1.
Rachel Whiteread
–
Rachel Whiteread, CBE is an English artist who primarily produces sculptures, which typically take the form of casts. She was the first woman to win the annual Turner Prize in 1993, Whiteread was one of the Young British Artists who exhibited at the Royal Academys Sensation exhibition in 1997. Whiteread was born in 1963 in Ilford, Essex, and raised in the Essex countryside until age seven and her mother, Patricia Whiteread, who was also an artist, died in 2003 at the age of 72. Her father, Thomas Whiteread, was a teacher, polytechnic administrator and lifelong supporter of the Labour Party. She is the third of three sisters – the older two being identical twins, Whiteread studied at the Faculty of Arts and Architecture, Brighton Polytechnic from 1982 to 1985. Though she graduated with a BA in painting, she spent much of her time doing sculpture and she took a workshop on casting with the sculptor Richard Wilson and began to realize the possibilities in casting objects. She was briefly at the Cyprus College of Art, from 1985 to 1987 she studied sculpture at Slade School of Art, University College, London, graduating with an MA in 1987. For a time she worked in Highgate Cemetery fixing lids back onto time-damaged coffins and she began to exhibit in 1987, with her first solo exhibition coming in 1988. She lives and works in a synagogue in east London with long-term partner. Many of Whitereads works are casts of ordinary objects and, in numerous cases. For example, she is known for making casts of the open space in and around pieces of furniture such as tables and chairs, architectural details and even entire rooms. She says the casts carry the residue of years and years of use, Whiteread mainly focuses on the line and the form for her pieces. While still at the Slade, Whiteread cast domestic objects and created her first sculpture and she made a plaster cast of the interior of a wooden wardrobe and covered it with black felt. It was based on comforting childhood memories of hiding in a dark closet, after she graduated she rented space for a studio using the Enterprise Allowance Scheme. She created Shallow Breath, the cast of the underside of a bed, both sculptures were exhibited in her first solo show in 1988 along with casts of other domestic pieces. The work all sold and allowed her to apply for grants to find funding for larger sculptures, after her first solo exhibition, Whiteread decided to cast the space that her domestic objects could have inhabited. She applied for grants, describing the project as mummifying the air in a room and it was cast from a room in a house on Archway Road in north London, much like the house she grew up in. The road was being widened and the torn down
Rachel Whiteread
–
Untitled (Twenty Four Switches) by Rachel Whiteread, Tate Liverpool, England.
Rachel Whiteread
–
House (1993) London
Rachel Whiteread
–
Holocaust Monument (2000)
Judenplatz,
Vienna
Rachel Whiteread
–
Stuckist demonstration against the unveiling of "Untitled Monument", 4 June 2001.
2.
Tate Modern
–
Tate Modern is a modern art gallery located in London. It is Britains national gallery of modern art and forms part of the Tate group. It is based in the former Bankside Power Station, in the Bankside area of the London Borough of Southwark, Tate holds the national collection of British art from 1900 to the present day and international modern and contemporary art. Tate Modern is one of the largest museums of modern and contemporary art in the world and it is directly across the river from St Pauls Cathedral. The power station closed in 1981, prior to redevelopment, the power station was a 200 m long, steel framed, brick clad building with a substantial central chimney standing 99 m. The structure was divided into three main areas each running east-west - the huge main turbine hall in the centre, with the boiler house to the north. For many years after closure Bankside Power station was at risk of being demolished by developers, many people campaigned for the building to be saved and put forward suggestions for possible new uses. An application to list the building was refused, in April 1994 the Tate Gallery announced that Bankside would be the home for the new Tate Modern. In July of the year, an international competition was launched to select an architect for the new gallery. Jacques Herzog and Pierre de Meuron of Herzog & de Meuron were announced as the architects in January 1995. The £134 million conversion to the Tate Modern started in June 1995, the most obvious external change was the two-story glass extension on one half of the roof. Much of the internal structure remained, including the cavernous main turbine hall. The history of the site as well as information about the conversion was the basis for a 2008 documentary Architects Herzog and de Meuron and this challenging conversion work was carried by Carillion. Tate Modern was opened by the Queen on 11 May 2000, Tate Modern received 5.25 million visitors in its first year. The previous year the three existing Tate galleries galleries had received 2.5 million visitors combined, Tate Modern had attracted more visitors than originally expected and plans to expand it had been in preparation since 2004. These plans focused on the south west of the building with the intention of providing 5, 000m2 of new display space, the southern third of the building was retained by the French power company EDF Energy as an electrical substation. In 2006, the released the western half of this holding and plans were made to replace the structure with a tower extension to the museum. The tower was to be built over the old oil storage tanks, structural, geotechnical, civil, and façade engineering and environmental consultancy was undertaken by Ramboll between 2008 and 2016
Tate Modern
–
Tate Modern
Tate Modern
–
The Turbine Hall
Tate Modern
–
Stairs and windows
Tate Modern
–
Chimney of Tate Modern. The Swiss Light at its top was designed by
Michael Craig-Martin and the architects
Herzog & de Meuron and was sponsored by the Swiss government. It was dismantled in May 2008.
3.
Three-dimensional
–
Three-dimensional space is a geometric setting in which three values are required to determine the position of an element. This is the meaning of the term dimension. In physics and mathematics, a sequence of n numbers can be understood as a location in n-dimensional space, when n =3, the set of all such locations is called three-dimensional Euclidean space. It is commonly represented by the symbol ℝ3 and this serves as a three-parameter model of the physical universe in which all known matter exists. However, this space is one example of a large variety of spaces in three dimensions called 3-manifolds. Furthermore, in case, these three values can be labeled by any combination of three chosen from the terms width, height, depth, and breadth. In mathematics, analytic geometry describes every point in space by means of three coordinates. Three coordinate axes are given, each perpendicular to the two at the origin, the point at which they cross. They are usually labeled x, y, and z, below are images of the above-mentioned systems. Two distinct points determine a line. Three distinct points are either collinear or determine a unique plane, four distinct points can either be collinear, coplanar or determine the entire space. Two distinct lines can intersect, be parallel or be skew. Two parallel lines, or two intersecting lines, lie in a plane, so skew lines are lines that do not meet. Two distinct planes can either meet in a line or are parallel. Three distinct planes, no pair of which are parallel, can meet in a common line. In the last case, the three lines of intersection of each pair of planes are mutually parallel, a line can lie in a given plane, intersect that plane in a unique point or be parallel to the plane. In the last case, there will be lines in the plane that are parallel to the given line, a hyperplane is a subspace of one dimension less than the dimension of the full space. The hyperplanes of a space are the two-dimensional subspaces, that is
Three-dimensional
–
Three-dimensional
Cartesian coordinate system with the x -axis pointing towards the observer. (See diagram description for correction.)
4.
Site-specific art
–
Site-specific art is artwork created to exist in a certain place. Typically, the artist takes the location into account while planning and creating the artwork, site specific environmental art was first described as a movement by architectural critic Catherine Howett and art critic Lucy Lippard. Site-specific art emerged after the modernist objects as a reaction of artists to the situation in the world, modernist art objects were transportable, nomadic, could only exist in the museum space and were the objects of the market and commodification. Since 1960 the artists were trying to find a way out of situation, and thus drew attention to the site. The work of art was created in the site and could only exist, site is a current location, which comprises a unique combination of physical elements, depth, length, weight, height, shape, walls, temperature. Jean-Max Albert, created Sculptures de visées in Parc de la Villette related to the site, or Carlotta’s Smile, co, ’s architecture Lisbon, and to a choreography in collaboration with Michala Marcus and Carlos Zingaro,1979. Outdoor site-specific artworks often include landscaping combined with permanently sited sculptural elements, outdoor site-specific artworks can also include dance performances created especially for the site. More broadly, the term is used for any work that is permanently attached to a particular location. In this sense, a building with interesting architecture could also be considered a piece of site-specific art, in Geneva, Switzerland, the two Contemporary Art Funds of the City and the Canton are looking forward to integrate art into the architecture and in the public space since 1980. Site-specific performance art, site-specific visual art and interventions are commissioned for the annual Infecting the City Festival in Cape Town, South Africa
Site-specific art
–
Dan Flavin, Site-specific installation, 1996,
Menil Collection
Site-specific art
–
Nef pour quatorze reines by Rose-Marie Goulet, a memorial to the
École Polytechnique Massacre, featuring
sculptural elements integrated into a specially
landscaped site
Site-specific art
–
George Segal, Street Crossing, 1992, permanent installation at
Montclair State University
Site-specific art
–
Eberhard Bosslet, side effect X, Tias, Lanzarote, (2008)
5.
Public art
–
Public art is art in any media that has been planned and executed with the intention of being staged in the physical public domain, usually outside and accessible to all. Public art may include any art which is exhibited in a public space including publicly accessible buildings, rather, the relationship between the content and audience, what the art is saying and to whom, is just as important if not more important than its physical location. Cher Krause Knight states, arts publicness rests in the quality, such cultural interventions have often been realised in response to creatively engaging a communitys sense of place or well-being in society. Such commissions can still result in physical, permanent artworks and sculptures and these also often involve increasingly integrated and applied arts type applications. However, they are beginning to include other, much more process-driven. As such, these do not always rely on the production of a physical or permanent artwork at all and this expanded scope of public art can embrace many diverse practices and artforms. These might be implemented as stand-alone, or as collaborative hybrids involving a multi-disciplinary approach, the range of its potential is of course endless, ever-changing, and subject to continual debate and differences of opinion among artists, funders, curators, and commissioning clients. Public art is not confined to objects, dance, procession, street theatre. In a similar example, sculptor Gar Waterman created a giant arch measuring 35x37x3 feet which straddled a city street in New Haven, in Cape Town, South Africa, Africa Centre presents the Infecting the City Public Art Festival. Programs like President Roosevelts New Deal facilitated the development of art during the Great Depression but was wrought with propaganda goals. New Deal art support programs intended to develop national pride in American culture while avoiding addressing the faltering economy that said culture was built upon, although problematic, New Deal programs such as FAP altered the relationship between the artist and society by making art accessible to all people. The New Deal program Art-in-Architecture developed percent for art programs, a structure for funding public art still utilized today and this program gave one half of one percent of total construction costs of all government buildings to purchase contemporary American art for that structure. A-i-A helped solidify the principle that art in the US should be truly owned by the public. They also established the legitimacy of the desire for public art. While problematic at times, early public art programs set the foundation for current public art development, Public art became much more about the public. The will to create a deepest and more pertinent connection between the production of the artwork and the site where it is made visible prompts different orientations, in 1969 Wolf Vostells Stationary traffic was made in Cologne. Between the 1970s and the 1980s, gentrification and ecological issues surface in public art practices both as a motive and as a critical focus brought in by artists. In recent years, programs of green urban regeneration aiming at converting abandoned lots into green areas regularly include public art programs, the 1980s also witness the institutionalisation of sculpture parks as curated programs
Public art
–
The
Spire of Dublin is the world's tallest public art.
Public art
–
Nanas by
Niki de Saint Phalle in
Hanover,
Germany
Public art
–
Wolf Vostell Ruhender Verkehr / Stationary traffic, Cologne, 1969
Public art
–
La Joute by
Jean-Paul Riopelle, an outdoor
kinetic sculpture installation with fire jets, fog machines, and a fountain in
Montreal.
6.
Land art
–
Land art, earthworks, or Earth art is an art movement in which landscape and the work of art are inextricably linked. It is also an art form that is created in nature, using materials such as soil, rock, organic media. Sculptures are not placed in the landscape, rather, the landscape is the means of their creation, often earth moving equipment is involved. The works frequently exist in the open, located away from civilization, left to change. Many of the first works, created in the deserts of Nevada, New Mexico, Utah or Arizona were ephemeral in nature and they also pioneered a category of art called site-specific sculpture, designed for a particular outdoor location. Land art is an artistic protest against the perceived artificiality, plastic aesthetics, Land art was inspired by minimal art and conceptual art but also by modern movements such as De Stijl, cubism, minimalism and the work of Constantin Brâncuși and Joseph Beuys. Many of the associated with land art had been involved with minimal art. His influence on contemporary art, landscape architecture and environmental sculpture is evident in many works today. Alan Sonfist is a pioneer of an approach to working with nature and culture that he began in 1965 by bringing historical nature. His most inspirational work is Time Landscape an indigenous forest he planted in New York City, according to critic Barbara Rose, writing in Artforum in 1969, he had become disillusioned with the commodification and insularity of gallery bound art. In 1967, the art critic Grace Glueck writing in the New York Times declared the first earthwork was done by Douglas Leichter and Richard Saba at the Skowhegan School of Painting and Sculpture. The movement began in October 1968 with the group exhibition Earth Works at the Dwan Gallery in New York, in February 1969, Willoughby Sharp curated the Earth Art exhibition at the Andrew Dickson White Museum of Art at Cornell University, Ithaca, New York. The artists included were Walter De Maria, Jan Dibbets, Hans Haacke, Michael Heizer, Neil Jenney, Richard Long, David Medalla, Robert Morris, Dennis Oppenheim, Robert Smithson, the exhibition was directed by Thomas W. Leavitt. Gordon Matta-Clark, who lived in Ithaca at the time, was invited by Sharp to help the artists in Earth Art with the execution of their works for the exhibition. S. How much of the work, if any, is visible is dependent on the water levels. Since its creation, the work has completely covered, and then uncovered again. Smithsons Gravel Mirror with Cracks and Dust is an example of art existing in a gallery space rather than in the natural environment. It consists of a pile of gravel by the side of a partially mirrored gallery wall, in its simplicity of form and concentration on the materials themselves, this and other pieces of land art have an affinity with minimalism
Land art
–
Museum paper board left on the bank of the river for 4 days. By
Jacek Tylicki, S.W. of
Lund,
Sweden, 473 X 354 mm. 1981
Land art
–
Spiral Jetty by
Robert Smithson from atop Rozel Point, in mid-April 2005
Land art
–
Bunjil geoglyph at the
You Yangs,
Lara, Australia, by Andrew Rogers. The creature has a wing span of 100 metres and a 1500 tonnes of rock was used to construct it.
Land art
–
Satellite view of
Roden Crater, the site of an earthwork in progress by
James Turrell, outside
Flagstaff, Arizona.
7.
Intervention art
–
Art intervention is an interaction with a previously existing artwork, audience, venue/space or situation. It has the auspice of conceptual art and is commonly a form of performance art and it is associated with the Viennese Actionists, the Dada movement and Neo-Dadaists. It has also made much use of by the Stuckists to affect perceptions of other artwork which they oppose. Intervention can also refer to art which enters a situation outside the art world in an attempt to change the conditions there. For example, intervention art may attempt to change economic or political situations, since these goals mean that intervention art necessarily addresses and engages with the public, some artists call their work public interventions. However, unendorsed interventions are common and lead to debate as to the distinction between art and vandalism, there are many art interventions which are carried out in contexts where relevant invitation and approval has been given. In a twisted way, it was a success, MONA’s director Jef Bourgeau says the morning after, on a surprisingly bright note as he wades through the carnage. This follows the precedent of the Dadaists, at one of their shows, visitors were invited to smash the exhibits with an axe. A more usual authorised art intervention in an institution is done with care to make sure that no harm comes to the existing collection. In 2004, the Old Town House in Cape Town, South Africa, the curator Andrew Lamprecht said this exhibition, titled Flip, would force gallery goers to reconsider their preconceptions about the art and its legacy. Knowledge of intent is integral to such a process, as it would be perceived differently if it were announced in a conservation context and this was done by Eleonora Aguiari, a Royal College of Art student for her final show. When questioned as to whether she had considered an act, she replied, No, not my style. Then a layer of cling wrap and almost 80 rolls of red tape were applied by 4 people working for 4 days. Aguiari described it as a Zen action up there in the middle of traffic, every detail on the statue is perfect and slightly larger than normal, and said that statuary that symbolizes military past, or imperialism should be covered to make the topics of the past visible. Despite her official clearance, the action caused controversy through press coverage, paul Kuniholm Pauper intervened his steel and textile sculptures worn on the body, with wicker art of his great-grandfather John Emil Kuniholm, posed by The Nordic Heritage Museum in 2013. The action was repeated several times at locations such as Seattle Art Museum, Taipei, Taiwan, New York Citys Central Park. An artist poured black ink into it, and was subsequently prosecuted, the artists defence was that he thought Hirst would benefit from the publicity and one critic said the artists action proved that what Damien Hirst does is art. The exhibit was restored at a cost of £1000 and they called their performance Two Naked Men Jump Into Traceys Bed
Intervention art
–
An equestrian statue of Lord Napier wrapped in red tape by
Eleonora Aguiari in 2004.
Intervention art
–
construction drawing - La Restinga II, El Hierro, 1983
Intervention art
–
side effect VII, Guimar, Tenerife, 1990
Intervention art
–
side effect X, Tajao, Tenerife, south side, 2006
8.
New media
–
New media most commonly refers to content available on-demand through the Internet, accessible on any digital device, usually containing interactive user feedback and creative participation. Common examples of new media websites such as online newspapers, blogs, wikis, video games. A defining characteristic of new media is dialogue, New Media transmit content through connection and conversation. It enables people around the world to share, comment on, unlike any of past technologies, New Media is grounded on an interactive community. Most technologies described as new media are digital, often having characteristics of being manipulated, networkable, dense, compressible, some examples may be the Internet, websites, computer multimedia, video games, virtual reality, augmented reality, CD-ROMS, and DVDs. New media does not include television programs, feature films, magazines, books, Facebook is an example of the social media model, in which most users are also participants. Wikitude is an example for augmented reality and it displays information about the users surroundings in a mobile camera view, including image recognition, 3D modeling and location-based approach to augmented reality. In the 1950s, connections between computing and radical art began to grow stronger, in the late 1980s and early 1990s, however, we seem to witness a different kind of parallel relationship between social changes and computer design. Although causally unrelated, conceptually it makes sense that the Cold War, writers and philosophers such as Marshall McLuhan were instrumental in the development of media theory during this period. Until the 1980s media relied primarily upon print and analog broadcast models, such as those of television, the last twenty-five years have seen the rapid transformation into media which are predicated upon the use of digital technologies, such as the Internet and video games. However, these examples are only a representation of new media. The use of computers has transformed the remaining old media, as suggested by the advent of digital television. Andrew L. Shapiro argues that the emergence of new, digital technologies signals a potentially radical shift of who is in control of information, experience and resources. W. Russell Neuman suggests that whilst the new media have technical capabilities to pull in one direction, economic, Neuman argues that new media will, Alter the meaning of geographic distance. Allow for an increase in the volume of communication. Provide the possibility of increasing the speed of communication, allow forms of communication that were previously separate to overlap and interconnect. Scholars, such as Lister et al, New Media as Computer Technology Used as a Distribution Platform – New Media are the cultural objects which use digital computer technology for distribution and exhibition. E. g. Internet, Web sites, computer multimedia, the problem with this is that the definition must be revised every few years
New media
–
Topics and terminology
9.
Video
–
Video is an electronic medium for the recording, copying, playback, broadcasting, and display of moving visual media. Video systems vary greatly in the resolution of the display and refresh rate, video can be carried on a variety of media, including radio broadcast, tapes, DVDs, computer files etc. Video was originally exclusively a live technology, charles Ginsburg led an Ampex research team developing one of the first practical video tape recorder. In 1951 the first video tape recorder captured live images from television cameras by converting the electrical impulses. Video recorders were sold for $50,000 in 1956, however, prices gradually dropped over the years, in 1971, Sony began selling videocassette recorder decks and tapes into the consumer market. The use of techniques in video created digital video, which allowed higher quality and, eventually. After the invention of the DVD in 1997 and Blu-ray Disc in 2006, sales of videotape, the advent of digital broadcasting and the subsequent digital television transition is in the process of relegating analog video to the status of a legacy technology in most parts of the world. PAL standards and SECAM specify 25 frame/s, while NTSC standards specify 29.97 frames, film is shot at the slower frame rate of 24 frames per second, which slightly complicates the process of transferring a cinematic motion picture to video. The minimum frame rate to achieve a comfortable illusion of an image is about sixteen frames per second. Video can be interlaced or progressive, analog display devices reproduce each frame in the same way, effectively doubling the frame rate as far as perceptible overall flicker is concerned. NTSC, PAL and SECAM are interlaced formats, abbreviated video resolution specifications often include an i to indicate interlacing. For example, PAL video format is specified as 576i50, where 576 indicates the total number of horizontal scan lines, i indicates interlacing. In progressive scan systems, each refresh period updates all scan lines in each frame in sequence, when displaying a natively progressive broadcast or recorded signal, the result is optimum spatial resolution of both the stationary and moving parts of the image. Deinterlacing cannot, however, produce video quality that is equivalent to true progressive scan source material, aspect ratio describes the dimensions of video screens and video picture elements. All popular video formats are rectilinear, and so can be described by a ratio between width and height, the screen aspect ratio of a traditional television screen is 4,3, or about 1.33,1. High definition televisions use a ratio of 16,9. The aspect ratio of a full 35 mm film frame with soundtrack is 1.375,1. Therefore, a 720 by 480 pixel NTSC DV image displayes with the 4,3 aspect ratio if the pixels are thin, the popularity of viewing video on mobile phones has led to the growth of vertical video
Video
–
Example of U-V color plane, Y value=0.5
10.
Sound
–
In physics, sound is a vibration that propagates as a typically audible mechanical wave of pressure and displacement, through a transmission medium such as air or water. In physiology and psychology, sound is the reception of such waves, humans can hear sound waves with frequencies between about 20 Hz and 20 kHz. Sound above 20 kHz is ultrasound and below 20 Hz is infrasound, other animals have different hearing ranges. Acoustics is the science that deals with the study of mechanical waves in gases, liquids, and solids including vibration, sound, ultrasound. A scientist who works in the field of acoustics is an acoustician, an audio engineer, on the other hand, is concerned with the recording, manipulation, mixing, and reproduction of sound. Auditory sensation evoked by the oscillation described in, sound can propagate through a medium such as air, water and solids as longitudinal waves and also as a transverse wave in solids. The sound waves are generated by a source, such as the vibrating diaphragm of a stereo speaker. The sound source creates vibrations in the surrounding medium, as the source continues to vibrate the medium, the vibrations propagate away from the source at the speed of sound, thus forming the sound wave. At a fixed distance from the source, the pressure, velocity, at an instant in time, the pressure, velocity, and displacement vary in space. Note that the particles of the medium do not travel with the sound wave and this is intuitively obvious for a solid, and the same is true for liquids and gases. During propagation, waves can be reflected, refracted, or attenuated by the medium, the behavior of sound propagation is generally affected by three things, A complex relationship between the density and pressure of the medium. This relationship, affected by temperature, determines the speed of sound within the medium, if the medium is moving, this movement may increase or decrease the absolute speed of the sound wave depending on the direction of the movement. For example, sound moving through wind will have its speed of propagation increased by the speed of the if the sound and wind are moving in the same direction. If the sound and wind are moving in opposite directions, the speed of the wave will be decreased by the speed of the wind. Medium viscosity determines the rate at which sound is attenuated, for many media, such as air or water, attenuation due to viscosity is negligible. When sound is moving through a medium that does not have constant physical properties, the mechanical vibrations that can be interpreted as sound can travel through all forms of matter, gases, liquids, solids, and plasmas. The matter that supports the sound is called the medium, sound cannot travel through a vacuum. Sound is transmitted through gases, plasma, and liquids as longitudinal waves and it requires a medium to propagate
Sound
–
A
drum produces sound via a vibrating membrane.
Sound
–
Audio engineers in R&D design audio equipment
Sound
–
U.S. Navy
F/A-18 approaching the sound barrier. The white halo is formed by condensed water droplets thought to result from a drop in air pressure around the aircraft (see
Prandtl-Glauert Singularity).
Sound
–
Human ear
11.
Performance
–
A performance, in the performing arts, generally comprises an event in which a performer or group of performers present one or more works of art to an audience. Usually the performers participate in rehearsals beforehand, the means of expressing appreciation can vary by culture. Chinese performers will clap with the audience at the end of a performance, in Japan, folk performing-arts performances commonly attract individuals who take photographs, sometimes getting up to the stage and within inches of performers faces. Sometimes the dividing line between performer and the audience may become blurred, as in the example of theatre where audience members get involved in the production. Theatrical performances can take place daily or at some other regular interval, performances can take place at designated performance spaces, or in a non-conventional space, such as a subway station, on the street, or in somebodys home. Theatrical performances, especially when the audience is limited to only a few observers and this increase takes place in several stages relative to the performance itself, including anticipatory activation, confrontation activation and release period. The same physiological reactions can be experienced in other mediums, such as instrumental performance, heart rate shares a strong, positive correlation with the self reported anxiety of performers. Other physiological responses to public performance include perspiration, secretion of the adrenal glands, a performance may also describe the way in which an actor performs. In a solo capacity, it may refer to a mime artist, comedian, conjurer. Audio electronics Entertainment Live sound mixing Performance science Rock festival Sound technology Spectacle Stadium Stagecraft Theater
Performance
–
Cowboy Mouth performing in 2007.
Performance
–
Palermo Concertmaster
Salvatore Greco in performance
Performance
–
Kristin Chenoweth performs the national anthem of the United States at a
baseball game
Performance
–
Live event support.
12.
Immersive virtual reality
–
Immersion into virtual reality is a perception of being physically present in a non-physical world. The perception is created by surrounding the user of the VR system in images, the name is a metaphoric use of the experience of submersion applied to representation, fiction or simulation. The degree to which the virtual or artistic environment faithfully reproduces reality determines the degree of suspension of disbelief, the greater the suspension of disbelief, the greater the degree of presence achieved. According to Ernest W. Players feel in the zone while perfecting actions that result in success, Strategic immersion Strategic immersion is more cerebral, and is associated with mental challenge. Chess players experience strategic immersion when choosing a correct solution among an array of possibilities. Narrative immersion Narrative immersion occurs when players become invested in a story, in addition to these, they add a new category, Spatial immersion Spatial immersion occurs when a player feels the simulated world is perceptually convincing. The player feels that he or she is there and that a simulated world looks. It is defined as a subjective sensation of being there in a scene depicted by a medium. Most designers focus on the used to create a high-fidelity virtual environment, however. It is the perception, although generated by and/or filtered through human-made technology. Virtual reality glasses can produce a feeling of being in a simulated world. According to Oculus VR, the requirements to achieve this visceral reaction are low-latency. Michael Abrash gave a talk on VR at Steam Dev Days in 2014 and it consists of immersion in an artificial environment where the user feels just as immersed as they usually feel in consensus reality. The most considered method would be to induce the sensations that made up the reality in the nervous system directly. In functionalism/conventional biology we interact with consensus reality through the nervous system, thus we receive all input from all the senses as nerve impulses. It gives your neurons a feeling of heightened sensation and it would involve the user receiving inputs as artificially stimulated nerve impulses, the system would receive the CNS outputs and process them allowing the user to interact with the virtual reality. Natural impulses between the body and central nervous system would need to be prevented, a feedback system between the user and the computer which stores the information would also be needed. Considering how much information would be required for such a system and this will allow the correct sensations in the user, and actions in the virtual reality to occur
Immersive virtual reality
–
Classic
Virtual reality HMD
Immersive virtual reality
–
The
Cave Automatic Virtual Environment
Immersive virtual reality
–
Cosmopolis (2005),
Maurice Benayoun 's Giant Virtual Reality Interactive Installation
13.
Internet
–
The Internet is the global system of interconnected computer networks that use the Internet protocol suite to link devices worldwide. The origins of the Internet date back to research commissioned by the United States federal government in the 1960s to build robust, the primary precursor network, the ARPANET, initially served as a backbone for interconnection of regional academic and military networks in the 1980s. Although the Internet was widely used by academia since the 1980s, Internet use grew rapidly in the West from the mid-1990s and from the late 1990s in the developing world. In the two decades since then, Internet use has grown 100-times, measured for the period of one year, newspaper, book, and other print publishing are adapting to website technology, or are reshaped into blogging, web feeds and online news aggregators. The entertainment industry was initially the fastest growing segment on the Internet, the Internet has enabled and accelerated new forms of personal interactions through instant messaging, Internet forums, and social networking. Business-to-business and financial services on the Internet affect supply chains across entire industries, the Internet has no centralized governance in either technological implementation or policies for access and usage, each constituent network sets its own policies. The term Internet, when used to refer to the global system of interconnected Internet Protocol networks, is a proper noun. In common use and the media, it is not capitalized. Some guides specify that the word should be capitalized when used as a noun, the Internet is also often referred to as the Net, as a short form of network. Historically, as early as 1849, the word internetted was used uncapitalized as an adjective, the designers of early computer networks used internet both as a noun and as a verb in shorthand form of internetwork or internetworking, meaning interconnecting computer networks. The terms Internet and World Wide Web are often used interchangeably in everyday speech, however, the World Wide Web or the Web is only one of a large number of Internet services. The Web is a collection of interconnected documents and other web resources, linked by hyperlinks, the term Interweb is a portmanteau of Internet and World Wide Web typically used sarcastically to parody a technically unsavvy user. The ARPANET project led to the development of protocols for internetworking, the third site was the Culler-Fried Interactive Mathematics Center at the University of California, Santa Barbara, followed by the University of Utah Graphics Department. In an early sign of growth, fifteen sites were connected to the young ARPANET by the end of 1971. These early years were documented in the 1972 film Computer Networks, early international collaborations on the ARPANET were rare. European developers were concerned with developing the X.25 networks, in December 1974, RFC675, by Vinton Cerf, Yogen Dalal, and Carl Sunshine, used the term internet as a shorthand for internetworking and later RFCs repeated this use. Access to the ARPANET was expanded in 1981 when the National Science Foundation funded the Computer Science Network, in 1982, the Internet Protocol Suite was standardized, which permitted worldwide proliferation of interconnected networks.5 Mbit/s and 45 Mbit/s. Commercial Internet service providers emerged in the late 1980s and early 1990s, the ARPANET was decommissioned in 1990
Internet
–
The Internet Messenger by
Buky Schwartz in
Holon.
Internet
–
An
Opte Project visualization of
routing paths through a portion of the Internet
Internet
–
ICANN headquarters in the
Playa Vista neighborhood of
Los Angeles, California, United States.
Internet
–
This
NeXT Computer was used by
Tim Berners-Lee at
CERN and became the world's first
Web server.
14.
Site-Specific Art
–
Site-specific art is artwork created to exist in a certain place. Typically, the artist takes the location into account while planning and creating the artwork, site specific environmental art was first described as a movement by architectural critic Catherine Howett and art critic Lucy Lippard. Site-specific art emerged after the modernist objects as a reaction of artists to the situation in the world, modernist art objects were transportable, nomadic, could only exist in the museum space and were the objects of the market and commodification. Since 1960 the artists were trying to find a way out of situation, and thus drew attention to the site. The work of art was created in the site and could only exist, site is a current location, which comprises a unique combination of physical elements, depth, length, weight, height, shape, walls, temperature. Jean-Max Albert, created Sculptures de visées in Parc de la Villette related to the site, or Carlotta’s Smile, co, ’s architecture Lisbon, and to a choreography in collaboration with Michala Marcus and Carlos Zingaro,1979. Outdoor site-specific artworks often include landscaping combined with permanently sited sculptural elements, outdoor site-specific artworks can also include dance performances created especially for the site. More broadly, the term is used for any work that is permanently attached to a particular location. In this sense, a building with interesting architecture could also be considered a piece of site-specific art, in Geneva, Switzerland, the two Contemporary Art Funds of the City and the Canton are looking forward to integrate art into the architecture and in the public space since 1980. Site-specific performance art, site-specific visual art and interventions are commissioned for the annual Infecting the City Festival in Cape Town, South Africa
Site-Specific Art
–
Dan Flavin, Site-specific installation, 1996,
Menil Collection
Site-Specific Art
–
Nef pour quatorze reines by Rose-Marie Goulet, a memorial to the
École Polytechnique Massacre, featuring
sculptural elements integrated into a specially
landscaped site
Site-Specific Art
–
George Segal, Street Crossing, 1992, permanent installation at
Montclair State University
Site-Specific Art
–
Eberhard Bosslet, side effect X, Tias, Lanzarote, (2008)
15.
AMNH Exhibitions Lab
–
Founded in 1869, the lab has since produced thousands of installations, many of which have become celebrated works. The department is notable for its integration of new research into immersive art. The exhibitions team currently consists of over sixty artists, writers, preparators, designers and programmers, the department is responsible for the creation of two to three exhibits per year, making the AMNH one of the most extensive exhibition creators in the world. These extensive shows typically travel nationally to sister natural history museums, due to the strong relationship between the lab and the museums extensive research and curation wing, the department has been among the first to introduce brand new topics to the public. They have produced, among others, the first exhibits to discuss Darwinian evolution, human-induced climate change, the AMNH Dioramas have themselves become major historic attractions, and possibly the best known works of the exhibitions lab. Notable among them is the Akeley Hall of African Mammals which opened in 1936, some of the displays are up to 18 feet in height and 23 feet in depth. With the 1942 opening of the Hall of North American Mammals and it took more than a decade to create the scenes depicted in the hall which includes a 432 square foot diorama of the American bison. The department recently redesigned the hall in order to revitalize the artistic influences of the present, today, although the art of diorama has ceased to be a major exhibition technique, dramatic examples of this art form are still occasionally employed. Other notable dioramas, some dating back to the 1930s have been restored in the Milstein Hall of Ocean Life, the following is a partial list of the shows produced by the department
AMNH Exhibitions Lab
–
The Exhibition Department's headquarters is located on approximately 80th Street in
Manhattan.
AMNH Exhibitions Lab
–
The "wall of life" is a three-dimensional
cladogram consisting of over five hundred life-sized models.
AMNH Exhibitions Lab
–
A forced perspective diorama in the Hall of Asian Peoples.
AMNH Exhibitions Lab
–
The 2003 mammal revitalization project reconstructed the
colobus monkey diorama.
16.
American Museum of Natural History
–
The American Museum of Natural History, located on the Upper West Side of Manhattan, New York City, is one of the largest museums in the world. The museum has a scientific staff of 225, sponsors over 120 special field expeditions each year. Before construction of the present complex, the museum was housed in the Arsenal building in Central Park. Sherman, A. G. Phelps Dodge, William A. Haines, Charles A. Dana, Joseph H. Choate, Henry G. Stebbins, Henry Parish, the founding of the museum realized the dream of naturalist Dr. Albert S. Bickmore. Bickmore, a student of Harvard zoologist Louis Agassiz, lobbied tirelessly for years for the establishment of a natural history museum in New York. In 1874, the cornerstone was laid for the museums first building, the original Victorian Gothic building, which was opened in 1877, was designed by J. Wrey Mould, both already closely identified with the architecture of Central Park. The original building was eclipsed by the south range of the museum, designed by J. Cleaveland Cady. It extends 700 feet along West 77th Street, with corner towers 150 feet tall and its pink brownstone and granite, similar to that found at Grindstone Island in the St. Lawrence River, came from quarries at Picton Island, New York. The entrance on Central Park West, the New York State Memorial to Theodore Roosevelt and it leads to a vast Roman basilica, where visitors are greeted with a cast of a skeleton of a rearing Barosaurus defending her young from an Allosaurus. The museum is accessible through its 77th street foyer, renamed the Grand Gallery. The hall leads into the oldest extant exhibit in the museum, since 1930, little has been added to the exterior of the original building. The architect Kevin Roche and his firm Roche-Dinkeloo have been responsible for the planning of the museum since the 1990s. Various renovations both interior and exterior have been carried out including improvements to Dinosaur Hall and mural restoration in Roosevelt Memorial Hall, in 1992 the firm designed the new eight story AMNH Library. The museums south façade, spanning 77th Street from Central Park West to Columbus Avenue was cleaned, repaired and re-emerged in 2009, steven Reichl, a spokesman for the museum, said that work would include restoring 650 black-cherry window frames and stone repairs. The museums consultant on the latest renovation is Wiss, Janney, Elstner Associates, Inc. an architectural and engineering firm with headquarters in Northbrook, the museums first two presidents were John David Wolfe and Robert L. Stuart, both among the museums founders. The museum was not put on a sound footing until the appointment of the president, Morris K. Jesup. Jesup was president for over 25 years, overseeing its expansion, the fourth president, Henry Fairfield Osborn, was appointed in 1906 on the death of Jesup. Osborn consolidated the museums expansion, developing it into one of the worlds foremost natural history museums, F. Trubee Davison was president from 1933 to 1951, with A. Perry Osborn as Acting President from 1941 to 1946
American Museum of Natural History
–
Looking at the east entrance from
Central Park West
American Museum of Natural History
American Museum of Natural History
–
Locations of exploring and field parties in 1913, American Museum of Natural History map
American Museum of Natural History
–
The old 77th street "
castle " entrance of the museum
17.
Walt Disney Imagineering
–
Imagineering is responsible for designing and building Disney theme parks, resorts, cruise ships, and other entertainment venues at all levels of project development. Imagineering also manages various properties held by units within the Walt Disney Company including Disneys Burbank Studios, New Amsterdam Theater, when Disney was in the sports team ownership that included Edison Field and the Mighty Ducks Disney Ice practice rink in Anaheim. Disney filed for a copyright for the term in 1967, claiming first use of the term in 1962, Walt Disney Inc. was formed by Walt Disney in 1953 with the Disneyland designing engineering division. In light of objections from Roy as well as those of potential stockholders, in 1961, WED moved into the Grand Central Business Park, the site of the former Grand Central Air Terminal, in 1961. The unit was renamed as of January 1986 to Walt Disney Imagineering, in 1996, Disney Development Company, the Disney conglomerates real estate development subsidiary, merged into Imagineering. Imagineering created Disney Fair, a U. S. traveling attraction, with poor attendance, the fair was pulled after a few stops. Disney Entertainment Projects Inc. a new Disney Asian Pacific subsidiary, by 1997, Imagineers were in several buildings in Grand Central Business Park when Disney purchased the park. In September 1999, Disney Imagineering announced the Grand Central Creative Campus redesign of the park with a new office-studio complex anchored by Disney Imagineering. Some of the building were demolished to make way for new buildings, the additional space would be for sound stages, production facilities and offices. Imagineers are governed by a few key principles when developing new concepts, often, new concepts and improvements are created to fulfill specific needs. Many solutions to problems are designed in this way, such as the vehicle of the attraction Soarin Over California. An Imagineer found an Erector set in his attic, and was able to envision, Imagineers are also known for returning to ideas for attractions and shows that, for whatever reason, never came to fruition. These ideas are often reworked and appear in a different form – like the Museum of the Weird, finally, there is the principle of blue sky speculation, a process where Imagineers generate ideas with no limitations. The custom at Imagineering has been to start the process with what is referred to as eyewash--the boldest, wildest, best idea one can come up with. Many Imagineers consider this to be the beginning of the design process and operate under the notion that if it can be dreamt. Imagineers are always seeking to improve upon their work--what Walt Disney called plussing and he firmly believed that Disneyland will never be completed as long as theres imagination left in the world, meaning there is always room for innovation and improvement. During an Imagineering workshop in 1991, Marty Sklar presented ten commandments attributed to Mickey Steinberg, WDI is responsible for technological advances such as the Circle-Vision 360° film technique and the FastPass virtual queuing system. The idea sprang from Disney’s fascination with a bird he purchased in New Orleans
Walt Disney Imagineering
–
WDI headquarters in Glendale
Walt Disney Imagineering
–
Imagineers at Play signage in Disneyland
18.
Disneyland
–
Disneyland Park, originally Disneyland, is the first of two theme parks built at the Disneyland Resort in Anaheim, California, opened on July 17,1955. It is the theme park designed and built under the direct supervision of Walt Disney. It was originally the attraction on the property, its name was changed to Disneyland Park to distinguish it from the expanding complex in the 1990s. Walt Disney came up with the concept of Disneyland after visiting various amusement parks with his daughters in the 1930s and 1940s. He initially envisioned building a tourist attraction adjacent to his studios in Burbank to entertain fans who wished to visit, however, after hiring a consultant to help him determine an appropriate site for his project, Disney bought a 160-acre site near Anaheim in 1953. Construction began in 1954 and the park was unveiled during a televised press event on the ABC Television Network on July 17,1955. Opened in 2001, Disney California Adventure Park was built on the site of Disneylands original parking lot, Disneyland has a larger cumulative attendance than any other theme park in the world, with over 650 million guests since it opened. In 2013, the park hosted approximately 16.2 million guests, according to a March 2005 Disney report,65,700 jobs are supported by the Disneyland Resort, including about 20,000 direct Disney employees and 3,800 third-party employees. To all who come to this place, Welcome. Here age relives fond memories of the past, and here youth may savor the challenge and promise of the future. Disneyland is dedicated to the ideals, the dreams, and the facts that have created America, with the hope that it will be a source of joy. The concept for Disneyland began when Walt Disney was visiting Griffith Park in Los Angeles with his daughters Diane and Sharon. While watching them ride the merry-go-round, he came up with the idea of a place where adults and their children could go and have fun together and he may have also been influenced by his fathers memories of the Worlds Columbian Exposition of 1893 in Chicago. Another likely influence was Benton Harbor, Michigans nationally famous House of Davids Eden Springs Park, Disney visited the park and ultimately bought one of the older miniature trains originally used there, the colony had the largest miniature railway setup in the world at the time. His ideas evolved to a play park with a boat ride. The initial concept, the Mickey Mouse Park, started with an 8-acre plot across Riverside Drive and his designers began working on concepts, though the project grew much larger than the land could hold. Disney hired Harrison Price from Stanford Research Institute to gauge the proper area to locate the theme based on the areas potential growth. Based on Prices analysis, Disney acquired 160 acres of groves and walnut trees in Anaheim
Disneyland
Disneyland
–
Walt Disney (center) showing Orange County officials plans for Disneyland's layout, December 1954.
Disneyland
–
An aerial view of Disneyland in 1956, with the Disneyland Railroad route visible.
Disneyland
–
An aerial view of Disneyland in 2005
19.
Mattress Factory
–
The Mattress Factory is a museum of contemporary art located in Pittsburgh, Pennsylvania, US. Located in the Mexican War Streets neighborhood of Pittsburgh’s Central Northside since 1977 and it exhibits room-sized installation art by regional, national and international artists. In 1975, artist and Mattress Factory founder Barbara Luderowski purchased a former Stearns & Foster mattress warehouse at 500 Sampsonia Way in Pittsburgh’s Central Northside, originally, she used the warehouse as a space to live, work and build a community of artists and intellectuals. The community grew and in 1977—after two years of hosting art exhibits and a small food co-op—the Mattress Factory was established as a legal non-profit educational and cultural corporation, in 2008 then-Curator of Exhibitions Michael Olijnyk joined Luderowski in leading the museum as Co-Director. As of 2017, the Mattress Factory hosts 17 continuous, permanent installations, the following is a short list of artists who have permanent displays at the Mattress Factory, The Mattress Factory was a pioneer among museums venturing into the world of social media. Platforms include a blog, MF iConfess, Twitter, Facebook, Flickr, Foursquare, in an attempt to reduce the quantity of printed materials it produces, the Mattress Factory uses QR codes throughout the museum to provide supplementary information to visitors. In conjunction with its exhibitions, the Mattress Factory operates educational programming throughout the year for both youth and adults. Programs include community workshops, artist talks, youth summer camp, the Mattress Factory at 20, The Jewel In Pittsburghs Art Crown
Mattress Factory
–
Repetitive Vision installation by
Yayoi Kusama.
Mattress Factory
–
The Mattress Factory building
Mattress Factory
–
The Mattress Factory's annex gallery at 1414 Monterey Street.
Mattress Factory
–
The "Poem House" buildings, which are two of the Mattress Factory's off-site artist residential buildings.
20.
Fairy Doors of Ann Arbor, MI
–
The Fairy Doors of Ann Arbor are a series of small doors that are a type of installation art found in the city of Ann Arbor in the U. S. state of Michigan. The first one appeared in the baseboards of the home of Jonathan, subsequently, several others were discovered in their home, in the fireplace surround and two in the kitchen. On April 7,2005 the first was seen in public on the exterior of Sweetwaters Coffee, since then, ten more have shown up around Ann Arbor, and seven of the original public doors still exist. The first public fairy door appeared outside Sweetwaters Coffee and Tea on April 7,2005, Wright, a teacher of graphic design technologies. The next was installed outside of the Ann Arbor gift store Peaceable Kingdom, the third door was found on May 11,2005 outside of the Selo-Shevel Gallery art gallery. On June 9,2005, Jefferson Market received a fairy door, the Ann Arbor Framing Co. discovered the next door on August 17,2005, but the company closed in the summer of 2008 and the fairy door vanished. The concert hall The Ark hosted the next door when it appeared August 25,2005, the furniture and gift store Red Shoes was next, where one appeared on November 17,2005. On April 11,2006 a fairy door appeared at the boutique Voilà, when Voilà closed on November 15,2006 the fairy door disappeared as well. The ninth door was installed in the back of Nicolas Books on September 8,2006 and was built into a bookcase, in 2010 a rural fairy door appeared in a not-for profit preschool and dependent older adult day care in Dexter, Mighigan called Generations Together. It is said to have a portal that can be found in Gordon Field which is in front of Gordon Hall a historic landmark in Dexter and they are so new they have not been pictured and described in detail anywhere but on the urban-fairies. com website. At one time a few establishments kept guest books which visitors could sign or ask pertinent questions or draw pictures and this led Wright to release the childrens book Whos Behind the Fairy Doors. Of the original ten public Ann Arbor fairy doors, seven still exist in, the door at Sweetwaters is located inside, down on the baseboards opposite the counter. It is a white door with small details mimicking the detailing found outside the cafe. The door at the Peaceable Kingdom is outside, to the right of the entrance, the Selo-Shevel Gallery door is found on the Liberty St. side of the building, at sidewalk level. It is a red door with tiny grey bricks framing the door. The door at The Ark can be found on the side of what once was the ticket booth. The door mimics the style of the building and is a brown with a stained-glass window. The door at Red Shoes is both inside and out, directly to the right of the entrance, the small red door is a near-exact replica of the actual entrance, inside the store is a small green one similar to the doors found inside the building
Fairy Doors of Ann Arbor, MI
–
Red Shoes fairy door
Fairy Doors of Ann Arbor, MI
–
Peaceable Kingdom fairy door
Fairy Doors of Ann Arbor, MI
–
Peaceable Kingdom fairy door close-up
Fairy Doors of Ann Arbor, MI
–
Selo Shevel Gallery fairy door
21.
Marcel Duchamp
–
Duchamp has had an immense impact on twentieth-century and twenty first-century art. By World War I, he had rejected the work of many of his artists as retinal art. Instead, Duchamp wanted to use art to serve the mind, Marcel Duchamp was born at Blainville-Crevon in Normandy, France, and grew up in a family that enjoyed cultural activities. The art of painter and engraver Émile Frédéric Nicolle, his grandfather, filled the house, and the family liked to play chess, read books, paint. Of Eugene and Lucie Duchamps seven children, one died as an infant, Marcel Duchamp was the brother of, Jacques Villon, painter, printmaker Raymond Duchamp-Villon, sculptor Suzanne Duchamp-Crotti, painter. At 8 years old, Duchamp followed in his brothers footsteps when he left home and began schooling at the Lycée Pierre-Corneille, two other students in his class also became well-known artists and lasting friends, Robert Antoine Pinchon and Pierre Dumont. For the next 8 years, he was locked into a regime which focused on intellectual development. Though he was not a student, his best subject was mathematics. He also won a prize for drawing in 1903, and at his commencement in 1904 he won a coveted first prize and he learned academic drawing from a teacher who unsuccessfully attempted to protect his students from Impressionism, Post-Impressionism, and other avant-garde influences. However, Duchamps true artistic mentor at the time was his brother Jacques Villon, whose fluid, at 14, his first serious art attempts were drawings and watercolors depicting his sister Suzanne in various poses and activities. That summer he painted landscapes in an Impressionist style using oils. Duchamps early art works align with Post-Impressionist styles and he experimented with classical techniques and subjects. He studied art at the Académie Julian from 1904 to 1905, during this time Duchamp drew and sold cartoons which reflected his ribald humor. Many of the drawings use verbal puns, visual puns, or both, such play with words and symbols engaged his imagination for the rest of his life. In 1905, he began his military service with the 39th Infantry Regiment. There he learned typography and printing processes—skills he would use in his later work, due to his eldest brother Jacques membership in the prestigious Académie royale de peinture et de sculpture Duchamps work was exhibited in the 1908 Salon dAutomne. The following year his work was featured in the Salon des Indépendants, of Duchamps pieces in the show, critic Guillaume Apollinaire—who was to become a friend—criticized what he called Duchamps very ugly nudes. The group came to be known as the Puteaux Group, or the Section dOr, uninterested in the Cubists seriousness or in their focus on visual matters, Duchamp did not join in discussions of Cubist theory, and gained a reputation of being shy
Marcel Duchamp
–
Portrait of Marcel Duchamp, 1920-21, by
Man Ray, Yale University Art Gallery
Marcel Duchamp
Marcel Duchamp
–
Three Duchamp brothers, left to right: Marcel Duchamp,
Jacques Villon, and
Raymond Duchamp-Villon in the garden of Jacques Villon's studio in Puteaux, France, 1914, (
Smithsonian Institution collections.)
Marcel Duchamp
22.
Readymade
–
Pablo Picasso first publicly utilized the idea when he pasted a printed image of chair caning onto his painting titled Still Life with Chair Caning. The most famous example is Fountain, a standard urinal purchased from a store and displayed on a pedestal. Found objects derive their identity as art from the designation placed upon them by the artist and this may be indicated by either its anonymous wear and tear or by its recognizability as a consumer icon. The context into which it is placed is also a relevant factor. The idea of dignifying commonplace objects in this way was originally a challenge to the accepted distinction between what was considered art as opposed to not art. In this sense the artist gives the time and a stage to contemplate an object. Appreciation of found objects in this way can prompt philosophical reflection in the observer, there is usually some degree of modification of the found object, although not always to the extent that it cannot be recognized, as is the case with ready-mades. Marcel Duchamp coined the term ready-made in 1915 to describe an object that had been selected. Duchamp assembled Bicycle Wheel in 1913 by attaching a common front wheel and this was not long after his Nude Descending a Staircase was attracting the attention of critics at the International Exhibition of Modern Art. In 1917, Fountain, a urinal signed with the pseudonym R. Mutt, in the same year, Duchamp indicated in a letter to his sister, Suzanne Duchamp, that a female friend was centrally involved in the conception of this work. As he writes, One of my friends who had adopted the pseudonym Richard Mutt sent me a porcelain urinal as a sculpture. Irene Gammel argues that the piece is more in line with the aesthetics of Duchamps friend. Research by Rhonda Roland Shearer indicates that Duchamp may have fabricated his found objects, exhaustive research of mundane items like snow shovels and bottle racks in use at the time failed to reveal identical matches. The urinal, upon inspection, is non-functional. However, there are accounts of Walter Arensberg and Joseph Stella being with Duchamp when he purchased the original Fountain at J. L. Mott Iron Works. The use of objects was quickly taken up by the Dada movement, being used by Man Ray. A well-known work by Man Ray is Gift, which is an iron with nails sticking out from its flat underside, jose De Creeft began making large-scale assemblages in Paris, such as Picador, made of scrap metal, rubber and other materials. The combination of found objects is a type of ready-made sometimes known as an assemblage
Readymade
–
Marcel Duchamp,
Fountain, 1917. Photograph by
Alfred Stieglitz
Readymade
–
Junk art at
Oak Street Beach
Readymade
–
An Oak Tree by
Michael Craig-Martin; 1973
23.
Kurt Schwitters
–
Kurt Hermann Eduard Karl Julius Schwitters was a German artist who was born in Hanover, Germany. He is most famous for his collages, called Merz Pictures, Kurt Schwitters was born on 20 June 1887 in Hanover, at Rumannstraße No.2, now, No. 8, the child of Eduard Schwitters and his wife Henriette. His father was proprietor of a clothes shop. In 1893, the moved to Waldstraße 5, future site of the Merzbau. In 1901, Schwitters suffered his first epileptic seizure, a condition that would exempt him from service in World War I until late in the war. After studying art at the Dresden Academy alongside Otto Dix and George Grosz, 1909–15, Schwitters returned to Hanover, in 1911 he took part in his first exhibition, in Hanover. As the First World War progressed his work became darker, gradually developing a distinctive expressionist tone, Schwitters spent the last one-and-half years of the war working as a drafter in a factory just outside Hanover. He was conscripted into the 73rd Hanoverian Regiment in March 1917, by his own account, his time as a draftsman influenced his later work, and inspired him to depict machines as metaphors of human activity. In the war I discovered my love for the wheel and realized that machines are abstractions of the human spirit and he married his cousin Helma Fischer on 5 October 1915. In 1918, his art was to change dramatically as a consequence of Germanys economic, political. In the war, things were in terrible turmoil, what I had learned at the academy was of no use to me and the useful new ideas were still unready. Everything had broken down and new things had to be out of the fragments. It was like a revolution within me, not as it was, Schwitters was to come into contact with Herwarth Walden after exhibiting expressionist paintings at the Hanover Secession in February 1918. He showed two Abstraktionen at Waldens gallery Der Sturm, in Berlin, in June 1918 and this resulted in meetings with members of the Berlin Avant-garde, including Raoul Hausmann, Hannah Höch, and Hans Arp in the autumn of 1918. The night he introduced himself in the Café des Westens, im a painter, he said, and I nail my pictures together. Schwitters asked to join Berlin Dada either in late 1918 or early 1919, Hausmanns anecdote about Schwitters asking to join Berlin Dada is, however, somewhat dubious, for there is well-documented evidence that Schwitters and Huelsenbeck were on amicable terms at first. When they first met in 1919, Huelsenbeck was enthusiastic about Schwitters’s work and promised his assistance, when Huelsenbeck visited him at the end of the year, Schwitters gave him a lithograph and though their friendship was by now strained, Huelsenbeck wrote him a conciliatory note
Kurt Schwitters
–
Kurt Schwitters, London 1944
Kurt Schwitters
–
Das Undbild, 1919, Staatsgalerie Stuttgart
Kurt Schwitters
–
Cover of Anna Blume, Dichtungen, 1919
Kurt Schwitters
–
Untitled (Oval Construction), c.1925, Yale University Art Gallery
24.
Craft
–
A craft is a pastime or a profession that requires particular skills and knowledge of skilled work. The traditional terms craftsman and craftswoman are nowadays often replaced by artisan, the beginning of crafts in areas like the Ottoman empire involved the governing bodies requiring members of the city who were skilled at creating goods to open shops in the center of town. These people slowly stopped acting as subsistence farmers and began to represent what we think of a craftsman today, historically, craftsmen tended to concentrate in urban centers and formed guilds. The households of craftsmen were not as self-sufficient as those of people engaged in agricultural work, once an apprentice of a craft had finished his apprenticeship, he would become a journeyman searching for a place to set up his own shop and make a living. After he set up his own shop, he could call himself a master of his craft. But crafts have undergone deep structural changes during and since the era of the Industrial Revolution, thus, they participate in a certain division of labour between industry and craft. There are three aspects to human creativity - Art, Crafts, and Science, roughly determinated, art relies upon intuitive sensing, vision and expression, crafts upon sophisticated technique and science upon knowledge. Handicraft is the main sector of the crafts, it is a type of work where useful. Usually the term is applied to traditional means of making goods, the individual artisanship of the items is a paramount criterion, such items often have cultural and/or religious significance. Items made by mass production or machines are not handicraft goods, handicraft goods are made with craft production processes. Crafts practiced by independent artists working alone or in groups are often referred to as studio craft. Studio craft includes studio pottery, metal work, weaving, wood turning, paper and other forms of working, glass blowing. A craft fair is an event to display and sell crafts. There are craft shops where such goods are sold and craft communities, such as Craftster, a tradesperson is a skilled manual worker in a particular trade or craft. Economically and socially, a status is considered between a laborer and a professional, with a high degree of both practical and theoretical knowledge of their trade. In cultures where professional careers are highly prized there can be a shortage of skilled manual workers, media related to Crafts at Wikimedia Commons
Craft
–
Woodworking being done in a
workshop
Craft
–
Shoes are repaired by a skilled
shoemaker, here he evaluates a pair of shoes with a
customer watching
Craft
–
Street handicraft: here a skilled
metalsmith in
Agra,
India sits between
scooters in a commercial area making careful observations in the practice of his trade
Craft
–
Mexican craft.
25.
Sculpture
–
Sculpture is the branch of the visual arts that operates in three dimensions. It is one of the plastic arts, a wide variety of materials may be worked by removal such as carving, assembled by welding or modelling, or molded, or cast. However, most ancient sculpture was painted, and this has been lost. Those cultures whose sculptures have survived in quantities include the cultures of the ancient Mediterranean, India and China, the Western tradition of sculpture began in ancient Greece, and Greece is widely seen as producing great masterpieces in the classical period. During the Middle Ages, Gothic sculpture represented the agonies and passions of the Christian faith, the revival of classical models in the Renaissance produced famous sculptures such as Michelangelos David. Relief is often classified by the degree of projection from the wall into low or bas-relief, high relief, sunk-relief is a technique restricted to ancient Egypt. Relief sculpture may also decorate steles, upright slabs, usually of stone, techniques such as casting, stamping and moulding use an intermediate matrix containing the design to produce the work, many of these allow the production of several copies. The term sculpture is used mainly to describe large works. The very large or colossal statue has had an enduring appeal since antiquity, another grand form of portrait sculpture is the equestrian statue of a rider on horse, which has become rare in recent decades. The smallest forms of life-size portrait sculpture are the head, showing just that, or the bust, small forms of sculpture include the figurine, normally a statue that is no more than 18 inches tall, and for reliefs the plaquette, medal or coin. Sculpture is an important form of public art, a collection of sculpture in a garden setting can be called a sculpture garden. One of the most common purposes of sculpture is in form of association with religion. Cult images are common in cultures, though they are often not the colossal statues of deities which characterized ancient Greek art. The actual cult images in the innermost sanctuaries of Egyptian temples, of which none have survived, were rather small. The same is true in Hinduism, where the very simple. Some undoubtedly advanced cultures, such as the Indus Valley civilization, appear to have had no monumental sculpture at all, though producing very sophisticated figurines, the Mississippian culture seems to have been progressing towards its use, with small stone figures, when it collapsed. Other cultures, such as ancient Egypt and the Easter Island culture, from the 20th century the relatively restricted range of subjects found in large sculpture expanded greatly, with abstract subjects and the use or representation of any type of subject now common. Today much sculpture is made for intermittent display in galleries and museums, small sculpted fittings for furniture and other objects go well back into antiquity, as in the Nimrud ivories, Begram ivories and finds from the tomb of Tutankhamun
Sculpture
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The Dying Gaul, or The Capitoline Gaul a Roman marble copy of a
Hellenistic work of the late 3rd century BCE
Capitoline Museums, Rome
Sculpture
Sculpture
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Michelangelo 's
Moses, (c. 1513–1515), housed in the church of
San Pietro in Vincoli in
Rome. The sculpture was commissioned in 1505 by
Pope Julius II for his
tomb.
Sculpture
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Assyrian
lamassu gate guardian from
Khorsabad, c. 721–800 BCE
26.
Conceptual art
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Conceptual art, sometimes simply called conceptualism, is art in which the concept or idea involved in the work take precedence over traditional aesthetic and material concerns. Some works of art, sometimes called installations, may be constructed by anyone simply by following a set of written instructions. The notion that art should examine its own nature was already a potent aspect of the art critic Clement Greenbergs vision of Modern art during the 1950s. One of the first and most important things they questioned was the assumption that the role of the artist was to create special kinds of material objects. Thus, in describing or defining a work of art as conceptual it is important not to confuse what is referred to as conceptual with an artists intention. The French artist Marcel Duchamp paved the way for the conceptualists, providing them examples of prototypically conceptual works — the readymades. The artistic tradition does not see an object as art because it is not made by an artist or with any intention of being art. This concept, also called Art esthapériste, derived from the infinitesimals of Gottfried Wilhelm Leibniz - quantities which could not actually exist except conceptually, the current incarnation of the Isouian movement, Excoördism, self-defines as the art of the infinitely large and the infinitely small. In 1961 the term art, coined by the artist Henry Flynt in his article bearing the term as its title. By the mid-1970s they had produced publications, indices, performances, texts, in 1970 Conceptual Art and Conceptual Aspects, the first dedicated conceptual-art exhibition, took place at the New York Cultural Center. Conceptual art emerged as a movement during the 1960s - in part as a reaction against formalism as then articulated by the influential New York art critic Clement Greenberg. According to Greenberg Modern art followed a process of progressive reduction and those elements that ran counter to this nature were to be reduced. The task of painting, for example, was to define precisely what kind of object a painting truly is, later artists continued to share a preference for art to be self-critical, as well as a distaste for illusion. Lawrence Weiner said, Once you know about a work of mine you own it, theres no way I can climb inside somebodys head and remove it. It is sometimes reduced to a set of written instructions describing a work, Language was a central concern for the first wave of conceptual artists of the 1960s and early 1970s. This linguistic turn reinforced and legitimized the direction the artists took. Osborne also notes that the early conceptualists were the first generation of artists to complete degree-based university training in art, osborne later made the observation that contemporary art is post-conceptual in a public lecture delivered at the Fondazione Antonio Ratti, Villa Sucota in Como on July 9,2010. It is a claim made at the level of the ontology of the work of art
Conceptual art
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Joseph Kosuth,
One and Three Chairs (1965)
Conceptual art
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Marcel Duchamp,
Fountain, 1917. Photograph by
Alfred Stieglitz
Conceptual art
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Lawrence Weiner. Bits & Pieces Put Together to Present a Semblance of a Whole, The Walker Art Center, Minneapolis, 2005.
Conceptual art
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Stuckist artists leave a coffin, marked "The death of conceptual art", outside the
White Cube gallery in
Shoreditch, July 25, 2002.
27.
Art
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In their most general form these activities include the production of works of art, the criticism of art, the study of the history of art, and the aesthetic dissemination of art. The oldest documented forms of art are visual arts, which include creation of images or objects in fields including painting, sculpture, printmaking, photography, and other visual media. Music, theatre, film, dance, and other performing arts, as well as literature, until the 17th century, art referred to any skill or mastery and was not differentiated from crafts or sciences. Art may be characterized in terms of mimesis, expression, communication of emotion, during the Romantic period, art came to be seen as a special faculty of the human mind to be classified with religion and science. Though the definition of what art is disputed and has changed over time, general descriptions mention an idea of imaginative or technical skill stemming from human agency. The nature of art, and related such as creativity. One early sense of the definition of art is related to the older Latin meaning. English words derived from this meaning include artifact, artificial, artifice, medical arts, however, there are many other colloquial uses of the word, all with some relation to its etymology. Several dialogues in Plato tackle questions about art, Socrates says that poetry is inspired by the muses, and is not rational. He speaks approvingly of this, and other forms of divine madness in the Phaedrus, and yet in the Republic wants to outlaw Homers great poetic art, in Ion, Socrates gives no hint of the disapproval of Homer that he expresses in the Republic. For example, music imitates with the media of rhythm and harmony, whereas dance imitates with rhythm alone, the forms also differ in their object of imitation. Comedy, for instance, is an imitation of men worse than average. Lastly, the forms differ in their manner of imitation—through narrative or character, through change or no change, Aristotle believed that imitation is natural to mankind and constitutes one of mankinds advantages over animals. The second, and more recent, sense of the art as an abbreviation for creative art or fine art emerged in the early 17th century. The creative arts are a collection of disciplines which produce artworks that are compelled by a drive and convey a message, mood. Art is something that stimulates an individuals thoughts, emotions, beliefs, works of art can be explicitly made for this purpose or interpreted on the basis of images or objects. Often, if the skill is being used in a common or practical way, likewise, if the skill is being used in a commercial or industrial way, it may be considered commercial art instead of fine art. On the other hand, crafts and design are considered applied art
Art
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Clockwise from upper left: a
self-portrait by
Vincent van Gogh; a female ancestor figure by a
Chokwe artist; detail from the
Birth of Venus by
Sandro Botticelli; and an Okinawan
Shisa lion.
Art
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Works of art can tell stories or simply express an aesthetic truth or feeling. Panorama of a section of A Thousand Li of Mountains and Rivers, a 12th-century painting by Song dynasty artist
Wang Ximeng.
Art
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20th-century Rwandan bottle. Artistic works may serve practical functions, in addition to their decorative value.
Art
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Venus of Willendorf, circa 24,000–22,000
BP
28.
Gutai group
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The Gutai group is the first radical, post-war artistic group in Japan. It was founded in 1954 by the painter Jiro Yoshihara in Osaka, Japan and this influential group was involved in large-scale multimedia environments, performances, and theatrical events and emphasizes the relationship between body and matter in pursuit of originality. The movement rejected traditional art styles in favor of performative immediacy, shozo Shimamoto and Jiro Yoshihara founded Gutai together in 1954, and it was Shimamoto who suggested the name Gutai. The kanji used to write gu meaning tool, measures, or a way of doing something, Yoshihara considers it to mean embodiment and concreteness. The group was known as Gutai Bijutsu Kyokai. Coming about during postwar Japanese reconstruction, Gutai stressed freedom of expression with innovative materials, Gutai challenged imaginations to invent new notions of what art is with attention on the relationships between body, matter, time, and space. After the war, attitudes regarding cultural exchanging changed amongst nations as the art environment involved great optimism for global collaboration, since artists were pursuing advances in contemporary art transnationally, the art environment of the time fostered thriving conditions for the Gutai group. For example, with the Treaty of San Francisco in 1951, Gutai artwork began being shown in exhibitions in both American and European cities. In the early 1950s, works by Yoshihara were featured in the shows of Nihon Kokusai Bijutsu-ten. In Osaka 1951, Yoshihara and others established the Gendai Bijutsu Kondan Kai and this group served as a workshop and forum for creating new art forms merging Eastern and Western culture as well as the modern and traditional. With post-occupation Japans emphasis on freedom, the United States goal was as well to promote art in order to promote democracy. This helped spread Gutai art since it sponsored its creation, Yoshihara Jiro was a businessman, self-taught painter who founded Gutai art in 1954 by gathering a group of artistic protégés in Ashiya, Hyōgo. The group shared a space in Osaka. He directed the artists to attempt to do what has never been done before and these early works focused on marks made from bodily movements. Yoshiharas vision for Gutai was one of internationality, which was very plausible considering the climate of the time. The worldwide distribution of hundreds of bulletins titled Gutai is perhaps the first proactive international effort done by Yoshihara and this notion is something that Gutai did indeed want to express. The avant-garde abstract art of the created a universal language. Gutai engaged in this language yet used its cultural and physical distance to preserve originality, Gutai art challenges the particularity of performance and painting and can be simplified as an intricate combination of the two
Gutai group
29.
Wolf Vostell
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Wolf Vostell was a German painter and sculptor, considered one of the early adopters of video art and installation art and pioneer of Happening and Fluxus. Techniques such as blurring and Dé-coll/age are characteristic of his work, as is embedding objects in concrete, Wolf Vostell was born in Leverkusen, Germany, and put his artistic ideas into practice from 1950 onwards. In 1953, he began an apprenticeship as a lithographer and studied at the Academy of Applied Art in Wuppertal, Wolf Vostell created his first Dé-collage in 1954. In 1955-1956, he studied at the École Nationale Superieur des Beaux Arts in Paris, Wolf Vostells philosophy was built around the idea that destruction is all around us and it runs through all of the twentieth century. He used the term Dé-coll/age, in 1954 to refer to the process of tearing down posters, Vostell’s working concept of décollage is as a visual force that breaks down outworn values and replaces them with thinking as a function distanced from media. His first Happening, Theater is in the Street, took place in Paris in 1958, and incorporated auto parts, in 1958, he took part in the first European Happening in Paris and he produced his first objects with television sets and car parts. He was impressed by the work of Karlheinz Stockhausen, which he encountered in 1964 in the studios of the German radio station WDR. It marked the beginning of his dedication to the Fluxus Movement, Vostell was behind many Happenings in New York, Berlin, Cologne, Wuppertal and Ulm among others. In 1962, he participated in the Festum Fluxorum, an event in Wiesbaden together with Nam June Paik. In 1967 his Happening Miss Vietnam dealt with the subject of the Vietnam war, in 1968, he founded Labor e. V. A group that was to investigate acoustic and visual events, together with Mauricio Kagel, Wolf Vostell was the first artist in art history to integrate a television set into a work of art. This installation was created in 1958 under the title The black room is now part of the collection of the art museum Berlinische Galerie in Berlin, early works with television sets are Transmigracion I-III from 1958 and Elektronischer Dé-coll/age Happening Raum an Installation from 1968. In 1974, his first major retrospective took place in the ARC2 at the Musée dArt Moderne de la Ville de Paris, an expanded version of which was shown at the Neue Nationalgalerie, in 1974. Nam June Paik and Wolf Vostell were both participants in the Fluxus movement and the work of artists involved a critique of the fetishization of television and the culture of consumption. The catalogue raisonné of his prints and posters has been published in the Nouvelles de lestampe by Françoise Woimant. In 1992, the town of Cologne honoured Wolf Vostell with a retrospective of his work. Under the artistic direction of David Vostell, the documentary Vostell 60 - Rückblick 92 was created, Wolf Vostells grave is at the Cementerio Civil de la Almudena in Madrid. At more or less the time, he founded the Vostell Archive
Wolf Vostell
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Wolf Vostell, 1980
Wolf Vostell
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Wolf Vostell, Goethe Heute, 1967
Wolf Vostell
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Wolf Vostell, Elektronischer dé-coll/age Happening Raum, 1968
Wolf Vostell
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Ruhender Verkehr / Stationary traffic, Cologne, 1969
30.
Allan McCollum
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Allan McCollum is a contemporary American artist who was born in Los Angeles, California in 1944, and now lives and works in New York City. In 1975, his work was included in the Whitney Biennial, in the late seventies he became especially well known for his series, Surrogate Paintings. His first solo exhibition was in 1970, and his first New York showing was in an exhibition at the Sidney Janis Gallery in 1972, Allan McCollum was born in Los Angeles, California, on August 4,1944. In 1946, his family moved to Redondo Beach, California, both of his parents and many others in his family were active in the arts. For two years, he worked for Trans World Airlines at the Los Angeles International Airport, preparing meals for flights, through this job he met many artists, art dealers, art collectors, and museum curators, learning much about the contemporary art world. During these years, he exhibited his work regularly at the Nicholas Wilder Gallery and also at the Claire Copley Gallery, in late 1975, he moved to the SoHo district of New York City, where he lives today. He participated in the Aperto at the Venice Biennale in 1988 and 2012, guggenheim Museum, the Art Institute of Chicago, the Museum of Contemporary Art, Los Angeles, and the National Gallery of Art in Washington D. C. In 2008, McCollum exhibited 1800 drawings from his 1988-91 Drawings project at the 28th Bienal de São Paulo in São Paulo, Brazil. He is known for utilizing the methods of production in his work in many different ways, often creating thousands of objects that. In 1988-91 he created over thirty thousand completely unique objects he titled Individual Works, often these projects involved reproducing local objects in quantity, or creating models or copies of local artifacts and symbols. In 2005, McCollum designed The Shapes Project, a system to produce a completely unique shape for every person on the planet. The system involves organizing a basic vocabulary of 300 parts which can be combined in over 30 billion different ways, in 2010, he published The Book of Shapes, in collaboration with mfc-michèle didier. That same year, he organized the Shapes for Hamilton project, in which a signed and dated Shapes print was made for each of the 6, 000+ residents of the township of Hamilton. He has been a recipient of an NEA Special Project Grant and he has also written texts and interviewed fellow artists for books and catalogs, including Matt Mullican Allen Ruppersberg, Andrea Zittel, Roxy Paine, and Harrell Fletcher. Nicolas Bourriaud, McCollums Aura, New Art International, October,1988, lynne Cooke, Selma Klein-Essink, and Anne Rorimer, Allan McCollum, Stedelijk Van Abbemuseum, Eindhoven, the Netherlands,1989, in Dutch and English. Hal Foster, Subversive Signs, Recoding, Art, Spectacle, Cultural Politics, Andrea Fraser, König, Kasper and Wilmes, Ulrich, Allan McCollum. Published by Walther König, Cologne, West Germany,1988, in German, rosalind Krauss, and Yve-alain Bois, Formless, A Users Guide, Zone Books, New York 1997. Craig Owens, Allan McCollum, Repetition & Difference, Art in America, an informational website on the artist, http, //allanmccollum
Allan McCollum
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Collection of One Hundred Plaster Surrogates, 1982/90. Enamel on cast Hydrostone. Collection of the Museum van Hedendaagse Kunst Antwerpen, Belgium.
Allan McCollum
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If Love Had Wings: A Perpetual Canon, 1972
Allan McCollum
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Perfect Vehicles, 1988. Installation: Venice Biennale Aperto, 1988
Allan McCollum
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Over Ten Thousand Individual Works, (detail) 1987/91.
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