Kira O'Rajli (Kira O'Reilly), a naziv performansa bi trebalo da bude "Inthewrongplaceness".
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In 2003 and 2004, she undertook a residency with SymbioticA, a bio-art project based in the department of Human Anatomy, University of Western Australia. She has received several major commissions and in 2001 was invited to produce work for Span2 international performance art residency in London. Her work often involves the cutting of her skin, and recent pieces have also involved animals, including leeches and pigs.
Inthewrongplaceness is inspired by the artist’s investigations into tissue culture during a residency at SymbioticA in 2004. The impact of working with pig’s tissue in a lab setting instigated her thoughts on the similarities between the pig’s skin and her own. By inviting audiences to touch both the human and nonhuman animal, Kira O’Reilly encourages them to engage with the complexities of the relationships between skin, touch and species.
Kira O'Reilly will provide her own answer today by spending four hours naked, hugging a dead pig - at the taxpayer's expense.
The controversial Irish performance artist will invite one person at a time to watch her sit in a specially-constructed set and perform a 'crushing slow dance' with the carcass in her arms.
She claims the bizarre exhibition is an attempt to 'identify' with the pig, which she cuts with a knife during the show.
Visitors to the Newlyn Art Gallery in Newlyn, Cornwall - funded by taxpayers and the lottery - will be allowed to watch her for ten minutes. The gallery has defended its decision to stage the one-off show, but animal rights campaigners have labelled the performance 'sick'.
Hvala za potvrdu, i popravku linka! (Ovo %27 važi, znači, i za apostrof...)
Nemac po rođenju, sa 26 godina otišao u Ameriku. Tamo je dao oduška svojim modernističkim stremljenjima, kao što je na kraju odlučio da ne čeka smrt, nego da joj pođe u susret.
Oscar Florianus Bluemner was born in Hanover 21. 06. 1867. He moved to Chicago in 1893.
He committed suicide on 12.01. 1938. in South Braintree, Massachusetts.
Hvala, Tuzore.
Da zavrtimo samo malo vreme unazad...
Britanac. Poznat je po svojim pejzažima, iako je za vreme života prodao samo 20 slika. Romantizam sa nagoveštajima impresionizma (ala sam ga opravila svaka mi čast ).
Džon Konstabl, jedna od njegovih brojnih studija oblaka.
lidzaja ::
Romantizam sa nagoveštajima impresionizma
A postavlja se i pitanje realizma:
Linda Nochlin, Realism ::
If one takes the opposition between convention and empirical observation in art as a relative rather than an absolute criterion, one can see that in Realism the role played by observation is greater, that by convention smaller. John Constable's cloud studies of 1821-2 are a case in point. As Ernst Gombrich has shown, they were partly based on engravings by the eighteenzh-century water colourist Alexander Cozens. But they were still more intimately connected with Constable's own observations of the sky, both as a miller and a painter, and were also influenced by meteoreologist Luke Howard who investigated and classified cloud forms. However much he may have depended on the pre-existing schemata provided by Cozens - as Gombrich claims - Constable used Cozen's prototypes not as ready-made formulae, which with a few judicious alternations would serve to fill the top of a lanscape, but as adies memories - or, rather, adies recherches - for his own far more precisely observed representations. His cloud studies are, in fact, classified as cirrus or strato-cumulus formations and the time and place of their execution are indicated in many cases.
Constable may not have been aiming for scientific accuracy alone; but by accepting natural phenomena as the appropriate object for representation in his cloud studies, by restricting his experience to the phenomenon itself and neither interpreting it symbolicaly nor using it as a medium to express an etat d ame, he was very much an artist of the nienteenth century and one who points the way to later development within the Realist movement. It is no accident that advanced French landscape painters like Corot and Huet admired him in the thirties and forties.
Ih, kao da je to važno. Udžbenici kažu pre svega romantizam, ali neki drugi udžbenici kažu da je sve teže odrediti šta romantizam jeste, a šta nije. Isto važi i za ostale pravce od 18 veka naovamo.
Ova slika je u svim udžbenicima istorije arhitekture, stil prepoznajete.
Viktor Horta, čuveni arhitekta "art nuovo", odnosno modernističkog stila; stepenište Hotela Tasel u Briselu.
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Indeed, Horta is one of the most important names in Art Nouveau architecture; the construction of his Hôtel Tassel in Brussels in 1892-3 means that he is sometimes credited as the first to introduce the style to architecture from the decorative arts.
The Hotel Tassel (French: Hôtel Tassel, Dutch: Hotel Tassel) is a town house built by Victor Horta in Brussels for the Belgian scientist and professor Emile Tassel in 1893-1894. It is generally considered as the first true Art Nouveau building, because of its highly innovative plan and its ground breaking use of materials and decoration. Together with three other town houses of Victor Horta, including Horta's own house and atelier it was put on the 'UNESCO World Heritage List' in 2000.
Slikar je tokom detinjstva živeo u okruženju bogate trgovačke klase, kojoj sam nije pripadao. Ova slika nam prenosi nešto od tih uspomena. Živopisne boje i veseo duh slike ne odaju tragediju koja ga je zadesila samo dve godine pre njenog nastanka.
Boris Kustodijev, Bogataševa žena/Bogatašica na čaju/pri čaju/uz čaj , (Купчиха за чаем); ulje na platnu; Sankt Petersburg.
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Kustodiev family rented a small wing in a rich merchant's house. It was there that the boy's first impressions were formed of the way of life of the provincial merchant class. The artist later wrote, "The whole tenor of the rich and plentiful merchant way of life was there right under my nose... It was like something out of an Ostrovsky play."
. . .
In 1916, he became paraplegic."Now my whole world is my room", he wrote.
Удобно устроившись, подперев локоть одной руки другой, молодая женщина, пышная, белотелая, голубоглазая и русоволосая, чинно пьет чай из блюдца, сидя на балконе деревянного особняка. Перед ней богатый натюрморт: огромный, начищенный до блеска самовар, чайник с портретами, расшитое полотенце, сочный арбуз, фрукты и сласти. К ее сдобному плечу мурлыча ластится холеная кошка, непременная обитательница любого купеческого дома.
За воротами соседнего дома на балконе чаепитием занята купеческая семья. Справа за спиной купчихи видна площадь с булыжной мостовой, торговые ряды и колокольня храма. Солнечный день уже близится к вечеру, и по сине-зеленому небу плывут розовые облака.
Кустодиев нарочито крупным планом выделяет фигуру купчихи и детали натюрморта. Добивается он этого особой передачей пространства в картине, отсутствием постепенного перехода от переднего плана к дальнему. Этот композиционный прием концентрирует наше внимание на героине и подчеркивает значимость для нее происходящего: чаепитие – это некий ритуал, воплощение всего уклада ее жизни. Все остальное, что ее окружает – лишь дополнительное повествование, пояснение к образу. Художник использует здесь принципы народной картинки – лубка, изучая различные виды крестьянского искусства, и, творчески переосмысливая их, он создает свой яркий и незабываемый стиль.
Ene, kako ovo izvede? Slajd stavljen preko ekrana sa pozadinom pitanja? Zapamćena slika površine ekrana sa pozadinom pitanja, pa onda kombinovano sa slajdom? (Sećam se takvih ruskih slajdova, u količinama minimum po 100, pa se onda pojedinačno ubacuju u "bioskop - plastičnjak", i gledaju sa merakom; primer - Ermitaž).
Ovako šokiran, smišljam šokantno pitanje. Aha! :
Bolje rečeno, za delo se pre može reći da je bilo izazovno za (tada) preovlađujuće shvatanje morala i estetskih principa, nego šokantno. Umetniku se svakako može prilepiti avangardna odrednica, a da li je bio preteča više modernih pravaca, neka svako za sebe proceni.
@ tuzor
Samo sam slajd uslikala ispred monitora kao izvora svetla. Sada konačno imam ime za spravicu kojom se gledaju - "bioskop plastičnjak"
Maks Ernst - Oblačenje neveste, 1940.
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Subject: The "bride" who dons a mantle of red feathers is often understood to represent Ernst's lover, the British surrealist painter Leonora Carrington (born 1917). Carrington shares Ernst's predilection for medievalist fantasy. Her 1945 painting The Pleasures of Dagobert celebrates a hedonistic Merovingian king.
Distinguishing features: There's an unsettling splendour to this painting. In Beyond Painting, Ernst mocks abstract art. The opulent figurative excess of this vision could scarcely be further from the purity advocated by modernists from Le Corbusier to Judd. It's a troubling, glorious thing, this picture. Seeing it in a gallery is like encountering a screaming exotic bird in a cathedral.
It is both beautiful and horrible. The mantle, with its crushed velvet feathery texture, pours off the canvas. The body arcing forward with her long leg walking, small breasts, prominent belly, appears to have a monster's face. Of the bride's real face all we see is an eye peering out of a hole. Above this, staring straight at us, are the eyes of an owl, impenetrable, knowing.
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Udžbenici kažu pre svega romantizam, ali neki drugi udžbenici kažu da je sve teže odrediti šta romantizam jeste, a šta nije. Isto važi i za ostale pravce od 18 veka naovamo.
