Mainstream “Art” Decorative Therapeutic Self-Expression Entertainment Religious
Traditional Art Forms Painting Sculpture Drawing
Lev Manovich says “More and more contemporary artists act as a kind of journalists, researching and presenting various evidence through different media including text, still photographs, video, etc. What matters is the initial idea, a strategy, a procedure, rather than the details of how the findings or documentation are presented.... In short, a typical contemporary artist who was educated in the last two decades is no longer making paintings, or photographs, or video – instead, s/he is making “projects.” This term appropriately emphasizes that artistic practice has become about organizing agents and forces around a particular idea, goal, or procedure. It is no longer about a single person crafting unique objects in a particular media.”
Theo Jansen “Strandbeest” Giant robots that walk the beach powered only by the wind. www.strandbeest.com
strandbeest theojansen Theo Jansen, artist, studied science at the University of Delft Holland. The first seven years being a artist he just made paintings. Then he starts a project with a big flying saucer, which could really fly. It flew over the town of Delft in 1980 and brought the people in the street and the police in commotion. Since about ten years he is occupied with the making of a new nature. Not pollen or seeds but plastic yellow tubes are used as the basic matierial of this new nature. He makes skeletons which are able to walk on the wind. Eventualy he wants to put these animals out in herds on the beaches, so they will live their own lives.
“... naked girls in high heels and implicit instructions : don't talk, don't move too fast, don't move too slow. be classic. don't act. here, nudity becomes its own kind of outfit, not unlike the old emperor's new clothes fairy tale. high heels give legs their line and nude women aren't really nude if they wear them. pale-skinned models and no accents on the women's personalities, nor is any emphasis on femininity intended. one model is almost resembling another, nudity is a form of clothing. the use of a uniform - a particular hair color, shoe or shade of pantyhose - creates the illusion of integration. and beecroft's uniform has evolved into nudity. what could be more unifying and neutral than naked ? "beauty creates shame," beecroft claimed "...I want women on heels because that’s powerful, that’s not natural nudity or pureness," she explains. "when men see this woman standing on heels as if she were dressed, and facing the audience, well, if that’s what they like to see, then here it is, so what. I don’t know if that will create more respect or go somewhere beyond that. maybe after they see it twenty times they’ll start not to think of it the same way, I’m not sure. it’s an experiment.“ http://www.designboom.com/portrait/beecroft.html
Physical Impossibility of Death in the Mind of Someone Living In Hirst’s The the shark is a metaphor for humanity. “The shark floating in a tank of formaldehyde is a 'something' rather than a 'someone', but it is human death that the title refers to, the end of human consciousness.” This work suggests that “both sharks and humans are sentient beings, capable of sensation or feeling.”(Podstolski) Damien Hirst (installation)
Isolated Elements Swimming in the Same Direction With the Purpose of Understanding Damien Hirst (installation)
Away from the Flock Damien Hirst (installation)
Insurrection! (Our Tools Were Rudimentary, Yet We Pressed On) Kara Walker arranges life- sized silhouetted figures into raucous tableaux that recount the brutal, and often repressed, history of American race relations. Her unique use of the paper cut-out technique derives from the old craft of silhouetting. The artist likens this representational method to the nature of stereotypes themselves, in which the complexities of individual identities, situations, and personalities are simplified and distorted into easily readable, caricatured forms. Kara Walker (installation)
Anna Gaskell (photography) Anna Gaskell crafts foreboding photographic tableaux of preadolescent girls that reference children's games, literature, and psychology. She is interested in isolating dramatic moments from larger plots such as Lewis Carroll's Alice in Wonderland, visible in two series: wonder (1996–97) and override (1997). In Gaskell's style of “narrative photography,” of which Cindy Sherman is a pioneer, the image is carefully planned and staged; the scene presented is “artificial” in that it exists only to be photographed. While this may be similar to the process of filmmaking, there is an important difference. Gaskell's photographs are not tied together by a linear thread; it is as though their events all take place simultaneously, in an ever-present. Each image's “before” and “after” are lost, allowing possible interpretations to multiply. In untitled #9 of the wonder series, a wet bar of soap has been dragged along a wooden floor. In untitled #17 it appears again, forced into a girl's mouth, with no explanation of how or why. This suspension of time and causality lends Gaskell's images a remarkable ambiguity that she uses to evoke a vivid and dreamlike world.Cindy Sherman
Jacquelyn Black Photography/Graphics Last Meal A book of all prisoners executed in the State of Texas, this art work shows a photograph of the inmate, the inmate’s last words, and a photo of the last meal. What do you think Black’s message is, based on how the inmates and the food are represented?
Patty Chang (performance) Exploring the darker side of femininity and socially constructed notions of desire, Patty Chang often takes a corporeal, visceral approach to Performance [more], an art form that underlies her work in video and photography....Patty Chang Much as Janine Antoni, Sally Mann, and Gillian Wearing have explored the sexuality and conflicts inherent to the parent-child relationship, Chang examines the territory of the primal, parental connection in her work In Love (2001). In this dual-channel video, two separate scenes of the artist with a parent are juxtaposed. Chang faces her mother and, in the adjacent frame, appears face to face with her father. Simultaneously both images show the artist's and respective parent's faces pressed together in what at first appears to be a deep kiss. Gradually it becomes evident that the video is running in reverse time, and that they share not a kiss but rather an onion from which they both eat. They bite into it slowly, pausing as they take turns offering it to each other, as if it suggests the proverbial, forbidden fruit. Parent and child swallow before they take additional bites, blinking hard to hold back tears from the onion’s sharpness and pungency. However, in the video's reversal of time, the onion is reconstituted and the tears disappear—wholeness is thus regained. Janine Antoni
Biotech Art (“transgenic”) n GFP Bunny (2000) by Eduardo Kac n "Alba", the green fluorescent bunny, was created with a green fluorescent gene found in the jellyfish Aequorea Victoria.
“New Genre Art” n Critical Art Ensemble (w/ Steve Kurtz) and subRosa
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