tsuomela + modern-art   64

How Paris Gave Rise to Cubism (and Picasso): Ambiguity and Fragmentation in Radical Innovation
"In structural analyses of innovation, one substantive question looms large: What makes radical innovation possible if peripheral actors are more likely to originate radical ideas but are poorly positioned to promote them? An inductive study of the rise of Cubism, a revolutionary paradigm that overthrew classic principles of representation in art, results in a model where not only the periphery moves toward the core through collective action, as typically asserted, but the core also moves toward the periphery, becoming more receptive to radical ideas. The fragmentation of the art market in early 20th-century Paris served as the trigger. The proliferation of market niches and growing ambiguity over evaluation standards dramatically reduced the costs of experimentation in the periphery and the ability of the core to suppress radical ideas. A multilevel analysis linking individual creativity, peer networks, and the art field reveals how market developments fostered Spanish Cubist Pablo Picasso's experiments and facilitated their diffusion in the absence of public support, a coherent movement, and even his active involvement. If past research attests to the importance of framing innovations and mobilizing resources in their support, this study brings attention to shifts in the structure of opportunities to do so."
art  innovation  culture  context  creativity  modern-art 
august 2013 by tsuomela
The Picasso Effect — Medium
"It’s not that Picasso’s talent was immaterial to Cubism’s success – far from it. It’s that his talents were perfectly suited to the movement of the market. In a world that was increasingly rewarding experimentation, he was more energetically experimental than his peers: he made over seven hundred sketches of Les Demoiselles before settling on one that satisfied him. In an art scene that was becoming more open to diverse influences, he looked further afield than most of his competitors, to ancient Etruscan and African art. In a milieu that romanticised the exotic, he was a mysterious, black-eyed Spanish immigrant who spoke barely any French. At a time when it was cool to bend the rules of art, Picasso smashed every one. For radical innovation to succeed, the moment has to be moving towards the innovator. But the innovator must still reach out and seize the moment."
art  innovation  culture  context  creativity  modern-art 
august 2013 by tsuomela
Prolapsarian A Letter to Goldsmiths art students on capitalism, art and pseudo-critique
"The pseudo-critical stance of these artworks makes a mistake in terms of the object of its critique: again and again, what is called into question is “capitalism”, which is taken to be some conceptual whole, plucked from the heaven of ideas, and imported directly into the artwork as an object of ridicule. The type of capitalism that is the object of critique is seemingly a wholly abstract thing. Capitalism exists for these artworks not as an historical process, a dynamic governing relations between people, and between people and nature, but instead merely as a critical concept, pristine from the theory tool-box. It is not the capitalism that might be known from the experience of exploitation, the submission of humans to the laws of value. It isn’t a capitalism that holds within it technical determinations, not one that leaves historical traces of the destruction it wrought, not one that weighs more heavily on us with that every life it crushed. Instead, it is a “capitalism” borrowed from the pages of the latest offerings of Semiotext(e) or ZeroBooks. "
art  conceptual  modern-art  critique  capitalism  from instapaper
july 2013 by tsuomela
The Line Between A and B
"A’s were reserved for new music broad enough in its appeal to cross boundaries. I was occasionally called on the carpet, gently, for grade inflation, for being too liberal with my A’s, because I couldn’t stomach giving a superb recording of a Cage chance piece, or a wonderful Niblock drone piece, a B just because its potential audience seemed limited. I fudged." Annotated link http://www.diigo.com/bookmark/http://www.artsjournal.com/postclassic/2012/07/the-line-between-a-and-b.html
art  music  evaluation  grading  reviews  modern-art  difficulty  aesthetics  sharing  from delicious
july 2012 by tsuomela
NEXT Architects - Modern Architecture Game
The Modern Architecture Game is the second edition of the architecture game. The first edition was launched on 30 August 1999. It was the first project collaboration involving the four partners at NEXT architects and was distributed in the private environment of Delft University of Technology.
game  architecture  modern  modern-art  from delicious
may 2012 by tsuomela
MASS MoCA - Katharina Grosse: One Floor Up More Highly
At MASS MoCA the artist has applied her atmospheric veils of paint to four mounds of soil which seem to spill from the upper balcony into the enormous space below. Stacks of Styrofoam shards rise out of the seductive mountains of color, mirroring the white of the gallery walls -- the metaphorical canvas of Grosse's tremendous painting. While the sprawling installation provokes associations with a psychedelic, glacial landscape, Grosse's work is not representational.
art  sculpture  design  modern-art  state(Massachusetts)  museum  contemporary  2011  from delicious
february 2012 by tsuomela
[1106.1915] Abstract art grandmasters score like class D amateurs
"Hawley-Dolan and Winner had asked the art students to compare paintings by abstract artists with paintings made by a child or by an animal. In 67% of the cases, art students said that the painting by a renowned artist is better. I compare this with the winning probability of the chessplayers of different ratings. I conclude that the great artists score on the level of class D amateurs. "
art  amateur  professional  judgment  abstract-art  modern-art 
july 2011 by tsuomela
Seeing the Mind Behind the Art - People can distinguish abstract expressionist paintings from highly similar paintings by children, chimps, monkeys, and elephants
Museumgoers often scoff that costly abstract expressionist paintings could have been made by a child and have mistaken paintings by chimpanzees for professional art. To test whether people really conflate paintings by professionals with paintings by children and animals, we showed art and nonart students paired images, one by an abstract expressionist and one by a child or animal, and asked which they liked more and which they judged as better. The first set of pairs was presented without labels
psychology  experiments  art  modern-art  abstract-art  aesthetics  judgment  value  visual  perception 
june 2011 by tsuomela
Being Blog - One Hundred Million Seeds of Porcelain Contemplation
Chinese artist Ai Weiwei’s latest installation at the Tate Modern is an incredible feat: one hundred million hand-painted pieces of porcelain that resemble the shells of sunflower seeds.
art  modern-art  installation  museum(TateModern)  sculpture 
october 2010 by tsuomela
Frieze Magazine | Archive | World Perfect
Ralph Rugoff comments on the photographs of Andreas Gursky - connecting them to commercial packaging, monuments, photomontage, and consumer religion.
photography  art  modern-art  review  criticism  gursky  andreas 
december 2009 by tsuomela
'Anyone could paint that' and 7 other myths about art | csmonitor.com
Myths: reproductions or online viewing is accurate, a lot of discussion = good, anything can be art, value is completely subjective, i don't know enough to talk about it, anyone could do that, elitism rules the art world, most artists are 'ahead of their time'
modern-art  art  aesthetics  myths 
august 2009 by tsuomela
Review of 4 art exhibitions : Picasso: Mosqueteros--Gagosian Gallery
Younger Than Jesus--New Museum
The Pictures Generation, 1974-1984--Metropolitan Museum of Art
Compass in Hand--Museum of Modern Art
art  modern-art  criticism  postmodern  passion  painting  2009  emotion 
august 2009 by tsuomela
Rice University Webcasts: President's Lecture: Robert Irwin on Abstraction
Internationally renowned artist Robert Irwin, an environmental artist and sculptor who launched the light and space movement, speaks on abstraction, perception and reality. His lecture was the Dominique de Menil Lecture of the 1999-2000 President's Lecture Series.
lecture  art  modern-art  2h20c  by(RobertIrwin) 
august 2009 by tsuomela
The Long Now Blog » Blog Archive » The Disposable Dark Age
The UK’s Tate has done plenty of research trying to preserve some of this work and has published several papers in its online research journal documenting the process. Researchers even created this Powerpoint presentation to explain how to properly care for plastic works.
art  modern-art  plastic  material  preservation 
july 2009 by tsuomela
A generation of plastic art objects are degrading like overused Tupperware. Can they be saved? - By Sam Kean - Slate Magazine
The casualty list is appalling: Antique plastic dolls at the National Museum of Denmark have begun to peel and flake
art  modern-art  plastic  material  preservation 
july 2009 by tsuomela
Conceptual revolutions in twentieth-century art | vox - Research-based policy analysis and commentary from leading economists
The art of the past century was radically different from earlier art. This column says that that was a direct result of a basic change in the structure of the market for advanced art that occurred during the late nineteenth century. Indeed, contemporary art is the logical result of young conceptual innovators operating in a competitive market that has consistently rewarded radical and conspicuous innovation.
art  economics  modern-art  20c 
july 2009 by tsuomela
Peter Greenaway's multimedia vision of Christ
The thoroughly modern installation is based on a 16th-century painting. Wedding at Cana, Paolo Veronese’s huge painting, was made specifically for San Giorgio’s convent in 1562, but was looted by Napoleon’s army in 1797. Although the original painting is now in the Louvre, the Giorgio Cini Foundation commissioned an exact copy for its original home. It is not merely an imitation, but a clone realised with very advanced techniques developed by the Factum Arte workshop.
about(PeterGreenaway)  art  modern-art  city(Venice)  exhibition  2009  venice-biennale  technology  interpretation 
july 2009 by tsuomela
Concept Art: The Device Ripped His Molecules Apart and Swallowed The Haze That Remained
Hendee is tremendously influenced by science fiction and technology, and a lot of the work you see in this gallery suggests a world where everyone has become a brain in a box. Or where the smart boxes have simply taken over completely.
art  artist  modern-art  sculpture  installation  about(StephenHendee)  review 
march 2009 by tsuomela
The Boom Is Over. Long Live the Art! - NYTimes.com
A brief sketch of art world reactions to economic downturns over the past 50 years.
art  modern-art  modern  markets  recession  economics  movement 
february 2009 by tsuomela
Charles Biederman - Home Page
Longtime Minnesota resident who created painted aluminum constructions for mounting on walls.
art  modern-art  painting  sculpture  by(CharlesBiederman)  minnesota  museum(Weisman) 
february 2009 by tsuomela
Review of Roth Time, a 2004 retrospective at MoMA.
art  review  modern-art  about(DieterRoth)  european  20c  german  exhibition 
february 2009 by tsuomela
Kinz Tillou Fine Art - Kim Keever
KIM KEEVER's large-scale photographs are created by meticulously constructing miniature topographies in a 200-gallon tank, which is then filled with water. These dioramas of fictitious environments are brought to life with colored lights and the dispersal of pigment, producing ephemeral atmospheres that he must quickly capture with his large-format camera.
art  modern-art  photography  gallery  landscape 
february 2009 by tsuomela
IN RECENT YEARS, THE BRITISH sculptor Barbara Hepworth (1903-75) has not had the liveliest of constituencies in the United States. But at the recent opening of her retrospective at the Yale Center for British Art in New Haven, there was a very large attendance.
art  modern  modern-art  sculpture  review  exhibition  Yale  english  1995  about(BarbaraHepworth) 
january 2009 by tsuomela
The ambition of Barbara Hepworth | Art and design | The Guardian
Hepworth was an artist of extraordinary stature whose importance is still to some extent occluded. Over 50 years, from 1925 to her death in 1975, she made more than 600 works of sculpture remarkable in range and emotional force. Her private life was complicated, at times traumatic: two marriages and four children, three of whom were triplets. And there was the long disruption of the war. What makes Hepworth wonderful was the strength of her ambition, the unswerving self-belief. She demonstrated so tangibly her understanding that "the dictates of work are as compelling for a woman as for a man".
art  modern-art  modern  sculpture  biography  review  about(BarbaraHepworth) 
january 2009 by tsuomela

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