This document discusses various elements of contemporary art, including appropriation, time, performance, hybridity, perspective, destruction, text, assemblage, and installation. It provides examples for each element, such as how appropriation involves using preexisting images in new artworks. The document also profiles the Washed Ashore Project, a non-profit that turns plastic pollution into art under the direction of founder Angela Haseltine Pozzi. Contemporary art aims to comment on and reflect modern society through new techniques, materials, and a focus on process over originality.
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the expression or application of human creative skill and imagination, typically in a visual form such as painting or sculpture, producing works to be appreciated primarily for their beauty or emotional power.
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1. Integrative Art as Applied to
Contemporary Art
Contemporary Philippine Arts from the Regions
2. Objectives:
Describe various contemporary art forms and
their practices in different Regions
Demonstrate appreciation of contemporary art
forms found in the various regions by
understanding the elements and principles
Give examples of local art forms found in your
town
3.
4. WHAT IS ART???
1.According to Webster, art is “human ingenuity
in adapting natural things to man’s use.”
2. Art came from the Latin word “ars” which
means skill or craft.
These meanings are still primary in other English
words derived from ars, such as “artifact” (a
thing made by human skill) and “artisan” (a
person skilled at making things)
5. - arts produced from an
indigenous culture
- aims to represent
reality or realism
through narrative
- arts produced at the present
period of time
- More focused on society
- Comments or reflects on
modern society by using
more techniques and
materials such as video or
new technology
TRADITIONAL
ART
CONTEMPORARY
ART
6. Characteristics of Contemporary Art
Bold strokes, bright colors, abstract
Expressionist and Surrealist
Art became public
Some artist are self taught
Different materials were used instead of the traditional ones
Originality is not an issue in ConArt
Process is important
8. Contemporary Art Forms
FINE ART
COMMERCIAL ART
PRACTICAL ART
CIVIC ART
APPLIED OR
HOUSEHOLD ART
INDUSTRIAL ART
BUSINESS ART
AGRICULTURAL ART
GRAPHIC ART
FISHERY ART
9. FINE ART
Use to describe the art forms created
primarily for its appearance rather than
its practical use
Examples: drawing, painting, sculpture,
print, graphic art, calligraphy,
architecture
10.
11. PRACTICAL ART
It is the changing of raw
materials for utilitarian purposes
and possesses ornaments or
artistic qualities to make them
useful and beautiful
12. INDUSTRIAL ART
Changing raw materials into some
significant product for human
consumption or work
Examples:
Shell craft, leather craft, bamboo craft,
shoe making, pottery making
13. APPLIED/HOUSEHOLD ART
Refers mostly to household arts
such as flower arrangement, interior
decoration, dressmaking, home-
making embroidery and cooking
14. CIVIC ART
City or town planning, maintenance
and beautification of parks, plazas,
roads, bridges, and farms civic,
planning, and beautification in order
to improve the standards of living.
15. COMMERCIAL ART
It involves business propaganda in the
form of advertisements in newspapers
and magazines, sign painting, billboard
announcements, leaflets, displays,
poster designing and movie illustrations
17. AGRICULTURAL ART
Refers to 6. agronomy (crop
production) horticulture 7.(garden
or orchard
cultivation)8.husbandry ( raising
of cows, carabaos, poultry and
swine
20. Art surrounds life
Art makes people optimistic about their future
Art helps spread a message of inspiration
Art can be a form of communication between
people to focus on common issues for the
betterment of human kind
Art influences society
Art is often a vehicle for social change
21. Contemporary Elements of Art
Appropriation
Time
Performance
Hybridity
Perspective
Destruction
Text
Assemblage
Installation
22. Appropriation
Appropriation is when an artist creates a new
work of art by taking preexisting images from
other sources and modifies and/or
incorporates those images with new ones.
23.
24.
25. Time
Time is incorporated into an artwork when
the meaning of the work is dependent on
the passing of time. Artists today
manipulate how moments of time are
experienced through the viewing of their
artwork.
26.
27. Leo Villareal, Multiverse, 2008, light-emitting diodes (LEDs), computer, and
electronic circuitry, Gift of Victoria and Roger Sant and Sharon P. and Jay
Rockefeller, 2009.115.1
28. Performance
Performance refers to artwork created by or
presented to an audience. Performance as an
element can also include the processes used
by the artist to create the work. This takes
place when the process used to create the
artwork is more important than the finished
work itself.
29.
30. Hybridity
Artists use hybridity in their work through the
blending of new or unusual materials with
traditional mediums. The incorporation of
these materials, such as recycled or
industrial materials, plays an important role
in the meaning of the artwork.
33. Perspective
Perspective (such as localized, forced, or
anamorphic) in contemporary art refers to
when an artist works with the real space
surrounding the artwork itself. Perspective
can play a role in the way the viewer looks at
the artwork or even the way the work is
perceived.
34.
35. Destruction
Destruction refers to when an artist uses
methods to show damage in or to their
artwork. Many times, this destruction is
documented as a process, which, in
return, becomes the work itself.
37. Text
Contemporary artists utilize text in their
art to push past the concept that text is
only meant to be read. The additional
meaning from the text adds another
level of depth that cannot be created by
shape and color alone.
38.
39. Assemblage
Assemblage is an artistic form or medium
usually created on a defined substrate that
consists of three-dimensional elements
projecting out of or from the substrate. It is
similar to collage, a two-dimensional medium.
It is part of the visual arts and it typically uses
found objects, but is not limited to these
materials.
40. 'Music Power No. 2', bronze sculpture by Armand
Fernandez (1986), Israel Conservatory of Music,
19 Stricker Street, Tel Aviv
41. Angela Haseltine Pozzi is an
American artist who works in
Portland Oregon. Angela’s evolution
as an artist shifted when she
noticed immense amounts of plastic
pollution on pristine southern
Oregon beaches. As she learned
more about ocean pollution from
plastics and marine debris, she
became motivated to do something
about it. Thus, the Washed Ashore
Project was born. Washed Ashore is
a non-profit community art project,
founded by Pozzi in 2010.
42.
43.
44. Installation art
Installation art is a term generally used to
describe artwork located in three-dimensional
interior space as the word "install" means
putting something inside of something else. It
is often site-specific - designed to have a
particular relationship, whether temporary or
permanent, with its spatial environment on an
architectural, conceptual, or social level.
46. References:
• Rotilie, Susan. "Elements and Principles of Today’s Art." Art Today. Walker Art
Center,http://schools.walkerart.org/arttoday/index.wac?id=2135
• https://www.google.com/search?q=appropriation+art&source=lnms&tbm=isch&sa=X
&ved=2ahUKEwiKvZTzmuz5AhWjmlYBHegzBKQQ_AUoAXoECAIQAw&biw=1366&
bih=649&dpr=1#imgrc=DbngGETgJdyNnM
• www.google.com
• https://www.foxboroughartpass.com/blog/assemblage-sculpture-art
Editor's Notes
Gyatso’s Angel 2007 relates strongly to his ‘Tibetan Idol’ series of 2006, in which various combinations of oil, silkscreen, ink, pencil and stickers on paper, are blended with textual elements and advertising to form the silhouetted image of Buddha — as well as echoing the unsettling image of the Iraqi prisoner tortured by US soldiers at Abu Graib. These works have their roots in Gyatso’s period with the Sweet Tea House group during which he created abstracted, reconfigured images of Buddha as a metaphor for the destruction of Tibetan Buddhist culture and to evade the potentially hostile reception from authorities in Lhasa to more traditionally realised imagery.
The central figure in Angel adopts a Buddha like pose, standing on a lotus flower with arms extended in a gesture of openness. While the work references the Buddha and mandala of traditional Tibetan thangka painting, in Gyatso’s hands these symbolic and often heavily detailed forms are reduced to shadowy outlines. Replacing the features traditionally ascribed to Buddha are a swarm of brightly-coloured stickers of popular culture items — such as cars, people and comic book figures. This is a contemporary Buddha filled with the iconography of everyday life, far from romantic and traditional depictions of Tibetan culture and religion.
Scattered around Gyatso’s Angel are further references to the bustling nature of contemporary life as texts from advertisements and newspaper articles in both Chinese and English combine with mundane lines such as ‘pie and mash’, ‘popcorn’ and ‘buy now, pay 2008’. On a darker note, small drawings of buses with armed guards, street signs, aeroplanes, Amnesty International icons and graphs litter the foreground, reminding us that Buddhism exists in a world of often unresolved conflict and violence. A large symbol to the left of the Buddha — a circle containing the words ‘cut and keep it with you’, outlined with scissor cut-out marks — suggests both the disposable nature of popular culture, and hints at the effects of the Chinese takeover of Tibet and the violent suppression of Tibetan religion and culture. The same ominous cutting-lines surround the figure of the Buddha.
Drawing on his own experiences of dislocation, Gyatso peels away and rebuilds surface details to explore the shifting boundaries and definitions of what it means to be Tibetan in the twenty-first century, developing a unique and multi-faceted visual language.
Ruth McDougall, Artlines 4-2009, p.34.