Michael Landy Research Paper

By year twenty, billions of the population are deceased and all that remains now of the world are wastelands that endure the memory of bustling cities and small dispersed settlements of the few survivors. Although nothing’s the same, Mandel sheds light on the artistry and allure of the simple things. Saying, “What was lost in the collapse: almost everything, almost everyone, but there is still such beauty” (Mandel 57). Talking about the scenery from nature and the production put on by the Traveling Symphony, Mandel subtly shows how it’s in our human nature to express oneself. Although nearly the entire population of the world was wiped out, art survived and remains in everything; unavoidably associated with human life, from the natural happenings of the environment to characteristics exhibited from people.

The identity of Australia as a place comes from both its physical features and the atmosphere, which is often created by its physical appearance. Three artists who have depicted the Australian landscape in different styles are Arthur Streeton, John Olsen and Sally Morgan. Streeton’s works are in a realistic but lively style typical of the Heidelberg school. He was intent on recreating the light and warmth of the land. Olsen and Morgan’s works, on the other hand, offer more abstract interpretations of the land. During the 1960s and 1970s, Olsen captured the essence and the energy of the landscape with his bold and bright brushwork whilst Morgan’s work from the 1980s portrays Australia from an indigenous perspective, which she achieves through her use of Aboriginal symbolism and cultural imagery.

Moving further in the exhibition, we looked at Brooklyn-based artist Gregory Barsamian’s kinetic sculptures animate three-dimensional objects in real time. He called it ”Feral Fount” which is a physical representation of a dream he had in which drops of water from his kitchen faucet transformed into a bomb, and then a paper airplane before crashing into his dishpan. The artwork is a stroboscopic zoetrope made up of

For this assignment, I went to the Clara M. Eagle gallery located in Murray State Universities fine arts building. I chose Adam Vincent as the artist that I wanted to write about, I selected three of his pieces that really spoke to me during my time at the gallery. The artist’s name, as mentioned above, is Adam Vincent. I selected two pieces whose titles are: All That Remains (Vincent 2016), and Conspiracy Theorist (Vincent

Eric Lander studied/studies Genomics. He went to princeton university and now is a professor at Massachusetts institute of tech (harvard). Eric Lander has discovered Mammalian genomes, genome regulation, microbial and fungal genomes, cell circuits connectivity map, RNAI consortium.

The history of the Situationist movement is critical into understanding how street art can be used as a political weapon to enact social change. Like Banksy, the Situationists believed in superseding art, which abolishes the notion of art as a separate, specialized activity and transforms it into the cultural fabric of everyday life. Street art accompanies an element of surprise and culture shock because it can appear anywhere. People do not have to visit a museum or gallery to see art. Moreover, he adopts the Situationist’s methods of detournement, which is the act of taking an existing form of media and creating a new piece of art with a different message behind it. In particular, Banksy’s Les Misérables' mural is a representative form of deceptive detournement, which takes an intrinsically significant element and places it into a new context. Tear gas surrounds her and the French flag is torn to signify the values of liberty and freedom being destroyed. This is one of several Banksy’s murals that are reminiscent to the Syrian refugee

All of the American artists employ a realistic approach in their prints. The exhibition exemplifies mastery of manipulation on printmaking that successfully creates an illusion of depth utilizing lights and shadows. One of the works displayed in the selection is Victoria Hutson Huntley’s brilliant detailed lithograph of Lower New York (see exhibition A). The image’s astonishing composition is accompanied with a small text labeling the print as one of the works that was produced in 1934 and given as a gift from Bob Stana and Tom Judy. The image’s depiction of naturalistic composition allows spectators to place themselves in the financial district of New York City. From a bird’s eye view, spectators witness skyscrapers reaching past the edge of the paper; indicating an abundance of wealth in the

In May 2013, the mural depicting the Chartist movement in Newport was torn down. As it meant a lot to the local residents they protested, but to no avail. The company Mr & Mrs Clark deal with destruction and loss in their show Smash it Up. To fully understand the performance we must explore the history of this particular art form and how destruction has been used with creative indent elsewhere.

Notorious bad boys of modern art, they’re also renowned for their knowledge of Goya. Knowledge being a kind way of saying an obsession to the point of compulsion. Inspired by the incendiary nature of Goya’s artworks and his horrific daunting aesthetic, the Chapman brothers create works that appropriate Goya’s prints. Creating miniature tableaux, large scale sculpture, and going so far as to purchase and then deface original Goya prints. Jake Chapman spoke about this innate gloomier meaning in Goya’s works in a documentary on BBC in 2016. Jake Chapman argues that “Goya’s works are far more radical than conventional history allows. Rather than illuminate the recesses of the human soul, Goya Propels us into an irredeemable gloom.” (Chapman 1:55) An fascinating notion that opens up a quarry of intriguing and fresh thoughts on the works of Goya. What was the true ambition of his etchings? What’s the deeper

This creates a juxtaposition of historical and contemporary sublime. The sublime we see in the foreground is that of postmodernism or industrial capitalism, and its main driver, the fossil fuel industry. Structuring the photographs in this way historicizes the sublime, and exposes how a sublimity formerly relegated to spaces away from human development has encroached upon modern urban space. It also connotes how the sublime has always involved risk, just as “Bitumen” does. For both OIL and “Bitumen”, risk is signified by the unknown. Looking once more at Friedrich’s painting, it is not the precipice on which the man stands that evokes risk, but the mist concealing all that which lies below. Similarly, there is a concealment and deferral of violence and activity in nearly all of the photographs in OIL: the photographs appear frozen and emptied of risk when they are in fact the opposite, highly dangerous roadways, extraction sites, processing plants, and

The installation was part of an exhibition at Weston Art Gallery called: Unfunction. UnFunction was curated by writer Maria Seda-Reeder; she explored the functionality of an object and in what way that function is altered when added to realm of art. Sean T. Mullaney is a multimedia sculptor, who graduated from DAAP, majoring in industrial design and focusing in toy design. He worked as a toy designer and inventor 20 years. Since then he has transitioned into large scale kinetic sculptures. Recently he created a work that showcased in Weston’s exhibition “UnFunction.” The installation is the first work seen after entering the gallery. Its large scale consumes the first floor and the viewer. The work is positioned in the center of an open floor,

Jeff Koons builds on the Duchampian tradition of ready-made materials in the production of art. Koons brings the art objects out of mainstream culture and pushes them to their ultimate limit, compared to the ordinary and frequently mass produced objects that Marcel Duchamp reimagined as art objects such as the bicycle wheel and the urinal. For Duchamp however, this act was one of supreme skepticism. As the New York Review of Books art critic Jed Perl explains in his critique of Jeff Koons’ Whitney Museum Retrospective “The Cult of Jeff Koons,” Duchamp differs from Koons in that Duchamp’s production of ready-made objects was a result of a need for art to become understood on a deeper level by questioning its function in the sphere of history.

Banksy once said, “Art should comfort the disturbed and disturb the comfortable.” Banksy, the director of Exit Through the Gift Shop, a documentary that goes through the heart of street art strongly emphasizes that art is not about money, but rather about expression and passion. He supports his argument mainly through his strong visual and audio tactics. Visuals are much stronger than any other sense. A reoccurring factor that influences the viewer’s thoughts towards the argument is where Banksy focuses the video.

This section of the book first gives an introduction explaining the project by the author Philip Beesley, in collaboration with others, Hylozoic Ground. It is an installation that was presented at la biennale di Venezia 12th International Architecture Exhibition. In this installation, Canada offers a vision for a new generation of responsive architecture exploring the boundaries between environment, building, technology and human experience. Beesley defines the Hylozoic Ground as an “immersive, interactive sculpture environment organized as a textile matrix supporting responsive actions, dynamic material exchanges, and ‘living technologies’”. Later on, the chapter called Synthetic Geology by Geoff Manaugh, talks about future possible applications to Beesley’s works like new soil deposits, new agricultural fields, and new landscapes, landfills remediation, archeological excavation and the possibility of colonizing distant planets. The last chapter of this section, Liberating the Infinite Architectural Substance by Neil Spiller, is about liberating the attributes of the material world, both man-made and natural, and that to Beesley the “prima materia” is the Earth. It also explains how the Hylozoic Ground make you experience a “microcosm of the city’s macrocosm”.

In a ‘tradition breaking spirit’ [D’Alleva, 2012], that characterised modernist artists, early in the twentieth century, Duchamp abandoned traditional ideas and techniques, to create a new kind of ‘art’, one that the idea behind a work of art is more important that its visual realization, the ‘retinal’. The ready-mades was the product of Duchamp’s questioning what art is.