漢字藝術與SERIES & MULTIPLES實驗研究與探索
Series and Multiples
If you're struggling to communicate a large concept in design, consider using a series of compositions as the solution. Series and multiples can help to communicate larger ideas, to include specificity, and to show progression. A series represents a sum of the parts like a single object or manifestation of an idea never could.
Multiple refers to a series of identical artworks,
usually a signed limited edition made specifically for selling
Series in Modern Art
a multi-disciplinary dialog
Semiotics is the study of the effects of signs and symbols on the human mind. The science follows the patterns of human recognition and connection of images. These connections are made subconsciously within the mind. These works, by using the principals of semotics are able to communicate vast conceptual depths, with simplified shapes and forms.
Describe your image
Artist: Art & Language (British, born 1968)
Title: Painting-Sculpture, 1966
Medium: alkyd paint on masonite, in two parts
Size: 89 x 58 cm. (35 x 22.8 in.)
John Baldessari, I Will Not Make Any More Boring Art, 1971, lithograph, 57 x 76.4 cm (The Museum of Modern Art) © John Baldessari, courtesy of the artist
Art & Language is a shifting collaboration among conceptual artists that has undergone many changes since its inception in the late 1960s. Their early work, as well as their journal Art-Language, first published in 1969, is regarded as an important influence on much conceptual art both in the United Kingdom and in the United States.
ART AND LANGUAGE - 大陆无法播放
Reading and writing are doomed.
Literacy as we know it is over.
Welcome to the post-literate future.
Read the e-book:
Beyond Literacy: Exploring a Post-Literate Future
後文字社會/Beyond Literacy - Mike Ridley- 大陆无法播放
Mike Ridley, chief librarian with the University of Guelph, thinks that we should look beyond reading and writing. "You are a prisoner of the alphabet." What comes after? Mike offers some interesting solutions.
Tell Mike how much you loved his talk by tweeting him @mridley -https://twitter.com/mridley
Video done by Merc Media - http://merc-media.com/
Audio done by Synndicus - http://synndicus.com/
Ignite Guelph 3 happened on Tuesday March 11th to a sold out crowd. Don't miss the next one! Watch http://igniteguelph.ca for details
Contemporary art is the art of today, produced in the second half of the 20th century or in the 21st century.
Contemporary artists work in a globally influenced, culturally diverse, and technologically advancing world.
In the West, letters as contemporary art have been developed for nearly a century.
144 X 144 X 72 IN.
(365.7 X 365.7 X 182.9 CM.)
INSTALLATION ON AVENUE OF THE AMERICAS IN NEW YORK CITY
“The “LOVE Sculpture” is the culmination of ten years of work based on the original premise that the word is an appropriated and usable element of art, just as Picasso and the Cubists made use of it at the beginning of the century, which evolved inevitably, in both my “LOVE” paintings and sculpture, into the concept that the word is also a fit and viable subject for art.
For me it was the drawing of a circle back to the beginnings of my known work, which were the wooden constructions that I started in the fifties. I thought of myself as a painter and a poet and became a sculptor because the raw materials were lying outside my studio door on the lower Manhattan waterfront. The old beams from the demolished warehouses cut down and sat upright as stelae had the breadth to bear just one word, such as “Moon” or “Orb,” or “Soul” and “Mate,” as did some of my first word paintings, i.e. the diptych panels “Eat” and “Die,” but the sheer expanse of the wide canvases led to the proliferation of the word and whole passages and wheels of words appeared.
With “LOVE” it was back to the single word and also a return, after several years of paintings with the circle the dominant form, to the quartered canvas, or, in this case, structure. An earlier preoccupation, it is manifest in the Museum of Modern Art’s “American Dream,” which originally had no words, no numbers, no stars nor stripes, but four discs arranged on a structured field.
Here the quartered field is filled with the four letters of love, as compactly and economically as possible, but with my interest in the circle still called to mind by the tilted o.”
— Robert Indiana
Published in Art Now: New York, March 1969.
Indiana, Robert, 1928-
Sculptor, Painter, Printmaker
Walid Raad, Letters to the Reader (1864, 1877, 1916, 1923), 2014
mixed media technique, wymiary zmienne cm
courtesy of the artist and Sfeir-Semler Gallery, Hamburg/Beirut
In her first solo exhibition with the gallery, Gyongy Laky will present a series of work examining our complex relationship with nature. Sculptural pieces containing words, letters, and symbols are made of painted and stained branches and twigs combined with screws, nails, wires, and plastic figurines.
This show will feature a selection of work exploring on the transitional space between visual and textual aspects of Laky’s work, such as Writing on the Wall, a grid of wooden objects seemingly shifting between two symbolic information codes. The organic essence of the natural wood contrasted with the spiky industrial elements draws upon the ambivalence of the natural and artificial, organic and industrial, and encapsulate co-existing feelings of violence and serenity, aggression and sanctuary.
Born in Budapest, Hungary, in 1944, Gyongy Laky studied at UC Berkeley where she earned both her B.A. and M.A.degrees (B.A., 1970 and M.A., 1971). She has exhibited in museums and galleries throughout the United States and internationally in France, Sweden, Italy, Spain, Denmark, Holland, Switzerland, Hungary, Lithuania, Colombia, the Philippines, China, and England.