Category: Contemporary Art

The Museum of Contemporary Art of Montreal is a Canada-based ultra-modern gallery that is specifically located in Montreal, Quebec. The museum was established over five decades ago, particularly in 1964, as Canada’s first ever ultra-modern art center. In terms of mission, the Museum of Contemporary Art of Montreal is dedicated to revealing to the world the crucial position that the present-day art holds in the community. Some of its collections include the Hito Steyerl of 2014, Jean-Pierre Gauthier of 2013-2014, and Jon Rafman of 2014 among others (MAC, 2018). In addition to presenting two important exhibitions at the gallery, this paper will further demonstrate the significance of the museum’s mission statement while at the same time highlighting how it has enhanced the definition of contemporary art through its artifacts.

Mission

The need for preserving heritage has been the driving force and mission that led to the establishment of the famous Canadian museum (Lauzon, 2016). The Museum of Contemporary Art of Montreal’s mission is important because it emphasizes the need to confirm to the word that contemporary art has a central role to play in terms of presenting and preserving societies’ culture and nature. The mission has been significant to the residents of Montreal, Quebec, and the entire Canada because it has helped to assemble local and global performers who have demonstrated their artistic talents to the extent of attracting visitors from within the region or country and even overseas. Hence, the region within which the Museum of Contemporary Art of Montreal is situated has gained from its interactions with diverse cultures, thanks to the museum’s embracement of its mission of availing outstanding discoveries, including the ever-transforming, innovative and the least anticipated but memorable experiences.

Exhibitions

Leonard Cohen forms part of the most important exhibitions in the Montreal-based museum. The image below shows a part of this exhibition.

• Title: Leonard Cohen: A Crack in Everything
• Date: (9/11/2017-9/4/2018)
• Theme: The exhibition’s theme is humanity’s imperfections that cut across all areas of people’s lives. Such imperfections pave the way for rejuvenation
• Source: (Barone, 2017)

The exhibition revolves around Leonard Cohen’s years and profession as a visual artist before he met his death. He influenced many artists during his time. Some of the songwriters and performers who benefited from Leonard Cohen include his son, Leonard Cohen, who is currently a renowned instrumentalist in Canada, having released albums such as We Go Home and Like a Man among others (McLean, 2014). According to Kelly, other artists who attribute their expertise to Leonard Cohen include Neema, the writer of the song Painting My Wall Gold. Appendix 1 shows artworks presented in this exhibition.

“There is a Crack in Everything” is an important exhibition that reveals to the world that imperfections in people’s lives may be a blessing in disguise. The multi-faceted presentation will pave the way for global and local songwriters and other artists to showcase assorted collections of their novel artworks, thanks to the motivation they achieved from Leonard Cohen’s approach to music and strategic themes (Johnson, 2016). Guests will also testify of the vibrant and interactive experience where Leonard Cohen will be at the center of the exhibition. They will also appreciate taking home the central theme that their flaws are not meant to pull them back but rather contribute to the beauty of their lives.

“That’s How the Light Gets In” is another crucial exhibition at the Museum of Contemporary Art of Montreal. The image below shows the theme of this exhibition.

• Title: That’s How the Light Gets In
• Date: (15/12/2017-19/08/2018)
• Theme: As the theme of the exhibition, light is presented as a contemporary tool that can transform all elements it is subjected to, including people’s lives
• Source: (MAC, 2018)

This exhibition is founded on Leonard Cohen’s song Anthem where the key theme of light illuminating dark areas takes the center stage. Here, according to Werber (2016), Cohen uses these words metaphorically to remind people that hope is never lost and that there is always a point in life when all dark moments are overturned.

I regard this exhibition as important based on its message that although life may be characterized by many instances of hopelessness, remaining on course no matter the challenges paves the way for greater potential of achieving the goal at hand. Light dominates this exhibition in an artistic manner to signify the need for determination and the ultimate sigh of relief in the end (O’Neil, 2015; Raab, 2017). Appendix 2 depicts some of the artworks or objects presented in this exhibition.

How the Museum has Formed the Definition of Contemporary Art

The creativity demonstrated in the Museum of Contemporary Art of Montreal through its exhibitions has significantly redefined art to the extent of shifting from incorporating traditional elements to emphasizing modernity, thanks to the advancements made in various fields such as technology. Such developments have influenced the way people interact, perceive issues, and consequently the way art is presented. The museum under study harbors more than 7,000 pieces of art developed by approximately 1,500 actors, although roughly 300 of them are currently dead, for instance, Leonard Cohen (MAC, 2018). In fact, the museum epitomizes modern art since its collections consist of artworks, which have been produced continuously from 1948 to date.

In terms of what is shown as contemporary art, the Museum of Contemporary Art of Montreal is home to an assortment of disciplines, which consist of canvas, sketches, printmaking, monuments, installations, and films. Most of the contents presented in the museum demonstrate Québec artworks featuring the input of people such as Paul-Émile Borduas, Fernand Leduc, Betty Goodwin, and Geneviève Cadieux, just to name a few (MAC, 2018). It also captures Canadian artworks produced by renowned people, including Jack Bush and Jeff Wall in addition to many more. Performances done by global actors are also available in the museum.

For instance, some of the globally recognized stars whose works appear in the museum are Bill Viola, Louise Bourgeois, and Mario Merz among others. To present the artworks, the museum has invested in exhibitions that deploy ultra-modern technologies, the most recent artistic works, and experimental drama. I think the museum offers the correct definition of contemporary art. Specifically, it has a distinct section of anthologies and actions that are designated for performances or artistic works by actors who are not only currently alive but also individuals who have deployed contemporary media platforms such as Facebook and YouTube among others (Kwastek, 2013). In other words, the center is comprised of artistic materials that have been successfully produced using the newest technologies while at the same time conveying messages concerning current events.

Conclusion

Based on the expositions made in the paper, the Museum of Contemporary Art of Montreal is confirmed to be a center where locals and global guests in need of ultra-modern artworks can visit to gain memorable experiences. Overall, the Museum of Contemporary Art of Montreal is significant because it harbors tangible and intangible information regarding key national or global elements that capture particular countries’ cultural and natural inheritance. As an area of improvement, the museum’s administrators may consider extending the visiting duration by some few hours to allow guests adequate time to learn from the contemporary artwork presented therein. They may also consider increasing the number of car-parking lots to accommodate more visitors in the museum.

References

Barone, J. (2017). Leonard Cohen exhibition is planned for museum in Montreal.New York Times. Web.

Johnson, B. (2016). Leonard Cohen’s third act. Maclean’s, 129(39), 58-62.

MAC. (2018). That’s how the light gets in.Web.

McLean, C. (2014). Interview: Leonard Cohen’s son Adam on his father’s legacy and new album We Go Home.Independent. Web.

Kelly, B. (2016). Brendan Kelly’s Q&A: NEeMA talks creativity, Leonard Cohen and her new album, Painting My Wall Gold.Montreal Gazette. Web.

Kwastek, K. (2013). Aesthetics of interaction in digital art. Cambridge, MA: The MIT Press.

Lauzon, C. (2016).The unmaking of home in contemporary art. Toronto, Canada: University of Toronto Press.

O’Neil, M. (2015). Leonard Cohen, singer of the bible. Cross Currents, 65(1), 91-99.

Raab, C. (2017). How the light gets in. Commonweal, 144(8), 15-18.

Werber, C. (2016). There is a crack in everything, that’s how the light gets in”: The story of Leonard Cohen’s “Anthem”.Quartz. Web.

Modern art has always been the object of careful attention and lively discussions. Among the examples belonging to modern art, so many works are the sources of a great number of critical works. Guernica by Picasso is one of the brightest examples. You can find many critical works devoted to the picture and that of Gijs Van Hensbergen is the most famous one. In its book, the author tries to show his attitude to the representatives of modern art and this work in particular.

Guernica is a depiction of the airborne devastation of a Basque city by the fascists in the period of the Spanish Civil war. For a long time, Guernica was hidden from the public and viewers. According to the words of the officials, this work was too confusing for television and other mass media, and it might have a negative effect on public opinion. But, as we know, everything that is forbidden and hidden from the eyes of the publicity seems to be more interesting. As a result, the attempts to put out Guernica of the sight have led to an invigorated interest and increased attention to this painting. Later, the images of this painting appeared practically everywhere, on the cities walls and even on the clothes. Of course, this painting has both admirers and opponents. Guernica by Gijs Van Hensbergen recounts the prevailing story of Picasso’s masterwork, a picture that is the symbol of peace and respect despite the fact that it is the evidence of the violence of the war.

At first sight, this painting is very difficult to understand, as it is performed in a manner peculiar to Picasso, but after some considerations, one can see that Picasso put some special sense in his work:

Art is ‘often hard to understand at first but, as our minds and muscles, our artistic sensibilities are strengthened by exercise and hard work. I have never thought of art as something primarily pleasant.’ Guernica was a difficult painting, but it was also the paradigm of the modern (Hensbergen, p. 119).

The words of the author are very truthful, to my mind. Sometimes, it is very difficult to understand art. Everyone has his own attitude to some representatives of the art. But our minds and imagination need to be developed like our bodies with the help of training and hard work. In order to be more conscious and esthetically developed, people should enlarge their scope. Nowadays we are concerned about problems that seem more important than art. As a result, art seems so difficult and incomprehensible. Telling that Guernica is a paradigm of the modern, the author tries to show that this picture is the so-called symbol of modern times. It depicts war and violence that can be called current problems of modernity. To my mind, this picture is difficult to understand at first, if you are not aware of the main theme and aim of the artist. Only after drawing a parallel with modern events, it is possible to say that Guernica reflects the problems of the modern world.

Among the amateurs of modern art, it is very difficult to find people with the same opinions on its works. Everybody has his own point of view because art is hard to understand categorically. The realization of art requires hard work and self-improvement.

References

Hensbergen, Gijs Van. Guernica: The Biography of a Twentieth-Century Icon. USA: Bloomsbury, 2004.

Kate Beynon’s work is of particular interests because of her activities in shaping the current Asian art culture. The paper focuses on the works of this starling artist whose roots can be traced in Hong Kong city and Wales in Asia. Considering her performances in the Asian art and design arena spanning for the last three decades, the essay dwells on her past and contemporary works using particular examples. In addition, the essay also depicts linkages between her artistic works and with Asian culture as well as universal contemporary art. Kate Beynon is an Asian artist who was born Hong Kong city in 1970 and raised in Australia where her parents migrated in 1974. As a result, viewers observe a hybrid of Chinese expression in much of her artworks. She has made phenomenal impact in art scene through a variety of her works ranging from music to dance.

Artists assumes different identities in different scenes but in every situation, Kate Beynon’s literature comprising of poetry and fine arts presents a myriad of hybrid cultural backgrounds, borrowed from her Chinese origin and carefully knit in her Australian lifestyle. Having development keen interests in art and design, she decided to study art as a professional course at Victorian College of the Arts. The knowledge acquired enabled her to blend Asian literature with her talents to draw and paint pictures depicting different timeless themes to both national and international bewilderment. It is interesting to note that prior to her schooling, Beynon had undertook initiatives to draw pictures of her reported Chinese origin from her own imagination. However, this did not leave out the role of myths and theories of ancient Chinese culture embodied in their cultural beliefs. Ideally, she found insight in polytheist history of Asians that claimed prowess in nature as it influenced the organization of human natural and built environment. Her contribution to the contemporary international artwork under the influence of her diverse cultural orientations (featuring rich Asian heritage) however, found attention at the beginning of the 21^st century. Her debut into the international art and design arena includes The 2006 Archibald Prize in Melbourne, TerraWarra Biennial in Victoria and C’town Bling: art and the youth demografik in Sydney among other exhibitions featuring her paints in solo and group shows.

“A picture is worth a thousand words”, they say. Against this old saying, Beynon has endeavored to create highly definitive and descriptive images to the effect clearly portraying her visualization of fine arts. She continually animates objects with people in drawing in a manner that suggest close interrelationship between people and their environment. Modern art borrows many of its ideas from the immediate environment. In essence, contemporary artists study the association between their environments and people from different communities. Since history is so central to their work, modern artist find it inevitable to isolate people’s behavior from their culture and traditions. In addition, cultural perspective play critical roles in artwork that without it art will have to form new forms of communication. Based on these opinions, I find Beynon’s work a success story because it has influenced modern art in many ways from theme creation, contextual genre, color creation, balancing space but above expressing different views with tenacity that focus the attention of observes a unified impression. For example, many artists admit that creating harmony in between competing ideas in order to achieve a perfect picture that would result into a particular view is a daunting task. This is particularly clear in relation to themes such as political justice, religious rites, Beauty and love.

In addressing the present challenges encountered in artwork, involving political and social justice, in her drawing Excuse Me!, featured in Perspecta 99, in Sydney (1999). Beynon achieves satire in a striking way that leaves no doubt to authority’s oppressions. Just as if graffiti is a central cultural system of many organized groups around the world, Beynon also appreciated this form of individual and group expression through her pieces, Australian Graffiti and China town (2000). As usual, this drawing explores wall casts of naturally talented artists in a thought provoking way that leaves no doubt to the observers on the importance of history to the work of an artist. Successful artist with art productions commanding high bids in art galleries, shows and exhibitions also remember to do something in account of their past life thereby paying tribute to their history. Courtesy of Kate Beynon, different artist today make sober attempts to express their sentimental attachment to their locations and the society in which they belong through wall paintings and messages in form of graffiti.

Though extreme graffiti associated with cults and gang members transcends local authorities, Beynon tries to unravel these mysteries by emphasizing the positive aspects of the art and ends up influencing its development through sarcasm used in a variety of comic material available today. In my view, Beynon’s sarcasm in film and graffiti draws from her Chinese culture. These arts may be expressions of her nostalgia about her native land china in its present magnificent modernized state. In effect, she has successfully helped create new meaning to graffiti and wall paintings so that they gain relative resonance and credence in the modern international society. Kate Beynon is a wide acclaimed artist whose art and design work never fails to capture her Welsh-Asian origin. However, through her specialization in painting differentiated thus as Li-ji, she has successfully managed to strike a balance between her Asian heritage inherent in paintings such as Warrior Girl Images based on ancient pacific stories written by Gan Bao in the 4^th century.

In this particular story, Gan Bao explores Zhiguai genre to develop the fairy tale of a demonic python that traumatized Jin and killed young girls. Yu Pai continues this narrative while creating premonitions about the mountains villages’ future propagations until Li Ji bravely intervenes to destroy the serpent. In the Warrior Girl Image, Beynon attempts to portray vivid descriptions of the mighty Li Ji. She adorns her with red Chinese costumes in graphic presentations available in printable copies. In Li Ji’s drawing, Beynon creates the image of a strong, stout and bold warrior completely in control of the mountain next to her. The use of a man as opposed to a woman in this triumphant story are seen as positive international signs of strength commonly depicted in classical arts. In particular, Beynon’s painting of the python that demonized young girls and Li Ji shows cosmic rays in the background to create an effect of dynamic speed that characterized the phenomena. On the other hand, viewers can interpret this design effect as rays of a rising sun penetrating the background common in most of her traditional images. Beynon featured these paintings in her category known as Cultural Revolution posters since the spanned the period of Chinese ancient social transformation.

The irony in warrior Girl 2000 opens the horizon for other stories and tales. Since it contradict the general belief that strength and might bear international acclamation of masculine attributes. With this dedicated spirit in hybrid art, one cannot doubt the inspiration of Asian heritage to the works Kate Beynon that traverses its significant influence in the modern design. International contemporary art widely employs modern visual technology in presenting the works of different artist from different parts of the world. Towards this effect, Beynon’s artwork derived from ancient Chinese culture as displayed in Australian galleries has greatly influenced contemporary art and design industry by her images available in print versions. This includes Warrior Girl and Peace Keeping Forces. After her successful graduation from the Victorian College of the Arts in Melbourne (1993), the 38-year-old celebrity has held more than 16 exhibitions featuring her paintings and drawings alone.

I consider this interesting because the artist is proud of her work that is inspired by a myriad of Asian and pacific cultures as well Western comic books. Viewers may immediately believe that her knowledge and experiences is co-influenced contemporary art to generate images that augur very well with the current art theatre activities. In particular, she draws her assessors to fantastic digital and print images with the influence of graffiti, films, fashion and calligraphy from her Chinese understanding. Consequently, this media forms the bridge with which she influences the contemporary fine art developments. For example, from her painting of Li ji, the renowned artwork of Beynon has found prominence in international political satire thereby influencing themes of gender and racial discrimination. In effect, Beynon’s debut into international art and design arena in 1996 on an exhibition featuring Li highly influenced media art production and presentation.

From the vivid and candid portrait of Li that posed particular striking challenge to different nations’ regimes, today creative artists have the audacity to confront social stratification inherent in Asia, Australia and the rest of world. In addition, she has participated in 65 exhibitions organized in different groups in Australia, Asia and Europe. Consequently, her artworks serve as the hallmark of fine arts in different art Galleries in Australia and around the world. In Australia alone where Beynon lives, quite a number of her masterpieces marks Sutton Gallery’s hall of fame in Melbourne.

Hybridization of culture toward cultural identity in artistic expression portrayed remains carefully captured in the artworks of Kate Beynon. From the writings of Gan Bao, Beynon draws the picture of a python with a very big head and dazzling wide eyes. As rice is indigenous to Asia, Beynon likens the fragrance and the size of the pythons head with rice containers used in East China. The snake frequently appeared in the villages of Jin, and as the story unfolds, the python began to swallow young girls. Her inspiration follows immediately from the experiences of Yu Pao (another name of Gan Bao the name is sometimes pronounced as Kan Pao) when her sister disappeared in a cave. In comparison with contemporary art and design, Beynon’s work explores the deeper feelings of human emotions and sentiments that sustain visual art expressions. Generally, art involves imagery and creation of ideal situation in response to the challenges people face on daily basis. Hence, it suffices to have Beynon’s print pictures expressing passions of hate, revenge, and various animated perceptions. For instance, how else would Kate raise a star out of the painting of Li ji were it not for her majestic departure from the scene of the dying snake?

The manner in which she uses her weapons, a dog and a sword further expresses her anxiety to the disappearance of her family member in an imaginary tomb. This is typical of international art where various artists create images expressing views of passions experienced in their communities. Many artists create images of heroes from themes of people who dare to confront difficult circumstances and confront controversial issues with candid boldness and strength. Coincidentally, this is no any different from Li Ji’s experience when she confronted a dragon tormenting many villages in the mountains. In a proper imagination from this painting, one realizes the interesting bravery of Li ji, especially on learning that the snake dominated during a time when ghosts, ogres and ogresses were the main preoccupation of peoples relations with natural occurrences. Contemporary artists admit that people do struggle with their personal identify. However, through the works of Beynon, we develop better understanding of our identities following the basic question posed by the artist.

As many scholars in international literary field struggle to coin the meaning of human identity, they only end up with approaches in most cases. Hence, Beynon’s works plays the critical role in provoking self-reflective views of individual identity. Probably it is comparable to classical cases of persons with varied social backgrounds inherent in their culture even after settlement in new locations. Kate Beynon was first an Asian, then an Australian. Creating a juxtaposed hybrid art reflecting such a historical background in a way that creates both internal peace and maintains tranquility with the new environments, continue to influence contemporary artworks in many societies around the globe. For example, in her country Australia these views have spurred art in various ways leading to production of films, videos and music that foster acceptance with one’s current situation despite incoherent ideas that often characterize illustrations of personal identity. Moreover, like sociology, geography and other disciplines in the realm of humanities, Beynon’s understanding of the self emphasizes the concept of origin and divergence of people from their common ancestry. This however, does not leave out the location where she traces her routes to Honk Kong. Therefore, her modern art borrows heavily from her creations to develop concepts important to the aborigines and African Americans alike.

The music industry in America is one such area of modern art where Beynon’s work had created wide impact. This possibly follows her educative and informative exhibitions in Brooklyn, Adeline and New York. Rap music and various other genres use her concepts of innate historical attachments to express different views in response to societal forces. This is also evident in a wide range of her works. In Auspicious Charm (2008), she portrays a state of uncertainty for a woman trapped in the midst of confusion about cosmic actions. Beauty and love appear as two different identities that must act together for one to find tender treatment from a potential lover. The presence of two birds; one on the shoulder of the woman and one flying in the background shows the desperation of the sole woman to face any predicaments, her thoughts notwithstanding. This image has probably helped developed courage of contemporary artist’s particularly middle-aged women to express their passions despite the difficult conditions that might often jeopardize their moves. This limits the doubt that people may have about the contemporary art forms such as dances or songs provided the motive remains right and clear.

Moreover, Beynon has considerably contributed in the ability of modern art to define social relation with art. It is clear, by defining her life in isolation of her work that one immediately learns that an artist’s expressions of magic of superstition by illustrating ghosts, does not necessarily make him/her a witch or a wizard. That is, art expresses the views of other members of the society who may not have the gift of carefully presented their opinions. In my observation, I find that Beynon’s convey many Asian traditions in her paintings highlighting different themes as seen in the current world’s art and design. It seems as if she deliberately chooses what part of her traditional Asian culture inherent in her ability to use art in expressing different views.

The manner in which Beynon mixes her Chinese traditional heritage with current views in contemporary art produces interesting features of hybrid art. For example, Li ji in her painting of the Li ji we see a mighty warrior, holding sword in furry and strong swagger. Evidently, her creativity to use the sword as Li ji’s sole weapon shares a lot of similarity with the contemporary symbolization of strength in modern art just like in classical arts, masculinity and harsh weapons are universal symbols of strength. Beynon does not fail to exude strength of the mighty Li ji as she continues to create other figures. Beynon’s approach to the theme of beauty and love as orchestrated in traditional charm reflects the modern art in various societies that still depend on superstition. In her work

Following her prominence and important role in influencing contemporary artwork, Beynon’s efforts to establish a diverse art industry continue to attract necessary support. She is an inspiration to many upcoming and established artists in Australia and overseas. Through her works that reflect different situations she has encountered in class and in real life situations, Beynon’s professionalism is a particular reason spectacular acknowledgement in the contemporary art exhibitions and expos. It is therefore undoubted that one can use art through various forms ranging from panting to singing to obey social diversities that distinguish different artists. Above all, her works influence on contemporary art based on her Asian origin and the influence of Australia, Beynon’s role in bridging the divide between comic illusions and real life occurrences stands out as her greatest contribution to development of art and design.

Bibliography

1. Beynon, Kate. From the Dreams of Li Ji, Sutton Gallery, Melbourne, 2002
2. See Stuart Koop, ‘Warrior Girl: Kate Beynon’s tussle with language’, in Art Asia Pacific, issue no.29, 2001, pp.55–61.
3. Claire, Williamson & Snelling, Michael. Beyond: Austral/Asian Interactions. Australian Centre for Contemporary Art, Melbourne: Institute of Modern Art, Brisbane, 1996.
4. De Woskin, Kenneth & Crump, James (Translators). Gan Bao In Search of the Supernatural: The Written Record, London: Stanford University Press, 1996.
5. Fourth, Gregory. Dualism and Hierarchy of binary combination in Keo society. New York: Oxford University Press, 2001.
6. Margaret, Atwood. Negotiating with the Dead: a writer on writing, Cambridge: University Press, Cambridge, 2002.
7. McDonald, Helen. Erotic ambiguities: the female nude in art London: Routledge, 2001
8. McKenzie, Robyn. ‘Kate Beynon’ 1996 Adelaide Biennale of Australian Art (ex. cat.), Art Gallery of South Australia, Adelaide, 1996, pp.50–5.
9. Stuart, Koop. Warrior Girl: Kate Beynon’s tussle with language Art Asia Pacific, no.29, 2001, pp.56–-61
10. Tunnicliffe, Wayne & Hetti, Perkins (ex. cat.). Living Here Now, Art & Politics eds. Art Gallery of New South Wales, Sydney: Australian Perspecta 99, 1999.
11. Woskin, Kenneth & Crump. In Search of the Supernatural: The written record, Stanford University Press, Stanford, 1996.

Introduction

Art is present in nature, just as nature is present in art. The very term “Nature” is very broad and all-encompassing, like life itself. It is connected to humanity at a deep, intimate level. We emerged from it, and we would likely return to it, eventually. From ancient artists to modern creators, many drew inspirations from many aspects of nature, ranging from the harmonious coexistence of various flowers, trees, and plants to the ferocious and macabre cycles of life and death that often go unseen to the human eye.

Every artist sees something in nature that appeals and calls to them. In the age of modern arts, when both the creators and the audience is less concerned with the physical form and more with the underlying messages and feelings that art invokes, the multi-faceted topic of nature emerges once more in all of its beautiful and frightening glory.

This paper is dedicated to the visual art analysis of the two prominent artists of the modern age – Lars von Trier and Fiona Hall. They are quite unlike one another – one is a cinema director and screenwriter while the other is an artistic photographer and sculptor.

What unites them are the unusual and elaborate portrayals of nature in their works. Unlike the photorealistic pictures of the classic artists of old, that had no deeper meaning behind it other than trying to replicate the splendor of the forests and wildlife to the best of their ability, the depictions of nature in modern art go beyond that. They tell a story, and they are meant to invoke feelings and thoughts. Lars von Trier depicts nature as a silent character, addresses the connection between nature and humans in three of his films named Dogville, Antichrist, and Melancholia. ¹

Fiona Hall, on the other hand, looks at nature through the prism of history, colonization, and consumerism. This is illustrated by three of her famous works named Leaf Litter, Cash Crop, and Dead in the Water. ²

Definitions of Nature in Art

According to Raymond Williams, “nature is a contested term that means different things to different people in different places.” ³ While there are many possible interpretations of the word, they typically fall into one of three categories:

• Nature as the essence of something.
• Nature as a material place, like a forest or a garden.
• Nature as a universal order or force, which could include humans, oppose them, or both.

Darvin described nature not as a passive entity, but as a living and breathing organism, a force of alteration, innovation, and evolution. He classifies it as a medium within which humans exist, but which does privilege the human. ⁴

Viewing nature in the context of the Anthropocene era is a somewhat modern notion, which sprouted into existence during the second half of the 20th century. After the atomic bombs were dropped on Hiroshima and Nagasaki, humanity was officially acknowledged by the scientific community as the driving force behind geological and biological change. ⁵

The artists reflected on that by portraying nature through a prism of industrialization, globalization, and politics.

Lars von Trier– general themes and attitudes towards Nature

Lars von Trier’s view of nature can be seen throughout his unfinished trilogy, namely Dogville, Antichrist, and Melancholia. He portrays Nature as a terrifying entity, yet mostly concerned with itself – it is neither benevolent nor malevolent. In that, it relates to the Darwinian view of nature. It is not a faceless force, though it is portrayed that way in the first film, Dogville. Nature has an identity and gender in his works. It embodies everything that a man is not and stands in opposition to his logical, oppressive, and destructive nature.

The main characters of all three films are women, and their relationship with Nature is what ultimately defines whether they succumb to the man-driven society or liberate themselves through the acceptance of their nature.

In Dogville, the central character is a woman who moved to a small mining town to escape the big city. The town ultimately becomes her prison, as the predominantly male populace forces her into submission. The looks of the landscape in this film are mostly metaphoric and sketchy, as the female heroine rejects the possibilities that Nature offers, instead choosing to seek comfort in people. Through the rejection of Nature, she rejects herself and becomes one with the opposite, destructive side. ⁶

In Antichrist, Nature is revealed as a ghastly entity. Nature is neither benevolent nor evil, and it reflects the attitude of the female character towards it. She is afraid of the woods, and they appear macabre to her – painted in cold blue hues, covered with fog. Only when she feels the call of nature and maternity, does the color change from blue to a warmer green.

The landscape and the forest begin communicating with the female as the scene grows dark. The woman’s husband deals with Nature the same way he deals with his wife – without understanding it. In the end, while the woman accepts nature and relinquishes her fear, she returns to the human society, and dead bodies of mourners rise from the fog as if to wish her farewell. The scenes in this movie reveal the femininity of Nature both figuratively and conceptually, in opposition to the logical and inflexible mind of the Man⁷.

In Melancholia, one of the female characters also hears the call of Nature, but unlike in the other two films, she does not push Her away, instead of agreeing with the message and becoming in tune with it. This paves her way to personal liberation from male domination. Nature is portrayed differently in Melancholia, in comparison to Antichrist – it is groomed and shows signs of human order and tampering, which saps the life away from it.

Despite being seemingly under control, Nature remains a separate entity, and forms a bond with Justine, in contrast to the orderly and conventional Claire. As the prospect of imminent death from the clash between planets looms over them, both sisters join each other in accepting Nature, and blend into the landscape, finding harmony with the surroundings. ⁸

As we could see, the female characters find true peace only when they hear and accept the Nature’s call, the call of their femininity, rather than conforming

to the standards of the orderly and foreign male society. Yet it is not the purpose of Nature to make them accept it – she simply offers a hand, and it is up to the characters to take it.

Nature in Fiona Hall’s Art

Fiona Hall portrays nature through a prism of modern human expansion and colonization. Her works represent a blend of modern materials such as plastic or soap and portrayals of animals and plants. Frequently, the objects of her art are showcased in museum-like stands. However, these stands are also part of the composition, representing the human’s need to study and classify nature, after having reaped it. These tendencies could be found in three of her compositions, called Leaf Litter, Cash Crop, and Dead in the Water.

Leaf Litter is a series of paintings made in gouache. Each painting consists of a highly photographic drawing of various botanical cultures over the currencies of different nations. These illustrations make the viewer think about the correlation between money and nature, as many of our economies are dependent on exploiting nature to survive. In Leaf Litter, nature is looked upon as a resource in many ways. It is dead, dried up, and used not only to earn money but also to produce it, as the paper for the bills also comes from natural sources. ⁹

Cash Crop continues the idea of utilitarianism of humanity towards nature. It represents a botanical stand, where various crops are displayed and classified according to their names and purpose. When looking at the stand full of dead crops made out of soap, one tends to wonder whether human cultivation and desire for knowledge help us understand nature, or kills it. The composition invokes uneasy feelings since the viewers are more used to depictions of living nature. In Cash Crop, nature is dead, dissected, and classified¹⁰.

Dead in the Water shares this line of thought, though it takes a different turn in regards to the portrayal of nature. While nature is dead in previous works, in here, it is alive.

The material used for the creation of the display is PVC, which is artificial. Yet, through skillful manipulation, it is made to look alive, almost ethereal, as the pipes turn into roots of numerous plants. The stand plays a role similar to that in Cash Crop. However, the composition itself represents a struggle between humanity and nature, good versus evil, and old versus new. The fact the plants are growing out of PVC pipes shows that nature always finds a way.¹¹

In all of her works, Fiona Hall sends a strong message to the viewers. The the message is not obvious, as it requires those who look upon her art to think and analyze the pieces and the thoughts behind them. However, the feelings of that something is wrong invoked throughout the three compositions reviewed in this paper, certainly indicate that the artist does not approve of how humanity treats nature. Thus, her art contains a strong political and environmental message.

Conclusions

Fiona Hall and Lars von Trier have different views on nature and how it is portrayed. In Trier’s films, Nature is a living entity, mysterious and vibrant. In Hall’s sculptures, it is depicted as a dead and dried-up shell of its past self. However, there are similarities between them as well. For both of them, Nature is feminine and in opposition to the logical and oppressive male order. Their art invokes contemplation and thought, as the images, they present to the audience are complex in many different ways. The environmental message is stronger in Hall’s works, while Lars von Trier’s films are more dedicated to the struggles of the feminine in a masculine society.

Bibliography

Antichrist. Digital Image. Filmlinc. Web.

Arias-Maldonado, Manuel. Environment and Society: Socionatural Relations in the Anthropocene. New York: Springer, 2015.

“Cash Crop.” Art Gallery NSW. Web.

“Works by Fiona Hall.” Art Gallery NSW. Web.

“Nature, a Character in Lars von Trier’s Works.” Cinema Scandinavia. Web.

Dogville. Digital Image. Alchetron. Web.

Ginn, Franklin, and David Demeritt. Nature: A Contested Concept. London: Sage, 2009.

Grosz, Elizabeth. Becoming Undone: Darwinian Reflections on Life, Politics and Art. London: Duke University Press, 2011.

Hall, Fiona. 1999. Cash Crop. Sculpture. Sydney: Roslin Oxley Gallery.

Hall, Fiona. 1999. Dead in the Water. Sculpture. Melbourne: National Gallery of Victoria.

Hall, Fiona. 2000. Leaf Litter. Sculpture. Canberra: National Gallery of Australia.

“Fiona Hall: Sydney Ambush.” Mahon Studio. Web.

Melancholia. Digital Image. The Wit Continuum. Web.

“Leaf Litter.” National Gallery of Australia. Web.

Nicole Kidman. “Other Films by Lars von Trier.” Nicole Kidman. Web.

“Case Study One – Nature.” Year 11 Visual Arts. Web.

Zolkos, Magdalena. “Violent Affects: Nature and the Feminine in Lars Von Trier’s Antichrist.” Parrhesia 13 (2011): 177-89.

Footnotes

1. Nicole Kidman, “Other Films by Lars von Trier,” Nicole Kidman. Web.
2. “Works by Fiona Hall,” Art Gallery NSW. Web.
3. Ginn Franklin and David Deremitt, “Nature: A Contested Concept,” (London: Sage, 2009), 301.
4. Elizabeth Grozs, Becoming Undone: Darwinian Reflections on Life, Politics, and Art. (London: Duke University Press, 2011), 33.
5. Manuel Arias-Maldonado, Environment and Society: Socionatural Relations in the Anthropocene, (New York: Springer, 2015), 21.
6. “Nature, a Character in Lars von Trier’s Works,” Cinema Scandinavia.Web.
7. Magdalena Zolkos, “Violent Affects: Nature and the Feminine in Lars Von Trier’s Antichrist,” Parrhesia 13 (2011): 180.
8. “Nature, a Character in Lars von Trier’s Works,” Cinema Scandinavia.Web.
9. “Leaf Litter,” National Gallery of Australia. Web.
10. “Cash Crop,” Art Gallery NSW. Web.
11. “Fiona Hall: Sydney Ambush,” Mahon Studio. Web.

The modern visual art of the 21st century can be characterized by its freedom from historical, conservative standards and innovative approach in different experiments with forms and techniques. The topic that I am most interested in exploring further is geometric art. Geometric art introduced by Picasso and Braque significantly influenced contemporary art in 21 century, and its influence will continue to grow with further development in new techniques and approaches to painting.

Firstly, I am interested in geometric art because it is abstract and straightforward in the visual aspect, but its simplicity does not diminish its creativity. Thus, through the use of simple shapes and forms, geometric art can be universally understood by everyone, but its perception will still be different for each viewer. Furthermore, I found it exciting how geometric art provides more opportunities for painters to use different eye-catching colors, therefore supporting different emotional responses in people depending on the colors used in the painting.

Considering different perspectives and applications in the exploration of the topic of geometric art, I intend to study the impact of geometric art in different industries. Design patterns are widely used in the everyday life of modern people. Thus, the application of geometric art and abstraction became more common in such industries as fashion and architecture. Furthermore, the modern era is characterized by high demand for consumer goods, packaging, and presentation, which is considered representative of the commercial direction of art. Geometric abstractions and patterns are often used in commercial art because their simple visual form does not carry additional semantic meaning while presenting sufficient decoration for the product. Thus, in my further research, I want to study the influence of geometric art on the modern fashion, architecture, and design industries to identify why geometric art is more applicable to commercial art.

Furthermore, I believe that geometric abstractions and commercial art will continue to develop in the future because of the rise of the globalization era. Globalization’s impact is generally associated with economics and business because these areas became the first to experience the positive effects of globalization. However, a higher level of communication between people from different cultures will ultimately influence all areas of people’s lives, including visual art. The essay mentioned how geometric art is universal because it is understandable to all people, regardless of their belonging to a particular culture. Globalization presents one of the reasons why I believe that geometric art will have a significant impact in the near future. For example, logos of well-known companies are gradually becoming universal symbols understandable to all people. Geometric art has similar potential in application in a multicultural environment, allowing people to experience the same emotions using different forms and colors in paintings.

In conclusion, this essay explored my interest in the topic of geometric art in contemporary 21 century art. The essay explains that my interest is sourced from the wide range of possible applications of this art form in different industries, such as fashion, architecture, and design. The current significance of the topic is connected with commercial art and digital abstraction art produced by computers and artificial intelligence programs. However, the essay also explains that geometric art will have more impact in the future in the conditions of globalization since geometric art allows a universal understanding of art by people from different backgrounds.

Abstract painters strive to capture the pinnacle and substance of what they perceive and experience – the crucial inner facts of life. Abstract painters aim to capture the ethereal, reveal the invisible, and portray the mystical rather than painting in a representational manner (National Gallery of Art Talks). The potential to express and explore abstract ideas exists in abstract art. Since no other species has the capacity to think, consider, and imagine in the abstract, this original concept has the potential to raise the art to a spiritual realm.

Contemporary artist Mark Bradford is well known for his enormous paper art movements. Bradford’s work examines socioeconomic and cultural mechanisms that objectify disadvantaged groups and the bodies of vulnerable groups (National Gallery of Art Talks). It is distinguished by its rich formal, material, and philosophical sophistication. The social connection method that Bradford uses to reinterpret objectifying social systems by bringing modern art and concepts into areas with little access to galleries and other cultural centers is just as crucial to his body of work.

Bradford has developed a distinct aesthetic language using commonplace items and equipment from the home improvement store aisles. Bradford’s work, which is commonly referred to as social abstraction, is founded on his conviction that every material and method has a more profound significance than just its potential for creative expression. His early experiments with endpapers, the tiny, translucent tissue papers used in hairdressing, led to the development of his distinctive handwriting; since then, he has begun experimenting with a variety of writing mediums, including maps, billboards, movie posters, graphic novels, and merchant posters that promote predatory services in underprivileged areas.

Bradford first applies a pre-selected picture on canvas that has been chosen for its historical relevance, then outlines it with rope or caulk before adhering to multiple layers of various papers. Using tools of civilization, the artist then bleeds profusely, diminishes, and excavates the surfaces of his artworks to disclose junctions between the layers of symbolic materials, changing and extending the painting material (National Gallery of Art Talks). Bradford combines a variety of influences, much as how the layers of colored paper that make up each picture are sliced, lacerated, and scraped away. The allocation of power within social systems and its effects on the individual are two universal topics that the artist has examined throughout his career, and they are once again prominent in this show.

Despite not neatly fitting into this story of freedom and revolution, abstract painting was an essential part of the time due to its emphasis on legal nuance, color, and more covert symbolism. Abstraction is, therefore, unquestionably pertinent to issues of identity or consciousness as a critical and existential examination, even if these issues are not immediately apparent to spectators. The rise of abstraction has also welcomed attention to lineage issues and previous transitional characters (National Gallery of Art Talks). Many things start out as abstractions before becoming painfully concrete in one’s daily existence and knowledge of being perceived and understood in a particular manner.

To summarize, rather than painting in a representational style, abstract painters seek to capture the ethereal, unveil the unseen, and express the mystical. Instead of painting in a realistic style, abstract painters seek to capture the ethereal, unveil the unseen, and express the mysterious. Using everyday objects and equipment from the home improvement shop aisles, Bradford has created a distinctive visual language. Much like the layers of colorful paper that make up each painting are cut, torn, and scraped away, Bradford blends a multitude of inspirations.

Work Cited

National Gallery of Art Talks. “Mark Bradford on Reimagining Modernist Art.” YouTube. 2022. Web.

Introduction

The series of paintings Rouen Cathedral of 1894, represents impressionism art. What distinguishes Rouen Cathedral paintings is the dense touch of color at different times of the day. Using thick layers of paint and varying aspects of light and shade, Rouen captures the cathedral’s façade at different times (Young, 2019). Therefore, relative to impressionism art, Rouen’s cathedral paintings emphasize the influence of lighting and color intensity on the perception of an object at a given time. Moreover, the brushwork on Cathedral paintings appears rough with broken, brightly colored patterns that are sketchy and loose. Characteristic of impressionism art, cathedral paintings have a high level of dissonance in regard to coloring, lighting, texture, and brushing patterns.

Discussion

The art collection Bar at the Folies-Bergeres by Eduard Manet is a masterpiece that substantially contributed to impressionism. Notably, scenes of urban leisure, spectacle, and moral deterioration are captured at the moment in the painting hence indicating impressionism features. Moreover, the exhibition creates a visual puzzle at first sight due to the varied multicomponent coloring and lighting. Although the components of the painting are indoors, contrary to impressionism, the color patterns and brushstrokes in Manet’s painting offer the bare impression of form, color, and emphasis (Roy, 2022). Ultimately, Bar at the Folies-Bergeres reflects an impressionism style typified by urban scenes, multi-pattern lighting, and coloring.

Contrastingly, the oil painting A Sunday Afternoon on the Island of La Grande Jatte by Georges Seurat, completed on a large canvas between 1884 and 1886, utilizes the post-impressionism style. Seurat’s art depicts people of different ages and color complexions relaxing in the suburban park of La Grande Jatte. However, the color mix in the painting is closely positioned and relative to create an arbitrary pattern and express forms. For instance, the landscape is distinguishable by the green and blue colorations of the grass and water body, respectively. People and pets in the art have an arbitrary color complexity and are seemingly relaxed. Additionally, the real-life subject of relaxing is highlighted by the geometric positioning of the people and the depiction of shadows. Authenticated by applying autocratic coloring and geometric patterns and conveying real-life subjects, A Sunday Afternoon on the Island of La Grande is a neo-impressionist art.

I would be most interested in contemporary pop art if I were visiting a museum. Developed in the 1950s, pop art is the latest type of painting characterized by recognizable images, bright colors, and intense use of irony and satire. Therefore, I resonate more with pop art than the other types, considering it is the most adjacent to my age group. The glamorous overall appearance of pop art is pleasant and engaging. Pop art is adopting more advanced mechanical techniques, such as silk screening (Kleiner, 2021). To me, utilizing found social or political phenomena and arranging them utilizing appropriation to express satire is contemporary ingenuity in art.

Conclusion

Abstract art is my last choice of art to view primarily due to undefined subjects and concepts. I find abstract art overhyped and thought-provoking due to the lack of subject. Anything without any subject but instead judged on overall outlook is less if not artistic. My natural desire for a clear meaning would render abstract art frustrating and valueless. Additionally, the lack of recognizable objects makes abstract art lack physical reality, making it challenging to distinguish the depth of thought behind it. Without any subject, representational or realistic visual sense, abstract art is overrated.

References

Kleiner, F. P. (2021). Gardner’s art through the ages: The western perspective, volume II (16th ed.). Cengage. ISBN: 9780357370391. Web.

Roy, U. (2022). The impressionist chronotope: Space and time in Katherine Mansfield and Édouard Manet’s art. IIS Univ.J.A., 11(1), 118-128. Web.

Young, M. (2019). Color in the Age of Impressionism: Commerce, technology, and art, by Laura Anne Kalba, University Park: Penn State University Press. Web.

Introduction

Modern art in Asia comprises artistic movements and styles that have developed in the region from the 1900s until the 1970s. They have been influenced by Western art movements and have often incorporated traditional Asian artistic techniques and subject matter. Overall, modern Asian art reflects the diverse cultural and artistic traditions of the region and shows the ways in which this legacy was influenced by Western art trends.

West Asia

“Mandala” by Kamal Boullata is an example of an abstract painting. It reimagines Arabic calligraphy and uses underlying mathematics and colors to express harmony and make cultural references to the artist’s Palestinian heritage. This artwork is modern because it uses patterning and geometry along with Islamic calligraphy. “Mandala” is different from other artworks in the gallery with its use of mathematics, design of elements, and precision.

South Asia

This mural by Amdo Jampa is one of his thangka paintings and contemporary mixed media works. It has visual qualities such as vibrant colors and intricate details of the nature and people depicted. This artwork is modern as it incorporates traditional Tibetan motifs and symbols, as well as elements of modern Western art. Jampa’s painting differs from other artworks with its unique Tibetan theme and attention to detail.

East Asia

This painting by Lee Ufan is characterized by minimalism and simplicity as the main visual qualities typical for modern Korean art. The painting consists of dots of paint that represent the fundamental unit of painting. The work is considered a modern meditation on the nature of painting and the act of creation in the cultural context. It differs from Jampa’s detailed painting and is similar to Boullata’s abstract painting.

Conclusion

Overall, modern Asian art encompasses a wide range of styles and movements. The artworks represented in the gallery showcase diversity as they represent different cultural identities, innovations, and various social themes. I hope the viewers have learned more about the unique modern Asian artists and their works.

History of Mosaics in Later Greek Art

Greek mosaic is known to have been an old practice. The practice of making floors through the placement of pebbles and cement plaster was common in early Greece. A unique principal characterized this form of art in Greece. For instance, all the decorated floors were usually confined to a unique principle whereby the dining room (the andron) and the anteroom were considered. A good example is the Pella Palace characterized by hypothetical floors.

Archeologists have indicated conclusively that pebbles were widely used by early Greeks to decorate floors during the Bronze Age. Incidentally, such flooring materials were embraced by other non-Greeks. For example, the use of pebbles as a unique flooring material was embraced in Anatolia from the eighth century BC.

Greek mosaic is a practice that began towards the end of the 5^th century BC. Several centuries later, the design of the Greek mosaics changed drastically to include concentric bands, geometric patterns, and figured decorations. Such decorations focused on a specific figured scene or motif. From the third century BC, the nature of these mosaics changed significantly with the use of pebbles dominating the practice. Analysts have argued strongly that the Greek mosaics were specifically aimed at achieving specific given goals such as honor and aesthetics.

Some scholars have argued that Greek mosaics were similar to fresco painting. This must have been the case because layers of course plasters were covered by a finer one. The pebbles were then set into this finer plaster. During the process, a complex figure could be drawn on the course plaster. This approach has been given the name of the light-on-dark principle. One unique attribute of these mosaics is that the artists never sorted the pebbles into different sizes. However, the stones were packed closely to hide the plaster. Smaller pebbles were used to achieve detailed modeling.

The Greeks went further to embrace a new concept known as red-figure. This concept was achieved through the harmony of the lines and by balancing the light figures on the dark background. This achievement is depicted by the Dionysus on a Panther from Building 2.

Analysts have observed that similar floors were common in North Greece. However, most of the artworks associated with the region emphasized the three-dimensionality. This approach improved the nature of the Greek mosaic thus encouraging more artists to pursue the practice for many years. According to Martin Robertson, pebble floors continued to include figure scenes in order to remain meaningful and spectacular. Heroes and natural sceneries were emphasized by Greek artists. The practice continued to take center-stage in Greece for many years. Historians believe that pebble mosaics had been used widely in public spaces and buildings. The practice was later embraced by private house-owners in an attempt to imitate such prestigious decorations.

Historians have shown conclusively that pebble mosaics were common in Olythos by the fourth century. The andron is where such pebble mosaics were largely concentrated. During the time, the andron was the only room characterized by a wall plaster. The pavements and walls were designed in an attempt to create something called a crescendo.

Private ostentation was achieved towards the end of the 5^th century. The use of mosaics in more houses is something that increased throughout the Hellenistic period. After the conquest of Greece by Alexander the Great, private luxury continued to grow. This was the case because more people became wealthier after Alexander’s conquests. After the Persian Empire was defeated, precious stones and metals from the royal treasures were available to more people.

Experts have gone further to argue that the great houses at Pella were built using the spoils from the famous Alexander’s campaigns. The Greeks were ready to spend this wealth on such decorations and lead lavish lifestyles.

Houses containing more than one dining room were seen to have such decorations. According to past studies, such strategies must have been embraced by the people to impress their visitors. Such rooms could have been used to host more friends and guests. The approach was critical towards expressing power and social differences. The size of decorated dining rooms was a clear distinction between the rich and the poor. A good example is the Vergina Palace that had numerous dining rooms.

From the early fourth century, artists began to use new materials such as glass and terracotta for different mosaics. Tessellated mosaics became common than ever before. The wealth associated with the Hellenistic period encouraged more people to spend money on such conspicuous consumptions. An individualistic ethos replaced the existing classical polis of the time. The social, economic, and political changes experienced during the time led to the proliferation of mosaics in Greece. During the same time, the government was left in the hands of politicians. Mercenaries were hired to protect more citizens.

The concept of individualism after Alexander’s death emerged due to the increasing tension and insecurity. The desire to invest in mosaics was seen as a source of comfort in a country that was faced by uncertainties.

Greek Mosaics and Modern Art

Experts define mosaic as the art whereby beautiful patterns or pictures are creating by setting small materials on a plastered surface. More often than, the practice is decorative in nature and can be achieved through the use of stone pebbles and marbles. This practice is believed to have been developed by the ancient Greeks. During the time, mosaics were employed as useful techniques for interior decorations.

However, the technique would be copied by other societies such as the Romans. After the Renaissance Period, mosaics became common since many Christian painters used the technique to come up with powerful masterpieces. A good example was the mosaic of the Byzantine Emperor Justinian the Great. Although fresco painting might have become the main form of art during the Renaissance Period, historians have observed that mosaic art continued to enjoy a healthy come-back throughout the 19^th and 20^th centuries.

The most outstanding fact is that the mosaics of the ancient Greeks have significantly influenced modern-day art. A revival of the technique occurred towards the end of the 19^th century. During this time, many public houses and buildings were decorated using marbles and mosaics thus giving the art practice a new meaning. A good example is the Westminster Catholic Cathedral (Fig 4) that is decorated using ceramic tiles.

Archeologists and historians have argued that several design styles have played a significant role in influencing modern mosaic art. For instance, the Gothic Revival is believed to have presented new art designs that continue to dominate the world of art even today.

It is undeniable that the mosaic continues to remain one of the popular crafts in different corners of the world. This has been the case because there are a number of organizations that promote this style of art. Some of these organizations include the Society of American Mosaic Artists (SAMA) and the British Association for Modern Mosaic (BAMM). These organizations have managed to come up with three unique types of mosaics. The first one is known as the direct method. This mosaic-building technique is completed when the artist affixes the materials onto the targeted surface. The artist might sketch the lines before decorating the object.

The indirect method, on the other hand, focuses on the use of sticky backings. The next stage is to affix the tiles or pebbles. This technique has been widely embraced because it makes it easier for artists to redesign and rework their masterpieces. The third method is known as the indirect mosaic creation. The pebbles or glass tiles are usually placed face-up unlike in the direct method. The influence of modern mosaics can be seen in great masterpieces such as the Bayeux Tapestry. This is a famous half-size mosaic depicting how the practice is presently embraced in many parts of the world. This masterpiece was created by Michael Linton from 1979 to 1999. The artwork is presently displayed in Geraldine, New Zealand.

How this Influence has Shaped the World of Design

Throughout the years, the mosaic is a powerful art that has shaped the world of design. Many aspects of human life are influenced or governed by the world of design. This ranges from different approaches to engineering, programming, art, and building.

The decorative world has benefited significantly from the mosaic. For instance, many designers and artists borrow a lot from Greek mosaics in order to produce masterpieces that can deliver the most desirable goals. Architects have continued to embrace the art style to design houses and buildings that are aesthetic in nature. Interior designers have not been left behind. With the Greek mosaic transforming the emotions and feelings of many people, modern painters have copied the idea in order to achieve similar results in the modern-day world.

Programmers and computer engineers have gone further to embrace the idea. Such programmers are able to design powerful software programs capable of producing superior artworks. Many firms have copied a lot from the style to produce a wide range of products such as clothes and consumer products. Manufacturing companies are also using robots to produce artistic products. The use of computer-aided designs is also making it easier for painters and artists to produce superior mosaics that capture the attention of many people.

Many buildings, landscapes, public spaces, walls, drawings, and living areas have benefited significantly from the concept of mosaic. The idea has been replicated by many people thus making mosaic a powerful artistic style that has been admired by many generations. That being the case, the mosaic remains a powerful style of art that continues to influence many professionals across the world. This means that the lessons learned from the ancient Greeks will continue to reshape the world of design for the next years.

Bibliography

Byzantine Emperor Justinian the Great. Wall plaster. 3m x 2m. Basilica of San Vitale, Ravenna.

Dionysus on a Panther. Pebbles on plaster. 130cm x 130 cm. Archaeological Museum of Pella, Athens.

Dunbabin, Katherine. Mosaics of the Greek and Roman world. Cambridge: Cambridge University Press, 2012.

Linton, Michael. Bayeux Tapestry. Cloth. 70000cm x 50 cm. Musée de la Tapisserie de Bayeux, Normandy.

Ludington, Townsend. A modern mosaic. New York: UNC Press, 2000.

Marconi, Clemente. The Oxford handbook of Greek and Roman art and architecture. Oxford: Oxford University Press, 2011.

Nassar, Mohammed. “The art of decorative mosaics (hunting scenes) from Madaba area during Byzantine Period (5^th – 6^th AD).” Mediterranean Archaeology and Archaeometry 13, no. 1 (2013): 67-76.

Robertson, Martin. “Early Greek mosaic.” Studies in the History of Art 10, no. 1 (1982): 240-249.

Westgate, Ruth. “Greek mosaics in their architectural and social context.” Bulletin of the Institute of Classical Studies 42, no. 1 (1998): 93-115.

Vergina Palace. Pebbles on plaster. 140m x 80m. The Royal Tombs and the Ancient City, Athens.

Observation, description, and location

Zhao Zhao’s Constellations are a series of art pieces made from glass (exhibit 3). Marks are created through gunshots. They are part of a series of art pieces with a similar form and content providing a trend in Zhao’s art (Zhao Zhao: Constellations 2013). Constellation II is an art piece from the series of marks created on glass, and placed on a steel background. It measures 59 x 47 ¼ inches or 150 x 120 cm.

Zhao Zhao’s sculpture of a police officer has been broken into multiple pieces. It was first displayed in Beijing. Later, it was confiscated by authorities. It was considered a mockery to the arrest of Weiwei. It is made of limestone. It has a smooth finishing. It is bigger than the size of a real human being.

It measures 860x180x180 cm. It is considered to portray the repression of the artist and Ai Weiwei by the authorities in China (Wade 2012). The accuracy of the depiction is admirable. A viewer can see clearly that the officer is Caucasian (exhibit 4). The sleekness of his suit represented by the smooth finishing is also admirable.

Zhao’s other painting is known as Devotion. It measures 300×250 cm. It is painted on canvas with oil paints. It is exhibited at the Chambers Fine Arts in New York. It shows two fish lifting up a bowl.

They are standing on the water surface with their tails submerged. The background has been painted with warm colors. It gives a feeling of excitement. There is a depiction of either the rising or setting sun. The reflection of sunlight and the fish’s shadow are creatively depicted on the water surface (exhibit 5). The artist uses smooth lines to portray the movement of water. The title is effective in directing the viewer into excitement.

Analysis

The first impression that I get from Sky No.3 (exhibit 1) is that of heavy nimbus clouds that appear during storms. The artist gives a stronger impression by the use of dark blue and black color instead of gray. The viewer is amazed by the brush strokes. Such heavy clouds are rarely seen in reality.

The viewer is filled with a feeling of wonder on the kind of storm that could follow such dark clouds. Even though the painter’s intention is to portray pollution, the viewer is more likely to perceive the picture as a storm about to occur.

The painter has softened the texture in Sky No.31 (exhibit 2) to expose less of the brush strokes. The marks of the brush in Sky No.3 show the presence of the painter more clearly than in Sky.31.

The hollows that allow light to pass in Sky No.3 have been reduced to tiny spots in Sky No.31. Zhao Zhao tends to use variations in the sky-view to make the viewer think about the changes that have occurred. Zhao’s painted skies are a depiction of the pollution in Beijing (Zhao Zhao: Constellations 2013).

The Constellations represent a series of art with the same content and form. Guns are not allowed in China. Zhao had to borrow a gun from an American friend when he received the inspiration. He shot through glass and created the beautiful patterns. The constellations were not his original intention.

The idea of constellations came up after seeing the beautiful patterns that he had created. It may give different impressions to different people. The constellations may appear as a presentation of micro-organisms as seen through the microscope to a biology student. The first impression that I get from Zhao’s Constellations are cracks in a wall. Steel is used as a background on the irregular shapes made of glass.

The irregular shapes give the portrayal that they have been made accidentally. A closer look shows that the different sizes and shapes have been made when forces of different magnitude are applied.

The bullets also appear to be of different sizes. At the right corner of Constellation II (exhibit 6), the cracks show that the bullet did not penetrate. The image at the center from the top mark shows the piercing object moved toward the viewer. The second image on the Constellations (exhibit 3) portrays the same conclusion.

The lines in the Constellations tend to move from one hole to the next. It appears like routes connecting to nodes. When the cracks are created at a certain angle, it gives a reflection of beautiful blue lines (exhibit 3, first image).

A look at Constellation XVIII (exhibit 7) changed my perception from the idea of constellations formed by the stars. It appears as a mark of excessive penetrations that create a different picture from constellations such as Orion, and Southern Cross. It brings the idea of the Ozone layer. Reports had earlier indicated it looks like a torn membrane. It shows that the artist’s political intentions in the Constellations and the Skies are similar.

It appears that Zhao Zhao prefers to use a series of portrayals of the same subject to depict the changes that have taken place over the subject. It makes viewers to understand his work more easily. His work also receives more appreciation as a result of the variations he creates from progressive forms of images. The use of a series of images is also seen in his simplistic depiction of Mouse Droppings.

It is more appreciable by creating contrast between Mouse Droppings No.1 and No.3 (exhibit 8 and 9). The intention of the artist is not clear at first sight but there are variations in the number of dots in different parts of the plane. It could be a depiction of varying population density between urban and rural areas. The combination of different colors in the picture brings a feeling of calmness.

Most of the titles in Zhao’s paintings give direction but do not directly expose the purpose of the painting. It could be because of the crackdown in China on artists who depict a political content. Zhao Zhao has been arrested twice. Weiwei has also been arrested (Wade 2012).

Zhao compared to some contemporary artists

Zhao’s form of the Skies and Francisco Villagram’s the King of the Aztecs 1 have a similarity of form (exhibit 10). Villagram prefers warm colors when Zhao extensively applies cool colors. Both artists prefer to announce their presence through the visible movement of the brush. When most of their works are considered, the two artists differ in content. Zhao appears to be an artist of political importance.

Villagram appears to give a sense of inner life. Villagram’s depiction of beauty and romantic scenes is exceptional. On the other hand, Zhao’s creativity on political matters is outstanding. Most of Villagram’s exhibitions have been hosted in New York and Mexico City. Zhao exhibitions are being held in different continents. Feng Feng, a Chinese contemporary artist, uses red color extensively.

He gives his painting a smooth finishing which does not expose brush strokes (exhibit 11). From the first impression, Feng’s paintings appear like portraits of ornaments. A closer look gives a different content. There is a sense of inner life (Feng Feng 2013).

Chinese contemporary art world

Ai Weiwei, who used to work with Zhao Zhao, has held many exhibitions across the globe in countries such as Japan, Italy, Australia, UK, and Germany (Ai Weiwei 2013). Zhao Zhao worked as Weiwei’s assistant for seven years following his graduation from the Xinjiang Institute of Arts. Zhao’s art has been exhibited in Berlin, New York, London, and Beijing. In his exhibitions, the Constellations are outstanding among his art.

In Beijing, they are used to elaborate on the content portrayed by “A Sense of Security III” (Jungle II: A Thriving Morphology – Zhao Zhao 2013). It appears that Weiwei has attracted global attention. Zhao Zhao tends to capture more attention by the uniqueness of his forms and subjects. His use of dark blue color in several paintings is impressive. The forms he has created on glass captures attention.

Comparing Chinese to American contemporary art

The “Blue & Yellow: swift transition of self” exhibition, held in London, drew a lot of interest. It was recognized to bring together paintings from about 100 Chinese Contemporary artists (Hui 2013). The London exhibition, together with other multiple exhibitions, indicates expanding interest in Chinese contemporary art.

The last decade has been marked by an increase in demand for Chinese contemporary art in global auctions. The prices of Chinese contemporary art increased 500 times within a 4-year period. It makes the prices to match those of artists from countries with high labor costs such as America, and Germany.

However, the prices of Chinese art declined by 50% in the first quarter of 2013 (Fontevecchia 2013). Chinese contemporary art global market share grew from 7.5% to 19.7% between 2004 and 2008.

A decade ago there was only one Chinese artist ranked among the top 100 global listing. In 2009, the number had increased to 34 Chinese artists compared to 20 American contemporary artists (Chinese Contemporary Art Today 2009). Fontevecchia (2013) reports that 4 Chinese artists appeared in the top 10 list in 2012.

In 2013, 9 Europeans and 1 American appeared on the top 10 best selling listing. Jean-Michel Basquiat, the only American, ranked fifth. He had pieces of art worth $42.3 million sold (Fontevecchia 2013). Demand for Chinese contemporary art has declined in 2013.

America and UK still rank higher than China in the global market. China is considered the third. Its financial strength has made auction houses in China to be more successful.

The success is enhanced by China allowing foreigners to establish auction houses different from what existed before (Chinese Contemporary Art Today 2009). Compared to Americans, Chinese have a stronger preference for old masters’ art than for contemporary art (Fontevecchia 2013).

Conclusion

The repression of political artists in China has made artists to set their exhibitions in countries that allow the free expression of art. It has made Zhao and Weiwei extend their art to more liberal countries. China is gaining recognition in influencing the global art market.

Its successful economy generates curiosity to capture its contemporary art. Its recognition as an influential economy has given its contemporary artists an advantage. The number of Chinese contemporary artists and its financial capabilities may allow it to be the next market leader.

Bibliography

“Ai Weiwei.” 2013. The Victor Pinchuk Foundation. Web.

“Chinese Contemporary Art Today.” 2009. Artprice. Web

“Feng Feng.” 2013. Art Scene China. Web.

Fontevecchia, Agustino. 2013. “China Brings Down Global Art Market In Q1 But U.S. And Europe Feed The Bulls.” Forbes. Web.

Hui, Lu. 2013. “Paintings Shows Draws London Closer to Chinese Contemporary Art.” Xinhua English News. Web.

“Jungle II: A Thriving Morphology – Zhao Zhao: A Sense of Security III.” 2013. Platform China. Web.

Wade, Samuel. 2012, “Ai Weiwei Protégé Zhao Zhao under Pressure.” China Digital Times. Web.

“Zhao Zhao: Constellations.” 2013. Art Forum. Web.

“Zhao Zhao.” 2013. The Victor Pinchuk Foundation. Web.

Appendices

Exhibit 3, The Constellations, 150×120 cm each, glass and steel.

Photographed at the Fine Arts Chambers New York