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#post-postmodern impressionism
pagansphinx · 6 months
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katebushh · 1 year
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ill do more posts with other options
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The growing anxiety in post modernity - Guilherme Petrilli
Currently it seems like every teen is burnt out, anxious and depressed and with that not already being enough, all of those symptoms are affecting an ever growing amount of people. This phenomenon is caused by a gamut of reasons, and  this essay aims at comprehending three of them:The impacts of a chronically unsatisfied society; The impacts of technology on people's mental health; and lastly: the impacts of a “liquid” world, as it was coined by Zigmund Bauman. Fundamentally, this text explores: “How and why are people becoming more mentally ill?
Firstly, it is clear how the masses, but especially teens, have been manipulated by advertisement companies into associating happiness with materialistic goods. In other words, when the basic needs of people are satisfied companies aim at artificially creating necessities for their products to fulfill, associating them, more recently, with personalities.This, now powered by social media, creates a, usually partially subconscious, idea where in order to become your idol, you have to buy what he advertises. In Guy Debord's words, a revolutionary thinker, “The more he identifies with the dominant images of need, the less he understands his own life and his own desires.”
Secondly, as hinted at before, social media plays a crucial role in the decline of people's mental health. It’s influence comes mainly from two different means. The first derives from the fact that people only post the best moments of their lives, which creates a skewed view of what their reality really is, that might make you feel like you are inferior or instigate a fear of missing out. The second way social media has affected us, in recent years, is through the widespread consumption of short-form videos, that not only have been proven to reduce your attention span, but have significantly augmented the amount of time spent on mobile-phones and how addicted people are to them.
Thirdly, the rate of societal, cultural and technological change, as well as the sense of instability and insecurity, in the XXI century has made it really difficult to have a healthy mental state. According to Zigmund Bauman, a sociologist and philosopher, the post second world war world has become “liquid” (everchanging), sort of traumatized (by the XIX century conflicts), and increasingly secularized, which has led to people becoming more pessimistic and anxious and an atomization of society. According to Bauman, one aspect of life that clearly reflects this state of being are relationships, which have increasingly become more loosely attached, so that when change inevitably comes, they can be easily terminated.
In conclusion the current (postmodern) world has become more materialistic,addiction-inducing, and unstable,insecure, anxious and pessimist, especially to teens, since they have been fully raised in this reality and have more impressionable minds as well as being more emotionally immature.
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nathandiary · 5 months
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RPP self evaluation
My work
Where has it come from?
During second year, I did painting, printmaking and illustration. At the beginning of the year, I explored a story that I had been working on the previous year. I filled a concertina sketchbook to create a long illustration of that story. The illustration then turned into an animation as I learned that new technique. I also focused on improving my digital drawing and painting skills and produced multiple digital paintings. Even if the painting module isn’t necessarily about telling stories, that is what I was naturally drawn to, which led me to illustration. I really enjoyed this module because I was able to explore narratives through visual media. I also learned new techniques and improved my drawing abilities. Throughout the whole year, I also did printmaking, and I learned a range of new techniques. Screen printing is the one that really impacted the way my work looked because it forced me to use a lot of colours. I also discovered wood engraving and lead type. I would like to keep exploring those techniques as well as linocuts. Some of my favourite work from last year was mixed media, which is something I would like to incorporate in this year’s projects as well.
I developed a particular colour palette that I used in my prints and that I am still using in current projects. I think that colour scheme is one of my strength as it creates an artistic identity that I can carry from one project to another.
Through those different methods, I have started developing a style. I know I enjoy a mix of expressive and delicate lines as well as bright colours. While I aim to respect things like perspective and light and shadows, I do not try to depict realistic scenes. I also like to mix tones, as in showing serious subject like coal mines in a naïve manner.
Some of my life drawings have an intimate feeling to them which I am proud of. I enjoy picking details from my personal life to include them in my artworks. I think this gives a narrative aspect to my work that is very important to me. Whether it be a study outside or an original drawing, I put a lot if importance in storytelling and letting the viewer think that there might be more to the drawing than meets the eye.
I am influenced by art movements such as fauvism, post-impressionism (Bonnard, Vuillard…) and postmodernism, as well as pop culture and everyday life. One of the artist I look up to the most is Catherine Meurisse. She is a French comic artist. She has a way of using ink and watercolour that create very delicate illustrations, and she mixes those with quirky characters and funny dialogues in her stories. That style makes for very honest and touching stories about herself or her characters. Her style is similar to Quentin Blake’s, who is another influence of mine.
What is it about
Things I want to improve this semester:
Draughtmanship
Work methodology
Have my personal style
+ include writing with my artworks, which is something I wanted to do for a long time, but I wasn’t feeling confident enough.
I think that my current work shows that I worked on my drawing abilities. I am trying to explore unusual poses and angles to make my work more interesting. I also use loose and expressive lines, which is something that I started exploring in year one with Miranda’s module, drawing and walking. Blind drawing is a technique I often use to get a more expressive approach to an ordinary subject. I use this technique to create a balance between figuration and abstraction.
I think my work is about growing up. It mixes childhood memories and influences (cartoons for example) with current experiences.
The retro aesthetic that I use for my project also comes from a need of reassurance, to think back with nostalgia about idealised days where things seemed to be less stressful. Looking back is easier than looking towards the future because it generates so much anxiety, on a personal and global level.
Where it is going
This semester, I will produce two books with different styles.
Art(ish) is a magazine dedicated to art, for art lovers. It is colorful and doesn’t take itself too seriously. Most of the art in it will be comics, influenced by Catherine Meurisse. The techniques used will be watercolour, ink pen and digital painting. The magazine should be around 20 pages. This is my 30 credits illustration project.
Pocket Poetry is small a poetry book featuring text taken from my notes app from my phone. It retraces my steps through university by using excerpts that I wrote as I went about my day when I needed to remember things or write about my frustration. Each poem is written using lead type and accompanied by a linocut. There is both French and English writing, but no translation. The book should be around 20 pages. This is my 10 credits illustration project.
The two projects have different tones and styles. The variety is something I need in order to keep me going when focusing on things that take a lot of work and time like these projects.
Influences
Catherine Meurisse
As mentioned previously, that artist’s work really resonates with me because of her style, tone, and also the fact that she uses personal stories for political reasons, like talking about her childhood in the countryside and how industrialisation and climate change impacted it.
Pierre Bonnard
He is an artist that I look up to in terms of subjects (intimates moments of his life) and colour palette.
Muntean/Rosenblum
This duo influences my practice because of the subjects they depict. They show young adults in their daily lives and include writing that doesn’t always seem related. It creates the impression that there is a whole story behind the painting and brings up philosophical questions.
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domascaini · 1 year
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Blog 9 - CMS/PL - 348
Paolo Cirio: “Evidentiary Realism” 
Paolo Cirio examines the return of realism in this blog post, focusing on "Evidentiary Realism." Through the conflict and collaboration of forensic documentaries, forensic architecture, and investigative methods, realism has recently made a comeback in the arts. Realist art has always been an effective tool for exposing the evil that is buried beneath historical periods, but not there is a new way to see another perspective that is near to our contemporary era.
As defined by Cirio, "evidentiary realism" is a type of art in which the creator ingeniously and inventively portrays actual evidence, providing information in a way that is both aesthetically beautiful and instructive. According to Cirio, a representation of reality can only take into account the post-visual conditions. Also because the data, technology, etc. are controlled by the power structure. Similarly to classic realism, evidentiary realism aims to produce evidence by assembling fragments of reality, which we can see the connection with the forensic architecture technique. Even the sociopolitical, technological, and cultural infrastructures that affect people's perceptions of reality and the truth are examined under evidentiary realism. The scope of what can be observed beyond sight is reduced through technology. As it displays evidence in a manner that is both aesthetically pleasing and in some ways also instructional, Cirio contends that this new kind of art is more meaningful and significant than previous art forms.
Capture installation at Le Fresnoy, Tourcoing, France, 2020
flickr
Cirio continues by illustrating how using modern technologies (satellite pictures, open source information, etc.) and cognitive capabilities allows artists to capture reality more easily, quickly, and completely than ever before. The combination of geographic, architectural, biological, and financial data is now possible given to these new instruments. Because it has examined media and content using a variety of sources and approaches as well as forensic languages to examine representation and reception, Cirio argues that more reality in documentaries, thus means that they are forensic information. And only research on the social, economic, legal, and political contexts of institutional power can produce realism.
In realism, artists must convey and be specific about the purposes of their work, and the settings of their creations. Cirio claims that this type of art has the capacity to reach a bigger audience than traditional forms of art and may be used to generate works that are both aesthetically beautiful and educative, by presenting facts in an appealing technique. Evidential realism can be used to create works that are significant and impactful because then politics could be in between too as well as works that are significant and powerful while also presenting evidence in an appealing way.
Cirio then continues by concluding that Realism returns, because we now live in a capitalist culture that has caused social crises in the world and has demonstrated our willingness to speak the truth. Realist aesthetics typically reemerges when social and economic crises occur. Alongside this first wave of realism, Impressionism developed and prioritized the individual over the group. We could argue that after the last decades of the 20th century, which were marked by pop art, nihilism, and postmodernism, we are now experiencing a new era of realism in art. The social realm and its representations are once more pushed to the prior of social research, due to the 21st century.
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fieldmoths · 2 years
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heaven by monet I and II
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heaven by rembrandt, heaven by mc escher
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heaven by klimt, heaven by hokusai
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heaven by munch, heaven by cassatt
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heaven by van gogh I and II
all made by neuralblender
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dyingbelladonna · 2 years
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Now, I understand what you tried to say to me
And how you suffered for your sanity
And how you tried to set them free
They would not listen, they did not know how
Perhaps they'll listen now
Starry, starry night
Flaming flowers that brightly blaze
Swirling clouds in violet haze
Reflect in Vincent's eyes of china blue
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I no longer wish to be human, I wish to be a Van Gogh painting.
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palominojacoby · 3 years
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I know nothing about art. What period/artist/etc do you recommend I start with, if I’m going to meander my way into the topic?
I suggest starting with art created in the past century or so, because the historical contexts and references will be more familiar. Non representational art can be more difficult to understand, again because it's less visually familiar, but there's such a wealth of emotion-filled non representational art that I don't suggest completely ruling it out as a starting point. Sometimes it's easier to start with choosing a movement and then learning about it, it's historical and political background (if it's recent and/or you're not familiar with the history behind it), the most well known artists in the movement, their most famous works, the techniques used and why they are used.
So, the art movements since just before the turn of the century are: post-impressionism, art deco, art nouveau, expressionism, fauvism, cubism, suprematism, de stijl, futurism, constructivism, dada, surrealism, abstract expressionism, pop art, postmodernism, neo expressionism ... there's more but these are the main ones. To start out, I'd suggest googling these terms one by one and just scroll through the image results – try to get a feel for the art movement and see if you actually like the work. Is it interesting? Soothing? Jarring? Boring? Once you find an art movement whose images you enjoy looking at, then you can start reading a bit about it.
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celiottjohnston · 3 years
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Article: Marginalization Tourism and the Smoldering Youth
“I am not what I think I am, and I am not what you think I am. I am what I think you think I am.”
Charles Horton Cooley
As recently reported by NBC news, a study published in the journal Pediatrics found that 9.2% of survey respondents from 13 high schools in the Pittsburgh, Pennsylvania metro expressed a incongruity between the sex of their birth and their experienced gender identity. In contrast to this study the similar, but broader scoped, 2017 Youth Risk Behavior Survey found that only 1.8% of surveyed 14-18 year olds self-identified as transgender, up additionally from a 2011 two-state survey (Gates) that estimated only 0.3% of the total U.S. adult population to identify as transgender.
In response to these data I’ve found myself considering the causes of this explosive growth in gender dysphoria, and frankly, have found it puzzling. Yes, it’s absolutely plausible that subtle cultural changes and broader acceptance of gender fluidity in Western culture has played a significant role, but over a ten year span (‘11-'21), a growth rate of more than 3000% clearly indicates that the catalyst of the change is more substantial than a shift in “repressive” mores.
Adding even more intrigue is the fact that though the Pittsburgh study found that more Black, Hispanic, multiracial, and other respondents identified as gender-diverse (which one might expect from the demographic makeup of an inner city school district), an observing pediatrician and adolescent medicine fellow at Children’s Hospital of Pittsburgh, Dr. Kacie Kidd, anecdotally reported that the vast majority of minors who visit her university’s gender and sexual development clinic are “white, upper-middle-class, *masc-identified youth.” Dr. Kidd implies that this racial disparity is most likely due to health care discrimination in the United States, but I would contest that this is only a part, and more than likely a small part, of the greater picture. Rather, I suggest that the rapid growth of gender dysphoria among Caucasian minors is neither due to a shift in familial and cultural mores or an example of latent racial discrimination in healthcare availability, but instead due, in part, to the rise of a phenomena that I’ve begun calling Marginalization Tourism.
Marginalization Tourism, as I’ve observed it, can be defined as the conscious or unconscious adoption of a moniker deemed “marginalized” by an individual hoping to gain a protected or unique social status—in this case, gender identity, but other examples of Marginalization Tourism (Rachel Dolezal or Oli London) also exist. Similar in ways to a form of social Munchausen syndrome, Marginalization Tourism takes virtue signaling and “allyship” to their logical conclusion by attempting not only to empathize with a population deemed “marginalized,” but rather to falsely inflate the intersectional status of the adopting individual by grafting perceived trauma or subjective labels of marginalization onto their own lives. As was aptly suggested by a friend and colleague, Reed Uberman, the real life implications of Marginalization Tourism can look similar to the “cutting” phenomenon of the early ‘00′s, yet the self-harm of that era was born out of the hopelessness flowing from the Nihilist Postmodern Condition. In contrast, the Marginalization Tourism of today, encouraging children to self label as post-biology, is born out of the Metamodern Condition. A condition that views the conventions (or in the case of this argument, gender norms) of the past merely as archetypes or myths on which to build the magically oppression-free trans-structural utopia of the future.
To help with qualifying Marginalization Tourism theory and specifically its impact on “white, upper-middle-class” youths, a brief consideration of the roles played by technology, society, and politics in the formation of this phenomenon is in order. Especially because these factors have become increasingly influential among those who are both highly vulnerable to peer pressure and prone to the adoption of extreme thinking (and thus extreme behavior).
Technology’s Role in Marginalization Tourism
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Though in the past technology has had an important impact on mores of youth culture (see MTV Generation), its former one-way nature limited technology’s actual narrative influence over the lives of individuals, and was mostly kept in check by the random and disparate influence of local mores. Yes, moments of technology-catalyzed cultural cohesion would rise in communities, often culminating in the development of a local fashion, slang, or music and art scene, but would rarely extend beyond the borders of that region. Rather competing regional preferences would naturally limit the exponential spread of viral forms of subcultural behavior.
But today children are raised within a global technological ecosystem that particularly values the novel, the unique, or the extreme—where in contrast, being young, White, middle-class, and American is considered antithetical to those “virtues.” Thus to meet this In-group Bias-fueled fetish for the novel, if a young, white, middle-class, American netizen hopes to both protect and grow their online “personal brand”, adopting niche labels, celebrated by the online progressive monoculture as novel, unique, or extreme is not only important, but at some point, critical. For evidence of this escalation look no further than the explosive growth of OnlyFans, the direct to consumer pornography service for increasingly extreme behavior and niche lifestyle content, with former PG-13 Instagram “influencers”, or the sexual or gender identification evolution of social media spotlight-dependent celebrities like Demi Lovato or Miley Cyrus.
Being simply a tool, it’s important to remember that technology is ultimately agnostic to the extreme label adoption behind Marginalization Tourism. But likewise it would be absurd of us to ignore the impact that Reddit and TikTok-hosted spheres of influence, steeped in the aforementioned In-group Bias, emboldened by all-accepting Progressive Metamodern ideologies, and fueled by a lust for the novel, have had over lifestyle preferences of today’s impressionable youths.
Society’s Role in Marginalization Tourism
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Sociologically, when thinking about development of Marginalization Tourism it’s crucial to consider the importance of symbolic representation during identity development. As coined by the imminent sociologist George Herbert Mead, we all employ “significant symbols” to communicate personal meaning outwardly and look for similar symbols as recognition of in-group acceptance. This use of significant symbols is particularly important during adolescence, when gaining in-group status is most important for emotional well being. Further, research (Adams et al, 2003) suggests that outwardly symbolic self-labeling by youths can be a predictor of actual behavioral adoption, most likely reinforced by the desire for in-group status.
Yet for those whose in-group status has been politically nullified (more on that below), the hunt for acceptance has continued to grow more desperate. No longer governed by the traditional group segmentation symbols: fashion, music, athletics, economic status, etc. those who have fallen afoul of our current political stigma machine have begun to reach out further—to gain in-group status not through these traditional symbols of in-group status, but via the increased adoption of labels of marginalization and thus intersectionality. Gone are the days of authentic subculture development and acceptance, which would have at other times been the refuge of these social exiles. Rather, they’ve been crushed under the weight of Metamodern sarcasm, to be replaced with vapid variations on the same milquetoast metanarrative—one that mindlessly drones on about the virtues and infallibility of dogmatic Progressive Collectivism.
It’s for these reasons why I observe Marginalization Tourism most uniquely among Dr. Kidd’s “white, upper-middle-class, *masc-identified youth.” This is a demographic derided as having no symbolic value in our current culture and because so, is incapable of building in-group status among peers without co-opting the social currency du jour, a history of marginalization.
Politics’ Role in Marginalization Tourism
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Lastly, we will address the role that politics has played in setting the stage for the growth of Marginalization Tourism. Rather requiring a nuanced argument on the political catalyst of Marginalization Tourism, all that’s really needed is to simply open our eyes in any newsstand or bookstore, university lecture hall, or on any media, entertainment, or Big Tech platform and we will be spoon-fed a veritable deluge of information with the aim of first deconstructing, and then demonizing the societal contributions Western civilization. Whether it’s via culturally-promoted avenues, like The New York Times’ The 1619 Project, passed through longtime cult classics such as Zinn’s “People’s History,” or subtly woven into the agitpropatainment of The Handmaiden’s Tale, the consistent political narrative states that being Caucasian, and by extension, a product of Western civilization, is intrinsically and irreparably bad. Further, when this political posture is adopted by virtue signaling parents (where youths first seek value, stability, and familial in-group status), their progeny, who by no fault of their own physically and symbolically represent the so-called evils of Western culture with the level of melanin in their skin, are of course going to identify with the concepts of self-hatred and intrapersonal alienation so often reported by people with gender dysphoria.
And of course they will. Who wouldn’t feel a profound sense of remorse and humiliation when, as a child and adolescent, you were placed under the deconstructed burden of Western civilization’s so-oft illustrated legacy of failure and oppression? Even moreso with young, White males, who also have to atone for the repugnant actions of some of their past male counterparts.
We, much less our children, are not strong enough to contend with that burden, and the more that it is promoted as a labeling narrative, that symbolically defines their personhood, the more that our children will want to flee from any aspect of their “idiotically banal” and “intrinsically oppressive” identity.
I will be discussing additional aspects and possible counteractions for stemming the tide of Marginalization Tourism in the future, but in the meantime suggest that our first step toward combating this phenomenon of misidentity is to reject the idea that our intrinsic value is subject to the whims and opinions of consensus. Rather, I implore my readers to turn from the fickle advice offered by their limited perspectives, existential crises, and internal micronarratives in favor of the eternal wisdom of God and his son Jesus Christ who said in the Gospel of Matthew, Chapter 10:26-31:
“So have no fear of them, for nothing is covered that will not be revealed, or hidden that will not be known. What I tell you in the dark, say in the light, and what you hear whispered, proclaim on the housetops. And do not fear those who kill the body but cannot kill the soul. Rather fear him who can destroy both soul and body in hell. Are not two sparrows sold for a penny? And not one of them will fall to the ground apart from your Father. But even the hairs of your head are all numbered. Fear not, therefore; you are of more value than many sparrows.”
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penhive · 3 years
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Expanding Nietzsche’s Theory of Art
The philosopher Nietzsche said: art occurs as a synthesis of the Dionysian and the Apollonian elements The Dionysian aspects are beat and rhythm and the Apollonian aspects are melody and harmony.
This article seeks to explicate how Nietzsche’s theory of art works in art, literature, painting and music.
In music the Apollonian elements are melody and harmony and the Dionysian elements are rhythm and beat. Music the highest form of art synthesizes the Dionysian and the Apollonian elements. Music is the art of the soul. Music renders passion to the ears. In classical music, the Apollonian elements are more marked. In rock music and blues, it is the convergence of the Dionysian elements. In rap music also the Dionysian elements merge.
Now let’s examine how Nietzsche’s theory of art works in literature. What is Literature? Literature is the music of words. How does this music occur? What are the Dionysian things present in Literature? The Dionysian elements are the ego and the body of the writer and it is from which the Dionysian elements emerge. The Apollonian elements are the structure, form and texture of the work. The form, texture and the structure of the work become the melody. Now let’s look at various stages, or various periods of work through which literature has passed. The first is classicism. Classicism is work of art which is mimetic in nature. Art in classicism is the resemblance of nature. Now let’s look at the romantic period of literature. Art in the romantic period is marked by spontaneous feeling and heightened emotion. Romantic art is an allegory of an existing fable. Now let’s look at the surrealist period of literature. Surrealist literature focuses the subconscious and the inner workings of the mind. Now let’s look at postmodern literature. Post-modern literature is characterized by allusion, reflexivity, meta-theorizing, and also by an unreliable narrator. The Dionysian elements of literature are the form, body and the ego of the writer and the Apollonian elements are the rhythmic outplay of form, texture and content.
Now let’s examine how Nietzsche’s theory of art works in painting. The Dionysian elements of art are the consciousness of the artist and also the palette and the brush. The Dionysian elements are the product of a finished work of art. Art has gone through various periods and they are classicism, romanticism, expressionism, impressionism, surrealism, cubism and pop art. Art during the classical period showed the outcomings of mimesis. Art was a resemblance of nature. Art during the romantic period was marked by the passion of overflowing feeling. Art during the expressionistic phase was characterized by expression of feelings like Munch’s scream. Surrealism in art sought to uncover the forces working in dream and reality. Dali’s persistence of memory is a unique representation of surrealist art. The Cubism of Picasso was the positioning of art objects in abstract dimensional patterns. Pop art brought about the depictions of natural objects and disarmed them into cultural and aesthetic concoctions.
To conclude I would like to say that Nietzsche’s theory of art is the merger of the Dionysian and the Apollonian. The Dionysian elements are rhythm and beat and the Apollonian elements are melody and harmony.
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scrapamo · 2 years
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Modern Art Timeline
Modern Art is a commonly used definition for the art movements taking place between the 1860s - the 1970s and onwards. The movements included are: Impressionism, Post-Impressionism, Fauvism, Expressionism, Cubism, Early Abstraction (Suprematism, Constructivism & De Stijl), Dada, Surrealism, Abstract Expressionism, Pop Art, Minimalism, Conceptual Art & Postmodernism. All of these movements can be linked through their attitude of abandoning the previous generation of art's traditions in favour of being free to experiment with subjects, techniques and even how art is perceived.
This attitude can be explained by the scientific revolution that took place between the 16th and 18th century as during this time many deep rooted beliefs had been unrooted from the common belief systems. This occurred due to the increasing value of truth in society which eventually developed into the scientific method used by the scientific societies that were appearing as an autonomous discipline from philosophy and religious studies, the first of which was created in Italy during the 17th century and gave rise to many other societies throughout Europe and eventually the rest of the world. These societies gave scientists of the time a place to debate theories, studies and the validity of these studies. This of course allowed people to start questioning things without being simply labelled as a heretic for doing so. Artists also took this as opportunity to push the constraints of tradition without as much of a moral panic as there once would have been.
The 19th century was full of changes in industry, economy and how large someone's worldview can be due to the invention of trains in the 18th century becoming more common allowing people to travel between cities and allow for governments to bring people to land in a simple fashion in order to create more cities. This brought forth a huge change in the living conditions of many people as instead of the majority of people only seeing the maybe 100 people they know, most people would now be in crowded living areas on factory grounds or if they were lucky enough to have already been an owner of a business they may have became middle class with the sudden increase in demand for their products with the increase of population. This creation of the middle class was perhaps the biggest change for most common people as instead of working yourself to ill-health all in the name of supporting your family wasn't necessary for some people anymore. They now had enough money to be able to go out for dinner once in a blue moon, something that previously only the extremely rich or those from a noble class or a religious class could experience.
Important scientific discoveries of the era including photography, telephones, radio and cinema brought a huge change to the attitude of artist's at the time as if you have a way of viewing how something actually looked like, then why would you even bother to represent that in a realistic fashion if your mate with a camera could do it in a short period of time?
Art Movements And Their Period:
Impressionism 1860-1880
Post-Impressionism 1880-1900
Fauvism 1900-1910
Expressionism 1890-1920
Cubism 1900-1920
Early Abstraction (Suprematism, Constructivism & De Stijl) 1910-20
Dada 1910-1920
Surrealism 1920-1940
Abstract Expressionism 1940-1960
Pop Art 1950-1960
Minimalism 1960-1970
Conceptual Art 1960-1980
Post-Modernism 1970-Now
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ahartistresearch · 3 years
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Notes from the Story of Modern Art
Modern Art period – 1860s to the 1970’s
Term associated with the conscious break of art traditions in the spirit of experimentation demonstrated through the use of radical approaches to composition, materials & imagery.
Influencing Factors – pre 1850s
The scientific revolution (16th – 18th Centuries) – began to question the certainties in religion that had been the pillars of communities & cultures.
Age of Enlightenment (18th Century) – the idea that people can think and reason for themselves, rather than following suite to religious teachings. Age of philosophers like Voltaire.
Age of Reflection or Romanticism (19th Century) – Understood as a reaction to the rational & scientific understanding of the world. Placing importance on the individual & emotional experience in the world.
Social Changes of the 19th Century
Urbanization, more people moving to the city. Societal structure change and in the invention of a middle class. Increased travel, more seeing of the world & cultures than ever before.
Scientific factors (19th -20th Centuries)
Photography – changing how we see the world. Why try paint realistically when a photograph can do a better job?
Telecommunication – phone, radio, cinema – changing how we communicate and interact.
Pre Modern Art (1860-80)
Impressionism – Renoir, Manet, Mary Cassatt, Money, Pissaro, Degas
Reflecting the changing qualities of light & movement – open loose brush strokes, using everyday subject matter,
Post-impressionism – Van Gogh, Seurat, Toulouse-Lautrec, Monet, Cezanne, Degas, Gaugin
Reacting against naturalism of impressionism exploring colour, line, form & emotional response. Led to development of expressionism.
The Pioneering Early / Emerging Modernists (1900-1910)
Fauvism – Henri Matisse, Andre Derain
Thrived in Paris 1905. Vividly expressionistic & non-naturalistic use of colour. Matisse regarded as the movements leading figure. Important influence on subsequent artists.
Expressionism
Edvard Munch, Kandinsky, Paul Klee, Franz Marc, Egon Schiele, Ernst Ludwig Kircher
Presenting from a subject perspective. Distorting images for an emotional impact.
Early Abstraction (1900s-1920s)
Cubism
Picasso Exploration of forms & perspective. Use of simplified geometric shapes, and later collage.
Suprematism/ Constructivism (Russia)
Kasimir Malevich, El Lissitzy, Naum Gabo, Vladimir Tatlin, Alexander Rodchenko, Piet Mondrian (De Stijl Holland)
Geometrical shapes associated with the idea of spiritual purity reflecting modern industrial society & the urban. 
Dada
Marcel Duchamp, Hugo Ball, Hannah Hoch, Kurt Schwitters Formed during WW1 in Zurich as a result of the horrors of war. Including art, poetry & performance often mocking and nonsensical.
Surrealism (1920-40) Max Ernst, DiChirico, Man Ray, Rene Magritte, Salvador Dali
Cultural movement developed after WW1 and largely influenced by Dada. Visual works, writings & juxtaposition of forms and realities to active the unconscious mind through imagery. 
Abstract Expressionism (1940s-1960s)
Jackson Pollock, Barnett Newman, Mark Rothko, Willem de Kooning, Lee Krasner, Helen Frankenthaler, Franz Kline
Development of abstract art originating in New York. Focusing on emotional expression & spontaneous creativity. Large gestural expressive paintings lacking in imagery. Action Painting.
 Pop Art (1950-60)
Andy Warhol, Jasper Johns, Robert Rauchenberg, Roy Lichtenstein, Claes Oldernberg, Peter Blake, David Hockney Richard Hamilton
UK & USA. Challenging the traditions of fine art including images from popular culture and mass production.
Minimalism (1960s-1970s)
Joseph Kosuth, Donald Judd, Frank Stella, Carl Andre, Eva Hesse, Richard Serra, Walter de Maria Extension of abstract art and the idea that art should have its own reality and not be an imitation of something else. 
Conceptual Art (1960s-1980s)
Marcel Duchamp, Joseph Kosuth, Sol leWitt, Yoko Ono, John Baldessari, Joseph Beauys, Jenny Holzer, Barbara Kruger, Richard Long, Robert Smithson Referred to as conceptualism – the idea involved in the work took precedence of the aesthetic. The idea would be at the heart of work, often included everyday works/text. Postmodernism (1970s/1980s onwards)
Jeff Koons, Cindy Sherman, Barbara Kruger, Damien Hirst, Tracy Emin, Gerhard Richter, Marina Abramovic, Christo, Julian Schnabel, Jean Michel Basquiat, Gerog Baselitz Sought to contradict some aspects of modernism. Intermedia, installation art, conceptual art & multimedia. Art made between the turn of the 1960s and turn of the 20th Century. Ironical & playful treatment of subjects breaking down of culture hierarchies. Authenticity, originality with an emphasis on image & spectacle. 
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amimons · 4 years
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53 & 88 !
53: have you ever watched the rocky horror picture show? heathers? beetlejuice? pulp fiction? what do you think of them?
I’ve seen bits and pieces of rocky horror picture show over periods of time but never had a moment to sit down to watch throughout and I’ve never watched Pulp fiction. 
I’ve seen Heathers, I think it is a great dark comedy with a wonderful aesthetic. I’ve seen Beetlejuice all the time as a kid because my parents would always watch it, it was one of those things growing up that interested me then I got creeped out so it gave me mixed feelings as a child, but the older I got the less creepy it was to me lol I should do a rewatch of it since it’s been so many years tho.  
88: are there any artistic movements you particularly enjoy?
Stylistic wise I really enjoyed Art Nouveau but when it came to sitting through a lecture the stories of the artist and their pieces during the Post-Impressionism period were very interesting during my modern art course. But really most art pieces have an amazing story behind them even if its a piece that doesn’t catch your eye I just think it was because a big hefty part of the course was about post-impressionism and how future movements in modern art was affected by it. 
I also had a course that centered around art created during war and world crisis, specifically during the period of modern art up to postmodernism. There is a variety of different types of art comes up during those time from political pieces to propaganda it creates a lot of important discussions and a good way to see how people were affected through the people themselves. I’ve gone to a good amount of art exhibits with pieces during those periods as well which was a good experience to have. And speaking of museums I really also enjoy contemporary art exhibits as well because its fun to try to interrupt the piece and then read the commentary from the artist afterward. 
Send Me Numbers Ask Game 
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chadsstash · 4 years
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Title: Post Malone-Stoney Date: 2020 Medium: Oil on Baltic Birch Size: 12"x12" @postmalone #postmalone #stoney #albumcover #art #chadsstash #impasto #riffs #thickpaint #chadpatterson #painting #oilpainter #oilpainting #visualart #lowbrow #artwork #abstractart #abstraction #postmodern #impressionism #artistsoninstagram #instaart #artistsontumblr #contemporaryart #canadianart #contemporarycanadianart #canadianartist #supportlocalart #winsorandnewton #timelapse #video https://www.instagram.com/p/CEPlqQFphfP/?igshid=1bek4jalxgpcm
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hope-inthedark · 4 years
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hello! it's been some time, but nevertheless thank you for your last answer! you've mentioned different art movements - do you have favourite movements, styles, or periods?
Hello, Art Anon! Glad to see you back again.
This is a tough question. I have specific artists that I like from multiple different movements, so I don’t know that I can pick just one. However, I do especially enjoy Impressionism and Post-Impressionism. Those sections of museums and galleries are typically the easiest for me to find things that I like. However! Late Renaissance art is fascinating and incredibly beautiful, and I love many artists from that period as well.
I am not, as a general rule, fond of Abstract Expressionism (artists like Jackson Pollack, for example) or Postmodernism (artists like Gerhard Richter). I like to have something to look at that’s more concrete than chaos and color, I suppose. But that’s just my preference! Different strokes for different folks.
I’m becoming increasingly aware that I don’t know much about art periods and movements outside of the “Western world,” so that’s something I’ll have to rectify!
Thanks for the ask, Art Anon! It’s always a pleasure to hear from you.
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hellonovascope-blog · 5 years
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Postmodernist art-making strategies
“Post modernism refers to both a period of time in a web of ideas, both of which resist specificity.” Much of postmodernist theory originated from French theorists’ (like Foucault) analysis of history, culture, identity, representation, and language. It is said that post modernist ideas continually influence all of the humanities, literature in particular. While modernists center around freedom and individuality, postmodernists tend to be more pessimistic in their beliefs about society and the future of humanity, often nihilistic. Postmodernists express skepticism about individual freedoms and argue that our freedoms are limited by society, i.e. “our actions are constrained by social context.” While some postmodernists feel hopeless and pessimistic, many remain focused on social struggles, similar to the original goals of many modernists. To further recap the chapter, a list of major movements of modern art include “impressionism, post impressionism, symbolism, fauvism, cubism, expressionism, dada, bauhaus, Surrealism, abstract expressionism, color field painting, pop art, op art, hard edge painting, Russian formalism, minimalism, photo realism, art photography, socially motivated journalist photography.” On the flipside, postmodern artists adopt approaches to abstraction rather than realistic representation which brought freedom and variety of expression to the art world. To further cover postmodern attitudes toward art and beyond, we discover that postmodern art culture expands far beyond the artists themselves and consists of “museum directors, gallery owners and dealers, exhibition designers, publicists, connoisseurs, estimators, security guards, museum and independent curators, art critics, art collectors, art historians, art conservators and restorers, editors, writers, and advertisers.” With this in mind, we can recognize why, in terms of money, power, and social control, folks like Chuck Close express a deep criticism of the art market. The chapter then discusses how to escape the confines of museums and traditional venues like galleries. As well as how many have managed to collapse the boundaries between “high“ and “low“ art. Comparatively speaking, postmodern artists continue to collapse those boundaries while, historically, modernists generally affix a “higher” meaning to art, believing that it “ transcends ordinary life” in that art does not represent or relate to “low culture” artifacts like “cheap, tasteless, and tacky things often associated with middle and lower class visual preferences” — moving into strategies for making art for postmodern artists, we see collaborative and stimulating approaches to methods and mediums like mixed media, using narratives, creating metaphors, using irony + parody, and confronting the gaze - all of which further the dialogue creating a more rich and diverse landscape from which to create and challenge social norms.
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