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Surrealism was fueled by a romantic impulse. It emphasized the new against the dictates of tradition, the intensity of lived experience against passive contemplation, subjectivity against the consensually real, and the imagination against the instrumentally rational. Solidarity was understood as an inner bond with the oppressed.
in these metrosexy times, whilst men are the objects of many a picture, it is probably worth examining this subject matter closely. Because metrosexual imagery is often very bland and samey. To be considered ‘objects of desire’ men have to have big tits and nice hair and svelt figures – oh, pretty much like women then.
And, even in the 21st century, there are still not enough women working as photographers and film directors, making the images of men and women and people who identify as neither, that saturate our culture.
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‘As a female poet, I have noticed over the years that male poets are often described in terms of being the romantic hero, dark, handsome, wild, notoriously philandering and accompanied by beautiful (young) female muses to “inspire” his creativity; the same “rule” does not apply to women. So, what if one is a female creator? If desire, and the object of desire and beauty are creative catalysts, then why do we not see that same poetic stereotype?
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Instead, the woman poet tends to just have the “mad” bit stuck to her rather than bad or dangerous to know!
True originality consists not in a new manner but in a new vision. That new, that personal, vision is attained only by looking long enough at the object represented to make it the writer’s own; and the mind which would bring this secret germ to fruition must be able to nourish it with an accumulated wealth of knowledge and experience. To know any one thing one must not only know something of a great many others, but also, as Matthew Arnold long since pointed out, a great deal more of one's immediate subject than any partial presentation of it visibly includes
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the novelist of the present day is in danger of being caught in a vicious circle, for the insatiable demand for quick production tends to keep him in a state of perpetual immaturity, and the ready acceptance of his wares encourages him to think that no time need be wasted in studying the past history of his art, or in speculating on its principles. This conviction strengthens the belief that the so-called quality of "originality" may be impaired by too long brooding on one's theme and too close a commerce with the past; but the whole history of that past — in every domain of art - disproves this by what survives, and shows that every subject, to yield and to retain its full flavour, should be long carried in the mind, brooded upon, and fed with all the impressions and emotions which nourish its creator.
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True originality consists not in a new manner but in a new vision. That new, that personal, vision is attained only by looking long enough at the object represented to make it the writer’s own; and the mind which would bring this secret germ to fruition must be able to nourish it with an accumulated wealth of knowledge and experience. To know any one thing one must not only know something of a great many others, but also, as Matthew Arnold long since pointed out, a great deal more of one's immediate subject than any partial presentation of it visibly includes
The Washington Post published an article about an experiment they did: they got Joshua Bell, one of the best violinists in the world, to play incognito in a subway station. They wanted to see if without the PR he usually gets for his stage performances anybody would stop to listen.
The result was – hardly anybody stoped to listen.
The Washington Post analized it as if it were the fault of the audience, the passers by, for not recognizing such a great musician. I say – it wasn’t the fault of the passers by at all.
The thing is Joshua Bell is a great violinist but he doesn’t know how to busk.
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when you play on the street you can’t approach it as if you are playing on a stage. Busking is an art form of its own.
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you have to relate to the audience and be a real people’s person. You can’t hide behind your instrument and just play, with an invisible wall between you and the audience, the way a stage performance is conducted. In busking you use the passers by as if they were paint and your music is the paint brush – your goal is to create a collective work of art with the people, in the space, in the moment with you and the music.
The video in question, VVEBCAM, and its contents including the description field are part of an original artwork. On Saturday, December 10, 2011, the video was removed by YouTube staff because of its use of "spam" in the description. The video has been exhibited internationally, is discussed in several new media and contemporary art texts, and is taught in academic curricula. There are several texts published indicating the importance of the use of "spam" in the video's description. One of those texts (http://rhizome.org/artbase/artwork/53474/) is published by Rhizome, a leading New Media organization. It states that the "extensive and dizzying list of tags" used to lure the audience into viewing the video "mirror[s] its enactment of passive viewership". The video as it existed on YouTube, along with its description and comments is the work itself.
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Surely a more judicious approach would for YouTube to simply not index the video tags for inclusion in search results. Removing the video entirely is clearly disproportionate.
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It's not surprising that a video that has intentionally misleading tags was removed, particularly when the tags imply the video has racy content that would also violate YouTube policy if they were accurate."I was breaking the rules for art" doesn't give you an exception to violate the policies everyone else is expected to follow.
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My initial concerns about the current show were its sort of lack of perspective. The strength of a curated show comes from the choice and arrangement of the works, and I worried that with a crowdsourced show like this, it would be hard to form a central thesis. What makes each of these games influential and how will those qualities come together to paint a moving picture of games as an art medium? I wasn’t sure this list particularly answered those questions.
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They’ve avoided directly addressing the question of why are video games art, and instead danced around it, showing a number of wonderful games and explaining why each great. Despite this success though, I feel that the show was still damaged by the crowdsourced curation approach. While I agree that the player is a major component of games (as Abe Stein recently posted to his blog, “A game not played is no game at all”), the argument that because games are played by the public they should be publicly curated doesn’t necessarily follow for me, especially when the resultant list is so muddled.
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This is an evolving list of artists, scientists, art/science collaborations, projects and organizations who are working on issues related to the intersection of art, science and the environment. If you have suggestions to add to the list, please send them to isast@leonardo.info.
Great artists stealing doesn’t mean they copy the work of others and pass it off as their own. It means they so absorb the work and ideas of others that they can recombine everything with their own work and thoughts to create something truly theirs.
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It’s a similar idea to the Medici effect, the idea of finding intersections at the crossroads of ideas in different disciplines and combining what you find into something new or unique to your discipline.
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- Collect ideas, inspiration, and techniques
- Set a path for your growth and see and collect everything along that path
- Seek quality over quantity
- Read, read, and read some more
- Look deeper at things. Take the time to understand how and why things work
- Live in the crossroads. Increase the probability of the Medici effect
Assuming you’re on board with the idea of stealing as Picasso meant it here are a few ideas for how you can learn to steal better in order to grow as a designer.
Alexander Gorlizki is an up-and-coming artist, known for paintings that superimpose fanciful images over traditional Indian designs. His work has been displayed at the Victoria & Albert Museum in London, the Denver Art Museum and Toronto's Royal Ontario Museum, among others, and sells for up to $10,000.
Mr. Gorlizki lives in New York City. The paintings are done by seven artists who work for him in Jaipur, India. "I prefer not to be involved in actually painting," says Mr. Gorlizki, who adds that it would take him 20 years to develop the skills of his chief Indian painter, Riyaz Uddin. "It liberates me not being encumbered by the technical proficiency," he says.
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It's a phenomenon that's rarely discussed in the art world: The new work on a gallery wall wasn't necessarily painted by the artist who signed it.
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soaring prices and demand for contemporary art is spurring the use of apprentices by more artists. The art world is divided on the practice: While some collectors and dealers put a premium on paintings and sculptures executed by an artist's own hand, others say that assistants are a necessity in the contemporary market.
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In 2008, a now-defunct podcast program by Adobe called Designing Minds — not to be confused with frogdesign’s excellent design mind magazine — did a series of video profiles of prominent artists and designers, including Stefan Sagmeister (whose Things I have learned in my life so far isn’t merely one of the best-produced, most beautiful design books of the past decade, it’s also a poignant piece of modern existential philosophy), Yves Behar (of One Laptop Per Child fame), Marian Bantjes (whose I Wonder remains my favorite typographic treasure) and many more, offering a rare glimpse of these remarkable creators’ life stories, worldviews and the precious peculiarities that make them be who they are and create what they create
German police believe that American actor, comedian and collector Steve Martin played a minor role as a victim in what may be Germany's biggest-ever art forgery scandal. According to investigators at Berlin's state criminal police office (LKA), the art lover purchased what he believed to be a 1915 work by the German-Dutch modernist painter Heinrich Campendonk. He bought the colorful "Landschaft mit Pferden," or "Landscape With Horses," from the Paris gallery Cazeau-Béraudière for what would have been considered the bargain price of an estimated €700,000 (around $850,000 at the time) in July 2004.
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Before the purchase a Campendonk expert had confirmed the painting's authenticity and identified the painter's signature on a label attached to the back. But 15 months later Martin, who would later publish a novel about the New York art scene called "An Object of Beauty," tried to re-sell the work. Art auction house Christie's finally auctioned it off in February 2006 to a Swiss businesswoman for €500,000 -- a loss of €200,000 from Martin's original purchase price.
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Some forgeries of Max Ernst paintings were so convincing that even Werner Spies, an art historian and Ernst expert, gave them his seal of approval. When the true origin of the paintings emerged last year it caused a commotion in the art community, where trading works by classic 20th century artists is a lucrative business.
Artist Aaron Koblin takes vast amounts of data — and at times vast numbers of people — and weaves them into stunning visualizations. From elegant lines tracing airline flights to landscapes of cell phone data, from a Johnny Cash video assembled from crowd-sourced drawings to the “Wilderness Downtown” video that customizes for the user, his works brilliantly explore how modern technology can make us more human.
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Watch his TED Talk below.
(via Brain Pickings)
Enjoying a show last year at The Magic Castle, I was struck by the magician/assistant distinction. The magician would make a dove disappear, and his assistant would suddenly reveal it in her possession. ”Who was doing magic,” I wondered? It looked like a team effort to me.
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NPR short on artist Liu Bolin. Bolin, we are told, “has a habit of painting himself” so as to disappear into his surroundings. The idea is to illustrate the way in which humans are increasingly “merged” with their environment.
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In the period between 1975 and 1979, the Agency convened a rare series of conversations between an eccentric cast of characters representing a wide range of perspectives within the contemporary social, political, and cultural milieu. The ARPANET Dialogues is a serial document which archives these conversations. Even more unusual perhaps was the specific circumstances of the conversation: taking advantage of recent developments in telecommunications technology, the conversation was conducted via an instant messaging application networked by computers plugged into ARPANET, the United States Department of Defense’s experimental computer network. All participants in the conversation were given special access to terminals connected to ARPANET, many of them located in US military installations or DOD-sponsored research institutions around the world. Excerpts from each session will be published as they become available.
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Fujiwara mailed me with this news: his work’s been censored. All the erotica’s been removed, rendering it, in his words, “meaningless, almost a tribute to Franco in the end”.
The curators and managers didn’t even consult him or seek his permission to alter the piece – they simply altered it without his consent. What’s even more disgusting is the fact that they waited two weeks, until all the Biennale’s international guests had left the country, before they leapt into action. This way, they could appear liberal to foreign journalists while ultimately preserving a conservative front for Singaporean audiences.
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in 1482, at the age of 30, he wrote out a letter and a list of his capabilities and sent it off to Ludovico il Moro, Duke of Milan.
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you can click on the image below to see the full-size version.
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For the debut of his latest weighty title, “On War in Philosophy,”
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For the debut of his latest weighty title, “On War in Philosophy,” the French philosopher Bernard-Henri Lévy made the glossy spreads of French magazines
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Mr. Lévy backed up the book’s theories by citing the thought of a fake philosopher. In fact, the sham philosopher has never been a secret, and even has his own Wikipedia entry.
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Riddle of the two Van Dycks
X-radiography and infrared imaging help scholars determine which is the copy
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Between 1618 and 1621, two ostensibly identical works entitled St Jerome with an Angel were produced in Van Dyck’s Antwerp studio; one painting now belongs to the Nationalmuseum in Stockholm and the other is on long-term loan to the Museum Boijmans Van Beuningen in Rotterdam. Now after almost 40 years of scholarly debate, new research conducted by the two institutions has finally answered the question as to which came first.
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In February 2009, after extensive conservation work on both paintings—the Rotterdam version underwent treatment in 2005 and work on the Stockholm painting finished in early 2009—the two works were compared side-by-side for the first time at the Nationalmuseum in Stockholm. There, a team which included Boijmans conservator Annetje Boersma and Lena Dahlén from the Stockholm institution, took paint samples
and examined the works using
x-radiography and infrared imaging. Direct examination showed that the Rotterdam painting was in better condition: the Stockholm work had sustained damage as a result of previous restorations which have abraded the faces of the figures and the folds of St Jerome’s robe.
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