Giorgio de Chirico was an Italian artist (1888 – 1978) . In the years before World War I, he founded the scuola metafisica art movement, which profoundly influenced the surrealists.
The emergence of the museum as a socio-cultural institution during the Renais...Erden Ibrayev
In the European culture of the Renaissance, collections and offices were repositories of not only material values, but also collections of objects of memorial, historical and artistic significance in accordance with the ideas prevailing at that time.
These places partly carried out the functions that museums will perform in the next era.
Institutions of Displacement: Reflections on Art Collection in the English-Sp...MuseumInnovation
Authored by two Trinidadian art education scholar-practitioners and art curators, this essay explores some of the still-current impacts of colonialism on the ways that knowledge in Caribbean arts education has been considered, characterized, and accessed in museums in Trinidad and Tobago. We will examine this issue through charting partial histories of art education in Trinidad and Tobago, as shaped by Euro-American, European, and other external ideologies brought into Antillean spaces through colonization and, in the contemporary era, globalization. These frameworks have shaped the development of collections and narratives in exhibitions, especially in private galleries, that do not always reflect the nuanced cultural and political landscape of the country.
The emergence of the museum as a socio-cultural institution during the Renais...Erden Ibrayev
In the European culture of the Renaissance, collections and offices were repositories of not only material values, but also collections of objects of memorial, historical and artistic significance in accordance with the ideas prevailing at that time.
These places partly carried out the functions that museums will perform in the next era.
Institutions of Displacement: Reflections on Art Collection in the English-Sp...MuseumInnovation
Authored by two Trinidadian art education scholar-practitioners and art curators, this essay explores some of the still-current impacts of colonialism on the ways that knowledge in Caribbean arts education has been considered, characterized, and accessed in museums in Trinidad and Tobago. We will examine this issue through charting partial histories of art education in Trinidad and Tobago, as shaped by Euro-American, European, and other external ideologies brought into Antillean spaces through colonization and, in the contemporary era, globalization. These frameworks have shaped the development of collections and narratives in exhibitions, especially in private galleries, that do not always reflect the nuanced cultural and political landscape of the country.
APLIKASI PENGENALAN SUARA MENGGUNAKAN MICROSOFT SAPI SEBAGAI PENGENDALI PERAL...Sukarso Liem
Perintah dengan menggunakan suara memungkinkan pengguna dapat mengontrol sebuah peralatan elektronik dengan mengucapkan perintah melalui peralatan masukan audio daripada harus menggunakan
saklar, hal ini memberikan kemudahan bagi pengguna untuk mengontrol peralatan elektronik tanpa
menggunakan tangan.
Carpathian Capital Fund II Investor PresentationIan Colville
Carpathian Capital is raising up to $10mn for a USA multi-strategy residential real estate fund to take advantage of continued distressed asset prices in certain geographies, improving markets and low interest rates. With leverage, fund will own up to 4x the amount of equity raised (25% equity, 75% debt capital structure).
Celebrating 55 Years of Modern and Contemporary Art at Forum GalleryRobert Fishko
Robert Fishko is an accomplished leader in New York City's fine arts community. As the CEO and director of Forum Gallery, Robert Fishko presides over art acquisitions and sales at the modern and contemporary art gallery.
Introduction to Art Chapter 31 Postmodernity and Global CultTatianaMajor22
Introduction to Art Chapter 31: Postmodernity and Global Cultures 448
Chapter 31: Postmodernity and Global
Cultures
“Getting” Contemporary Art
It’s ironic that many people say they don’t “get” contemporary art because, unlike Egyptian tomb
painting or Greek sculpture, art made since 1960 reflects our own recent past. It speaks to the
dramatic social, political and technological changes of the last 50 years, and it questions many of
society’s values and assumptions—a tendency of postmodernism, a concept sometimes used to
describe contemporary art. What makes today’s art especially challenging is that, like the world
around us, it has become more diverse and cannot be easily defined through a list of visual
characteristics, artistic themes or cultural concerns.
Minimalism and Pop Art paved the way for later artists to explore questions about the conceptual
nature of art, its form, its production, and its ability to communicate in different ways. In the late
1960s and 1970s, these ideas led to a “dematerialization of art,” when artists turned away from
painting and sculpture to experiment with new formats including photography, film and video,
performance art, large-scale installations and earth works. Although some critics of the time
foretold “the death of painting,” art today encompasses a broad range of traditional and
experimental media, including works that rely on Internet technology and other scientific
innovations.
John Baldessari, I Will Not Make Any More Boring Art, 1971, lithograph, 22-7/16 x 30-1/16″ (The Museum of Modern
Art). Copyright John Baldessari, courtesy of the artist.
Introduction to Art Chapter 31: Postmodernity and Global Cultures 449
Contemporary artists continue to use a varied vocabulary of abstract and representational forms
to convey their ideas. It is important to remember that the art of our time did not develop in a
vacuum; rather, it reflects the social and political concerns of its cultural context. For example,
artists like Judy Chicago, who were inspired by the feminist movement of the early 1970s,
embraced imagery and art forms that had historical connections to women.
In the 1980s, artists appropriated the style and methods of mass media advertising to investigate
issues of cultural authority and identity politics. More recently, artists like Maya Lin, who
designed the Vietnam Veterans’ Memorial Wall in Washington D.C., and Richard Serra, who was
loosely associated with Minimalism in the 1960s, have adapted characteristics of Minimalist art
to create new abstract sculptures that encourage more personal interaction and emotional
response among viewers.
These shifting strategies to engage the viewer show how contemporary art’s significance exists
beyond the object itself. Its meaning develops from cultural discourse, interpretation and a range
of individual understandings, in addition to the formal and conceptual problems that first
motivated the artist ...
2137ad - Characters that live in Merindol and are at the center of main storiesluforfor
Kurgan is a russian expatriate that is secretly in love with Sonia Contado. Henry is a british soldier that took refuge in Merindol Colony in 2137ad. He is the lover of Sonia Contado.
Hadj Ounis's most notable work is his sculpture titled "Metamorphosis." This piece showcases Ounis's mastery of form and texture, as he seamlessly combines metal and wood to create a dynamic and visually striking composition. The juxtaposition of the two materials creates a sense of tension and harmony, inviting viewers to contemplate the relationship between nature and industry.
Explore the multifaceted world of Muntadher Saleh, an Iraqi polymath renowned for his expertise in visual art, writing, design, and pharmacy. This SlideShare delves into his innovative contributions across various disciplines, showcasing his unique ability to blend traditional themes with modern aesthetics. Learn about his impactful artworks, thought-provoking literary pieces, and his vision as a Neo-Pop artist dedicated to raising awareness about Iraq's cultural heritage. Discover why Muntadher Saleh is celebrated as "The Last Polymath" and how his multidisciplinary talents continue to inspire and influence.
2137ad Merindol Colony Interiors where refugee try to build a seemengly norm...luforfor
This are the interiors of the Merindol Colony in 2137ad after the Climate Change Collapse and the Apocalipse Wars. Merindol is a small Colony in the Italian Alps where there are around 4000 humans. The Colony values mainly around meritocracy and selection by effort.
2137ad Merindol Colony Interiors where refugee try to build a seemengly norm...
Interview with katherine Robinson about Giorgio Chirico
1. Interview with Katherine Robinson, Scientific Coordinator of “Metaphysical Art – The
de Chirico Journals” published by Fondazione Giorgio e Isa de Chirico
Katherine has very kindly accepted to share with us information about “Metaphysical Art”, a
highly specialized review comprising of extensive studies on the Maestro of Italian Metaphysical
Art published by the de Chirico Foundation every two years in separate Italian and English
volumes (of ca. 400 pages).
Deborah Galante. Could you please briefly describe your academic and professional background
and why Giorgio de Chirico has been fundamental in your career?
Katherine Robinson. I studied Arts Plastiques at the Sorbonne University and Painting at the
Brera Academy of Milan. I became passionate about de Chirico through Jole de Sanna, an art
historian and dechirician specialist who revolutionised the study of the artist’s work, underlining
his fundamental contribution to 20th century art and culture, and the enormous influence his
work has had on artists from the 1920s on (Surrealism, Magic Realism, Novecento, Pop Art) and
still continues to exercise on numerous contemporary artists.
DG. How did the idea of the periodical “Metaphysical Art” come up and how was the project
constructed?
KR. The idea came from a project ideated by de Chirico himself in the early 1950s for a review
that was to involve a number of Italian artists among whom, Guttuso, Severini, Sciltian and
others, that was never published. Fifty years later, in 2001, the Foundation took up the idea and
founded the periodical “Metafisica. Quaderni della Fondazione Giorgio e Isa de Chirico” to
promote research on the artist. The publication supports the idea that de Chirico’s vast
production of artwork and writings can easily be considered a discipline of research in and of
itself, an oeuvre that indeed still holds much to be discovered today 36 years after the artist’s
passing.
DG. How is the magazine structured? Why so long (400 pages is a commitment!) and why only
one publication every two years?
KR. The periodical comprises of contributions by internationally known scholars as well as
researchers of a younger generation pertaining to various fields of knowledge. These deal with
the theoretical interpretation, historical critique and technical analyses of the artist’s work. Each
issue presents a significant quantity of primary source documentation and written work by de
Chirico (counting 200 previously unpublished letters to-date). All material is transcribed in the
original language (Italian, French, German, Modern Greek) with translations in English and
reproductions of original manuscripts.
The two-year interval between issues allows the Foundation to dedicate time to other activities
such as exhibitions and conferences, the conservation and promotion of its art collection and
the De Chirico House-museum in Rome, as well as various other publications.
2. DG. How are the themes chosen? Is there a precise order?
KR. There is no guideline for the choosing of themes – independent authors submit contributions
according to their individual research interests. The documentation published comprises of
material recently discovered in Italian and international archives.
DG. To talk more specifically about the articles; what kind of themes are concerned? Do they
vary throughout the years?
KR. Themes vary greatly, an aspect that reflects de Chirico’s own eclectic scope of work,
although they can be categorized in the following subject areas: theoretical interpretation,
historical contextualisation and biographical reconstruction, the study of the artist’s written
work and his research into painting technique.
DG. Is the subject of the forgery of de Chirico’s artwork treated in the publication?
KR. The historical and ever-present issue of forgery is dealt with through the publication of Court
Judgements as well as articles revealing the methods used by forgers to promulgate fake works.
The Foundation has also had to act against the falsification of the historical truth regarding the
de Chirico’s work and life story, a less-known but equally damaging event. As such,
“Metaphysical Art” acts as an important means allowing the Foundation to carry out its principal
objective of safeguarding de Chirico’s intellectual and artistic legacy.
DG. What kind of public, apart from de Chirico enthusiasts is the publication aimed at? What
impact does it have on the international stage?
KR. The periodical is dedicated to academics, students and art enthusiasts and is distributed
worldwide to the most eminent libraries, universities, art academies, museums and cultural
institutions. All issues including n. 11/13 (August 2014) are also available at
www.fondazionedechirico.org. Among the noteworthy contributions found in the current issue
are: Mannequins and Vaticinators by Ester Coen and Giorgio de Chirico, Apollinaire and
Metaphysical Portraiture by Willard Bohn. De Chirico’s 1945 essay Desecrated Reality is
published in English for the first time ever.
DG. Would it be possible to have a short overview on Giorgio de Chirico – Catalogue of Works
(May 2014)?
KR. Fondazione Giorgio e Isa de Chirico has also recently released the first volume of Giorgio de
Chirico’s Catalogue of Works comprising of 450 artworks dating from 1912 to 1976. Published
by Maretti Editore, the 468-page volume comprises of paintings and works on paper
authenticated by the Foundation that has duly catalogued and dated each artwork. These are
works not published in Claudio Bruni Sakraischik’s original Catalogo generale di Giorgio de
Chirico (1971-1987). The selection of works, many of which are little-known or totally unknown,
makes a substantial contribution to knowledge on the artist’s oeuvre. The second volume is due
in Spring 2015.
3. To conclude and highlight the importance of Giorgio de Chirico in the 20th century history of art
it is dutiful to cite a phrase by Jean Cocteau in a postcard sent to the artist on the 7th of April
1936: “One encounters you wherever a miracle occurs. Jean”.