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Posts Tagged ‘artwork’

I’m working on a PowerPoint presentation for my class and don’t have the time to surf the net and find an actual picture of Michelangelo. All of the images that pop up are of his artwork and not of the actual artist himself. Any help would be appreciated!

I have an Ipod nano, one of the older ones, and the album artwork isn’t really syncing up with the songs. I’ll be listening to one song and the album artwork for another song will pop up. Is there something I can download in order to fix it or am I just screwed?

This is my proposal, I know its rather long and I’m not quite done, but it’s worth the read! Interesting piece and I would love to hear your ideas! Thank you! Thank you!

Through interactive sculpture, I am able to create dramatic performance pieces that evoke astounding emotional responses. I do this through unpredictable, time-based artworks that stimulate many of the senses, creating a more intense and exiting experience. Much of my work is metaphorical, and it is important to me that the viewer interprets each aspect of it subjectively. Though, for the purpose of a proposal for my “???” piece, I will explain some of my more abstract conceptual decisions for materials and construction of it’s installation.

Firstly, my interest for this particular piece arose after learning about crisis’ occurring in South Africa, and more specifically when educating myself about Darfur and the genocide by the Sudanese government. Because malnutrition, disease, violence, infant mortality and overall death statistics have improved, the topic has become less of a concern, leaving it old news to many. However, my work seeks to remind the viewer of the horrific consequences violent conflict and extreme poverty still destroying the possibility of a manageable life for these people. It comments on… and more importantly, the children that we have forgotten. Using my sculpture as a metaphor, I create an overwhelming paradoxical response of both beauty and disgust.

The sculpture is made of thousands of hollowed out white eggs. The eggs represent the parallel between the high numbers of pregnancies, and the increased spread of disease, including HIV and AIDS, due to widespread rape and lack of education. Metaphorically, one may see the eggs as fertility (high number of children) and also fragility (there isn’t much more fragile than a malnourished infant with AIDS). From hollowing the eggs, there are two small holes on either end, leaving a convenient hole to place a birthday candle. I do this by melting the very base of the white candles into the hole on the larger end of the eggs. The eggs are then fastened to one another, about three inches apart, with white rubber bands to make strands of eggs. This strands of eggs with attached candles are then hung in rows with between one and five eggs each. The birthday candles represents age of death, but also the average statistic for infant mortality rates in Darfur, with one in five children dying before their 5th birthday. The rows are placed closely together, about two inches apart, candle side up, and hung from the ceiling. They are attached and spread out evenly by tying the top of each strand to a round white iron mesh, which is invisible against the ceiling.

The sculpture is time-based and needs the help of participants to work. I explain to my participants that we will be lighting each of the candles starting on the inside, bottom eggs first, working our way up to the top of each row and then moving outwardly. We dim the lights and begin. The lighting of each candle is mechanical and almost ritualistic, a tribute to the children. There is a peaceful ambience as the enormous sculpture begins to take on the appearance of a glowing chandelier. However, the mood quickly changes when the eggs begin falling at an alarming rate. The overwhelming amount of eggs and the rapid rate of falling are a metaphor for not only these brief life’s but the incredible and seemingly unstoppable amount of death.

The flames melt through the rubber, and eggs crash to the ground, before the outer rows are lit. Participants hastily continue lighting the candles, startling and backing up when a flame goes haywire in front of them, or a row of eggs drops and hits their feet. The sound of eggs hitting the floor adds a strange and unsettling popping noise. The mood becomes unpredictable and tense. Some bands catch fire but refuse to burn out, creating large unruly flames. Some eggs still hang on, but tip over, as the supportive rubber bands are no longer holding them erect. There are unusual char marks up the sides of the eggs. There are black marks on the ceiling, where some of the rubber bands curled upward, unwilling to burn out. The insides of the eggs still contain remains of old yolk, and the smoky room begins to fill with a stench of rotting eggs and burning rubber. The odd smell is reminiscent of death, or one may also acquaint images of the destruction of the city, with only tire fires left burning in the streets after all are displaced from their homes. In the final minutes of the performance, a few eggs are still holding on. The viewer becomes focused on the only remaining life of the piece and a sense of anxiety fills the room. There is a hopeful anticipation for the survival of the last few eggs, but each eventually crashes to the floor.

All that is left are black soot stains on the ceiling, so

Wang Guangyi belongs to the category of Chinese contemporary art termed Political Pop: work that appropriates the visual tropes of the propaganda of the Cultural Revolution, reworking them in the flat, colorful style of American Pop. To understand the works of artists engaged in this practice, it is important to recognize the significance and specificity of the images they are using to fashion their work. Without this knowledge, the work of artists like Wang Guangyi may be reduced to a mere aestheticization of the experiences of the Cultural Revolution, a view which threatens to limit the discussion of these works to their formal elements, foreclosing more important ideological and historical questions that must be raised. It is perhaps equally essential, particularly for Western audiences, to keep in mind the dominance that the Maoist regime held over visual culture and artistic production in China from 1949 to 1976, a control that reached a near totality between 1966 and 1972, during the Gang of Four’s reign[i]. Certainly, the vast legacy of propaganda that resulted from this period will continue to impact artists interested in critically examining China’s recent visual history. After all, these images were more than simply popular; for a time, they were the only ones allowed.

Wang Guangyi’s The Great Criticism series (1998), the artist responds to the influx of a new visual regime: those advertising images promoting newly available, high-priced commodities. In the resulting oil paintings, Wang stages conflicts between classical figures of propaganda and the onslaught of luxury consumer goods entering China. In the first propaganda image below, three heroes of the revolution seem to be manning the front lines of ideology, as Chairman Mao floats above them like a benevolent and watchful god. From left to right the costumes of these three identify them as an industrial laborer, a soldier in the People’s Liberation Army, and a farmer—examples of “red” people, proletariat who would pave the way for the future. The caption below captures the ferocity of their revolutionary zeal: “People around the world, unite! Abolish American Imperialism! Abolish Soviet Reactionaries! Abolish Counter-revolutionaries throughout the country![ii]” The intense animosity of this trio is harnessed and redeployed by Wang Guangyi in The Great Criticism [BMW] (1998), in which the same three figures look defiantly out toward the future of free enterprise and utter a resounding “No!” But what, exactly, is being refused? What is being criticized?

Wang’s works—and others like them—is their ability to resist absolute clarity, instead creating a surprising tension between consumer and Maoist imagery. Without being overtly critical—refusing the tactic of direct accusation that often short-circuits more provocative discussion—Wang is able to call into question both the capitalist and communist symbols in his work, allowing us to see them as conflicting and competing precisely because of their mutual insistence on hegemony. In this way, the artist is indicating the uneasy points of confluence between China’s Maoist past and its promising economic future. These paintings suggest that resistance or protest in the visual arts is deeply dependent of the cultural context in which works are made. For while Wang Guangyi’s works may be read as a critique of China’s new economics today, they may have passed—with slight modification—for government propaganda not too long ago. It is precisely this polyvalence in Wang Guangyi’s paintings that is their greatest strength.

PROFILE

1956

• Born in Harbin, Heilongjiang Province

EDUCATION

• Graduated from the Oil Painting Department of the Zhejiang Academy of Fine Arts

• Lives and works in Beijing

His Selected Exhibitions

1. Gallery Klaus Littmann, Basel,

2. Hanart TZ Gallery, Hong Kong

3. Bellet Gallery, Paris, France

4. XLV Biennale di Venezia, Italy (cat.)

5. Mao Goes Pop, China Post 1989, Museum of Contemporary Art, Sydney, Australia (cat.)

6. The First 1990′s Biennial Art Fair, Guangzhou

7. Gallery Bianca Pilat, Milan, Italy

8. Modern Chinese Art, Tokio Art Gallery, Tokio, Japan????????

9. I don’t Want to Play Cards with Cezanne, Pacific Asia Museum, Pasadena, California, USA

10. China /Avantgarde, National Arts Gallery, Beijing (cat.)

My dad likes the Pacific Northwest Native American artwork such as totem poles and the carvings and pictures of animals. I’m looking to buy him some for xmas but I’m having a hard time finding anything because I am unsure of the name for this type of art. I type Native American artwork and get all sorts of beautiful things pop up but not the type of artwork I’m looking for. Does anyone know the name of the art?

I have Windows Vista. My user account controls are turned off (because if it is on, a pop-up appears declaring that I don’t have permission to access iTunes). If anyone has a solution for this problem. Please post an answer A.S.A.P. Much appreciated!

my room is purple but the walls are pretty bare. so i want to put up some artwork that makes the walls pop with color. i was thinking yellow would look good with the purple. and i like flowers. so yellow flowers would be good. but idk. any suggestions?

Wilhelm Sasnal makes paintings in response to the abundance of imagery that emerged in Eastern Europe after the fall of communism. No two Sasnal paintings ever look alike: he makes pop paintings, naturalistic paintings and abstracts. Some of his works look like still lifes, others like street scenes or record labels. Sasnal has even been known to make paintings about nothing at all: a roll of tape, a computer disk or a plant.

Wilhelm Sasnal is one of the most celebrated artists to emerge from Eastern Europe in recent years. Working from his home country Poland, he uses painting as a means to intimately negotiate his position within (new) capitalist culture. Sasnal’s work is prolific, varied and deliberately unclassifiable as a strategy: digesting his practice is akin to swallowing mass media whole. Wilhelm Sasnal, painting is imperative as a means of challenging traditional expectations of representation and perception. Through his intervention, subject matter becomes distorted: images are pared down to the bare essentials and estranged from their original context or meaning.

Wilhelm Sasnal’s practice doesn’t celebrate freedom, but a shift in conformity. It strives to define personal experience of an impersonal world. Through his painting, he explores a no man’s land where private and public converge in a sluice of shared memory. Operating as his own self-sustaining information source, Wilhelm Sasnal imposes his world order on politics, celebrity, art history and banality, quietly developing a position of individual conscience.Wilhelm Sasnal’s portraits of women explore modern concepts of beauty and representation. The pop star Peaches is given a degenerate Warhol glam; Anka, the alabaster sophistication of Katz. Dominika, painted in greyscale, has the allure of outdated photography suggestive of distinctively Eastern European chic.Wilhelm Sasnal approaches feminine idealism as a construct of fashion. It’s not the physicality of the women themselves, but rather the style with which they’re represented. Each rendered in a manner associated with a specific time and place, Wilhelm Sasnal’s portraits aren’t classical icons, but models defined by their own sell-by dates. All pictured smoking a cigarette, Sasnal alludes to the slow self-destruction of their beauty.

I was wondering if there is a way you can upload a photo as album artwork on an album that’s not on iTunes. I have my own songs, as well as local bands on my iTunes that I would like a picture to pop up. Any ideas on how I can do this?

en you picture the grand lobby of a corporate agency, the front entrance of a mom and pop business, or the waiting room in a doctor’s office, what do you see? There are the typical teambuilding slogans whose posters boast “Integrity” and “Strength”. The recognizable replicated copy of a Rembrandt or Monet. Scattered photographs of employees’ spouses, children, and pets. Or perhaps you are simply met with sterile walls painted in plain pinks and blues. Does this type of environment really motivate workers who put in full days making phone calls, greeting clients, and climbing the corporate ladder? Better yet, do these surroundings bring in business, or discourage customers by presenting a lack of creativity? There is a way to mix business with artistry, and inspire executives and employees alike to work harder and believe in the business at hand. And it can guarantee that customers will generate repeat commerce with your company. Canvas photos are an artistic expression of a corporation’s ethos and ethics. They creatively cast the company’s vision, not only to its clients, but to its employees as well.

Transferring an ordinary picture onto canvas is easy and affordable. Special artists will transmit any portrait you choose onto canvas and swathe it seamlessly around its wooden frame. This design stands the test of time. Able to outlast any regular matted picture, canvas photos can survive some of the surliest office elements- harsh overhead lighting, the sun’s rays through a window, and particles of dust piling up in the air. An economically smart choice no matter what your company’s budget, canvas photos come in a variety of affordable sizes. A small 8 x 10 frame can cost as little as $25, and a larger, wall-mounted portraits can be purchased for less than $100.

Get creative with corporate artwork! Turn that tired trophy case into a museum of memories. If your company’s softball team brought home the first place price, why not place a canvas photo of the team picture next to the plaque? If your marketing group scored big in regional sales, how about hanging a canvas photo of your accomplished associates next to their award? Revive that picture of the company’s ribbon cutting ceremony and have it set on a canvas frame. Take that annual conference photo and transfer it to a canvas image. Recapture any corporate milestone by remembering the moment on canvas. And unhang those uninspiring posters meant to conjure images of teambuilding. They’ve become so passé that most employees are inspired to laugh, not learn, from them. Put a new spin on this old icon. If it’s “Integrity” you wish to arouse, photograph your company’s annual charity event and have it transferred to canvas. Or if “Strength” is the image you want to impose, present a canvas photo of your warehouse workers during their daily and dedicated grind.

Your office environment should awaken enthusiasm and present passion for the work at hand. By bringing to life your ordinary pictures, you are breathing new life into your company and its vision. Let canvas photos help you meet your goals and dreams with honesty and artistry.