chapter 3 Seeing the Value in Art Fig. 44 Sylvie Fleury‚ Serie ELA 75/K (Plumpity . . . Plump)‚ 2000. Gold-plated shopping cart‚ plexiglas handle with vinyl text‚ rotating pedestal (mirror‚ aluminum‚ motor). 32 3/4 37 3/4 215/8 in. Pedestal 121/4 393/8 in. Courtesy of the artist and Galerie Eva Presenhuber‚ Zürich‚ Switzerland. A 40 t the end of Chapter 2‚ we briefly mentioned the explosive career of JeanMichel Basquiat after a number of his graffiti-like paintings were exhibited
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between the two disciplines. Fine-art objects are not constrained by the laws of physics in the same way that applied-art objects are. Because their primary purpose is not functional‚ they are only limited in terms of the materials used to make them. Sculptures must‚ for example‚ be stable‚ which requires an
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Powers. Plus the Kinetic Art Organization has published a digital “International Collection of Essays About Kinetic Art—2013—volume 1.” The two don’t overlap: The MIT show highlights a somewhat different segment of artists working with motion in sculpture‚ 4 names‚ some of whom owe more to Yves Tinguely and Calder’s Circus than Calder’s mobiles and George Rickey (the primary influences for many if not most of the artists in the KAO book. 16139 KB 172 pages Kinetic Art Organization (October 7‚ 2013)
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One of the finest relief sculptures that had been created around 1500 BCE was the The Harvester’s Vase. The vase structure was created out of black steatite and it had an appearance comparatively to an ostrich egg. The low relief vase depicts a group of harvesters in profile view‚ singing and walking with harvesting tools on their shoulders. One particular harvester‚ that was singing and shaking an Egyptian percussion instrument‚ ribs are exaggerated to an extent where scholars have hypothesized
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glory‚ and are used to intimidate. However contemporary artists use the body as a symbol which conveys a whole range of different kinds of layered meaning‚ although the simple symbol of power has not been lost over the centuries. Ancient Greek sculptures of the body are a medium between man and the gods‚ they are an ideal of physical perfection. The female figure of c.650-625 B.C. (fig. 123) and a nude male youth of c.600 B.C. (fig. 124) are perfect examples of the use of symbols to convey meaning
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There are thousands of artwork spreaded among various countries and regions‚ numerous types of art‚ culture and time period behind each one. It comes down to having different backgrounds‚ location and purpose to why it was made. There is an abundant of artistry that resemble and differ with one another‚ the color‚ texture and medium of it. Ever since the existence of artwork‚ there has been multiple time period throughout‚ but this has not stopped different time zone from influencing each other.
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Investing Art As Investment it’s not just for the filthy rich anymore by Winston Donald “I was fortunate in 1998 to obtain a Christopher Gonzales work which I called “Three Faces” for $12‚000. I was sold (at a bargain) a Hopeton Fletcher surrealist piece for $5‚000 in 1995. Last May 2007‚ the Mutual Gallery sold the same pieces for me for $84‚000‚ I made a whopping 394.12% profit ” T he last 15 years has seen a tremendous growth and progression in income of the Jamaican middle class. Despite
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‘land art’. The images of Long’s work inspired Goldsworthy to head to the coastline of Morecambe Bay in Lancashire‚ where he created his first work of natural art using the stones along the shore. When he left school in 1978 he continued to make his sculptures which were impermanent by nature‚ seen by few and mostly ignored by the art community. In 1985 Goldsworthy gained a measure of renown after finishing a project in the North Pole titled ‘Touching North’‚ which was four immense snow arches. He built
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Art Goes further than its representation. Michelangelo Pistoletto‚ and “The Etruscan” 1976. Roxy Paine‚ and “conjoined “ 2007. Bill V iola‚ and “The Greeting” 1995. Anselm Kiefer‚ Buch mit Flügeln the (Book with Wings)‚ 1992 and The Ash Flower(1984). The Etruscan is a great work of art. The style of this piece is widely recognized and in many ways is a symbol of power‚ ingenuity and social lifestyle that was very present in the history of the Greeks and romans. When you approach it in its secluded
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Marble Statue of a Wounded Warrior Marble Statue of a Wounded Warrior is a Roman statue‚ crafted in the second century A.D.‚ as a copy of a bronze Greek statue cast between 460 and 450 B.C. Though sculpted with obvious technical aptitude‚ Wounded Warrior is riddled with anatomical imprecision and is inhibited by a reluctance to depict the unsightliness of injury in combat. The first time I laid my eyes on this exquisite artifact‚ I was astonished by its fierce presence. The orientation
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