Surrealism - artists and techniques.
Surrealism, a type of art where peoples dreams are brought to life in paintings, drawings or any other technique used in fine art. It is the unusual images which are expressed by surrealist artists which caught my eye. I decided to use surrealism as my project because of these unusual images, as they are a lot different to other types of art that I have witnessed. This type of art was brought to life by Andre Breton in 1924 and since then there have been many artists following the path of Breton including Max Ernst, Joan Miro, Giorgio De Chirico and the most well-known Surrealist Salvador Dali. Surrealist art can be described as an attempt to express the workings of the subconscious mind. The images expressed in surrealist art are usually fantasy and do not agree with reality. Animals, objects, backgrounds and even forces on earth that would never occur in reality would be seen in a surrealist painting. There are many other techniques used in surrealist art which make the art different from reality. This could include using different patterns and colours to disfiguring shapes and changing backgrounds. These will be investigated further on. There are many types of surrealism, not all of surrealist art includes fantasy. Many surrealist pieces of art can look like real environments. The shapes of objects don't need to be changed at all and objects do not need to be added or
Personal Study - Journeys.
A2 Personal Study Journeys MUD FOOT CIRCLE, 1985 RICHARD LONG By Caroline Mackenzie Contents * Introduction * Biographies * Comparisons with traditional painters * Primary Source research, questions & responses- Richard Long * Evaluation of response * Research on Richard Long * My response to the work of Richard Long * Analysis of Works: Andy Goldsworthy Richard Long Robert Smithson * Comparison using my own work * Conclusion * Bibliography Introduction I have always liked travelling, exploring different countries and collecting items on the way to keep as a physical memory. This fascination with discovery made me interested in the Serpentine gallery, in Hyde Park, which had an exhibition called 'en route'. It featured the work of twenty-three established and emerging contemporary artists who take the theme of travel as a basis for their art. The human journey, both physical and imagined, is one of the most long-standing themes in art, literature and mythology. Many artists attracted my attention. One of them was Francis Alys, who travelled on foot and each day of his travels, was under the influence of a different drug. He recorded his experience through photography- 'I will walk in the city over the course of seven days, under the influence of a different drug each day. My trip will be recorded through photographs...' Above is one of
History of Tae Kwon Do
Tae Kwon Do History and Its Tenets Peter S. Hou May 2, 2004 History of Tae Kwon Do Tae Kwon Do, literally translating to "the way of feet and hands," is a Korean martial art having endured about two thousand years of evolution. As with all other disciplines, it is very important for the practitioners of Tae Kwon Do to be familiar with its history, hence to increase understanding and respect of this art. However, we also must understand that many of the recorded ancient stories could be inaccurate, different schools of thought may have rewritten the history to fit their own agendas, and that translation inconsistencies could have caused errors. While sources provide all sorts of different factual details, the following is a brief Tae Kwon Do history, summarized from several credible sources to my knowledge. The earliest martial art ever recorded in history was Pankration, a sport that Greeks competed in the Olympics as early as 648 B.C. (Dohrenwend). Along the side was Pyrrhic Dance, a martial art dance that was somewhat similar to modern poomse. Alexander the Great was supposedly an enthusiast in Pankration, and his conquests brought this art to India, who, in term, transferred a derivative to China through Buddhist missionaries. Then, the Chinese were very likely to have spread some of their martial arts, along with other cultural components, to neighboring
Collage which is, in essence, the incorporation of any extraneous matter on to the picture surface, was introduced to the art world by Picasso as part of this new freedom.
COLLAGE Before I began my research into COLLAGE I had very little knowledge of its beginnings, who came up with the idea, and what he might have been trying to say. All I knew was that the process involved different materials being arranged and glued to a backing, and that very often the materials had little or no apparent relationship with each other. I dipped into many the index of many art books to try and find a starting point for my research. The indexes took me into chapters dealing with DISTORTION, ABSTRACTION, and CUBISM, and that is where I started my research to try and understand what the artists in question were trying to say with their work. What I found out is that at the beginning of the twentieth century a number of artists claimed that traditional or representational art that portrays images as if frozen in time was too limiting on their work, and they felt that their art should not have such limitations imposed on it. Paul Cezanne, in the work he did towards the end of his life, began to treat traditional subjects, both figure studies and landscapes, as designs of inter-related forms. It was this approach to his chosen subjects, together with a general interest in primitive art, and particularly African art, in the early part of the twentieth century, that inspired PABLO PICASSO and GEORGE BRAQUE to turn their backs on traditional art that had been
Graffiti art is an art form.
Graffiti art is an art form. The reasons, including aesthetic criteria, as to why it is an art form far outweigh the criticism of illegality, incoherence, and nonstandard presentation. The objective of this paper is to explain how graffiti art overcomes these concerns and thereby can be considered as an art form. Suppose that Leonardo, Monet, Picasso, or any of the recognized artisans of Western European culture were alive in the present day. Then, suppose that one of these famous artists decided to paint a masterpiece on the side of your house or on your front door or on a wall in your neighborhood. Would Picasso or Monet's markings be graffiti or art or vandalism or graffiti art? The answer may vary across people, but I would claim that those markings are art in the form of graffiti. Their markings would qualify as vandalism only if they appeared on private or public property without permission. The same answer holds for the present day, genre of graffiti known as graffiti art. Graffiti art originated in the late 1960's, and it has been developing ever since. However, it is not readily accepted as being art like those works that are found in a gallery or a museum. It is not strictly denied the status of genuine art because of a lack of form or other base aesthetic elements. Most of the opposition to graffiti art is due to its location and bold, unexpected, and
Bill Jacklin.
When English painters take to landscape, they nearly always, even today, seem to refer to a prelapsarian countryside, where they can plug into some sort o~ pantheistic vision of unity with nature before the towns came to spoil it all. In that respect Bill Jacklin is very exceptional. He is fascinated by the urban scene; he is interested in people, but for the most part in large groups rather than as individuals. When he transferred his activities to New York in 1985, the move to the archetypal modern city of course changed his vision somewhat, but it did not basically transform it into something it was not before. The formal preoccupations which had directed his eye in London remained exactly the same. Just as Kokoschka had an ideal of bird's-eye-view landscape in his mind, and found it so consistently that you have to look carefuIly to work out whether the painting you are seeing is of London or Salzburg or Istanbul, so Jacklin had his archetypal images, patterns which had fascinated him ever since his beginnings as an abstract minimalist, and which underlie everything he does, however much the local incidentals may vary. He is fascinated, for instance, by the way light falls slantwise across a field of vision. In his abstract days it might take the form of diamonds in carefully graded shades of black and grey arranged to create a pattern of gradual lightening or darkening
Virginia Woolf Lecture 1 - aesthete or feminist revolutionary?
English 315 Part I 2004 Virginia Woolf Lecture 1 aesthete or feminist revolutionary? In this lecture I want to: ) offer a very brief sketch of Woolf's life 2) look closely at Lily Briscoe, the artist figure in the novel, and compare her to Mrs Ramsay 3) consider the dinner party 4) consider the relations between politics and art in the novel ) Basic biography Adeline Virginia Stephen was born 1882 into an upper-middle class intellectual family, part of the Victorian intellectual aristocracy. Her father, Leslie Stephen, was a man of letters, responsible for the Dictionary of National Biography. Virginia was self-educated, mainly by way of her father's large private library. Her mother was a great beauty who died when Virginia was 13. Two years later her sister died. These deaths, perhaps like those that marked Janet Frame's childhood, sparked mental instability that would remain with her throughout her life. Throughout her life she suffered from manic depression, although the name of the condition was not then known. She committed suicide in 1941. Leslie Stephen died in 1904 and the siblings moved into a house in Bloomsbury, then considered bohemian, where they set about distancing themselves from the Victorian legacy of thought, values and habits, even to the extent of exchanging
AS Photography - Image based study
IMAGE BASED STUDY In the next section of the project I will look at the work of other still life photographers but in particular we will concentrate on the works of Edward Weston and Irving Penn. I want to analyze their photographs looking into their choice of subject matter, the composition and lighting of each piece, how it was taken and then finally see how the decisions and choices they have made can influence the work I am about to undertake. I want to look at the style of each of the photographers (they are both working in the same genre i.e. still life but their approach to the topic and the subject matter itself vary greatly) comparing them and then developing my ideas. In the first project I looked at the works of other photographers to see their techniques and understand how they achieved their photographs. In this project I want to look at my influences and look at why they have taken their photographs. The Empty Plate, New York, 1947 Irving Penn I have chosen this photograph as the starting point in my research as it shows how an effective image can be created using very little in the way of subject matter. Penn has used only a few well chosen and composed objects to create a very memorable image (and one that is in its own way very familiar to us all). Penn has used the tablecloth in the image as a canvas on which he has composed his piece, with the dirty
Art Essay
Claude Monet STRUCTURAL FRAME o Artworks were solid and reflective --> Monet interested in reflections. Pushed him further. Eg. water reflections o Impressionism --> heavily influenced by Japanese art. Due to technology he found out about them. Looked at artifacts and loved it because it was different. o Western art - Realism o Reject the rectangular formation - used squares and circle canvas. --> Composition in a conventional way. Different to his time as everyone used rectangles. o Created workshops/studios next to lake or piece if land he was painting. o Purchases a whole lot of land (at least an acre) so he can create his own landscape to paint. SUBJECTIVE FRAME o Water Lillie's: looks at paint and qualities of paint, moves, and atmosphere. Interested in how do we look and see things. o Artworks were solid and reflective --> Monet interested in reflections. Pushed him further. Eg. water reflections o Influenced by Japanese wood cut prints - flat layers sitting on top of each other --> new way of looking at art, of valuing it. --> Japanese valued their landscape (loved the colour) --> Monet was interested in landscape. o Monet was influenced by the Japanese through their technique and subject matter (Japanese Gardens). o Stops just looking at light and looks at atmosphere --> meditation & spiritual connections. POST MODERN FRAME o Impressionism:
What is Interactive Media
Interactive Media 3000 Word Essay Francis Nicholls What is Interactive Media? I am going to begin my essay with a brief definition of the phrase Interactive Media; "Interactive media is the integration of digital media including combinations of electronic text, graphics, moving images, and sound, into a structured digital computerised environment that allows people to interact with the data for appropriate purposes. The digital environment can include the Internet, telecoms and interactive digital television." In the simplest of terms, Interactive media is any type of media that you can interact with. Whether it be a mobile phone, television or a website, as long as your interacting with a piece of digital technology, it then comes under the phrase Interactive Media. How is Interactive Media Developing? Interactive media is vastly developing each year, not only in the amount of users but also the amount of creators, inventors and developers. The scale of young people opting to take further education all around the world in areas such as media, means potential for new ideas and concepts which are already rapidly evolving and emerging every day, is going to be greater. Also with large media companies ever expanding and developing, not to mention newer and smaller companies starting every week, the demand for talented individuals with new ideas and up-to-date