or goal, followed by a group of artists during a restricted period of time, (usually a few months, years or decades) or, at least, with the heyday of the movement defined within a number of years.

Semiotics – The study of signs and symbols and how they are used or interpreted.

Objective abstraction - The term objective abstraction refers to a non-geometric style of abstract art developed by a group of British artists in 1933.

Obscure – Not clearly expressed or easily understood

Urban Landscape – Within the visual arts a cityscape (urban landscape) is an artistic representation of the physical aspects of a city or urban area. It is the urban equivalent of a landscape.