The document discusses various sources that fantasy artists can draw from for ideas, including studying nature, using photographs, technical drawings, and the works of other artists. It emphasizes that artists should observe details closely in the natural world and in ordinary objects in order to find inspiration for imaginary pictures. The text also encourages experimenting with different techniques and taking inspiration from unexpected sources in order to generate new ideas.
Serial Cut is a Spanish design studio founded in Madrid by Sergio del Puerto. It specializes in art direction for international advertising projects. The studio creates slick, bold graphic images using real sets and 3D elements. Typography plays an important role in their work. Serial Cut combines pop culture, luxury, and surrealism in their iconic images that are open to multiple interpretations. They have attracted high-profile clients like Toyota, Nike, and Sony.
Impact of Bohemianism in New Media DesignHershey Desai
This document provides an overview of a student's assignment on analyzing the impact of Bohemianism in new media design. It includes an abstract, table of contents, and introduction section that defines bohemians as individuals who defy social norms and dedicate their lives to creative arts like literature, painting, and music. The document then explores the origins of the term "Bohemian" and discusses the bohemian mindset, different types of bohemians, and the globalization of bohemian culture over several generations. It also examines the influence of bohemian values on art and how those values may influence new media design today.
The family is the basic social institution that regulates sexual behavior and reproduction. It performs important functions like the biological maintenance of its members and socializing children. Family structure can be based on descent, residence, or authority. Descent determines affiliation through the father's or mother's lineage, or both. Residence rules dictate whether newlyweds live with the groom or bride's family. Authority is either patriarchal, matriarchal, equalitarian, or matricentric.
Nationality refers to belonging to a particular nation through birth or naturalization. It provides the right to live and work permanently in a country and obtain documents like a passport from that country. Citizenship is defined as having the rights, privileges, and duties of a citizen of a state or political community. Citizenship allows voting rights but not necessarily the right to live in a country. Some key differences between nationality and citizenship are that nationality provides social security rights while citizenship is more exclusive. Dual nationality arises when a person acquires nationality in two countries according to their differing citizenship laws. Issues with dual nationality include potential double taxation, conflicting military obligations between countries, and lack of clarity around diplomatic protection.
Khilafah vs Democracy (Islamic economic system vs Capitalist system)Muhammad Umair Akram
In this presentation the economic system discussed in detailed. This discussion is made in Pakistan. slides completely describes that what Islam OR khalifa syatem says about the economic and what the democracy says about the economic of a country.
The document discusses democracy in Islam, comparing Western democracy to an Islamic model. It outlines the pillars of Western democracy, such as sovereignty of the people and minority rights. It then examines similar concepts in Islam, like consultation (shura) and enjoining good. The main differences between Western and Islamic democracy highlighted are that in Islam, leaders are chosen by the wise and experienced rather than masses; laws cannot be changed or contradict Islam; and society aims to enjoin good and forbid evil. The principles of an Islamic state are that all authority comes from God, laws are already set by the Quran and hadith, and Muslims are obliged to enforce these divine laws.
The document discusses various sources that fantasy artists can draw from for ideas, including studying nature, using photographs, technical drawings, and the works of other artists. It emphasizes that artists should observe details closely in the natural world and in ordinary objects in order to find inspiration for imaginary pictures. The text also encourages experimenting with different techniques and taking inspiration from unexpected sources in order to generate new ideas.
Serial Cut is a Spanish design studio founded in Madrid by Sergio del Puerto. It specializes in art direction for international advertising projects. The studio creates slick, bold graphic images using real sets and 3D elements. Typography plays an important role in their work. Serial Cut combines pop culture, luxury, and surrealism in their iconic images that are open to multiple interpretations. They have attracted high-profile clients like Toyota, Nike, and Sony.
Impact of Bohemianism in New Media DesignHershey Desai
This document provides an overview of a student's assignment on analyzing the impact of Bohemianism in new media design. It includes an abstract, table of contents, and introduction section that defines bohemians as individuals who defy social norms and dedicate their lives to creative arts like literature, painting, and music. The document then explores the origins of the term "Bohemian" and discusses the bohemian mindset, different types of bohemians, and the globalization of bohemian culture over several generations. It also examines the influence of bohemian values on art and how those values may influence new media design today.
The family is the basic social institution that regulates sexual behavior and reproduction. It performs important functions like the biological maintenance of its members and socializing children. Family structure can be based on descent, residence, or authority. Descent determines affiliation through the father's or mother's lineage, or both. Residence rules dictate whether newlyweds live with the groom or bride's family. Authority is either patriarchal, matriarchal, equalitarian, or matricentric.
Nationality refers to belonging to a particular nation through birth or naturalization. It provides the right to live and work permanently in a country and obtain documents like a passport from that country. Citizenship is defined as having the rights, privileges, and duties of a citizen of a state or political community. Citizenship allows voting rights but not necessarily the right to live in a country. Some key differences between nationality and citizenship are that nationality provides social security rights while citizenship is more exclusive. Dual nationality arises when a person acquires nationality in two countries according to their differing citizenship laws. Issues with dual nationality include potential double taxation, conflicting military obligations between countries, and lack of clarity around diplomatic protection.
Khilafah vs Democracy (Islamic economic system vs Capitalist system)Muhammad Umair Akram
In this presentation the economic system discussed in detailed. This discussion is made in Pakistan. slides completely describes that what Islam OR khalifa syatem says about the economic and what the democracy says about the economic of a country.
The document discusses democracy in Islam, comparing Western democracy to an Islamic model. It outlines the pillars of Western democracy, such as sovereignty of the people and minority rights. It then examines similar concepts in Islam, like consultation (shura) and enjoining good. The main differences between Western and Islamic democracy highlighted are that in Islam, leaders are chosen by the wise and experienced rather than masses; laws cannot be changed or contradict Islam; and society aims to enjoin good and forbid evil. The principles of an Islamic state are that all authority comes from God, laws are already set by the Quran and hadith, and Muslims are obliged to enforce these divine laws.
Essay on Digital vs. Traditional Art
Modern Art Vs. Contemporary Art
Limitations Of Contemporary Art
Essay on Intimate Life in Contemporary Art
Essay about Identity in Art
Contemporary Art Research Paper
An Essential Core Part Of Contemporary Art Essay
Contemporary Art And Artistic Practices
Feminism And The Contemporary Art
Contemporary Art : Modern Art
Contemporary Art Analysis
Essay Museum of Modern Art in New York
The Language Of Contemporary Art
KANGAWA Contemporary Art
Contemporary Art Essay
What Is Modern Art? Essay
The Themes Of Contemporary Art
The Importance Of Contemporary Art
This document provides an analysis of Amedeo Modigliani's 1917 portrait of Jeanne Hébuterne. It summarizes the context of Modigliani and Hébuterne's romantic relationship. It then analyzes the catalog description and provenance of the painting to establish an estimated value between $40-60 million. The painting was ultimately sold at auction for £34.25 million, within the estimated range. Market data on comparable Modigliani works and the increasing prices they have fetched in recent years supports the high estimated and realized values.
This document discusses concepts related to high and low culture in art. It introduces terms like "avant-garde" and questions assumptions around concepts like originality, genius, and the notion of art for art's sake. It provides examples of artworks to illustrate different approaches like socially committed art versus art that seeks only to expand what art is. The document encourages questioning priorities in art education around innovation, experimentation, and originality.
This document discusses the merging of design and art, which the author calls "Vulgarism". In recent years, some designers have begun making objects that resemble art more than functional design. This phenomenon is driven by market forces and a desire for attention and sales. While some crossover can be interesting, the author argues that much of today's "design-art" lacks intellectual substance and is motivated more by profit than creativity. Opinions on whether this trend will have lasting influence or is just a passing fad are mixed. The document explores this topic through examples and perspectives from designers, manufacturers, galleries and journalists.
ART 315 LECTURE 14Richard Aldrich, Untitled, 2009.docxfestockton
ART 315 LECTURE 14
Richard Aldrich, Untitled, 2009
Richard Aldrich, Slide Painting no. 3
(looking origin), 2010
Joe Bradley, Superman, 2008
Joe Bradley, On the Cross, 2008
Matt Connors, What is the Third Question,
2013
Nicole Eisenman, Breakup, 2011
Mark Grotjahn, Untitled (Circus No. 1 Face
44.18), 2012
Rashid Johnson, Cosmic Slop
“Dutchman”, 2013
Julie Mehretu, Heavier than Air (written form), 2014
Dianna Molzan, Untitled, 2009
Dianna Molzan, Untitled, 2011
Oscar Murillo, Matt painting
(yoga), 2013
Laura Owens, Untitled, 2013
Amy Sillman, Still Life 1, 2013-14
Josh Smith, Untitled, 2007
Mary Weatherford, The Light in
Lancaster, 2014
Matt Kleberg, Do What Say Do II, 2016
Matt Kleberg, The Turkey, 2016
The Miami Rail
http://miamirail.org
Zombie Paintings at MoMA
Painting seems to have returned from the dead, again. The frequent pronouncement that painting is dead,
followed by the declaration of its eventual resurrection, is an important, but often overlooked part of the
modern (and postmodern) artistic tradition. Since the late nineteenth century, with the advent of other
imaging technologies (such as photography) and the desire to make works of art that can participate in
and connect to the shifting social conditions and new emotional complexities of modern life, artists and
critics have fought either to justify painting’s existence in a changing world or to kill it off once and for
all. And so some of the most inflated rhetoric about painting as well as the most insightful and profound
critical commentary in the twentieth century has been a response to the abiding fear that, compared to
other artistic and creative cultural practices like photography, film, digital imagery, installation, and
performance, painting is irrelevant to our daily emotional and imaginative lives.
To drag a brush loaded with smelly pigments across a scrap of canvas is indeed a vulnerable, fragile, and
even absurd cultural practice—absurd not only for its maker but for one who stands before its finished
product. A painting’s value as a highly sought-after and collectible luxury item does very little to
alleviate the need for artists and critics to justify its existence beyond the auction houses and art fairs.
Thus, what lies just barely below the surface for both is Gerhard Richter’s observation that “painting is
pure idiocy.” 1 Forever Now: Contemporary Painting in an Atemporal World, on view at the Museum of
1 / 6
The Miami Rail
http://miamirail.org
Modern Art (MoMA) through April 5, proclaims once again that painting has returned from the dead.
But this time, something is different. It should come as no surprise that, since its founding in 1929,
MoMA has been the site of many (if not most) claims of painting’s resurrection. But it is also the case
that many of its exhibitions have, in turn, served to pronounce its demise, at least implicitly. Even the
most c ...
Modern art helps create freedom for people by challenging conventional thinking. In this article I broadly outline the development of abstract art and conclude with reflections and examples on how abstract art relates specifically to our modern era.
This document discusses the artistic movements of Impressionism and Post-Impressionism. It notes that Impressionism originated in France in the 1860s and focused on depicting visual impressions of light and color, often painting outdoors. Post-Impressionism emerged in the 1880s as artists rejected some Impressionist techniques and emphasized structure, symbolism, and personal expression over spontaneous renderings. Key Post-Impressionist artists mentioned include Van Gogh, Gauguin, Cézanne, and Seurat. The document also briefly discusses how writer Katherine Mansfield was influenced by and admired Post-Impressionist works.
The document discusses sources of ideas for fantasy art. It suggests starting with familiar subjects and exploring more imaginative levels by examining everyday objects or nature, studying specialized books and magazines, using photographs, and drawing inspiration from other fantasy artists. The greatest source of ideas is said to be literature, as stories from various genres create imaginary worlds in our minds. The document also provides an overview of the contents and structure of the book, which includes sections on sources of fantasy, developing ideas, and techniques for different media.
10/26/14, 11:31 AM
Page 1 of 24about:blank
Seeing the Value in Art
At the end of Chapter 2, we briefly mentioned the explosive career of Jean-Michel Basquiat after a
number of his graffiti-like paintings were exhibited in the 1981 New York/New Wave exhibit at P. S.
1, an alternative art gallery across the 59th Street Bridge from Manhattan. Henry Geldzahler, then
Cultural Commissioner for New York City, saw his paintings at P. S. 1 and “just flipped out.” Alauna
Heiss, founder of P. S. 1, recalls “standing in front of Jean-Michel’s work with a director of Philip
Morris. We were paralyzed. It was so obvious that he was enormously talented.”
By 1982, Basquiat was earning an average of about $4,000 a week by painting. Two years later,
at age 24, he became the first black artist to grace the cover of The New York Times Magazine. At
the time of his death, four months before his 28th birthday, the victim, according to the medical
examiner’s report, of “acute mixed drug intoxication (opiates–cocaine),” his paintings were selling
for about $30,000 each (normally a dealer keeps 50 to 60 percent of the sale price). Soon after his
death, the auction house Christie’s sold a 1981 canvas for $110,000. Now, 20 years since his
death, the current auction record for a Basquiat is $14.6 million for Untitled, a painting featuring a
figure with large hands. It sold at Sotheby’s in 2007. As an obituary ironically entitled “Banking on
Basquiat,” put it, “There’s no artist like a dead artist, some dealers are fond of saying.”
If these numbers seem staggering, it is worth remembering that the monetary value of works of
art is closely tied to the business of art, and, from a business point of view, art works are
commodities to be bought and sold like any others, ideally for profit. Sylvie Fleury’s Serie ELA 75/K
(Plumpity . . . Plump) ( Fig. 44 ) is a wry commentary on this fact. Here the art work is literally a
shopping cart, placed on a revolving pedestal and plated in 24K gold. Art, Fleury’s work implies, is
literally shopping.
Fig. 44 Sylvie Fleury, Serie ELA 75/K (Plumpity . . . Plump), 2000.
https://portal.phoenix.edu/content/ebooks/9780205677207-a-world-of-art-sixth-edition/jcr:content/images/03fig44.jpg
10/26/14, 11:31 AM
Page 2 of 24about:blank
Gold-plated shopping cart, plexiglas handle with vinyl text, rotating pedestal
(mirror, aluminum, motor). 32¾ × 37¾ × 21 in. Pedestal 12¼ × 39 in.
Courtesy of the artist and Galerie Eva Presenhuber, Zürich, Switzerland.
And very high-end shopping, at that. The art market depends on the participation of wealthy
clients through their investment, ownership, and patronage. It is no accident, then, that the major
financial centers of the world also support the most prestigious art galleries, auction houses, and
museums of modern and contemporary art. Art galleries bring artists and collectors together. They
usually sign exclusive contracts with artists whose works they believe they can sell. Collectors may
purc.
Patterns and colours began invading our modern lives. Some craftsmen like William Morris thought to tame them. They did this by slowing down the mechnical processes that were shaped by development of favouring of highly brutal yet established industrial production processes. Design as much as the workforce became mechanised. These men and women, became became fearful about what had/or what would become of the individual. Their testimony and challenge was to make sense of the new world of industrialised design and the accompanying methods through stepping back and thinking how design and processes could be tamed and reined in to have a more humanistic scale.
Perhaps the most solid background to the creation of abstract art can be dated back to the
modernism abstraction which occurred during the early 20th Century. At the time, abstract art
coded modernism because of its nature to deviate from the mainstream developed and
established forms of art. During the 1960s there was more emergence of abstract expressionism
and this subsequently led to its boom in comparison to the contemporary painting of a hard edge
design. Color field paintings as well as certain sculptures of abstract nature also came into the
picture and were mainly pioneered by critics like Greenberg (Press). Elements like Manet
attracted tremendous contributions at the time to portray the various nuances of pictures and
paintings during that period of time.
- See more at: http://www.customwritingservice.org/blog/art-history-20th-century-modern-art/
What Modern Art can teach us about CreativityPodium Wisdom
How can masters like Picasso, Monet, Warhol and Pollock inspire you to be more creative? Come in and find out!
If you enjoyed this, connect with me at https://twitter.com/podiumwisdom. I excavate the web for goodies on persuasion, art, presentation, design and more!
This essay discusses how identity is a central concern in contemporary art and life. It explores how artists have used different art forms and techniques to examine, discuss, and express identity. Specifically, it mentions how self-portraits have allowed artists to explore their personal identities. Contemporary artist Cindy Sherman is discussed as an example of an artist who explored how identities changed due to wars and loss through her character transformations in photographs. The essay argues that identity has been a focus of art for hundreds of years and continues to be a major theme explored through various contemporary artistic mediums and styles.
Creationism, A new state of consciousnessPepo Toledo
The document discusses the state of contemporary art and proposes a new approach called "Creationism". It summarizes that contemporary art has led to anarchy and confusion with no clear style or narrative. Creationism is presented as a call for a new consciousness that respects God's creation, restores human relationships, and returns art to aesthetics. It advocates for art that comes from artists rather than critics or markets, takes the positive from history while avoiding restraints of movements, and upholds beauty, truth and human values. The artist declares that through shows like "Dangerous Sculptures", artists will raise their voice to shift art back to aesthetic expression.
Question 1 The Painting of Modern LifeThe late nineteenth centu.docxnanamonkton
Question 1: The Painting of Modern LifeThe late nineteenth century is often cited as a critical point in the development of a “modern†art. Impressionists and Post-Impressionists turned to the contemporary world as primary subject matter, and depicted elements of that world using an innovative style. Carefully examine the following paintings: Monet,
Rouen Cathedral: The Portal (In Sun)
, 1894Manet,
Bar at the Folies-Bergère
, 1881-82Seurat,
A Sunday Afternoon on the Island of La Grande Jatte
, c. 1884-86In 3 well-developed paragraphs, address the following questions:How is the subject of each painting representative of Impressionism or Post-Impressionism?How are the style and visual characteristics of each painting representative of Impressionism or Post-Impressionism? Be sure to discuss specific elements such as brushwork/application of paint, use of color and light, and composition, in your response.Describe the specific ways that each painting shows tension between its inherent two-dimensionality and any illusion of three-dimensionality created by the artist.Question 2:Modern and Contemporary Art may seem alien to many people— seemingly without content, message, or purpose. But it can be argued that Modern and Contemporary Art visually reflect the complex and abstract ideas that we experience every day. Although not for everyone, art of the 20th and 21st centuries is often a key part of the collection in many art museums. As you consider the wide range of modern and contemporary art types that we studied this week, think of yourself actually visiting a modern art museum. In 2 well-developed paragraphs discuss:While you are visiting, what type of Modern or Contemporary art will you most want to see and why? Be sure to name the specific style (e.g., Analytic Cubism, Pop Art, Abstract Expressionism)What type will you put last on your list of “things to look for?â€Why do you feel that way?Be sure to explain your ideas clearly and support them by discussing specific works of art that you have read about this week, talking about how they illustrate and support your ideas. Include the images of these specific works of art in your response.
Respond to both questions as thoroughly as possible
,
making sure to use information from the readings and the lectures. All responses should be in complete sentence form, using proper spelling and grammar.
...
The End of Modernity: 1960s art and cultureDeborahJ
Postmodernism emerged in the 1960s as an artistic movement that questioned the principles of modernism, such as formalism and the separation of art from everyday life. It developed in response to broader social changes and critiques of the ideals of progress and objective truth that defined the modern era. Postmodernism rejects the notion of artistic purity and universal values, incorporating popular culture and questioning definitions of art. It is a complex term that is still being defined, with no consensus on its meaning or implications.
Question 1 The Painting of Modern LifeThe late nineteenth.docxnanamonkton
Question 1: The Painting of Modern Life
The late nineteenth century is often cited as a critical point in the development of a “modern†art. Impressionists and Post-Impressionists turned to the contemporary world as primary subject matter, and depicted elements of that world using an innovative style. Carefully examine the following paintings:
Monet,
Rouen Cathedral: The Portal (In Sun)
, 1894Manet,
Bar at the Folies-Bergère
, 1881-82Seurat,
A Sunday Afternoon on the Island of La Grande Jatte
, c. 1884-86In 3 well-developed paragraphs, address the following questions: How is the subject of each painting representative of Impressionism or Post-Impressionism?How are the style and visual characteristics of each painting representative of Impressionism or Post-Impressionism? Be sure to discuss specific elements such as brushwork/application of paint, use of color and light, and composition, in your response.Describe the specific ways that each painting shows tension between its inherent two-dimensionality and any illusion of three-dimensionality created by the artist.
Question 2:Modern and Contemporary Art may seem alien to many people— seemingly without content, message, or purpose. But it can be argued that Modern and Contemporary Art visually reflect the complex and abstract ideas that we experience every day. Although not for everyone, art of the 20th and 21st centuries is often a key part of the collection in many art museums. As you consider the wide range of modern and contemporary art types that we studied this week, think of yourself actually visiting a modern art museum. In 2 well-developed paragraphs discuss: While you are visiting, what type of Modern or Contemporary art will you most want to see and why? Be sure to name the specific style (e.g., Analytic Cubism, Pop Art, Abstract Expressionism)What type will you put last on your list of “things to look for?â€Why do you feel that way? Be sure to explain your ideas clearly and support them by discussing specific works of art that you have read about this week, talking about how they illustrate and support your ideas. Include the images of these specific works of art in your response. Respond to both questions as thoroughly as possible, making sure to use information from the readings and the lectures. All responses should be in complete sentence form, using proper spelling and grammar.
...
JUST NEED (4) REPLIES TO THE OTHER STUDENTS2-3 Sentences Replay.docxcroysierkathey
JUST NEED (4) REPLIES TO THE OTHER STUDENTS
2-3 Sentences Replay
·
· Week Four Discussion 1
Compare the work of two artists from any two different art movements covered in Chapter 21.
· Describe, then compare, the contexts, concerns and main aspects of each movement and how those appear in the artworks you've selected.
· Be sure to explain why you made your particular choices of movements, artists and artworks.
· Evaluate the artwork you've selected according to any criteria you think are relevant (given what you have learned so far in the course).
Be sure that you are making an evaluative comparison of the two artists’ work, rather than simply discussing them in turn.
REPLY TO:Permenter
Week 4, Discussion 1
COLLAPSE
Top of Form
Romanticism and Impressionism vary greatly in their style. Romanticism was in favor for a much longer period of time, roughly 1800-1890, than Impressionism (1870-1880). Romanticism was more an attitude and choice of subjects than a true style. The artists of this period looked for emotions and imagination when deciding what they wanted to create. They looked for the risqué and exotic as well as mystery. Impressionist artists had some more flexibility with the new availability of equipment that was more portable. This allowed Impressionists to work in the actual outdoors as opposed to studios. These artists used natural light, shadows and a lighter color palette to express their ideas.
The pieces for this discussion were chosen due to the similar subject of the works yet stark contrast. Both pieces feature a group of people enjoying a leisurely activity, yet they are not alike at all. The way they contrast and show their specific movements is remarkably interesting. First, the Romanticism piece chosen is The Women of Algiers by Delacroix (p.485, fig. 21.2). This piece is very risqué, and the subject of the piece is quite scandalous. The women portrayed are women in a harem and it was unusual for outsiders to be allowed in, let alone document it such as this. Delacroix demonstrates this period by the subject of the piece being so exotic and mysterious. He does a great job showing unity yet variety here as well. The painting feels very dark and colors of the piece are mostly neutral and really work well together, with a kick of reddish orange here and there to brighten up the piece.
The Impressionist piece Le Moulin de la Galette (p.490, fig. 21.7) by Renoir is a stark contrast to The Women of Algiers . This piece, while detailed enough for one to see the subjects and understand the context of the painting, is not focused on the clear lines and defined objects as The Women of Algiers is. Renoir uses a freer stroke and uses emphasis and subordination. The emphasis of the painting is on the small group in the front of the painting as the rest get blurrier the farther away they are. This painting is so much brighter with a lighter palette than the other clearly showing that it is from a different mov ...
Deborah Bowmann, a French artist duo, returns to Bordeaux to present their exhibition "Back in Ten Minutes" featuring their collection "Backgrounds (Monday to Sunday)" composed of 7 abstract wall pieces made from fabrics of classic business suits. Through this collection, Deborah Bowmann aims to establish itself as an independent art brand while also confronting the commercial logic of late capitalism and aesthetics of entrepreneurship. The paintings are meant to be viewed functionally as background decorations, acting as a time-out from art and revealing the trap of reducing workers to conceptualized forms.
After the COVID-sparked chaos of 2020, there was reason for hope heading into 2021. In-person events seemed poised to return, a possibility that would kick-start an art world that had scrambled to find replacements for the experience of viewing art in person.
Essay on Digital vs. Traditional Art
Modern Art Vs. Contemporary Art
Limitations Of Contemporary Art
Essay on Intimate Life in Contemporary Art
Essay about Identity in Art
Contemporary Art Research Paper
An Essential Core Part Of Contemporary Art Essay
Contemporary Art And Artistic Practices
Feminism And The Contemporary Art
Contemporary Art : Modern Art
Contemporary Art Analysis
Essay Museum of Modern Art in New York
The Language Of Contemporary Art
KANGAWA Contemporary Art
Contemporary Art Essay
What Is Modern Art? Essay
The Themes Of Contemporary Art
The Importance Of Contemporary Art
This document provides an analysis of Amedeo Modigliani's 1917 portrait of Jeanne Hébuterne. It summarizes the context of Modigliani and Hébuterne's romantic relationship. It then analyzes the catalog description and provenance of the painting to establish an estimated value between $40-60 million. The painting was ultimately sold at auction for £34.25 million, within the estimated range. Market data on comparable Modigliani works and the increasing prices they have fetched in recent years supports the high estimated and realized values.
This document discusses concepts related to high and low culture in art. It introduces terms like "avant-garde" and questions assumptions around concepts like originality, genius, and the notion of art for art's sake. It provides examples of artworks to illustrate different approaches like socially committed art versus art that seeks only to expand what art is. The document encourages questioning priorities in art education around innovation, experimentation, and originality.
This document discusses the merging of design and art, which the author calls "Vulgarism". In recent years, some designers have begun making objects that resemble art more than functional design. This phenomenon is driven by market forces and a desire for attention and sales. While some crossover can be interesting, the author argues that much of today's "design-art" lacks intellectual substance and is motivated more by profit than creativity. Opinions on whether this trend will have lasting influence or is just a passing fad are mixed. The document explores this topic through examples and perspectives from designers, manufacturers, galleries and journalists.
ART 315 LECTURE 14Richard Aldrich, Untitled, 2009.docxfestockton
ART 315 LECTURE 14
Richard Aldrich, Untitled, 2009
Richard Aldrich, Slide Painting no. 3
(looking origin), 2010
Joe Bradley, Superman, 2008
Joe Bradley, On the Cross, 2008
Matt Connors, What is the Third Question,
2013
Nicole Eisenman, Breakup, 2011
Mark Grotjahn, Untitled (Circus No. 1 Face
44.18), 2012
Rashid Johnson, Cosmic Slop
“Dutchman”, 2013
Julie Mehretu, Heavier than Air (written form), 2014
Dianna Molzan, Untitled, 2009
Dianna Molzan, Untitled, 2011
Oscar Murillo, Matt painting
(yoga), 2013
Laura Owens, Untitled, 2013
Amy Sillman, Still Life 1, 2013-14
Josh Smith, Untitled, 2007
Mary Weatherford, The Light in
Lancaster, 2014
Matt Kleberg, Do What Say Do II, 2016
Matt Kleberg, The Turkey, 2016
The Miami Rail
http://miamirail.org
Zombie Paintings at MoMA
Painting seems to have returned from the dead, again. The frequent pronouncement that painting is dead,
followed by the declaration of its eventual resurrection, is an important, but often overlooked part of the
modern (and postmodern) artistic tradition. Since the late nineteenth century, with the advent of other
imaging technologies (such as photography) and the desire to make works of art that can participate in
and connect to the shifting social conditions and new emotional complexities of modern life, artists and
critics have fought either to justify painting’s existence in a changing world or to kill it off once and for
all. And so some of the most inflated rhetoric about painting as well as the most insightful and profound
critical commentary in the twentieth century has been a response to the abiding fear that, compared to
other artistic and creative cultural practices like photography, film, digital imagery, installation, and
performance, painting is irrelevant to our daily emotional and imaginative lives.
To drag a brush loaded with smelly pigments across a scrap of canvas is indeed a vulnerable, fragile, and
even absurd cultural practice—absurd not only for its maker but for one who stands before its finished
product. A painting’s value as a highly sought-after and collectible luxury item does very little to
alleviate the need for artists and critics to justify its existence beyond the auction houses and art fairs.
Thus, what lies just barely below the surface for both is Gerhard Richter’s observation that “painting is
pure idiocy.” 1 Forever Now: Contemporary Painting in an Atemporal World, on view at the Museum of
1 / 6
The Miami Rail
http://miamirail.org
Modern Art (MoMA) through April 5, proclaims once again that painting has returned from the dead.
But this time, something is different. It should come as no surprise that, since its founding in 1929,
MoMA has been the site of many (if not most) claims of painting’s resurrection. But it is also the case
that many of its exhibitions have, in turn, served to pronounce its demise, at least implicitly. Even the
most c ...
Modern art helps create freedom for people by challenging conventional thinking. In this article I broadly outline the development of abstract art and conclude with reflections and examples on how abstract art relates specifically to our modern era.
This document discusses the artistic movements of Impressionism and Post-Impressionism. It notes that Impressionism originated in France in the 1860s and focused on depicting visual impressions of light and color, often painting outdoors. Post-Impressionism emerged in the 1880s as artists rejected some Impressionist techniques and emphasized structure, symbolism, and personal expression over spontaneous renderings. Key Post-Impressionist artists mentioned include Van Gogh, Gauguin, Cézanne, and Seurat. The document also briefly discusses how writer Katherine Mansfield was influenced by and admired Post-Impressionist works.
The document discusses sources of ideas for fantasy art. It suggests starting with familiar subjects and exploring more imaginative levels by examining everyday objects or nature, studying specialized books and magazines, using photographs, and drawing inspiration from other fantasy artists. The greatest source of ideas is said to be literature, as stories from various genres create imaginary worlds in our minds. The document also provides an overview of the contents and structure of the book, which includes sections on sources of fantasy, developing ideas, and techniques for different media.
10/26/14, 11:31 AM
Page 1 of 24about:blank
Seeing the Value in Art
At the end of Chapter 2, we briefly mentioned the explosive career of Jean-Michel Basquiat after a
number of his graffiti-like paintings were exhibited in the 1981 New York/New Wave exhibit at P. S.
1, an alternative art gallery across the 59th Street Bridge from Manhattan. Henry Geldzahler, then
Cultural Commissioner for New York City, saw his paintings at P. S. 1 and “just flipped out.” Alauna
Heiss, founder of P. S. 1, recalls “standing in front of Jean-Michel’s work with a director of Philip
Morris. We were paralyzed. It was so obvious that he was enormously talented.”
By 1982, Basquiat was earning an average of about $4,000 a week by painting. Two years later,
at age 24, he became the first black artist to grace the cover of The New York Times Magazine. At
the time of his death, four months before his 28th birthday, the victim, according to the medical
examiner’s report, of “acute mixed drug intoxication (opiates–cocaine),” his paintings were selling
for about $30,000 each (normally a dealer keeps 50 to 60 percent of the sale price). Soon after his
death, the auction house Christie’s sold a 1981 canvas for $110,000. Now, 20 years since his
death, the current auction record for a Basquiat is $14.6 million for Untitled, a painting featuring a
figure with large hands. It sold at Sotheby’s in 2007. As an obituary ironically entitled “Banking on
Basquiat,” put it, “There’s no artist like a dead artist, some dealers are fond of saying.”
If these numbers seem staggering, it is worth remembering that the monetary value of works of
art is closely tied to the business of art, and, from a business point of view, art works are
commodities to be bought and sold like any others, ideally for profit. Sylvie Fleury’s Serie ELA 75/K
(Plumpity . . . Plump) ( Fig. 44 ) is a wry commentary on this fact. Here the art work is literally a
shopping cart, placed on a revolving pedestal and plated in 24K gold. Art, Fleury’s work implies, is
literally shopping.
Fig. 44 Sylvie Fleury, Serie ELA 75/K (Plumpity . . . Plump), 2000.
https://portal.phoenix.edu/content/ebooks/9780205677207-a-world-of-art-sixth-edition/jcr:content/images/03fig44.jpg
10/26/14, 11:31 AM
Page 2 of 24about:blank
Gold-plated shopping cart, plexiglas handle with vinyl text, rotating pedestal
(mirror, aluminum, motor). 32¾ × 37¾ × 21 in. Pedestal 12¼ × 39 in.
Courtesy of the artist and Galerie Eva Presenhuber, Zürich, Switzerland.
And very high-end shopping, at that. The art market depends on the participation of wealthy
clients through their investment, ownership, and patronage. It is no accident, then, that the major
financial centers of the world also support the most prestigious art galleries, auction houses, and
museums of modern and contemporary art. Art galleries bring artists and collectors together. They
usually sign exclusive contracts with artists whose works they believe they can sell. Collectors may
purc.
Patterns and colours began invading our modern lives. Some craftsmen like William Morris thought to tame them. They did this by slowing down the mechnical processes that were shaped by development of favouring of highly brutal yet established industrial production processes. Design as much as the workforce became mechanised. These men and women, became became fearful about what had/or what would become of the individual. Their testimony and challenge was to make sense of the new world of industrialised design and the accompanying methods through stepping back and thinking how design and processes could be tamed and reined in to have a more humanistic scale.
Perhaps the most solid background to the creation of abstract art can be dated back to the
modernism abstraction which occurred during the early 20th Century. At the time, abstract art
coded modernism because of its nature to deviate from the mainstream developed and
established forms of art. During the 1960s there was more emergence of abstract expressionism
and this subsequently led to its boom in comparison to the contemporary painting of a hard edge
design. Color field paintings as well as certain sculptures of abstract nature also came into the
picture and were mainly pioneered by critics like Greenberg (Press). Elements like Manet
attracted tremendous contributions at the time to portray the various nuances of pictures and
paintings during that period of time.
- See more at: http://www.customwritingservice.org/blog/art-history-20th-century-modern-art/
What Modern Art can teach us about CreativityPodium Wisdom
How can masters like Picasso, Monet, Warhol and Pollock inspire you to be more creative? Come in and find out!
If you enjoyed this, connect with me at https://twitter.com/podiumwisdom. I excavate the web for goodies on persuasion, art, presentation, design and more!
This essay discusses how identity is a central concern in contemporary art and life. It explores how artists have used different art forms and techniques to examine, discuss, and express identity. Specifically, it mentions how self-portraits have allowed artists to explore their personal identities. Contemporary artist Cindy Sherman is discussed as an example of an artist who explored how identities changed due to wars and loss through her character transformations in photographs. The essay argues that identity has been a focus of art for hundreds of years and continues to be a major theme explored through various contemporary artistic mediums and styles.
Creationism, A new state of consciousnessPepo Toledo
The document discusses the state of contemporary art and proposes a new approach called "Creationism". It summarizes that contemporary art has led to anarchy and confusion with no clear style or narrative. Creationism is presented as a call for a new consciousness that respects God's creation, restores human relationships, and returns art to aesthetics. It advocates for art that comes from artists rather than critics or markets, takes the positive from history while avoiding restraints of movements, and upholds beauty, truth and human values. The artist declares that through shows like "Dangerous Sculptures", artists will raise their voice to shift art back to aesthetic expression.
Question 1 The Painting of Modern LifeThe late nineteenth centu.docxnanamonkton
Question 1: The Painting of Modern LifeThe late nineteenth century is often cited as a critical point in the development of a “modern†art. Impressionists and Post-Impressionists turned to the contemporary world as primary subject matter, and depicted elements of that world using an innovative style. Carefully examine the following paintings: Monet,
Rouen Cathedral: The Portal (In Sun)
, 1894Manet,
Bar at the Folies-Bergère
, 1881-82Seurat,
A Sunday Afternoon on the Island of La Grande Jatte
, c. 1884-86In 3 well-developed paragraphs, address the following questions:How is the subject of each painting representative of Impressionism or Post-Impressionism?How are the style and visual characteristics of each painting representative of Impressionism or Post-Impressionism? Be sure to discuss specific elements such as brushwork/application of paint, use of color and light, and composition, in your response.Describe the specific ways that each painting shows tension between its inherent two-dimensionality and any illusion of three-dimensionality created by the artist.Question 2:Modern and Contemporary Art may seem alien to many people— seemingly without content, message, or purpose. But it can be argued that Modern and Contemporary Art visually reflect the complex and abstract ideas that we experience every day. Although not for everyone, art of the 20th and 21st centuries is often a key part of the collection in many art museums. As you consider the wide range of modern and contemporary art types that we studied this week, think of yourself actually visiting a modern art museum. In 2 well-developed paragraphs discuss:While you are visiting, what type of Modern or Contemporary art will you most want to see and why? Be sure to name the specific style (e.g., Analytic Cubism, Pop Art, Abstract Expressionism)What type will you put last on your list of “things to look for?â€Why do you feel that way?Be sure to explain your ideas clearly and support them by discussing specific works of art that you have read about this week, talking about how they illustrate and support your ideas. Include the images of these specific works of art in your response.
Respond to both questions as thoroughly as possible
,
making sure to use information from the readings and the lectures. All responses should be in complete sentence form, using proper spelling and grammar.
...
The End of Modernity: 1960s art and cultureDeborahJ
Postmodernism emerged in the 1960s as an artistic movement that questioned the principles of modernism, such as formalism and the separation of art from everyday life. It developed in response to broader social changes and critiques of the ideals of progress and objective truth that defined the modern era. Postmodernism rejects the notion of artistic purity and universal values, incorporating popular culture and questioning definitions of art. It is a complex term that is still being defined, with no consensus on its meaning or implications.
Question 1 The Painting of Modern LifeThe late nineteenth.docxnanamonkton
Question 1: The Painting of Modern Life
The late nineteenth century is often cited as a critical point in the development of a “modern†art. Impressionists and Post-Impressionists turned to the contemporary world as primary subject matter, and depicted elements of that world using an innovative style. Carefully examine the following paintings:
Monet,
Rouen Cathedral: The Portal (In Sun)
, 1894Manet,
Bar at the Folies-Bergère
, 1881-82Seurat,
A Sunday Afternoon on the Island of La Grande Jatte
, c. 1884-86In 3 well-developed paragraphs, address the following questions: How is the subject of each painting representative of Impressionism or Post-Impressionism?How are the style and visual characteristics of each painting representative of Impressionism or Post-Impressionism? Be sure to discuss specific elements such as brushwork/application of paint, use of color and light, and composition, in your response.Describe the specific ways that each painting shows tension between its inherent two-dimensionality and any illusion of three-dimensionality created by the artist.
Question 2:Modern and Contemporary Art may seem alien to many people— seemingly without content, message, or purpose. But it can be argued that Modern and Contemporary Art visually reflect the complex and abstract ideas that we experience every day. Although not for everyone, art of the 20th and 21st centuries is often a key part of the collection in many art museums. As you consider the wide range of modern and contemporary art types that we studied this week, think of yourself actually visiting a modern art museum. In 2 well-developed paragraphs discuss: While you are visiting, what type of Modern or Contemporary art will you most want to see and why? Be sure to name the specific style (e.g., Analytic Cubism, Pop Art, Abstract Expressionism)What type will you put last on your list of “things to look for?â€Why do you feel that way? Be sure to explain your ideas clearly and support them by discussing specific works of art that you have read about this week, talking about how they illustrate and support your ideas. Include the images of these specific works of art in your response. Respond to both questions as thoroughly as possible, making sure to use information from the readings and the lectures. All responses should be in complete sentence form, using proper spelling and grammar.
...
JUST NEED (4) REPLIES TO THE OTHER STUDENTS2-3 Sentences Replay.docxcroysierkathey
JUST NEED (4) REPLIES TO THE OTHER STUDENTS
2-3 Sentences Replay
·
· Week Four Discussion 1
Compare the work of two artists from any two different art movements covered in Chapter 21.
· Describe, then compare, the contexts, concerns and main aspects of each movement and how those appear in the artworks you've selected.
· Be sure to explain why you made your particular choices of movements, artists and artworks.
· Evaluate the artwork you've selected according to any criteria you think are relevant (given what you have learned so far in the course).
Be sure that you are making an evaluative comparison of the two artists’ work, rather than simply discussing them in turn.
REPLY TO:Permenter
Week 4, Discussion 1
COLLAPSE
Top of Form
Romanticism and Impressionism vary greatly in their style. Romanticism was in favor for a much longer period of time, roughly 1800-1890, than Impressionism (1870-1880). Romanticism was more an attitude and choice of subjects than a true style. The artists of this period looked for emotions and imagination when deciding what they wanted to create. They looked for the risqué and exotic as well as mystery. Impressionist artists had some more flexibility with the new availability of equipment that was more portable. This allowed Impressionists to work in the actual outdoors as opposed to studios. These artists used natural light, shadows and a lighter color palette to express their ideas.
The pieces for this discussion were chosen due to the similar subject of the works yet stark contrast. Both pieces feature a group of people enjoying a leisurely activity, yet they are not alike at all. The way they contrast and show their specific movements is remarkably interesting. First, the Romanticism piece chosen is The Women of Algiers by Delacroix (p.485, fig. 21.2). This piece is very risqué, and the subject of the piece is quite scandalous. The women portrayed are women in a harem and it was unusual for outsiders to be allowed in, let alone document it such as this. Delacroix demonstrates this period by the subject of the piece being so exotic and mysterious. He does a great job showing unity yet variety here as well. The painting feels very dark and colors of the piece are mostly neutral and really work well together, with a kick of reddish orange here and there to brighten up the piece.
The Impressionist piece Le Moulin de la Galette (p.490, fig. 21.7) by Renoir is a stark contrast to The Women of Algiers . This piece, while detailed enough for one to see the subjects and understand the context of the painting, is not focused on the clear lines and defined objects as The Women of Algiers is. Renoir uses a freer stroke and uses emphasis and subordination. The emphasis of the painting is on the small group in the front of the painting as the rest get blurrier the farther away they are. This painting is so much brighter with a lighter palette than the other clearly showing that it is from a different mov ...
Deborah Bowmann, a French artist duo, returns to Bordeaux to present their exhibition "Back in Ten Minutes" featuring their collection "Backgrounds (Monday to Sunday)" composed of 7 abstract wall pieces made from fabrics of classic business suits. Through this collection, Deborah Bowmann aims to establish itself as an independent art brand while also confronting the commercial logic of late capitalism and aesthetics of entrepreneurship. The paintings are meant to be viewed functionally as background decorations, acting as a time-out from art and revealing the trap of reducing workers to conceptualized forms.
After the COVID-sparked chaos of 2020, there was reason for hope heading into 2021. In-person events seemed poised to return, a possibility that would kick-start an art world that had scrambled to find replacements for the experience of viewing art in person.
Calculation of compliance cost: Veterinary and sanitary control of aquatic bi...Alexander Belyaev
Calculation of compliance cost in the fishing industry of Russia after extended SCM model (Veterinary and sanitary control of aquatic biological resources (ABR) - Preparation of documents, passing expertise)
KYC Compliance: A Cornerstone of Global Crypto Regulatory FrameworksAny kyc Account
This presentation explores the pivotal role of KYC compliance in shaping and enforcing global regulations within the dynamic landscape of cryptocurrencies. Dive into the intricate connection between KYC practices and the evolving legal frameworks governing the crypto industry.
Confirmation of Payee (CoP) is a vital security measure adopted by financial institutions and payment service providers. Its core purpose is to confirm that the recipient’s name matches the information provided by the sender during a banking transaction, ensuring that funds are transferred to the correct payment account.
Confirmation of Payee was built to tackle the increasing numbers of APP Fraud and in the landscape of UK banking, the spectre of APP fraud looms large. In 2022, over £1.2 billion was stolen by fraudsters through authorised and unauthorised fraud, equivalent to more than £2,300 every minute. This statistic emphasises the urgent need for robust security measures like CoP. While over £1.2 billion was stolen through fraud in 2022, there was an eight per cent reduction compared to 2021 which highlights the positive outcomes obtained from the implementation of Confirmation of Payee. The number of fraud cases across the UK also decreased by four per cent to nearly three million cases during the same period; latest statistics from UK Finance.
In essence, Confirmation of Payee plays a pivotal role in digital banking, guaranteeing the flawless execution of banking transactions. It stands as a guardian against fraud and misallocation, demonstrating the commitment of financial institutions to safeguard their clients’ assets. The next time you engage in a banking transaction, remember the invaluable role of CoP in ensuring the security of your financial interests.
For more details, you can visit https://technoxander.com.
Budgeting as a Control Tool in Government Accounting in Nigeria
Being a Paper Presented at the Nigerian Maritime Administration and Safety Agency (NIMASA) Budget Office Staff at Sojourner Hotel, GRA, Ikeja Lagos on Saturday 8th June, 2024.
Explore the world of investments with an in-depth comparison of the stock market and real estate. Understand their fundamentals, risks, returns, and diversification strategies to make informed financial decisions that align with your goals.
“Amidst Tempered Optimism” Main economic trends in May 2024 based on the results of the New Monthly Enterprises Survey, #NRES
On 12 June 2024 the Institute for Economic Research and Policy Consulting (IER) held an online event “Economic Trends from a Business Perspective (May 2024)”.
During the event, the results of the 25-th monthly survey of business executives “Ukrainian Business during the war”, which was conducted in May 2024, were presented.
The field stage of the 25-th wave lasted from May 20 to May 31, 2024. In May, 532 companies were surveyed.
The enterprise managers compared the work results in May 2024 with April, assessed the indicators at the time of the survey (May 2024), and gave forecasts for the next two, three, or six months, depending on the question. In certain issues (where indicated), the work results were compared with the pre-war period (before February 24, 2022).
✅ More survey results in the presentation.
✅ Video presentation: https://youtu.be/4ZvsSKd1MzE
Madhya Pradesh, the "Heart of India," boasts a rich tapestry of culture and heritage, from ancient dynasties to modern developments. Explore its land records, historical landmarks, and vibrant traditions. From agricultural expanses to urban growth, Madhya Pradesh offers a unique blend of the ancient and modern.
In World Expo 2010 Shanghai – the most visited Expo in the World History
https://www.britannica.com/event/Expo-Shanghai-2010
China’s official organizer of the Expo, CCPIT (China Council for the Promotion of International Trade https://en.ccpit.org/) has chosen Dr. Alyce Su as the Cover Person with Cover Story, in the Expo’s official magazine distributed throughout the Expo, showcasing China’s New Generation of Leaders to the World.
A toxic combination of 15 years of low growth, and four decades of high inequality, has left Britain poorer and falling behind its peers. Productivity growth is weak and public investment is low, while wages today are no higher than they were before the financial crisis. Britain needs a new economic strategy to lift itself out of stagnation.
Scotland is in many ways a microcosm of this challenge. It has become a hub for creative industries, is home to several world-class universities and a thriving community of businesses – strengths that need to be harness and leveraged. But it also has high levels of deprivation, with homelessness reaching a record high and nearly half a million people living in very deep poverty last year. Scotland won’t be truly thriving unless it finds ways to ensure that all its inhabitants benefit from growth and investment. This is the central challenge facing policy makers both in Holyrood and Westminster.
What should a new national economic strategy for Scotland include? What would the pursuit of stronger economic growth mean for local, national and UK-wide policy makers? How will economic change affect the jobs we do, the places we live and the businesses we work for? And what are the prospects for cities like Glasgow, and nations like Scotland, in rising to these challenges?
An accounting information system (AIS) refers to tools and systems designed for the collection and display of accounting information so accountants and executives can make informed decisions.
7. …that accounts for the sharp rise of modern art values since the 1980’s …that accounts for the rise of branding …that explains why modern art is moving away from the canvas
22. If you want to own a piece of history, you buy for its formic value. If you want to own something that others have owned, you buy for the provenance or brand.
23. Formic value and brand value are not the same… Each gives a work intangible value separately …but a work can acquire value on both
24. Back to the paradox… Is the supply of new forms the same as the supply of modern art? No.
27. Peak Modernism 95% of modern art innovation has already occurred!* *Peak Modernism 1930± 50 years: 1880-1980 *Few modernist forms found pre-1880 or post-1980
45. Peak Oil Feeds Peak Modernist prices But the reason why art prices exploded, and not computer prices, is because formic innovations were exhausted.
62. Given Kant’s view, that reality is trapped in a veil, modern artists could either: Present a view of a reality beyond the veil or Smear out observed reality on the conviction that appearance isn’t important.
63. Either way, we get works that barely resemble our observed world.
64. Surrealism was meant “to contribute to the total discrediting of the world of reality.” 1 -Dali
65. “…none of us could use the figure without mutilating it.” 2 -Rothko
75. Integrity of Art The more strongly you need or want to know an answer to the prompting Newmenon, the more you will want to rip it open. But, art is not meant to be ripped.
76. The Nemenon pits your respect for art against the inflamed desire to violate the veil. This tension destroys the illusion of art’s accessibility.
79. The viewer must respect the Integrity of the Newmenon and never peek! The owner becomes the Guardian of its Truth. This unites the collector’s integrity to the integrity of Art itself.
80. By working numerous levels of meaning at once the Newmenon is a tour de force of modernist innovation
88. One can imagine a day when Microsoft fans decide it would be a coup to own Google’s Secret Edge. While Google fans would be decidedly irritated by that prospect.
89. Valuation Under Competition Imagine “Google’s Secret Edge” as a sort of mascot. Just as college students steal their opponents goat to “get their goat,” the banter of taking and defending the mascot would provide competitive auction energy. Who knows where that might lead?
100. The preceding opinions are presented for educational purposes only. Art collecting entails risks and collectors should do their own independent research before making decisions. For full disclosure, Newmenon is pseudonym used by Lorenz Kraus.
102. Dali quoted in: The History of Surrealism, M. Nadeau, trans. R. Howard. Harmonsworth, UK: Penguin Books, 1973, p. 200. 2. Rothko quote from: Abstract Expressionism, DavindAnfam, Thames and Hudson Ltd London, 1990, p. 143 Rothko quote from: Abstract Expressionism, Creators and Critics, edited by Clifford Ross, Abrams Publishers New York 1990, Creators p. 168
103.
104.
105. Forms use melting, smears, hyper-sized brush strokes, pure fields, dots, drips, and other such effects to deform reality.
117. For art in 1970, that took 20 years. *There is a declining time period for new forms to reach elite price levels, primarily because of form exhaustion from 1980 onwards. Of course, today’s market is more efficient at finding new forms, spreading the news, and competition is greater than ever for “trophy” art.
118. Newmenon In Development Wine Bottle Series: 50-piece $20,000 per piece (uses a material never employed in art before!) Hole Series: Memory Hole ($135,000), Bottom Rung Death Star Shaft ($125,000), and Bottomless Pit ($125,000), Singularity ($225,000) And More Newmenon by Canvas Reserve Yours Today AND GET A SPECIAL BONUS!