#abstract expressionism music definition

[a-contemplative-soul]

I believe that not many people like shoegaze because it's a genre that doesn't fit in the conventional standard of music, starting from its highly distorted guitars, high reverb, unintelligible vocals and its simple and repetitive structure. Just as we have abstract and atypical painting styles, like cubism and expressionism, there are also musical genres with a more abstract and esoteric approach, just like Shoegaze, which is like the expressionism of music. Shoegaze is not a genre that relies on the obvious, because it always end up following a more distinct approach, different than Pop and Rock, and due to that reason, it ends up being more like a niche genre, perhaps even more popular among artists than average listeners, the masses, and I believe that it has a connection to the concept of "certain things appear one thing when they are seen from outside, however, from inside they are completely different", because as an artist, I notice that my concepts about music are radically different from those of people outside of music, it's like when you start to make music and stop being just a listener, a lot of what you used to believe becomes non-sense, resetting all your perception toward the music world. To illustrate better what I said, let's give a look at the definition of genres, a lot of people think that all music genres are very well defined, each one with its own features, following its own path without any external influences, which is absurd, since many artists tend to look for inspiration, so, eventually they listen to other artists, including ones from other genres, because it's really interesting to bring different elements from completely distinct genres, because if an artist listens only to what he produces, he ends up having a smaller range of inspiration, that is, diverse repertoire enriches the final product, therefore, sometimes, for example, an indie rock band has jazz and country traits in some of its songs, because the composers were inspired by artists from these genres at a certain moment, or another example, certain songs of a house DJ, have some reggae and funk traits, because he is into Bob Marley and Janko Nilovic, furthermore, many artists will eventually change their genre throughout the years, not everyone is loyal to their genre of origin. Anyway, these are just some of the facts that I learned after getting deeper into the music world, there are many others, music is not always what you expect.

[theviridianbunny]

Five facts about me!!

Thank you @pinkydude for the tag!! ♡⸜(˃ ᵕ ˂ )⸝

Okk let's go!! Bunny lore time !! wowowow wooow!!

1. I have an art degree!! I finished my degree through the covid lockdowns in the uk [as the pandemic started halfway through my second year of university]. It was heartbreaking work and hard work... but I got through it and graduated with a 2:1 in fine art!! my practice at uni revolving around making big scale drawings and paintings that dwelve into human sexuality and the abstraction of figures- maybe one day I will share my uni work here :)

2. Artists that inspire me include Egon Schiele and Gustav Klimt. /art movements that inspire me are neo expressionism and auto destructive art. Outside of arty artists- i get a lot of my inspo from manga (eg- stuff by the manga house CLAMP) ... also fashion drawings as well! The artist Yoji Shinkawa inspires me as well

3. Within the past year and a half I've gotten into dance music. Some of my favourite artists are fred again... sub focus and pendulum, also Bicep!! . I got into dance music more over this time because of having the dance radio station (radio 1 dance) on at my place of work!!

4. I'm gray asexual. My own sexuality is very similar to Viridian's. My asexuality is something I only came to accept and explore in the past year or so.

5. I went to my first ever gig last year! I went to go and see a band called fields of the nephlim! 2022 was the year I did new and scary things.... it was one of the best new and scary things I did- dancing in a pack crowd to their track "moonchild" and then almost getting dragged into a mosh pit was definitely an experience!!

tagging: @imaginarycyberpunk2023 @genocidalfetus @holofishes @heywoodvirgin @halsin @chessalein @maimaiapologist @miyokovektor @noonfaerie @morganlefaye79 @fereldanwench and anyone else who'd want to take part!!!

[goodbysunball]

Four du jour

Flailing wildly to keep up with music and the embarrassing stacks of sealed records piling up. Here’s an effort to slow down and pay more attention to what’s in house - some really great stuff within. Dig if you will:

Famous Mammals, Instant Pop Expressionism Now! LP (Siltbreeze)

The Bay Area's Famous Mammals follow-up their self-released cassette with an LP on Siltbreeze, a fine pairing if there ever was one. Much like that cassette, the band channels some of the greats - Swell Maps, the Fall, the first two Pere Ubu records - and wraps it up in the warmth of late '80s/early '90s home recorded cassettes. At 18 tracks, this is a bit of a strain on the ol' attention span, but the band seemingly can't stop writing good-to-great tracks, so why not? My favorites are when they get a little stormy and aggressive ("Comets for Poets," "Empty London" and "Quips In Print") and the experimental tracks littered throughout, some instrumental ("Metal Forest") and some not, like Amber Sermeno's great performance over the nimble guitar line on "Charmed Effects" or the absurd and quotable "Crayon World." There is definitely a sense that the Mammals are repeating themselves over 18 tracks, also like the cassette: "Let the Light In," "Soul Without Sound," "Like a Shadow" and "Parachute Traction Excites!" have a lot of overlap, the distorted jangle on each reminding me of the next, even after many runs through. All of these tracks are pleasant enough, with "Like a Shadow" likely emerging as the most pop moment on the record, but they can also sound like filler when placed next to more adventurous tracks. On a record full of questionable sequencing, only one moment stands out as egregious: the steely deadpan of "Thou Art Abstract" falling face first into "Cotton Boy Tuesday" and its goofy nursery rhyme vocal melody, bringing the record to a dead stop only four tracks in. Its two minutes pass and the record regains momentum a few minutes later with "Empty London" and never looks back. I'm unsure if I've listened to Instant Pop Expressionism Now! so much in an attempt to grasp at some hidden thread or because of the record's magnetism; but, I can say that the best tracks, isolated or within the LP's context, are some of the year’s best.

Martin Frawley, The Wannabe LP (Trouble In Mind)

Been back and forth on whether or not to write about Martin Frawley's second LP, The Wannabe, but it's been played much too often in my house to brush aside anymore. Frawley was once a member of Twerps, went through a pretty bad breakup and some self-destructive tendencies were unleashed, released Undone at 31 in 2019 on Merge, and now he's landed on Trouble In Mind for the follow-up. There was an intriguing long-form interview with Frawley on LNWY around the time of the first album's release (link's dead now) that piqued my interest, but I'd never checked him out until now. Where he's at on The Wannabe is a much better place than the interview from a few years ago, but the writing is still biting and sardonic, leveled mostly at himself, though the sparkling title track takes on "the industry" at large. There's definitely that surface-level classic rock feel to The Wannabe, the hits spaced out with bared-soul singer-songwriter schlock and some others that don't take the luster off the hits. At his best, Frawley sounds like Warren Zevon on his Asylum albums, or a David Berman stripped of metaphors, funneling frustration, depression and a sharp sense of humor into his lyrics. That earnestness is something that works to Frawley's advantage for the majority of the album, painfully replaying a chance encounter with an ex on "This Is Gonna Change Your Mind" and admitting to wanting his deceased father's approval on "5th of the 5th." At worst, he's creating objectively beautiful but a bit too literal songs like "Lola" and "I Wish Everyone Would Love Me" that, while certain in their intention, could benefit greatly from a bit of clever obfuscation. For the majority of the album, the band he's assembled works hard to keep Frawley grounded and steady: "Slip Away" churns like Boxer-era National, and "5th of the 5th" chugs and sears like the Velvets on Loaded. But the band never steals the spotlight from Frawley's lyrics, for better or worse. The contradiction at the center of Frawley's lyrics - that he's down on himself but still believes in himself, that he's a mess but worthy of your love and attention - is a hard place to invite listeners, but he makes it pretty comfortable throughout The Wannabe. Parsing out that contradiction, however heart-on-sleeve, is at the core of what makes the record stick. There's probably not a lot of room in the underground for a record as openly emotional as this, but for the most part it feels refreshingly messy and human, a shot in the arm I didn't know I needed. Maybe you could use a boost, too.

Index For Working Musik, Dragging the Needlework for the Kids at Uphole (Tough Love)

Strange brew, this one: Index For Working Musik manage to make a record that's refreshing in its precision, hard to pin down, and slippery enough to evade my feeble memory even after several months of familiarization. The band plays a style of rock that's patient and unflappable, with vocals delivered just above a whisper, and emerge with a sound as lush as it is stark black and white like its cover. There's a Come On Die Young vibe to the opener "Wagner," maybe just in the brittle guitar line and tone, but wholly lacking in tension until feedback wrests control over the final seconds. The closing track "Habanita," maybe my favorite here, rides a slowly picked guitar line to open up new paths, hushed group vocals and phaser guitar (or keyboard?) inflating the proceedings to spectacular heights. In between, I've been stuck playing spot the influence to try and attach a mnemonic device to the meekly presented spread. At points, I hear: Honey Radar's tape hiss-happy and economical approach to classic rock, especially on "ISIS Beatles" and "1871," the latter probably the closest IFWM comes to rocking; Air's "Cherry Blossom Girl" on "Palangana"; Grandaddy, perhaps due to a similarly laid-back presentation, on "Railroad Bulls" and “Athletes of Exile”; and so on. My favorites, "Wagner," "ISIS Beatles” and "Habanita," stretch the ideas out a bit longer, and maybe that's part of my problem: most songs seem too clean, or even risk-averse, choosing to stay within a tidy and neat set of parameters. While I think “1871” is an exception, the tense strumming of “Ambiguous Fauna” is cut short, and it feels like “Athletes of Exile” has just shaken off the rust when it ends. Despite all of the enticing details in the label’s writeup (endless experimental recording sessions, the inclusion of found samples and field recordings, a mysterious text that jump-starts the creative process), I still struggle to connect with the bulk of the record, however much the actual sounds satisfy. It sort of feels like the equivalent of a really elaborate window display for a boutique shop: there’s a high level of skill behind it, and everything is placed just so, but you’re kept at arm’s length by thick glass. Whatever the case, Dragging the Needlework for the Kids at Uphole remains enigmatic - the lyrics, that title - despite being crisply presented and never outstaying its welcome.

Optic Nerve, Angel Numbers LP (Urge)

New-to-me outfit from Sydney, and one with a sound and approach that, as the record's press sheet indicates, sets them apart from their many peers in the city. It's hard for me to hear Optic Nerve, and especially Jackie De Lacy's rough, barked vocals, and not think of the short-lived Rat King, whose sole LP Godsend remains a steady favorite of mine ten-plus years on. Optic Nerve isn't as bleak as Rat King, nor do they have much low end presence on this recording, though Optic Nerve's just about as intense, cold-working punk into new forms through force of will. "Tonic" always drives this point home for me, the song careening toward the finish with few changing parts, a bit of distortion and De Lacy's vocals the engine supplying the power. "Trap Door" initially charges forward in the same manner, but eventually splits open to reveal a bright and rowdy guitar line ripped outta Mikey Young's Eddy Current Suppression Ring playbook. Much like ECSR on their string of singles in the '00s, the band finds a lane and sticks with it throughout most of Angel Numbers. It's a blast to hear them hit the same highs over and over, fists pumping from two minutes into the opener through one minute into the closing track before it's inevitable deterioration. Some detours, like the moody instrumental "Interlude" and the crawling "Basket," as well as the choice to weaponize the shrill notes of the flute on several tracks, point to a broader horizon for Optic Nerve. Though not really similar in sound, there is a palpable energy on Angel Numbers that's present on Unwound's The Future of What and Repetition, all seething records dissatisfied with the present and hungry for something more. Definitely feels like Angel Numbers has flown undeservingly under the radar, but with only 300 copies to go around, I wouldn't take a chance on that being the case for very long. Tops of this batch o' reviews, for those keeping score.

[hometownrockstar]

i think everyone can be helped by a little bit of postmodern philosophy... just remembering that dichotomies and binaries and groups and hierarchies are societal constructs, and although humans have made and used them for millennia, this doesnt make them completely immutable or unchangeable forces, and THAT fact doesnt make them useless either. postmodern philosophy just questions this fact about them while recognizing their value and use to humans, because they ARE helpful, they just arent facts of life. for example, man vs. woman has been a dichotomy throughout much of history, but never has it remained static, a completely unchanged force of nature. gender roles, definitions of what a man and a woman is, other genders' existence have effected this dichotomy so much.

but what i would find this philosophy most useful for is art (everybody loves postmodern art) like just recognizing the dichotomy of "good vs. bad" art, realistic vs. stylized, traditional vs. digital, these all have specific connotations for all of us bc of how society and school teaches us the "rules" of art. but havent some of the most influential and important pieces of art in the recent centuries been defined by the way they forgo these supposed rules? duchamp's urinal, house of leaves narrative structure, cormac mccarthy's unorthodox grammar (which interestingly enough follows an extremely strict grammatical style that he himself defines as being of a clinical, objective nature), expressionism and abstract art that gets handwaved away as something "anyone could do" as compared to realism, noise music, outsider music, all of these show us that art "rules" are really just guidelines, things humans love to define because they give us structure, not because they rule our lives or our art.

[easternmind]

Embodiment

-- PixelJunk 4am and the legacy of the Gutai Group --

When the abilities of the individual were united with the chosen material in the melting-pot of psychic automatism, we were overwhelmed by the shape of space still unknown to us, never before seen or experienced. Automatism naturally made the image which did not occur to us. Instead of relying on our own image, we have struggled to find an original method of creating that space. - Jiro Yoshihara, in The Gutai Manifesto (1956)

European art witnessed the surfacing of its first unsystematic tendencies in the early decades of the 20th century, during which Dadaism and Surrealism rose and flourished. Artists like Bréton, Miró and Masson pioneered the technique of automatic drawing, in which art was conceived by the unrestricted will of the psyche, not unlike an earlier experiment in the realm of literature by Soupault. With a similar intensity and liberation from accepted norms, Jackson Pollock was among the first to propose and defend an attitude which later made his name synonymous with Formalism and post-modern Structuralism. According to his perception, the kernel of action painting, uniting plastic and performative arts as never before, surpassed that of a mere technique or methodology: to the North-American painter, the action or corporeal movement was the sine qua non condition preceding both the object and subject in art.

The influence of Pollock on abstract expressionism and other manifestations of post-war art, albeit felt throughout the world, was of particular significance to a Japanese up-and-coming artistic collective known as the Gutai group. Encouraged by the audacity of French Tachisme, this critical chapter of Japanese art history begun circa 1954; assuming a more definite posture upon the publication of Yoshihara’s The Gutai Manifesto two years after. Praising the work of Pollock and Matthieu, this essay advised a new and universal and distinctively Modern postulation, the culmination of the group’s long held desire to renew art by giving emphasis to the creative process itself, preserving the vitality of materials.

Half a century later, and as the first pioneers of this current have disbanded or, for the most part, passed away, the rise and fall of the Gutai movement was reduced to a sporadic footnote in a predominantly Eurocentric and excessively complacent History of Art. Nevertheless, a contemporary generation of Japanese artists and designers continues to carry the flaming torch of their irreverence, once lit at the height of modernity, paving the road for new and daring accomplishments in present-day media - most of which unimaginable prior to the age of digital emancipation. Kyoto-based artist and designer Baiyon has become a reference in his generation for carrying an identical creative philosophy to the fields of design, electronic music and digital art. His association with the retro-themed project Pixel Junk opened the door to this decade-old heritage, allowing it to exert its influence on a medium so far indifferent to legacy of Japanese embodiment. Eden, his earliest collaboration with Cuthbert’s studio, already incarnated many of the Gutai tenets, with its matchless dynamic visuals and remarkable aesthetic concern.

On the other hand, his most recent creation, entitled 4am, provides an even deeper insight into Baiyon’s subjective vision. Briefly, it consists of an organic audiovisual music generator relying on motion-sensing technology, an avant-garde ludic interface where graphics and sound blend seamlessly in real time. Operating in a minimalist and discreet environment, deliberately abstaining from the traditional presentation motifs or on-screen displays that tend to characterize video game presentation, 4am promotes the active creation or recreation of sound and forms; an interaction with a three dimensional space guided by the player’s own intuition and ingenuity. This unhindered creative principle is consonant with the drive that once fueled the insurgence of artists such as Shozo Shimamoto, Kazuo Shiraga and Sadamasa Motonaga.

Incidentally, the late Motonaga was a pivotal inspiration for Baiyon ever since his days as a student at the Seian University of Art and Design. His celebrated wet oil painting technique, for which he earned international recognition, relied upon disruptive factors such as gravity and chance in order to achieve an impromptu end result. Some of these aesthetic elements are conscientiously reproduced in Eden as well as 4am, as demonstrated by the dripping tints in the visual theme envelop you, envelop fish. The illustration style adopted by the young designer in other iterations, as is the case of his visual design label Wetside, reveals a similar concern for an attentive choice of colours, tones and vibrancy. Contrarily, shapes tend to reveal more volatile and fortuitous patterns, undoubtedly a product of his philosophy of applying for accident in design or, in his own words, an undeviating pursuit for serendipity.

The fundament of performative arts, be they of a spontaneous or premeditated nature, presupposes the presence of an audience. Like Fluxus, the Gutai advocated the superiority of conceptual art, or installment, as opposed to that of a stagnant art gallery exhibition, as many of their works existed often in the ephemerality of a single, fragile moment. The in situ birth of a new artwork was, in many regards, the most primordial of the group’s counter-cultural aspirations. Proportionately, this very same concept sustains 4am, wherein each singular performance can be projected to global stage through live streaming, unifying the audience and creator. Furthermore, by enabling viewers to record a reaction in real-time, all participants are invited to assume an active stance, analogous to that of a happening. In this regard, 4am incorporates Baiyon’s distinct nostalgic stimulus, the singular potential of new media and the very nightclub atmosphere in the search for a moment of affection, impulsivity and disinhibition.

To a great extent, the vanguardist attitude which the Gutai and other Japanese non-verbal artists espoused is vividly mirrored in this imperceptible space of action between the player/artist and the screen/canvas. The standard of pictorial gesticulation, in effect the concrete enactment of individual emotion, is thus coordinated by the liberating composition of arbitrary soundscapes; whereas neither picture nor the sound can be truly considered the essence of the trance-inducing abstraction. Baiyon's work converges with that of his radical precursors in their lifelong search for an evanescent ideal, capable of transcending time and technology.

Illustration source : official PixelJunk 4am website

This article is a repost of a 2012 article I wrote for my other blog, Post-Play.

[headmate-ideas]

Hey, so I'm kinda thinking I have to admit that I'm new.. I was hoping to get some inspiration for some identity stuff from here? Looking for name, interests, stuff like that specifically.

I don't need pronouns as I already know those, and don't need any attraction labels, objectum or otherwise.

Basically what I know about myself is that I feel masculine and seem to be highly asocial (possibly in a schizoid symptom holder way??)

Anything you can come up with is good. Just kinda need a "here's a place to start" I guess

Thanks /genuine

🌌 HEADMATE TEMPLATE/IDEAS 🐝

✦ Name(s): Cassius, Quasar, Adrick, Buzz, Abstract ✦ Role(s): symptom holder, social protector (optional) ✦ Symptoms experienced: asociality/schizoid personality disorder ✦ Labels: proxvir, mxn/bxy, genderfaun, manflux/boyflux, annulian, genderhawk ✦ Xenos: void, dogs, death, paradoxes, gold ✦ Interests/likes: outer space, art history, death, books, bees ✦ Music taste: darksynth, space ambient, deathdream, classical, baroque rock ✦ Aesthetic(s): voidcore, expressionism, grunge, art nouveau ✦ Kins: quasars, ghosts, rats, void, icicles ✦ Emoji proxy: 🌌🐝 ✦ Details:

Cassius's asocial nature combined with negative schizoid symptoms leads to a personal resonation with things that are empty or signify nothingness (including but not limited to outer space, ghosts, and death). However, Cassius is also interested in social animal species, as well as social studies, from the perspective that they are studying an aspect of life that they don't fully understand. Their favorite social animals are bees, but they also like lions, dolphins, and rabbits. They also like art (especially paintings), music (classical as well as current), and literature (particularly science fiction and horror). They enjoy partaking in these things as well as learning about their history. One way that Cassius's asocial nature can help the system is by protecting against social burnout. The necessity of this depends on what Cassius's other system members are like, but if any of them have a tendency to overextend themselves socially, Cassius can step in and remove themself from social situations, cancel social arrangements, or otherwise give the system a break when needed.

[These can be edited and changed as needed, and headmates introjected from this template will almost definitely not turn out EXACTLY as described.]

[artclassposts]

Virtual Sketchbook 1

1. My name is Reynaldo Pinon and this is the last class that I have to take to receive my associate degree. After I leave SCF I will be transferring to The University of Central Florida. I am hoping to achieve my business degree in Real Estate. A little-known fact about me is that I am Ambidextrous. 2. 5 New facts I learned about the assigned artist and artwork. 

           Creation and Medium: Pollock painted with enamel on a 105 by 207-inch canvas in 1950.

Technique: Pollock worked from all sides of the canvas that was placed on the ground, demonstrating "action painting," a technique in which the process of painting is part of the art.

Abstract Expressionism: Stressing unplanned and unconscious creativity, this piece is a perfect illustration of the style.

Impact and Reception: Currently kept at the Metropolitan Museum of Art in New York, the picture has influenced modern art and is praised for its avant-garde style. 3. The way I look at this piece of art definitely changed afterward. At first, I did not know what to make of this piece of art. At first, I just saw random streaks of paint on a canvas and I did not want to say that because I knew that it could not have been that simple. The painting is big the image makes me believe that it is relatively smaller then what I expected but It is 105” by 207”. That is a size that definitely demands attention. I also did not know that it used a technique where the piece was placed on the ground. ART and Writing

This is a piece of art that my sister purchased for me as a gift and It means a lot to me. This a song cover for a song by Kanye West now known as "Ye" and this song comes off arguably his greatest album and maybe the greatest rap album of all time. I believe that this is not a painting made from paint but printed onto the canvas but I do not believe that it takes away from its beauty and significance in pop culture. I think it is beautiful because this comes from the album My Beautiful Dark Twisted Fantasy and that name alone speaks volume about this album. Music is art and I believe that this painting symbolically fuses two different medias of art into one because when people see this they know to think of My Beautiful Dark Twisted Fantasy. SELF-PORTRAIT I am 19 years old, I am a male, I am from Bradenton, Florida, I am Hispanic, and I play basketball and video games in my spare time. I am not part of an organized group. I don't work anywhere currently. That is the baggage that I bring when I look at a piece of art. There is a lot of things that make me uniquely me but it is really just a lot of little things that make someone different and the experiences in life that give someone a unique taste or what they came up with in life. Art Project

I am fascinated by random things in my life I am spontaneous, this is what I came up with I am currently traveling so I had to use an online drawling tool. This gives off random to me and abstract so that will give someone an elevated view of me.

[blogmusicz]

Music drawings, sound maps and emotion maps

Responding to feedback , I put on 6 different playlists of mine and did some digital procreate drawings whilst listening to the songs. I experimented with different tools and effects and layers inspired by expressionism and Jane Humans work.

I believe these went well! They’re very abstract and do feel the ones that aren’t fully square work the best to create more empty space and open for interpretation.

The textures are good but if I develop this I believe this will look better printed out on interesting material such as fabric or with some kind of printing method such as gelly printing or Lino.

These drawings are based on emotions I feel throughout the songs and also the rhythm of songs. I chose different medias and marks such as charcoal ,watercolour and liquify tool to represent the different moods and tempos of the songs in the playlists. I believe these textures and colours work successfully together and will continue with this experimentation throughout the project.

To continue my research , and due to the digital drawings being flat , I decided to test oil pastels. I haven’t used oil pastels for a while but I believe that it would communicate ideas of emotions and expression in music more and add more texture rather than the cleanness of digital drawing!

I did these drawings A4 sized , whilst listening to the same songs! The outcomes were very different and inspiring for my project. I think these outcomes were better in terms of texture but I feel collaging and blending both analogue and digital medias together may create a better outcome overall. Something I will definitely continue with through this project.

I tested some portrait drawings of kanda and Sam , I really think these drawings were successful and create a vibrant and bold aesthetic communicating messages of love and passion in the music they create! I think vibrant colour is a must in this project as it projects positivity.

To develop these instead of being flat digital images , I decided to print them out and create a zine that is a visual representation of music. I printed this on black card which helped the visuals to stand out and they remind me of biology or even galaxies. I like this concept but I think I should continue on with my experimentation because these drawings don’t say a lot in a zine , there needs to be more text or images.

[veronicasolus]

The art movement, as traditionally understood back in the 60s and 70s, was perceived as a reaction against abstract expressionism and modernism. Here in the present day things are, ironically, a little more jumbled, muddled. Cluttered, if you like. It feels instead like a reaction against the sheer quantity (and not quality) of things in life under capitalism: things to watch on streaming services, things to buy to wear, things to order on Uber Eats. Perhaps it's easiest to describe minimalism as a way of thinking and seeing that can be applied to all facets of one's life, however you might see fit—whether you are an artist, activist, or simply getting by.

We are, truth be told, uncomfortable in asserting any one-size-fits-all definition of minimalism. In its original definition as a movement in visual art, music, and other disciplines, it began in the American visual arts around the 1960s and 1970s. Prominent artists associated with minimalism include Donald Judd, Anne Truitt, Frank Stella, and Agnes Martin. Minimalist music often features repetition and gradual variation, as performed by artists such as Steve Reich, La Monte Young, Terry Riley, Philip Glass, and Julius Eastman. It found its place more widely across the arts and design as anything stripped to its essentials: films by Robert Bresson, plays and novels by Samuel Beckett, stories by Raymond Carver, and the architecture of Ludwig Mies van der Rohe. It was the latter who adopted the famous motto "less is more" to describe his aesthetic—and the philosophy of minimalism itself.

You might say that what started as a movement in art several decades ago finds its contemporary understanding to be a little more complicated. It is now commonly perceived as a way of life: to pack up your possessions, unpack things only as needed. To digitize your pictures. To wear just thirty items of clothing for three months. To clear out all that you bought to impress people. To downsize your home or apartment. In this guise, it is supposedly a reaction against the excesses of capitalism. But it has been portrayed by some as the preserve of young, rich white men who can afford to live wherever they want, and blog about it as much as they like. It has been criticized by others as a mere aesthetic that has become exploited, rather ironically, by the elite and wealthy. Take Kim Kardashian, for example, in a Vogue video walking through her sixty-million-dollar mansion—a stark, blank palace she called her “minimal monastery.”

Perhaps a better way of looking at minimalism is a way by which one might rid oneself of excess, in favor of the important things in life: friends, family, fulfilment, a sense of purpose. When it comes to sustainability and the climate crisis, it makes for an equally compelling argument: with less noise in our minds, and less clutter and less mess in our sights, we might hear the alarms and see the danger more clearly. And thus act with more urgency to protect all that really matters.

[alec123456789]

30 research questions

Research Area- Fine Art

At what point did fine art become a staple of high society and/or a commodity for high society?

What was Abstract Expressionism really about or what did it stand for? (Considering there was no clear shared practice or set of beliefs)

How does the art world still thrive in a recession?

How commercially viable is fine art amongst common folk?

How successful is the art business in relation to other sectors of business? (other consumerist businesses such as fast food, supermarkets, etc.)

How does Mark Rothko’s death by suicide change the way we interact with his work?

Who was Roy Newell and why is he widely forgotten?

What is Newell’s contributions to Abstract Expressionism and art in the greater scale?

Are artists architects or builders? (In the case of artists like Damien Hirst and Jeff Koons)

Is art the sum of its parts, or is art meant to create an outcome that exceeds its ingredients?

Are Damien Hirst’s series of animals preserved in formaldehyde ethical? Would he be able to make a human equivalent?

Does abstract art or non-representational art have a definitive orientation?

What do we do about artists that are undervalued in life but overvalued after death? Is that ethical?

Can anything be art even if it isn’t intended to be?

How much say does an audience have in an artwork’s outcome?

How come the Mona Lisa garnered the reputation it has today? (Most famous painting in the world)

How is art handled in terms of its placement and preservation after purchase? (Salvador Mundi on a yacht, George Condo in a pool house)

How is the art world used as a front for money laundering?

How is music represented in painting? (e.g. Kandinsky and Mondrian) How successful are these attempts? Is painting music for the eyes?

In a society so fixated on the strict and watchful regulation of celebrities’ reputation in relation to their behavior in their past and present how do artists like Picasso bypass cancellation? (Is it ethical to cancel or dismiss artists for behavior?, Can we separate art from artists or should we even?)

Can art represent death when its very existence makes it a product of life or at the very least creation?

Does an artwork’s value lie in its initial execution or its concept? (As the parts of conceptual artworks’ need to be constantly replaced to keep them working such as Damien Hirst’s ‘A Thousand Years’)

Is ‘art-speak’ a means to an end? Does it have any inherit value alone?

Does an artwork’s value lay in its authenticity of execution or certification?(such as a Hoover having the value of a Hoover versus a Jeff Koons Hoover as a part of his series of ready made works which is far more valuable than a Hoover due to its included certifications of authenticity)

How do ready made works change the way we look at them outside of the gaze of art? Is it truly free from all function or just its original function? Is its new function to be seen for its form, etc.?

What role does inspiration play in the creation of art? Is art inspired by art or divine intervention? (e.g. Jeff Koons inspired by his son making sculptures out of Play-Doh. Are those art?)

Is performance every bit as mental as it is physical?

What is the relation between education and art practice? Are artists without art degrees more beloved? (Van Gogh etc.)

How does Göbeklitepe’s architectural finds link the Pyramids to cultures that predate Egyptians in their visual language.

What is art’s relation to early civilizations?

[jshatan]

It’s day 22 of the #nnghalloweenvinyl challenge by @nickynogood315: Dead Alive: Splatter Vinyl. Angel Olsen - All Mirrors b/w We Are All Mirrors (Jagjaguwar, 2019) This 7”, which came as a bonus with my deluxe edition of the All Mirrors album, is definitely the smallest splatter vinyl I have - and likely the most stylish. Often, part of the fun of splatter vinyl is a certain garish take on abstract expressionism. But this is altogether sleeker, which only makes sense when you consider her music. If you already have the album, there’s nothing essential about this, but it is a nice thing to have! #vinyl #vinylcollection #vinylgram #vinylgeek #vinylcollector #vinylcollection #records #vinylchallenge #vinylcommunity #octobervinylchallenge https://www.instagram.com/p/CkCLtLsgqEk/?igshid=NGJjMDIxMWI=

[peppini]

⚙️ GEAR - what are your ocs thoughts on science & art? which do they give more importance to? how much value do they place on each?

MY BAD I TOTALLY MISSED THIS ONE!!!!!!

Okay so this was asked when it was just Dandy and since she's best girl and my waifu I'll answer just for her.

She's doesn't understand most things on an academic level but she definitely appreciates it and has somewhat of an understanding of things like Ballistic mechanics, so like physics and chemistry. she also has an expanded understanding of drug chemistry as well; however she doesn't really have the expanded vocabulary to fully understand or explain anything about it without sounding like an absolute lunatic. She also uses odd and unestablished units of measurement like one swig of this and how two swigs is one gulp.

When it comes to the arts she really appreciates music a lot. I feel like shes really like any form of punk, ska, rap or heavy metal. Art of any kind can evoke a specific reaction from her depending on the content of the art but like I said before, she wouldn't have the vocabulary to explain it.

I feel like because she has an acute attention to detail that makes it impossible for her to look at the bigger picture, she'd spend like 10 minutes looking at the lower left corner of a painting because a certain brush stroke caught her attention. When it comes to like fine arts she'd probably really like abstract expressionism like Pollock or Kline that focuses less on the content of the art itself and more on the hand of the artist and the process it took to create the image. And because the paintings from that era evoke that distinctly American spirit of rugged individualism that puts spontaneity, personal expression, and freedom on the forefront; I feel like that would be right up her ally.

Edit: I forgot to answer the second half.

Dandy would definitely like art more but science is more of a necessity for her so she focuses more on the science aspect of things.

[the-art-of-animated-gifs]

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Dimitri Thouzery:  Glitch Landscape

Dmitri Thouzery is a self described ‘new media artist’ who lives in Toulouse, France.  He says ‘I have done a wide variety of project, music clip, vjing, interactive and immersive installations, building mapping, branding, live data visualisations, touchdesigner workshops’.  He sells his work on hic et nunc but you can find some different and really spectacular things on his Instagram page, which is where I saw the work above.

I love this work.  It is rooted in a landscape in which you have your visual bearings the entire time;  a flat plane and shapes perpendicular to it that come and go in mostly the same glitchy and twitchy way.  Everything is changing constantly but the landscape and perpendicular shapes remain constant and the camera is making a very slow rotation around the entire thing to the point where what you are seeing is upside down.  But because the piece is rooted in those two concepts you never feel that it is out of control and you can enjoy the glitch building like  shapes coming and going and the landscape constantly changing.  It almost feels like an environment you could be inside of, a little glitchy world.  The fact that it is in black and white also helps keep it rooted.

Glitch art, like abstract expressionism or other pure abstract artwork, can feel chaotic and unmoored unless the artist has a control and logic for the parts that make it up.  Balancing the chaos with some kind of order.  In this case, Dmitri Thouzery definitely does have control and as a viewer you can watch it multiple times with pleasure.  

Take a look at some of his other work and see more examples like this, especially on his Instagram page

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If you have found this content valuable considering getting me a cup of coffee

[jenner-benjamin]

Performance Writing

‘Letter of Resignation’ - performance writing.

This last year in particular I have started to become more comfortable with the fact that I am as excited by the performative act of making as I am by the consequential drawing or print. I think because my research has led to intense discourse about the disappearance of handwriting, I have become increasingly aware of this being an important aspect of my practice. As such I have started to document the process and creation of some artworks, regarding these performances just as important as than the finished outputs themselves. 

These drawings were mostly produced at home, but eventually became tiresome and monotonous. I think because I was limited to the desk in my bedroom, I felt as though everything was whispered and restricted. Once university began to slowly reopen I was able to get hold of a space big enough that I could really spread out, and when not confined by space I was able to shout about how I was feeling rather than whisper. This release was exactly what I needed to breathe a bit of life back into my practice and I am very excited by the results.

The following performances are titled ‘Letters of Resignation’. The title is an homage to the works of the same name by Cy Twombly, an artist that is widely recognised for his works that have quite clear connections to asemic writing. Furthermore there are many suggestions that can be derived from this title; letters in the sense of individual written characters, letters that we write in correspondence, resigning from a job and resigning to the fact that this is just how life is now. I enjoyed the multiple meanings that can be deduced from this, just as there are multiple ways that we can read and understand asemic writing.

‘Letter of Resignation’ - performance writing.

‘Letter of Resignation’ - performance writing.

I conducted this series of performances because I wanted to spread out and enjoy not being limited to a domestic space. I unravelled a roll of Fabriano paper and performed a series of asemic written works to music with a mop, a handheld jug mop, and a drawing instrument that I made with bamboo cane and string. These instruments are all evidently larger than a pen or paintbrush, and so in writing with these on the oversized paper I was making myself more aware that this performance was more of a spectacle than writing at my desk with a pen. 

I write every single day, therefore I perform every day, and yet I was not consciously aware that the performance was taking place. It is interesting that the change in writing implement made me acutely alert to this fact. This is definitely something to think about in terms of the context of how or where the performance is taking place. 

Does a performance need to be documented or witnessed in order to describe it as a performance? If I sit at my desk and write a letter, is it any less performance as it would be to do the exact same thing but go live on social media whilst doing it? Is every act of writing a performance, or is it a performance because it is labelled as such? I have begun to read more about some artists that explore performance in their practice in the hopes of learning more about why this method of communicating my ideas has peaked my interest.

Inoue Yûichi

Inoue Yûichi in his studio by Itô Tokio, 1984 - photograph.

‘Katsu (Sound of Metal)’ by Inoue Yûichi, 1977 - ink on paper.

Inoue Yûichi, was a Japanese artist who began working as a primary school teacher, before retraining under the tutelage of calligrapher, Ueda Sokyu. He came to the practice later on in life but is now regarded as one of the most esteemed Japanese artists of the last century. He co-founded the avant-garde society for calligraphy which in turn saw his push for liberation from calligraphy’s traditional roots, advocating documentation of the calligrapher’s physical movements and energy as being equally as paramount as the textual pieces themselves. 

Yûichi depicts traditional Japanese kanji characters, having been predominantly inspired by traditional masters of Japanese calligraphy, but performs them in such a way that has been likened to abstract expressionist action painters. This meeting of Eastern and Western culture culminates in a performative practice that is a pure expression of being in the present moment. He allowed himself to enter a state of calm that is standard practice of the Japanese art of ‘Shodo’, which connects the mind with the body. This calm state of being is thus expressed in his written performance. 

Nakajima Hiroyuki

‘Calligraphies Sonores’ by Nakajima Hiroyuki, 2018 - performance at Villa Cavrois Lille in France.

‘Shizen’ by Nakajima Hiroyuki, 2012 - performance at Galeria Nobili Milano in Italy.

Nakajima Hiroyuki is a performance artist, also from Japan, but learnt the art of Shodo from a young age. Hiroyuki understood that the art of calligraphy was highly sought after, but recognised that it had the potential to surpass tradition. He began to create abstract artworks based on his deep knowledge of Japanese calligraphy.

Not long after he began exhibiting his calligraphic abstract forms, he introduced elements of Tai Chi in to his practice, aiming to establish the process of calligraphy by way of performance. He begins his performances by standing in a meditative situation, as per traditional Shodo practices, and then in one swift movement he creates his written thoughts as an evidence of that point in time.

Hiroyuki says:

“Every work of "Sho" is created in one continuous motion, and therefore cannot be repeated or re-written. The power of "Sho" lies in this feature of non-recurrence. Even if you draw the same letter ten times, ten different forms will arise spontaneously.”

I am drawn to the sense of calm and quiet in both Yûichi and Hiroyuki’s performances. The influence of Zen Buddhism and traditional leanings makes for a great basis on which to build from. They utilise traditional ideas in conjunction with contemporary art practice to create performance writings that are not only dynamic but also speak of their cultural backgrounds. 

James Nares

James Nares is a multi-disciplinary artist whose practice includes; film, music, painting, photography and performance. He uses these methodologies to explore ideas of physicality and motion. 

In the 1980s Nares began creating what are now his iconic brush stroke calligraphic paintings. These paintings document a gestural and expressive moment, a record of motion across the surface, and are inspired by Roy Lichtenstein’s own depictions of brush strokes. 

Nares suspends himself on wires above the canvas in what looks to be a slightly precarious Mission Impossible manner. This inclusion of an outside source in which to aid the creation of the painting further enhances the idea of performance, bringing an element of true action to the forefront of the drawing. The innovative employment of the wires does add an extra dimension to the works, though I would tend to think that they are required for logistic purposes as opposed to it being performance art. Nevertheless it is an interesting way in which to create a drawing, and an added point of interest. 

‘Girl About Town’ by James Nares, 2017 - screenprint on paper.

‘Damian’ by James Nares, 2014 - screenprint on paper.

Janine Antoni

‘Loving Care’ by Janine Antoni, 1993 - performance with hair dye. Janine Antoni’s work sits in the space between performance and installation. She addresses everyday activities such as eating and bathing and transforms these routines in to art, chiefly using her own body as her method of conveying these ideas. 

Antoni has performed pieces where she has scraped away at both lard and chocolate with her teeth, as well as washing away exact replicas of her face made from soap. The piece I am most drawn to is ‘Loving Care’, a performance whereby Antoni mopped the floor with her own hair, soaked in ‘Loving Care’ hair dye. She explains that in doing this she learns and reconnects with her body, finding an understanding with what happens when she puts her body in such an uncompromising space. I am reminded of the body prints by David Hammons and the performative prints that I studied in the Research Practice module. Hammons expressed a sense of cultural identity by using his body as a matrix for printing and mark-making. 

Antoni could also be seen to be putting forth a thought-provoking address of antiquated views of femininity in the domestic setting in collusion with action painting. Mopping been seen as a domestic chore and action painting popularised by abstract expressionism which was predominantly populated by men. 

This is a great instance of performance drawing, an example of the artist claiming the space as her canvas, and forcing the audience out of the room as she did so. Again, I enjoy the sense of performance art as a means of describing one's identity, this case being an emotional articulation of gender identity. 

Franz Erhard Walther

Politisch (Political), no. 36 by Franz Erhard Walther, 1967 - performance.

I came across the work of Franz Erhard Walther during my research of the Fluxus movement. He is a German artist that rose to prominence with his participatory and activated sculptural works. 

‘Werksatz’ is a series of roughly fifty wearable sculptures that are activated through audience interaction, and an exploration is made of the demands that they place on the human body. These demands are furthered by the possibility of the relationships that the objects prompt between additional participants. The fabric objects consist of a multitude of openings, fastenings and straps that encourage the user to wear and initiate them, either as a solo performance or as a collective effort. 

Walther explains that the motivation behind the wearable sculptures was to understand the negotiation between dormant and active states. This in turn suggests how the materiality of the works might change the body’s behaviour. It is also interesting to note how some of the pieces depended upon the audience’s ability to achieve an awareness of harmony within the structure, making the piece a confrontation as opposed to a simple Happening. I do like this sense of participation from the audience, if it weren't a risk to health and safety this would be something I would have been keen to explore at my end of degree show. Perhaps urging the audience to create their own asemic works in response or alongside my own. This is still food for thought for further study, as restrictions begin to ease.

Körpergewichte (Body Weights), no. 48 by Franz Erhard Walther, 1969 (performed in 2008) - performance.

Nancy Murphy Spicer

‘Hanging Drawings, 20 successive drawings, unique and unrehearsed’ by Nancy Murphy Spicer, 2015 - installation and performance.

I met Nancy Murphy Spicer as an undergraduate student after she gave a talk to my year group about her drawing practice. I have since read that she created a participatory drawing performance that questions the very nature of drawing. She establishes the line as a sensuous object that can be touched, moved and manipulated. The result is a participatory installation that invites the audience forth to engage with the line and create their own drawing.

It is an interesting conception of the physicality of drawing. The artist has brought forth the tools in which the drawing is to be made, but ultimately it is the spectator that activates its agency as a drawing. This notion not only melds the roles of artist and audience, but also gallery and art studio. 

The hanging drawings also touch upon the idea posited by Hiroyuki about the same drawing never being able to be repeated - ‘even if you draw the same letter ten times, ten different forms will arise spontaneously’. This is a thought that I have come back to multiple times throughout this course, the idea of the multiple and the edition. I am a printmaker that is excited by the accidental and incidental unplanned marks, and so the notion of works that can never be repeated is something that I have explored time and time again through print, drawing, writing, and now performance.

‘Hanging Drawings, 20 successive drawings, unique and unrehearsed’ by Nancy Murphy-Spicer, 2015 - installation and performance.

In researching ideas of performance drawing and performance writing, I again find myself being reminded of the Fluxus movement. I would propose that these performances are both Happenings and event scores. I think that this might be an avenue to explore going forward, the capacity for asemic writing to exist both as performance and event score. I do not see Letters of Resignation as a finished piece, but as a starting point to which I could further investigate. Perhaps I could record more written pieces that are less dramatic and focus more on the every day written works. These are just as much performance even without the great expanse and exaggerated writing implements. 

[cartsandrafts]

Dossier Annotation

CArts and rafts (or Arts and Crafts) is a dossier of artworks serving, to various degrees, as influences within my practice. With a sprinkling of general inspiration, like music and film, amongst it. These influences can be broken into five main themes; figuration, abstraction, materiality, symbol/symbolic, and text. Despite their separation, they are all intrinsically linked; overlaid in various degrees of contrast or correlation.

These titles place my collection of visual references into key layman’s terms that could just as easily be expanded into more categories incorporating a number of others. These include many of the themes discussed throughout the semester in Critical Frameworks. Such as indexes, icons, codes, expressionism, embodiment and form.

It has been very beneficial for my practice to see all these varying forms of inspiration side by side. Take for example the materiality of Jahnne Pasco-White accompanied by the overtly glorifying symbols of Frederic Remington, submerged in a soundtrack of Nick Cave. If you squint just enough, and overly compliment my making, you may just be able to see this variety of art smooshed together into the aesthetic that is my work.

This visual gathering of my differing sources has definitely been the most important aspect of this process. My practice is deeply focused on the exploration of supposed opposites and how these alternate themes, like figuration and abstraction, compliment and contrast not just within the pairs, but the whole scope. Diving into what an object represents verse what is represented; or as touched on in the dossier, the symbol verse what it symbolizes. Meaning this dossier serves almost as an instruction manual for all the parts that support my whole (practice).

The CArts and rafts dossier highlights how entangled the contextual supports of my practice are. It is not simply a case of just discovering an artist’s work, researching and then moving on. As seen, I am constantly circling and re-circling back to them; as I divert off expanding my practice and then reinforcing the original areas further at a deeper level. For example, Sam Gilliam’s work is briefly touched on towards the start of the dossier while I first began to experiment with a drop sheet in my practice at the start of the semester. I then shifted my focus onto other areas of making, such as the cowboy motif in the works of artists like Richard Prince. Eventually this motif fed into materiality and installations, leading me back round into a more in-depth investigation of Gilliam’s work via books from the library.

The final benefit of this dossier has been having these visual references, previously only accessed by sifting through a mass of personal photos (currently all of my new baby nephew) on my phone, all collected in the one place. And more importantly, instead of just my written notes on the theoretical overviews and key quotes of other artists practices, it has been highly beneficial having this dossier to post specific artworks that embody the overall themes as singular visual forms.

[art-now-germany]

Contemporary elegance - Portrait Original !, Igor Bajenov

What is art? .... "I am art." Definition of art: Art takes on complex relationships in all areas of life, and more creative perspective answers the spirit of Indiviudalität match in itself and draws from the collective Gedächntis and understanding of the world. Art is thus the only acceptable form of conflict develop culture and politics real and visionary. Art is communication between Mind and me ... me and my work ... my work and the next reason ... Art is thus an entertaining evolierende chain reaction. Perhaps Art Evolution? Art = The past, present and (or) future in their wide range of colors, shapes and sounds to show. For me, art is a form of expression of thoughts, feelings, emotions, but, unfortunately, often by commercial interests. You may be wondering now, what I mean. So I explain it to you. An artist per se, every human being is of creating something that he thinks is art. Whether it was written, painted, sculpted, forged, declaimed or otherwise prepared. The important thing is that there is, therefore, the work that needs to come out from the inside of the creator and that it precisely the man who created it, considers art. Because True art can not be obtained on head pressure or with an order one. Art is about the Muse. Yes I know that word is prejudiced, one connects it with ancient myths or just one or a lover, or the places the artist in a state feely. But, just that it is not, is not it. The Muse is a kind of phenomenon, rather a feeling that you wanted to give a figure in ancient times. A muse is a burgeoning idea, an association or even a clue to something that you will create. In any case, the true artist, and thus the true art has this to do something as the origin, which inspires from within something. But now the company set up an ad hoc basis have created something comes want. Of course, it must be great, stunning, new and convincing. Simply put, something gigantic that all ideas met, if not exceeds. And here starts the second part of my statement. For now I ask you, if as I just said, art comes with a Muse. How can they then with a contract, no matter by whom issued, be created? The artist who is perhaps known for his works from his musical creative phases, is now to create something on command and although it is possible and often even artistic nature. But it is a work to order. If you ask me, write me a poem or write me a story, because you had the pleasure to read one of my works and I liked you. So I tell you simply "NO" because I do not live it. But the one who has chosen the art as bread and life merit. Must say "YES" and it is also. See also commercialism "creates" art, but whether this works really should bear the title of art or rather commissioned art or just work? In my opinion, they should be demoted because they reduce the art in its value. I'm not talking about artistic taste, because even though I like better than a Monet a Beuys, so I have to both recognize as art, as they both emerged from such an idea. Art is self-realization, art has only the feelings of the artist is no longer expressed, and no less, is not about beauty !! For me, art is a form of communication. That is, the artist expresses not only his feelings, but wants the people with his work say something. He / she does not spontaneously and unwrought but processed so that it is understandable and enjoyable for the reader / viewer / listener. But sometimes even the incomprehensible pleasant or the unpleasant is meaningful. This art is a dialogue and not a monologue, I think it's also important that the artist has contact with his audience and the feedback takes care about what is normal for live performances, for writers or visual artists but should be. "Art is an expression of their own culture" Art for me is a kind of self-realization and liberation. Maybe even a little criticism. If you can do something that few can. - Everything is art - Survival is -life Art is art - Art is dying - Laughter is art - is not to laugh Art - Whining at a high level is Art .- Not whining is Art - Doing nothing is art - Art is thinking - Non-think is art - Everything is art so art is nothing other than art. Geez. Art is free figures from free spirit Art is a zweckfüßiger Sunrise in sausage glow of its own frequent lightness. Waiting a herausgepurzelten cheese princess on the verge of a frog loose Vaginalbrunnens. As the name of the site says it all: "Everything is art" The way of individual lives, loves, suffers and works. Then, when someone else may well something special, can he used his art to others to enjoy it. Art transforms people through images, archetypes and Symole. Art touches feelings and emotions. Art awakens to new life. Love Art curious joy, here is my proposal for the characterization of the concept of art. Art is the art with the help of a medium, for example, (music, painting or even mathematics) to develop a language all its own. The use of these media is only once "only" a craft. In conjunction with an idea and creativity arises from art, but can not be shared must be shared. "What is art" This briefly worded question is deceptively simple. Anyone who jumps up in his mind to do here made known, should know that it enters one of the oldest areas of employment of mankind. And seen do this from the perspective of those who art or take claim for themselves than buy from the perspective of whose who like art to be such, and some of their "understanding" and last but from the perspective of those who , judge the art or rather the art critics. The description of what is art, therefore highly dependent on the angle of view of the art actors. So art is for the artist or the artist certainly a form of expression for feelings, observations and findings. To convey a message where / her importance to him. How high is the acceptance of his / her work of art, is probably secondary. Here the enthusiasts want the discussion to the "true", respectively the "not-true" artist probably connect, this is here, however, inevitable. For the art viewer contrast, our own perception is crucial. The must not be congruent with the embassies of the artist / the artist. Well made possible by the artist intended message is hidden and yet he feels / she addressed herself. He / she buys a piece of art and presents / suspended / installed it in the habitat or visited an idea and takes the seen and heard with. Here interested feelings, observations and findings of the receiver. Seen one can understand art as a form of communication that makes visible Contemporary and contemporaries in a special way and consolidated. Whether see future generations yet to be connected to these messages, is debatable. Modern productions of Shakespeare, Schiller and many other throw such discussions again and again. Interpretations of paintings or sculptures can vary widely. And yet the art manages the employment of people with himself and his environment Oscar Wilde is certainly correct when he says: "Art is the strongest form of individualism, which knows the world". But it is without doubt the individualism with the largest collective benefit, I mean. Art does not rely on evidence and free. Your freedom is the perfect fulfillment of the self-determined shape. Their quality is determined only by itself. The created is absolutely and belongs to humanity. Art is a way to escape from reality for me. "Art, I am."...Exclusive Photo Collection in Contemporary Art - Digital Photo Mix - Abstract /Expressionism - Figurative/Cubism - Portrait Fantasy in Fine Art- Paint/Drawing-Vector/Graphic.

https://www.saatchiart.com/art/Photography-Contemporary-elegance-Portrait-Original/462428/2774422/view