In cars and realism

What happens when technique allows us to reach the photo? Well look at this images of Don Eddy and post some others about Hipperrealism.

YES all of them are paintings.

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Tatoos?

Wim Delvoye's Controversial Tattooed Pigs
By: Rae Schwarz

You'd think that after all that modern artist have done, nothing would be shocking anymore. After all, we've had Jeff Koons make statues of celebrities giving birth and Damien Hirst slicing up sharks. But one art controversy that has periodically surfaced and resurfaced since the early 1990s is the work of Belgian artist Wim Delvoye and his tattooed pigs.

Delvoye first began tattooing pigs in his native Belgium around 1992, working at the time on the skins of dead pigs. By 1997, he decided to explore the concept further. Thinking of the pigs as living "piggy banks," that is to say as investments, he began to tattoo designs on live pigs. The animals are sedated first, and then shaved and tattooed much as a living human would be to receive a tattoo.

In 2004, Delvoye rented a farm in China, where he wouldn't be hindered by prohibitive animal welfare laws and established his Art Farm project. Pigs are tattooed when they are young and the designs change and grow as the pig grows. Interested art buyers can purchase a pig, although Delvoye has noted that none of them have actually taken their pigs home to live with them. Some buyers have waited until the pigs dies of old age to have the skins turned into art, but others have preferred that the pigs be slaughtered and the skin stretched and framed. Delvoye has also exhibited some of the tattooed pigs as fully stuffed and taxidermied statues, sitting as he puts it "like a stone lion outside a Chinese restaurant." (ArtAsiaPacific, pp. 154-159, 30 September 2007)

In September of 2008, Delvoye was scheduled to have eight of his pigs appear as part of the Shanghai Contemporary Art Fair, but shortly before the exhibition was set to open, officials decided the pigs, tattooed with Disney designs and the Louis Vuitton logo, were in poor taste and the Art Farm exhibit was removed from the event. Delvoye was somewhat disappointed as he had interested buyers coming to China from Europe. The tattooed porcines can fetch as much as £100,00 (approx. $161,560 USD).

un poco de Matemáticas

Ok, este está en español dado que las matemáticas si son complicadas.

Conozcan a un artista matemático, trabaja en el campo de la topología, los fractales, y la forma en que la lógica genera arte. Curiosamente, un arte muy exótico.

El profesor Anatoly Timofeevich Fomenko nació en Donetzk, URSS, en 1945.

Doctor en Ciencias matemáticas y físicas, por la Universidad Estatal de Moscú.

Ha creado más de 280 trabajos gráficos desde mediados de los 70´s 

En este paisaje de tumulto fantástico, una figura solitaria se escapa por debajo de un cielo turbulento. Grandes objetos planos crecen fuera del horizonte, mientras que el cielo es complicado como si se tratara de una esponja, compuesto de las particiones de espuma. El tema de esta imagen son los espacios celulares, que figuran en gran medida en el campo de la topología y pueden formarse fácilmente al pegar ladrillos elementales. La imagen mental de un complejo celular es algo maleable, suave, amorfa, flexible, incluso animado, algo así como una escultura de barro deformado. En la esquina superior de la imagen derecha; un enorme y extraño cristal está evolucionando, con un grupo de simetría complicado. De hecho, una rama de la teoría de grupos es la clasificación de las estructuras de cristal, y en este caso podemos ver claramente lo complicado que puede ser la simetría intrínseca de una red cristalina. 

La revelación del Apocalipsis

Caballos salvajes de carga a través de esta escena extraña, en medio del caos y los escombros, en un mundo consumido por el tumulto y la confusión. En cierto sentido, esta imagen es realmente una fantasía geométrica impulsada por poderosas descripciones bíblicas del Apocalipsis. Las cifras son esparcidas en diferentes etapas de transformaciones. Objetos en una radio, una tetera, un tablero de ajedrez… han sido emitidos en todo el desorden. Incluso algunas ideas matemáticas vienen en el juego, tales como las nociones de infinito. Deformaciones de la figura humana evocan la idea de homotopía y homeomorfismos. Incluso las nubes en el cielo recuerdan imágenes fractales. 

La tentación de San Antonio

En esta escena muy caótica, figuras humanas y animales se mueven, participan en una amplia variedad de actividades. Una gran bestia de dos cabezas de mono en el horizonte al lado de una figura a caballo que lleva un cetro y va galopando sobre un mar de tambores. A la izquierda, al lado del otro en una larga fila, unas figuras hacen sonar sus trompetas en el cielo, mientras que debajo otra figura toca un teclado. Sentado en un estéreo, sin embargo, otra figura lee un cuaderno de matemáticas, mientras que la figura central analiza el escenario entero y fuma un cigarrillo. En cierto sentido, esta imagen se inspiró en la leyenda medieval de la tentación de San Antonio, junto con ciertas ideas e imágines matemáticas. Por ejemplo, las trompetas en la parte superior izquierda se basan en las superficies en forma de embudo en el que se realiza una métrica hiperbólica. Imbuido en otras partes del “omage” son más sutiles las ideas matemáticas. 

Deformación de la superficie de Riemann de una función algebraica

Por debajo de este espacio de deformación retorcido, donde se entrecruzan tubos largos para tejer una forma tortuosa como de huevo, es un determinado modelo tridimensional. El modelo muestra una deformación de una superficie de Riemann de una función especial algebraica, ambientado en el espacio euclidiano de cuatro dimensiones. Esta superficie es también considerada como homeomorfa a una esfera de dos dimensiones con un Hundle, así como un toroide de dos dimensiones. En términos de teoría de funciones algebraicas, podemos construir este tipo de superficie de Riemann tomando dos copias de una esfera de dos dimensiones, haciendo dos cortes en cada uno y luego pegar los recortes correspondientes juntos. Lo que obtenemos es un toroide o un objeto de dona, representado como dos esferas unidas por dos cilindros en forma de tubo (que se muestran en esta imagen). Una característica curiosa de esta forma es que si se deforma la función subyacente, un polinomio, de modo que su fusionan las raíces, que así aparecen, surgen los puntos singulares, y la superficie pierde su tersura. En esta imagen, dos raíces buscan fundirse en una, y, como consecuencia, la esfera superior se hace más pequeña mientras que la inferior crece, un proceso más o menos visible a través de la sección de corte transversal del objeto. 

How I meet your Alien..

Or cyberpunk art.

Giger is one of the best artist in this genere...

hope you enjoy it...or be afraid of it.

Christo and Jeanne Claude.

Look at this videos, some of them are the artists works, but we also have an interview with them...so you can know exactly what they were thinking.

This will have only your opinion, do not answer to the others...how ever you will, as a group, wrap some part of the school in the next class. AGAIN: WORK AS A GROUP.

En el aire...

to understand life, we have to understand dead. To understand modern art we have to notice that it not the object, but the concept, the idea behind the object,

Teresa Margolles

MUSEUM FÜR MODERNE KUNST, FRANKFURT, GERMANY

In the museum’s soaring hall children play under bubbles that come from Teresa Margolles’ piece En el aire (In the Air, 2003). Running, laughing, catching, they are fascinated by the glistening, delicate forms that float down from the ceiling and break up on their skin. A common motif in art history, the bubble has long been used as a memento mori, a reminder of the transitory nature of life. The children’s parents, meanwhile, studiously read the captions. Suddenly, with a look of disgust, they come and steer their offspring away. The moment of naive pleasure turns into one of knowing repulsion: they have learned that the water comes from the Mexico City morgue, used to wash corpses before an autopsy. It’s unimportant that the water is disinfected; the stigma of death turns the beautiful into the horrific.

This is the ploy at work in most of the pieces on display in Margolles’ first large-scale European solo show. Despite the show’s title, ‘Muerte sin fin’ (Endless Death), death itself is not directly visually displayed; it is only in the viewer’s psyche that the silent, minimal, often quite beautiful work is transformed into something appalling. In Aire (Air, 2003) the viewer simply moves through a humid room; in Llorado (Wept, 2004) water drips from the ceiling. In the former, it is the same disinfected morgue water moistening the room; in the latter, it is plain tap-water. We are appalled at the idea that we have absorbed the tincture of death. How are we, then, not appalled that the same water washes from autopsy rooms into the drains and is recycled into tap-water?

The artist herself is clearly haunted by the production of these works. They are not a catharsis for the poverty and violence she witnesses; they are the production of mourning. Modern psychiatry defines normal grief as a process of emancipation from the bondage to the deceased, of readjustment to the environment in which the deceased is missing; acute grief, on the other hand, is the inability to make these adjustments. Margolles suffers from acute grief for her country. At her own avowal it would be impossible to make representative images to describe her reality; it would simply be too appalling.

By Amanda Coulson (http://www.frieze.com/issue/review/teresa_margolles/)

En el aire:

I promise a happiest post next week.

The people....

don't want art, they just want shit.

This idea by Piero Manzoni make him produce a very special piece of art...well 90 of them. They cost their weight in gold, but now a days they are nearly the 200,000 euros. Yes..this post will be shit.

The Artist's Shit

The ninety cans of "Merda d'artista" ("Artist's Shit, content 30 gr., freshly preserved, produced and tinned in May 1961"), were first exhibited in the Galleria Pescetto (Albisola Marina) on 12 August 1961. 

Manzoni calculated the value of the ninety cans - all numbered, each with a net weight of thirty grams - in accordance with the daily exchange rates for gold.

Manzoni's cans of Artist's Shit have some forerunners in the twentieth-century art, like Marcel Duchamp's urinal ("Fontaine", 1917) or the Surrealists' coprolalic wits. Salvador Dalì, Georges Bataille and first of all Alfred Jarry's "Ubu Roi" (1896) had given artistic and literal dignity to the word "merde". The link between anality and art, as the equation of excrements with gold, is a leitmotiv of the psychoanalytic movement (and Carl G. Jung could have been a point of reference for Manzoni).
Manzoni's main innovation to this topic is a reflection on the role of the artist's body in contemporary art.

Easy question...

Why is important for you to have a rounded culture? This means, why is important for you to study a little bit on art, on philosophy, literature, and other "non academic" courses?


BTW: Info. correction (in spanish "Fe de erratas")
The "anorexic" look of our times, did not began with post holocoust jewish women as I said (and believed). it started with the fashion model (and singer) Twiggy. -- Correction made by Diego Chávez

Something you will never hear again!

Enjoy this video; this is one of the most important advances in music in modern times. Thanks to Jhon Cage the music of modern times appears.

Please, hear the video (enjoy it, you will never hear this master musical piece again), then look for information on Jhon Cage: Who is him? Why is he important? Whatis the escence of his 4'33''

 Comment and discuss

A chair...

Can a forniture element be artistic? That's the main idea of Industrial Design, everything you use in your life must be artistic.

Arne Jacobson is one of the founders of Bauhause, designer, architec, artist...What do you think of his Egg (1958) and Ant (1952) chair.

Ant Chair:

Egg Chair:

Today they are common...but a few years ago they were innovating.

NEW INSTRUCTIONS: You must post your comment, and then reply to, at least, 2 of your classmates trough @ (as in facebook).

Please...when writting, in english.(OMAR!)

Graffiti!

Before you comment. please look for more info on Banksy.

Hope you like this "new" kind of art

Olafur Eliasson

He is a danish artist who explores the interaction between nature and technology. Here some of his works.

Weather Proyect:

A huge “sun” lights every small part of the Tate Modern Art Museum of London. The human kind surrends to his almighty light…yet is a human created light.

New York City Waterfalls:

The East River became a small Niagara, huge waterfalls were constructed under the Brooklyn’s bridge. As every waterfall in the world they are a construction…neture is indeed a construction.

Your mobile expectations

Based on the BMW H2R hydrogen-powered race car, Eliasson remove the removed the car’s body and replaced it with an ice-covered carapace.

 On this piece of art he said:

“Traditional car design has defined the car as a desirable object, a fetish almost, and a commodity, depriving it of its relationship to its surroundings and to time. Car design has primarily focused on the most profitable way of facilitating and mediating physical movement. We have to challenge this, and I think the task is to reintroduce time as the key producer of our experiences. Reality then becomes temporal reality. This reintroduction will give us the possibility to perceive the car and the consequences of driving in relation to our own bodies.”

So...what do you think? (please at least 7 good lines)

What is art, what is and artist?

What is Art .... ?                     .... What is an Artist ? An exhibition exploring the perception of ART      and the identity of the ARTIST      through HISTORY      and in CONTEMPORARY SOCIETY

INTRODUCTION

ART has not always been what we think it is today. An object regarded as Art today may not have been perceived as such when it was first made, nor was the person who made it necessarily regarded as an artist. Both the notion of "art" and the idea of the "artist" are relatively modern terms.

Many of the objects we identify as art today -- Greek painted pottery, medieval manuscript illuminations, and so on -- were made in times and places when people had no concept of "art" as we understand the term. These objects may have been appreciated in various ways and often admired, but not as "art" in the current sense.

ART lacks a satisfactory definition. It is easier to describe it as the way something is done -- "the use of skill and imagination in the creation of aesthetic objects, environments, or experiences that can be shared with others" (Britannica Online) -- rather than what it is.

The idea of an object being a "work of art" emerges, together with the concept of the Artist, in the 15th and 16th centuries in Italy.

During the Renaissance, the word Art emerges as a collective term encompassing Painting, Sculpture, and Architecture, a grouping given currency by the Italian artist and biographer Giorgio Vasari in the 16th century. Subsequently, this grouping was expanded to include Music and Poetry which became known in the 18th century as the 'Fine Arts'. These five Arts have formed an irreducible nucleus from which have been generally excluded the 'decorative arts' and 'crafts', such as as pottery, weaving, metalworking, and furniture making, all of which have utility as an end.

But how did Art become distinguished from the decorative arts and crafts? How and why is an artist different from a craftsperson?

           

In the Ancient World and Middle Ages the word we would translate as 'art' today was applied to any activity governed by rules. Painting and sculpture were included among a number of human activities, such as shoemaking and weaving, which today we would call crafts. 

During the Renaissance, there emerged a more exalted perception of art, and a concomitant rise in the social status of the artist. The painter and the sculptor were now seen to be subject to inspiration and their activities equated with those of the poet and the musician. 

In the latter half of the 16th century the first academies of art were founded, first in Italy, then in France, and later elsewhere. Academies took on the task of educating the artist through a course of instruction that included such subjects as geometry and anatomy. Out of the academies emerged the term "Fine Arts" which held to a very narrow definition of what constituted art. 

The institutionalizing of art in the academies eventually provoked a reaction to its strictures and definitions in the 19th century at which time new claims were made about the nature of painting and sculpture. By the middle of the century, "modernist" approaches were introduced which adopted new subject matter and new painterly values. In large measure, the modern artists rejected, or contradicted, the standards and principles of the academies and the Renaissance tradition. By the end of the 19th century and the beginning of the 20th, artists began to formulate the notion of truth to one's materials, recognizing that paint is pigment and the canvas a two-dimensional surface. At this time the call also went up for "Art for Art's Sake." 

In the early 20th century all traditional notions of the identity of the artist and of art were thrown into disarray by Marcel Duchamp and his Dada associates. In ironic mockery of the Renaissance tradition which had placed the artist in an exalted authoritative position, Duchamp, as an artist, declared that anything the artist produces is art. For the duration of the 20th century, this position has complicated and undermined how art is perceived but at the same time it has fostered a broader, more inclusive assessment of art. 

Taken from:

http://www.arthistory.sbc.edu/artartists/artartists.html, on February 15, 2011.

Please, comment more than seven lines full of ideas and reactions...not merely words.