Characteristics of contemporary art slideshare

The turn of the 20th century was a time rife with change, chiefly in the way in which people began to perceive civilization as a whole and its overall goal.

What followed from this was a litany of artistic movements that strived to find their places in an ever-changing world. Often thought of as a necessitous precursor to the plentiful art movements formed under the Modernist umbrella, Post-Impressionism had its start in the waning years of the 19th century.

This famous avant-garde movement is credited with being one of the first of its kind to prosper at the start of the 20th century. Pioneered by Henri Matisse, Fauvism owed a significant debt to Impressionism, as it exhibited vibrant colors in order to capture landscapes and still-lifes. However, it became its own movement as Fauvists, such as Matisse, instilled a heightened sense of emotionalism into their paintings, often utilizing crude and blatant brushstrokes and vivid colors straight from their tubes that at first appalled audiences.

Possibly the best-known art movement of the Modernist era, Cubism has come to be associated with one name in particular, Pablo Picasso. However, the movement did not receive its name untilwhen, art critic Louis Vauxcelles again! The central aims of Cubists were to discard the conventions of the past to merely mimic nature and to start in a new vein to highlight the flat dimensionality of the canvas.

This effect was achieved through the use of various conflicting vantage points the paint pictures of common objects such as musical instruments, pitchers, bottles, and the human figure.

As they progressed in their work, Braque and Picasso adopted the use of a monochromatic scale to emphasize their focus on the inherent structure of their works. Though commonly associated with painting, Cubism had lasting effects on many sculptors and architects of the time.

Perhaps one of the most controversial movements of the Modernist era was Futurism, which, at a cursory glance, likened humans to machines and vice versa in order to embrace change, speed, and innovation in society while discarding artistic and cultural forms and traditions of the past. However, at the center of the Futurist platform was an endorsement of war and misogyny.

Futurism—coined in a manifesto by Filippo Marinetti—was not limited to just one art form, but in fact was embraced by sculptors, architects, painters, and writers.

Paintings were typically of automobiles, trains, animals, dancers, and large crowds; and painters borrowed the fragmented and intersecting planes from Cubism in combination with the vibrant and expressive colors of Fauvism in order to glorify the virtues of speed and dynamic movement.

Writers focused on ridding their poetry of what they saw as unnecessary elements such as adjectives and adverbs so that the emphasis could rest on the action of infinitive verbs. This technique in conjunction with the integration of mathematical symbols allowed them to make more declarative statements with a great sense of audacity.

Although originally ardent in their affirmation of the virtues of war, the Futurists lost steam as the devastation of WWI became realized.

A specifically English artistic movement, since its mouthpiece was the famed London-based magazine BlastVorticism followed in the same vein as Futurism in that it relished in the innovative advances of the machine age and embraced the possible virtues of dynamic change that were to follow. However, whereas the Futurists originated in France and Italy and then sprawled out over the continent to Russia, Vorticism remained local in London.

Vorticists prided themselves on being independent of similar movements. In their literature, they utilized bare-bones vocabulary that resonated in likeness to the mechanical forms found in English shipyards and factories, and, in their writings as well as their paintings, Vorticists espoused abstraction as the only way to sever ties with the dominant and suffocating Victorian past so that they could advance to a new era.

However, Vorticism, like Futurism, struggled to cope with the incomprehensible destruction during WWI that was a result of the new machines which they so highly praised. Hulme and Gaudler-Brzeska, died in action, Vorticism shriveled to a small few by the beginning of the s.

Often credited with serving as the impetus for the movement is Vladimir Tatlin, who inwhile studying in Paris, was highly influenced by the geometric constructions of Picasso. After migrating back to Russia, he, along with Antoine Pevsner and Naum Gabo, published the Realist Manifesto inwhich, like the Futurists and Vorticists, declared an admiration of machines and technology as well as their functionalism.

Therefore, they worked mainly with ceramics, fashion design, graphics, and in architecture. As Soviet opposition to their movement increased, many Constructivists fled from Russia and inspired the movement is Western countries such as Germany, France, and England, where they gained a great deal of significance. Another uniquely Russian Modernist movement was Suprematism, started conjointly with Constructivism, though with a stronger emphasis and embracement of the abstraction capable by painting on a canvas.

It is denoted as the first movement to utilize pure geometrical abstraction in painting. Kazimir Malevich is viewed as its founder, as he, along with the input of many of his contemporaries, authored the Suprematist manifesto.

Suprematism was often imbued with spiritual and mystic undertones that added to its abstraction, and, as was the case with Constructivism, the movement essentially came to complete end as Soviet oppression increased.

The movement also had a great deal of influence from Parisian Cubism, though members of De Stijl felt that Picasso and Braque failed to go far enough into the realm of pure abstraction. They, like Suprematists, worked mainly in an abstract style and with unadorned shapes—such as straight lines, intersecting plane surfaces, and basic geometrical figures—and the primary colors and neutrals.

Characteristics of Contemporary Collection- Semiotic Analysis

With these techniques, they sought to investigate the laws of equilibrium apparent in both life and art.Note: Words in bold below are defined in the glossary for this curriculum see "For the Classroom" links. Strictly speaking, the term " contemporary art" refers to art made and produced by artists living today. Today's artists work in and respond to a global environment that is culturally diverse, technologically advancing, and multifaceted.

Contemporary Art, an introduction

Working in a wide range of mediumscontemporary artists often reflect and comment on modern-day society. When engaging with contemporary art, viewers are challenged to set aside questions such as, "Is a work of art good? Since the early 20th century, some artists have turned away from realistic representation and the depiction of the human figure, and have moved increasingly towards abstraction.

In New York City after World War II, the art world coined the term "abstract expressionism" to characterize an art movement that was neither completely abstractnor expressionistic. Nevertheless, the movement challenged artists to place more emphasis on the process of making art rather than the final product.

Artists like Jackson Pollock brought art-making to choreographic heights by dripping paint in grand yet spontaneous gestures. As one critic noted, the canvas was an arena in which to act—"what was going on in the canvas was not a picture but an event. Contemporary artists working within the postmodern movement reject the concept of mainstream art and embrace the notion of "artistic pluralism," the acceptance of a variety of artistic intentions and styles.

Whether influenced by or grounded in performance art, pop art, Minimalism, conceptual artor video, contemporary artists pull from an infinite variety of materials, sources, and styles to create art. For this reason, it is difficult to briefly summarize and accurately reflect the complexity of concepts and materials used by contemporary artists. This overview highlights a few of the contemporary artists whose work is on view at the Getty Museum and the concepts they explore in their work.

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Contemporary artists, like many artists that preceded them, may acknowledge and find inspiration in art works from previous time periods in both subject matter and formal elements.

Sometimes this inspiration takes the form of appropriation. Using modern-day materials ink-jet printing mounted on a fiberglass panelBaldessari juxtaposed the original image with a piece of sculpture in the form of a giant steel pin. By inserting the steel pin into the canvas, Baldessari combines mediums in a very modern way.

In the s, artists began to turn to the medium of video to redefine fine art. Through video art, many artists have challenged preconceived notions of art as high priced, high-brow, and only decipherable by elite members of society. Video art is not necessarily a type of art that individuals would want to own, but rather an experience.

Continuing the trend of redefining earlier ideas and ideals about art, some contemporary video artists are seeking to do away with the notion of art as a commodity.

Artists turning to video have used the art form as a tool for change, a medium for ideas. Some video art openly acknowledges the power of the medium of television and the Internet, thus opening the doors of the art world to the masses. Such artists seek to elevate the process of creating art and move beyond the notion that art should only be valued as an aesthetically pleasing product. Video art exemplifies this, for the viewer watches the work as it is actually being made; they watch as the process unfolds.

Using innovative video technologies, participants can sit on replicas of 18th-century French chairs and watch television screens in which they are virtually inserted in historic recreations of 18th-century French spaces.

While traditional works of art are in galleries with signs that say "Do not touch," Cohen invites you to physically participate. In this way, the viewer becomes part of the work of art. Robert Irwin is another artist who sought to involve the viewer, as seen in his garden at the Getty Center. In the Central Garden, which Irwin has playfully termed "a sculpture in the form of a garden aspiring to be art," viewers can experience a maze-like configuration of plants, stones, and water.

Here visitors get completely immersed in the sensation of being within the work of art. The sense of smell, touch, and sound are juxtaposed with the colors and textures of the garden. All of the foliage and materials of the garden were selected to accentuate the interplay of light, color, and reflection.

A statement by Irwin, "Always changing, never twice the same," is carved into the plaza floor, reminding visitors of the ever-changing nature of this living work of art. In this way, Irwin subverts the idea that a work of art should be paint on a canvas. Rather, nature can be art. By creating a garden specifically designed for the Getty Center, Irwin engages in site-specific art. In the case of Irwin's garden and Martin Puryear's That Profile also on view at the Getty Centerworks of art are commissioned by museums to enhance and incorporate their surrounding environments.And What Replaced it?

Movement In Squares Eiffel TowerChamp de Mars, Paris. An icon of modernist architecture designed by Gustave Eiffel. What is Modern Art?

characteristics of contemporary art slideshare

There is no precise definition of the term "Modern Art": it remains an elastic term, which can accomodate a variety of meanings. This is not too surprising, since we are constantly moving forward in time, and what is considered "modern painting" or "modern sculpture" today, may not be seen as modern in fifty years time.

Even so, it is traditional to say that "Modern Art" means works produced during the approximate period This "Modern era" followed a long period of domination by Renaissance-inspired academic artpromoted by the network of European Academies of Fine Art.

And is itself followed by " Contemporary Art " onwardsthe more avant-garde of which is also called " Postmodern Art ".

This chronology accords with the view of many art critics and institutions, but not all. Also, neither they, nor the Museum of Modern Art in New York, make any distinction between "modernist" and "postmodernist" works: instead, they see both as phases of "Modern Art".

Incidentally, when trying to understand the history of art it's important to recognize that art does not change overnight, but rather reflects wider and slower changes taking place in society. It also reflects the outlook of the artist. Thus, for example, a work of art produced as early as might be decidedly "postmodernist" if the artist has a very avant-garde outlook - a good example is Yves Klein's Nouveau Realisme ; while another work, created by a conservative artist inmight be seen as a throw-back to the time of "Modern Art" rather than an example of "Contemporary Art".

In fact, it's probably true to say that several different strands of art - meaning several sets of aestheticssome hypermodern, some old-fashioned - may co-exist at any one time. Also, it's worth remembering that many of these terms like "Modern Art" are only invented after the event, from the vantage point of hindsight. NOTE: The s is generally seen as the decade when artistic values gradually changed, from "modernist" to "postmodernist". This means that for a period of time both sets of values co-existed with each other.

For important dates, see: History of Art Timeline 2. What were the Origins of Modern Art? To understand how "modern art" began, a little historical background is useful. The 19th century was a time of significant and rapidly increasing change. As a result of the Industrial Revolution c. Towns and cities swelled and prospered as people left the land to populate urban factories.

These industry-inspired social changes led to greater prosperity but also cramped and crowded living conditions for most workers. In turn, this led to: more demand for urban architecture; more demand for applied art and design - see, for instance the Bauhaus School - and the emergence of a new class of wealthy entrepreneurs who became art collectors and patrons.Copy embed code:.

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It was this period of the late s which saw major socio-economic, cultural, political and also educational changes the world over, which undoubtedly influenced art, amongst many other productive fields. Contemporary artists chose to highlight the idea or impulse behind their work rather than concentrate on the medium or method used. They unlike earlier artists were not deterred by the thought of using various media and techniques in combination. Nishita Kedia Architecture and Contemporary Art : Architecture and Contemporary Art The interactive relations between contemporary art and contemporary architecture bring about a brand-new concept of art In the meantime, the definition and function of the architecture are changing constantly with the development of contemporary art.

Nishita Kedia PowerPoint Presentation: Contemporary architecture is the architecture being made at the present time. It also includes that of the last few decades, from the s to the present. The majority of residential structures are 1 to 3 stories. Industrial and commercial structures have a wide variety of levels. Nishita Kedia PowerPoint Presentation: Ideal House Zaha Hadid approached this cube as a huge block to be hollowed out and morphed into a charming sequence of rooms that lead into one another and also open up wide to the outside.

The two-story structure has no roof, the walls and furniture appear to grow directly out of a floor that in some cases is totally uneven, and the ceiling is an arched sky. It is his first building for the performing arts. Nishita Kedia PowerPoint Presentation: Blobitecture from blob architecture, blobism or blobismus are terms for a current movement in architecture in which buildings have an organic, amoeba-shaped, bulging form.

Nishita Kedia PowerPoint Presentation: Computer-Aided Design CAD is the use of computer technology to aid in the design of a product, particularly the drafting of a part or the product—a part visual drawing and part symbol method of communications particular to a specific technical field.

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It is in origination, the use of computers to aid the art of drafting—the integral communications of technical drawings — which for a three dimensional object are typically represented by three projected views at right angles —drafting is the Industrial arts sub-discipline which underlies all involved technical endeavors.

Nishita Kedia PowerPoint Presentation: Critical regionalism is an approach to architecture that strives to counter the placeless ness and lack of meaning in Modern Architecture by using contextual forces to give a sense of place and meaning. Nishita Kedia PowerPoint Presentation: Deconstructivism in architecture, also called deconstructionis a development of postmodern architecture that began in the late s. It is characterized by ideas of fragmentation, an interest in manipulating ideas of a structure's surface or skin, non-rectilinear shapes which serve to distort and dislocate some of the elements of architecture, such as structure and envelope.

The finished visual appearance of buildings that exhibit the many deconstructivist "styles" is characterized by a stimulating unpredictability and a controlled chaos. Libeskind's Imperial War Museum North in Manchester comprises three apparently intersecting curved volumes.

Nishita Kedia PowerPoint Presentation: Sustainable design also referred to as "green design", "eco-design", or "design for environment" is the art of designing physical objects and the built environment to comply with the principles of economic, social, and ecological sustainability. Nishita Kedia PowerPoint Presentation: An architectural style that emerged in the s, incorporating elements of high-tech industry and technology into building design.

High-tech architecture appeared as a revamped modernism, an extension of those previous ideas aided by even more advances in technological achievements. In a broader sense, early modern architecture began at the turn of the 20th century with efforts to reconcile the principles underlying architectural design with rapid technological advancement and the modernization of society.

What Are the Characteristics of Modern Drama?

Many examples of novelty architecture take the form of buildings that resemble the products sold inside to attract drive-by customers.

Postmodernity in architecture is generally thought to be heralded by the return of "wit, ornament and reference" to architecture in response to the formalism of the International Style of modernism. Nishita Kedia.

Follow us on:. Go to Application. US Go Premium. PowerPoint Templates. Upload from Desktop Single File Upload. Lecture 1- Contemporary Architecture nishitakedia Post to :.

URL :.It is important to make a clarification because contemporary art or modern art does not refer to the art of the modern age since it comprises a historical period before the current from the fifteenth to the eighteenth century. While contemporary art, as mentioned above, includes the period from the late nineteenth century to the middle of the second half of the twentieth century. It is essential to mention that this artistic period had its beginnings during the 19th century with impressionism and post-impressionism.

It is said that contemporary art represents an artistic revolution, but it certainly expresses a historical moment of social and intellectual changes. At the end of the 19th century, Europe was traversed by a social, economic and political disorder that led to the First World War. There the first artistic avant-gardes emerge. It comprises the first of the expressions of contemporary art. Its name refers to a group of French painters who in filled the Paris autumn salon with works.

The specific characteristics of Fauvism are aggression in the use of colors basically primary, complementary along with garish tones and their autonomy in relation to shapes. Type of thick and pasted brushstrokes. They do not try to imitate reality but rather give a unique imprint to each work showing the emotional charge of the artist. They put emphasis on the expressions of the I and the emotional attitudes.

The colors are more violent and the content has a symbolic tint. Start playing with the focus of the canvas. Thus, it raises a multiplicity of points of view. Some authors speak of 2 stages:. This style aims to show the manifestation of the movement, the speed and the rhythmic repetition of the objects on the canvas.

Many authors suggest that this current is within cubism. However, the difference is that art is of a more abstract type and is constructed from geometry. This current is based on two-dimensionality, use of straight lines and primary colors. Its objective is to divest itself of the particular to manifest the purity of art. These so-called second vanguards appear after the 2nd World War. There, and as an expression of a revolutionized society and capitalist consumption, art begins to have an ironic and funny tone.The modern drama is characterized by its unique subject matter like the romanticism of the poor, the strict depiction of real life and the use of symbols, imagery and metaphors.

Although modern drama evolved over time, its theme of using theater to challenge and experiment upon social norms remained constant. The first phase of modern drama began in the late 19th century with the rise of romanticism. Like other modernist plays, romantic productions focused on the stories of those who inhabited the lower rungs of the social ladder. However, where later modernist drama movements would attempt to portray these stories as truthfully as possible, romantic plays exaggerated, dramatized, warped and romanticized the character's lives for the theater.

Realism was the second phase of modern drama. Realism used the same subject matter as romanticism.

characteristics of contemporary art slideshare

However, the two movements differ in that realism did not attempt to romanticize its subjects lives. Realism theater sets, costumes and props, were made to mirror their real-life counterparts.

Realism strived to eliminate the distance between the audience and the stage by making its productions mimic real life as close as possible. Naturalism exhibits the same characteristics of realism. However, naturalist plays removed the dramatic elements of theater in an effort to present a real-life moment of its subjects.

Naturalist plays were therefore considered "slice of life" plays because they rarely changed their settings, and the time span of the play mirrored the passing of time for the audience. Home World View. What Are the Characteristics of Renaissance Art? What Are Characteristics of Greek Literature?

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What Are the Characteristics of Modern Poetry?In art, modern and contemporary forms are largely interchangeable. Actually, this art form is considered contemporary. Modern and contemporary art are art forms of two different times. Modern art refers to the period that began in the s and that lasted until the s. Contemporary art can be said to be the art that was developed after the s and is still emerging.

Artists like Van Gogh and Manet are credited with revolutionizing the art in the s and giving a new realm to it. Modern art broke away from the conventional forms of art.

characteristics of contemporary art slideshare

They emphasized on the subjective representation of subjects rather than focusing on realism that was prevalent before the s. Modern art had its unique style and reflected the inner and the outer world. Modern art focused on surrealism rather than depicted life as perceived by the church or the influential in society. Contemporary art is one created by artists who are still living. The late s saw major social, political, and cultural reformations across the world which had greatly influenced this art form.

There was no rigid form in contemporary art, but some rigid forms could be seen in modern art.

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Every topic of relevant significance like globalization, global warming, human rights, environmental destruction were reflected in the contemporary arts. Unlike modern art, contemporary art has some social impact. Moreover, contemporary artists had significant freedom and liberty to experiment with all styles. Modern artists tend to find the pure idea of art.

Contemporary artists are very liberal in their attitudes, and they are least concerned about purity in art. Cite Prabhat S. June 13, Name required. Email required. Please note: comment moderation is enabled and may delay your comment. There is no need to resubmit your comment. Notify me of followup comments via e-mail.

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