Brazilian History: Lygia Clark

Fernando Botero's style is arguably one of the most distinctive of artists still alive today. Embracing a sweeping aesthetic that attempts to celebrate the vivacity of life with seemingly disproportionately enlarged figures, Botero's style celebrates an assortment of riotous colors while alternating between scenes of his native Columbia and social-political themes (Haas). An examination of the development of Botero's style indicates that it has a number of disparate sources and influences which informed the artist, who ultimately refined and merged them with characteristics from his own life to render works that are inimitably his own. An analysis of key works of artistry from Botero support the hypothesis that his larger-than-life style of painting and sculpture was conceived of as a means of conveying the richness and complexity of the events, feelings and actions that constitute the scope of life itself.

The art of Fernando Botero is widely known, revered, paraphrased, imitated and copied, For many, his characteristic rounded, sensuous forms of the human figure, animals, still lifes and landscapes represent the most easily identifiable examples of the modern art of Latin America. For others, he is a cultural hero.To travel with Botero in his native Colombia is to come to realize that he is often seen less as an artist and more as a popular cult figure. In his native Medellín he is mobbed by people wanting to see him, touch him or have him sign his name to whatever substance they happen to be carrying. On the other hand, Botero's work has been discredited by those theorists of modern art whose tastes are dictated more

In this essay, I will compare and contrast two different sculptures from two different contexts of art. The first being an Olmec Colossal head (monument 1), from the context of “Art of the Americas,” and the second sculpture being ahead from Rafin Kura. The head from Rafin Kura comes from the context of “Art of Africa.” Both sculptures come from two different time periods and parts of the world. They also are both made with natural materials and have their own symbolic meaning.

* Explain ways in which the artist has become the subject of the work. What issues does this raise about the, role of the artist, Subject

Ms. Luna, is an artist from the “Cuban Golden Generation” and lives in Miami since 1980. She graduated from San Alejandro School of the Arts. The artist, after graduated, was trained in sculptural ceramics by some of the most importants Cuban painter and sculpture like, Amelia Pelaez, Rene Portocarrero and Wilfredo Lam. Laura’s works goes through the paint and sculpture with a solid theorical and technical background.

The objective of this study is to post the names of three visual artists such as painters and sculptors that were the most influential during the 1960. After identifying the visual artists, a URL will be posted so that the reader can link up to review their work. Finally, a brief commentary will be offered on each of the artists in regards to why they are so influential.

Carambola is an artwork made by Beatriz Milhazes in 2008. I chose this artwork because the colors and design got my attention. Beatriz started this piece of artwork with a square and she added more to it until it was collage filled up with geometric shapes and swirly designs. I think that’s what everyone does because when I’m bored I’ll get a piece of paper and start off with one shape or design and continue to do it until the page is full. It is basically designs of Brazilian culture with different shapes. It is based on, church facades, ruffled blouses of Brazilian Mardi Gras costumes, the design of the serpentine walkway that stretches, the exotic plants that’s beside her studio in Rio. I think this art work is non-representational because

In the early 1920’s, architects Heitor da Silva Costa and Albert Caquot got together with French sculptor Paul Landowski and Roman sculpture Gheorghe Leonida to create this work of art. They saw it as a way to take people’s minds off of the war after WWI, a way to bring and show peace.

Flor Garduño, an internationally renowned photographer from Mexico, evokes numerous Pre-Columbian archetypes in her art. The “Inner Light” series is no exception. Published in 2002, its unifying theme is the promise and metamorphosis of womanhood. The three selected photos, Pera/Pear, Semilla/Seed, and Cráneo/Skull, evoke Pre-Columbian themes of food, nature, death, and mythology.

Paulo Ito is a Brazilian graffiti artist best known for painting of a hungry boy and a soccer ball on his plate. Ito was born in 1978 in Sao Paulo. Over his career, he has gone through different phases, he started doing experimental graffiti and female nudes, but shifted his themes into social criticism and behavior. Ito’s work can be found in places like Buenos Aires, Montevideo, Lisbon, Barcelona, Berlin, Krakow, Rio de Janeiro, Fortaleza, Belo Horizonte, however most of his work is done in Sao Paulo1. Ito’s currently working on murals in Argentina and in Sao Paulo he continues to use meaningful symbolism in his work.

Eckhout’s convincingly realistic paintings of indigenous women is important when considering that many dutch artists were infatuated with the idea that Brazil was a sort of paradise. Choosing to forego presence of colonization and heighten the realness of the mamelucos body focusing on the beauty.

Wilfredo Lam’s Untitled, 1953 and Matta’s Untitled (Flying People Eaters), 1942 share a wall in gallery 397 of the AIC. The two drawings were completed within 12 years of each other, and they seem be in conversation as surrealist compositions. Both pieces incorporate primitivist imagery into their engagement with the surreal. However, where Matta uses this imagery to further Freudian shock value and bring forward abject discomfort, Lam uses “primitive” symbology to discuss notions of Afro-Cuban identity through a cubist and surreal lens.

Any art medium can be utilized to tell a story or evoke emotion in a viewer. Artistry is unique in that it is purely visual and can be left to interpretation if the artist chooses to stay ambiguous in the message they are trying to convey. As an artist, I am always trying to analyze the meanings behind famous works of art, whether those meanings happen to be incidental or purposeful. So, when contemporary artist, Enrique Chagoya expressed his adoration for the social commentary expressed in Francisco Goya’s Los Caprichos sketches, I was intrigued.

Artists El Anatsui and William Kentridge both draw on geography to comment on global transformation and time’s passage in their work. New World Map, by El Anatsui, is dazzling due to its rich colors and frenzied composition. It is coyly deceiving. Instead of being made of precious metals, the piece is made of found liquor bottle tops linked and molded together. With the dichotomy of the material and visual display, the sculpture exudes a joyful, yet calculating, exclamation of freedom that engages viewers to evaluate global transformation. Ghanaian artist Anatsui resides in Nigeria, where he specializes in sculptural pieces that emphasize transformation in both form and concept. In Atlas Procession I, South African artist Kentridge broaches similar themes with a map and historical objects that comment on infinite, circular flows of global history and time.

Art is all around us. There are many different forms of art. It can be something created, captured, or it can be already existent. Not a single person is to say what makes something art because there is a different definition for everyone. However, there are a couple factors that come into mind whenever someone decides to declare something as art. In this essay I will be comparing and contrasting four different pieces of art. I will be discussing each art piece’s form, time period of creation, intention or purpose, and value. These four pieces of art are Michelangelo’s Pieta, Fountain by Marcel Duchamp, Mark Rothko’s No.61, and the “Oyster Dress” by Alexander McQueen. These works of art come in all different shapes and sizes but they are valued