(Source: greydogs)
3 February 2016 • Permalink • 2 notes
Shinkenchiku International Residential Competition
Megabudka
(via trent-o)
20 April 2013 • Permalink • 678 notes
Jean-Baptiste-Camille Corot, Beach near Etretat, c. 1872
From the National Gallery of Art:
This painting is an oil sketch. Painted outdoors within a few hours, it was meant to record Corot’s direct impression of the landscape. Its long, sweeping brushstrokes capture in shorthand the look and “feel” of light and weather. Such small works, never intended as finished paintings, were part of the normal practice of landscape artists. By referring to them later, a painter could re-create in his more elaborate studio paintings the freshness and immediacy of his initial observation. The outdoor sketch was like notes taken from nature, data to be transformed through the artist’s imagination in the studio into finished, salable works.
Corot and fellow landscape artists working in the forest of Fontainebleau were important influences on the impressionists, not only in their commitment to plein-air painting, but also in their adoption of a brighter palette. Corot, using a light-colored ground, suffused his paintings with a silvery light and poetic feel. Pissarro, in particular, identified himself as Corot’s student, and in the horizontal layering of his landscapes is a legacy of Corot’s classical training and careful compositions.
(Source: cavetocanvas)
6 November 2012 • Permalink • 93 notes
Joseph Kosuth, One and Three Chairs, 1965
From The Museum of Modern Art:
A chair sits alongside a photograph of a chair and a dictionary definition of the word chair. Perhaps all three are chairs, or codes for one: a visual code, a verbal code, and a code in the language of objects, that is, a chair of wood. But isn’t this last chair simply … a chair? Or, as Marcel Duchamp asked in hisBicycle Wheel of 1913, does the inclusion of an object in an artwork somehow change it? If both photograph and wordsdescribe a chair, how is their functioning different from that of the real chair, and what is Kosuth’s artwork doing by adding these functions together? Prodded to ask such questions, the viewer embarks on the basic processes demanded by Conceptual art.
“The art I call conceptual is such because it is based on an inquiry into the nature of art,” Kosuth has written. “Thus, it is … a working out, a thinking out, of all the implications of all aspects of the concept ‘art,’ … Fundamental to this idea of art is the understanding of the linguistic nature of all art propositions, be they past or present, and regardless of the elements used in their construction.” Chasing a chair through three different registers, Kosuth asks us to try to decipher the subliminal sentences in which we phrase our experience of art.
See also:
(Source: cavetocanvas)
27 October 2012 • Permalink • 377 notes