Contemporary Art And Artistic Practices

Two sculptures, among others, lie in the outskirts of the Franklin D. Murphy Sculpture Garden at UCLA. One of them, The Walking Man, is a bronze sculpture created by French sculptor Auguste Rodin in 1905. The other, made more than 100 years later, is T.E.U.C.L.A., a large scale steel sculpture made by minimalist sculptor Richard Serra. Although it may seem like these works have more differences than similarities, both emphasize the processes of their creation and are major movements away from the classical tradition of sculpture. However, The Walking Man and T.E.U.C.L.A. also differ in several aspects that reflect their respective artists’ personal portrayals of modern sculpture. These aspects include: mode of production, composition and the arrangement of volumes, the play of light and shadow, and visual experience. Together these elements of formal organization work together to convey meaning in both of these works. Rodin’s deliberate rejection of refinement and disregard for the direct translation of the unformed to formed in The Walking Man represent the process and spontaneity of reality, while Serra’s use of curvature and aperture in T.E.U.C.L.A. models the spaces people move through and the perceptive skills they use in life and nature.

During the beginning of the 20th century the world was developing at an unprecedented, intense speed, artists were looking for a new Avant garde way to create works. Hence, cubism came to life- “a truly revolutionary style of modern art developed by Pablo Picasso and Georges Braques” (Lance 2010 :2). Many critics challenged this new style due to its unconventional use of semiotics and lack of social sense. However, this is exactly what Cubists wanted to be, unconventional- challenging the traditions of Western art which they believed had become tired and run its course.

It is a reasonable fact that the culture of art or the visual art culture changes in direct proportion with the social and political changes in societies and around the world. For example the South African arts, in music, performance, poetry and visual arts of today cannot be equated to that of the 1950s and 60s when apartheid laws were just being newly introduced and imparted into societies and simply as a result the peoples struggle or resistance was very relevant. The struggle or resistance to bring about social change, was not only through uprisings, violent protests or demonstrations, but the arts on the other hand was involved and has been in history, always as a usable element to voice up and act up for the voiceless, unheard and ignored when it is very necessary, due to dissatisfactions of a society or a nation with its leadership or an injustice perform by a state or a government that can no longer be tolerated by its people or any people. The arts have been always able to question the unquestioned and even able to simplify problems and bring solutions especially during the modern age of industrial revolution, for example today in the case of an architectural, vehicle or any structural design, the first step would be to draw, paint, digitize and sample build a plan, before building an actual structure, and art is involved in all these procedures.

Some of the most redefining and revolutionary moments in the history of man socially, have been catalyzed by use of art. Throughout the age’s music, imagery and poetry have been a fundamental tool in reaching out to the masses to condemn vices, motivate people and bring awareness. One cannot underestimate the impact that art has in influencing and communicating an idea to the people. Art is an integral ingredient in the cohesion and integration of any society. Through poetry, the poet is able to put across a message that resonates in the minds of the reader in an artistic manner that ultimately triggers a response. Art is therefore a force to reckon with in the transformation of a society or a regime.

This essay analyses the aesthetic and ideological underpinnings of the Modernist artwork, Impression, Sunrise of Claude Monet. The artwork and Impressionism is considered to be a visual articulation of the avant-garde and the latter statement is explained. References to the writings of Charles Harrison, Clement Greenberg and Wilhelm Worringer is used to theorise the aesthetics of modernity.

Overall, the ideologies discussed within the articles Written In Blood: 20th Century Art by Stephanie Dudek and Estrangement As A Motif In Modern Painting by John Adkins Richardson address similarities and differences from various standpoints. Modernistic ideologies towards social, cultural and technological changes of the 20th century are demonstrated in both articles. The article by Stephanie Dudek emphasizes on the employment of radical and transgressive values by modern artists within their work to target cultural, and artistic principles that have persisted over many generations leading to a transformation within the subject of art (Dudek 105). Furthermore, modern art set out to obtain new visions of reality as witnessed within the Cubist

During the twenty years after World War One, three major art movements appeared: dadaism, functionalism, and surrealism. Dadaism, a movement which conveyed erratic and random movements that were supposed to contradict human behavior, was a response to the anxiety of those who didn’t know how to react because of all of the strange and despairing behavior in the world. Because of these conveyed ideas, dadaism promoted outrageous and random behavior. Functionalism, a movement which tried to explore the functions and purpose of things and nature, was an attempt to find the purpose of humans in the dark times following the war. Surrealism, a movement which painted wild dreams and complex symbols, tried to spread the idea of hope from the current scary world. Through surrealism, imagination and hope was brought out through paintings that featured crazy illusions and impossible dreams. Overall, these artistic movements tried to answer and embody the general sense of anxiety felt by

In the late 19th century every artist had a desire to be considered as a serious diplomatic artist, also to be recognised, respected and well-known. However, an individual needed to commit to the studies of idealised figures and landscapes. Beyond question, for some artist academic art was considered as a rubbish and they

In this essay, a comparison and contrast of Hito Steyerl (born 1966) with that of Francisco de Goya (1746-1828) work of art will be made. These artists have been selected to demonstrate that they both can be defined as revolutionary artists but within separate art periods. To demonstrate this, it must first be defined what is revolutionary art and how does it affect us? The history of art has gone through constant changes from movement to movement, with ideas being portrayed differently. Revolutionary art is something that people take notice the many years after being presented. It leaves a lasting impression no matter the genre or means to make it.

America is forever changing and evolving with: new advances in medicine; discoveries in technology; and engineering taking new heights. Art has transformed itself into many types with many different artists behind the creation. Music has grown for centuries from folk songs, to church worship, to Opera’s recitatives and arias having different styles and stories to go with them, to classical, to rock n’ roll, to the pop genre we have now. Dance has changed in how people allow themselves to move, ballet, salsa, hip- hop, jazz, swing, tap, and many more have all grown. Writing does not just involve writing story books or novels, but can also include writing for newspapers or magazines. America has allowed itself to grow in all aspects. In recent years many programs and jobs in science, technology, engineering, and math have become more of a priority, making the arts and finer arts be deemed as

In Elizabeth Bishop’s poem, One Art, it displays the acceptance Bishop has for losing things. Each stanza the losses get more significant, until she finally displays the one thing she can’t accept losing. Elizabeth Bishop uses techniques such as verse form and repetition to display her feelings toward those losses.

This dissertation is dedicated to all the Artists in the world who believe that the Arts are agents of social development, cooperation, solidarity, and tolerance, even when their lives confront the injustices of the system.

Visual and performing arts were certainly, interlaced with politics most of the time, taking part in many of these other approaches or at least, without doubt, they were parallel and always present. Such collectives are described in the volume called Collectivism after Modernism: The Art of Social Imagination after 1945 edited by Blake Stimson and Gregory Sholette in which Jelena Stojanovic’ text explores the most influential art collectives before and after Modernism. It is also coherent, along with what has been said so far in the chapter, saying that “The Internationaleries” (as Jelena categorise the main art collectives in Europe) managed to spread their thoughts in a considerable scale even though the lack of institutional bridges that would had otherwise encouraged cultural exchange was

The brief for this assignment is as I see it to research more than 8 carving cultures and to explain the impact of social and cultural belief on art practice. To present research material in the correct form and record citations and bibliography correctly. This information is based on the question.

of art as a finished product, signed by the artist and authenticated by the art market,