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Scheiro Deligne

The Curated Object - 1 views

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    Sometimes whispering and other times shouting, objects have their own time and cadence. The Curated Object is interested in the exhibition of objects and those who find our engagement with them compelling. Objects act out all the time and revolt against us. Listening carefully is my quest.
Michelle DuPries

Relentless by flight404 - Video Animation - 0 views

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    Kirlian photography (discovered in 1939 by Semyon Kirlian) captures the "aura" surrounding objects that have been subjected to a strong electric pulse and, like the sensational possibilities of such photography (purported to be capturing the soul or astral body of the object)
c newsom

Donald Lipski - 0 views

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    The official site for the artist Donald Lipski who creates work (sculpture and installation) from everyday objects.
c newsom

Flickr: greyherbert's Photostream - 1 views

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    A Flickr photostream by someone who has a very wide-ranging, obscure and tantalizing taste in art/artifacts. Much of the content is photos of old prints from books. The biggest problem is that there isn't much information on the provenance of most of the objects in addition to other details.
Benjamin Hansen

virtual gallery zademack - 0 views

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    The artist was born in Bremen Germany on December 24, 1952. Freelance artist since 1980. Several artshows of his work in and outside his homecountry. Siegfried Zademack's surrealistic visionary paintings make recipients and reviewers wonder. The arrangement of his pictorial thoughts immensely exceeds a realistic reproduction. His pictures allow us to slip in metaphysical dimensions, between humorous irony and the unfathomable deepness of our souls. The semantic sources of this art are equally past and present. The quotation from art history stands alongside the Coca-Cola bottle. His true teachers were the masters of the earl and late Italien Renaissance up to the Mannerists. The syntax of his work is completely determined by that of the ciassical masters. What is astonishing is that, in adoptingit for his own pictorial inventions, he employs such perfect techniquie - though this is indispensable, in view his objectives. His figural inventions are clearly sculptured, but his iconology presumes considerable knowledge of art history and politic. In some of his pictorial quotes, we detect the difference to the Surrealist approach: it is the historical angle, which was yet possible and this is the present-day aspect - in manneristic periods. Descartes had seen this without making an issue of it: mundus est fabula, the world is a grand fable, a never-ending story in which we are forever entangled. lf we live from, stories, there are no sharp borderlihes between periods, for history is then the present, and anything we do now is already the future. This is the link between Boltraffio's Madonna and the American Way of Life, which makes no distinction betweeh the classics and Coca Cola.
Ian Yang

ESSAYS ON SCIENCE AND SOCIETY: Artistic Creativity and the Brain -- Zeki 293 (5527): 51... - 6 views

  • Visual art contributes to our understanding of the visual brain because it explores and reveals the brain's perceptual capabilities. As Paul Klee once wrote, "Art does not reproduce the visible; it makes things visible." But visual art also obeys the laws of the visual brain, and thus reveals these laws to us. Of these laws, two stand supreme.
  • The first is the law of constancy. By this I mean that the function of the visual brain is to seek knowledge of the constant and essential properties of objects and surfaces, when the information reaching it changes from moment to moment. The distance, the viewing point, and the illumination conditions change continually, yet the brain is able to discard these changes in categorizing an object.
  • The second supreme law is that of abstraction. By abstraction I mean the process in which the particular is subordinated to the general, so that what is represented is applicable to many particulars. This second law is intimately linked to the first, because abstraction is a critical step in the efficient acquisition of knowledge; without it, the brain would be enslaved to the particular. The capacity to abstract is also probably imposed on the brain by the limitations of its memory system, because it does away with the need to recall every detail. Art, too, abstracts and thus externalizes the inner workings of the brain. Its primordial function is thus a reflection of the function of the brain.
birdlary446

Happy new year 2018 whatsapp status - 0 views

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    Happy new year 2018 whatsapp status - The start of a New Year is that time while everything appears to have a crisp start. There are New Year objectives, New Year resolutions and new guarantees to keep!
ada loures

Lookinart.net - 0 views

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    The main objective of the blog "Look in art", is to reproduce clearly all modern artists who create or found new modern artistic directions, the thematic of the blog considers the whole art like, painting, cinema, photography, sculpture, design…
c newsom

Objectified: A Documentary Film by Gary Hustwit - 0 views

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    The new documentary by the director of Helvetica (follow the link on the top left for Helvetica).
Ian Yang

Keys to drawing - Google Books - 0 views

  • Dodson offers a complete system for developing drawing skills, basing his approach on 55 "keys" to drawing -- rules that don't need to be memorized, but realized. Dodson helps artists learn to trust their eyes and sharpen their observation skills through 48 practice exercises, reviews, and self-evaluations. Topics include learning to control proportion, scale, movement, depth, pattern and more!
  • Merely to see, therefore, is not enough. It is necessary to have a fresh, vivid, physical contact with the object you draw through as many of the senses as possible — and especially through the sense of touch. Our understanding of what we see is based to a large extent on touch.
Skeptical Debunker

Acoustapus: glowing found-object octopus sculpture - 1 views

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    Artist Nemo Gould is selling this stupendous octo-sculpture he made out of a found guitar and other bits: "The sculpture hovers off the wall about six inches allowing the florescent bulbs installed within to bathe the wall with green light."
Ian Yang

The Meaning of Art - Chinese Art Introduction by Herbert Read - 1 views

  • The history of Chinese art is more consistent, and even more persistent, than the art of Egypt. It is, however, something more than national. It begins about the thirtieth century B.C. and continues, with periods of darkness and uncertainty, right down to the present century. No other country in the world can display such a wealth of artistic activity, and no other country, all things considered, has anything to equal the highest attainments of this art.
  • Chinese technique is amazingly simple: it involves the knowledge of the use of one brush and one color—but that brush used with such delicacy and that color exploited with such subtlety, that only years of arduous training can produce anything approaching mastery. As is well known, the Chinese normally write with a brush, and a brush is as familiar to them as a pen or pencil is to us. The first fact to realize about Chinese painting is that it is an extension of Chinese handwriting. The whole quality of beauty, for the Chinese, can inhere in a beautifully written character. And if a man can write well, it follows that he can paint well. All Chinese painting of the classical periods is linear, and the lines which constitute its essential form are judged, appreciated and enjoyed, as written lines.
  • Throughout its history, then, Chinese art conceives nature as animated by an immanent force, and the object of the artists is to put themselves in communion with this force, and then to convey its quality to the spectator.
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  • the most distinctive variations are due to religious influences, to Buddhism and Confucianism. No doubt, as always, these religions gave a tremendous impetus to artistic activities of all kinds. But they also did a lot of harm – Buddhism by its insistence on a dogmatic symbolism, always a bad element in art; and Confucianism by its doctrine of ancestor worship, which was interpreted in art as crude traditionalism, requiring the strict imitation of ancestral art. But in spite of these limitations, perhaps in some sense because of them, Chinese art maintains its vitality, reaching its highest development in the Song period, a period which corresponds roughly in time, and even more strikingly in mannerism, with the early Gothic period in Europe.
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