Most of you have already heard of this great institution, but it is worth a note in our tabloid: The Museum Of Bad Art.
The “What is bad art?” question runs parallel to the age old “What is art?” debate. But in fact, identifying bad art is easier than knowing what “art” is in general; it comes down to our instincts as stated by the curator: “Bad art is like pornography, it’s hard to define, but I know it when I see it.” Some great masterworks of the “bad” are to be seen here. And regardless of what others say, I still think “Ferret In A Brothel” remains the Madonna of their collection.
Only from California would one see this. But such enthusiasm has to be recognized and admired. Described as: “The home of Public Access TV’s favorite ‘how to’ painter. Mr Let’s Paint (John Kilduff) paints,exercises,cooks,blends,etc….and takes your takes calls live!…”
The exhibition of Yoko Ono: One Woman Show 1960-1971, this is the first exhibition of The Museum of Modern Art that is exclusively dedicated to the works of Yoko Ono. The artist made her debut unofficially in The Museum of Modern Art in 1971. This year she brings so much to the museums, there is a lot of interactive art that involves the viewer’s actions and communication; the work invites the visitors to participate in her work. This exhibition offers so much more than just looking at the art work, in fact in this Gallery Session the visitors can discuss and act in Yoko Ono’s pieces, according to her this new method collectively creates new work
This interactive exhibition brings approximately 125 objects from her early collection these include a wide range of art works like; Installations, Works on paper, Performances, Audio Recordings, rare Archival Materials and Films. The interactive works include Ono’s work from 1960/1961 called ‘Painting to be stepped on and the divine performance of ‘Bag Piece’ (1964) by Yoko. This exhibition surveys the decisive decade that led up to Ono’s unauthorized exhibition at The Museum of Modern Art in 1971.
The exhibition further goes into Yoko Ono’s influential performances and films, some of them include ‘Cut Piece’ and ‘Film No. 4’. Cut Piece (1964) is focused on the issues of class, gender and cultural identity that Yoko Ono faced, in this act Ono sat quietly on the stage and asks the visitors to cut away pieces of cloth they wanted. Film No. 4 (1966/1967) this focused on Yoko Ono’s desperate desire to break down all of the class hierarchies and signaled through naked moving buttocks; a universally shared featured. There are many others like ‘In-Bed’ this was with collaboration with John Lennon in 1969 and ‘WAR IS OVER! If you want it (1969) this was focused on boldly communicated the support for world peace..
This exhibition includes an illustrated Catalogue that features three new commissioned essays, these essays evaluate the cultural context of Yoko Ono’s early years, along with this there are five sections that reflect her geographic locations during the time of her different art works, this reflects the artist’s evolutionary practice. They include her artwork descriptions, different documents from magazines and newspapers along with her texts and drawings.
The exhibitions started from May 17th-Sept 7th 2015, this is arranged in The International Council of The Museum of Modern Art Exhibition Gallery, sixth floor. The exhibition includes Performance, Poetry and Peace. There are different activities and events scheduled for different days. This is a very successful and interactive exhibition, one of the most talked about these days in The Museum of Modern Art.
From 24th June 2015 to 25th October 2015 Tate Britain held an exhibition of Barbara Hepworth’s art work. This exhibition is a unique opportunity to see the greatest works done by the artist in one place. Barbara Hepworth (1903 – 1975) is a well-known British artist. Her work exemplifies modern art focusing mainly on sculptures. This exhibition at The Tate Britain gallery showcased Hepworth’s love for art and also showed the traces of her growing international success and new ways to develop her art. her art is the one with nature, her sculptors are the ones with wind, water, salt air and sunlight. All of these are depicted by the curves, piercing and stringed carvings in her work. The exhibition also portrays her every growing love for the British Landscape and she molded this love into beautiful modern sculptors. Barbara dwells deeper into the landscape and this exhibition reveals Hepworth’s art at its best. Her work has a musical power, all her work is in harmony. Her work is like wave-like rolls and crescendos of carved wood and they appear to have the murmur of the sea. The art brought to you in this exhibition is very powerful and unique abstract art, it takes you through forces of nature and makes you dream endlessly. The exhibition does justice to her work as it identifies with enduring strengths of her work.
The highlight of the exhibition was the extravagant African hardwood Guarea, 1954-1955. These four large carvings seemed to command the entire room, they were the center of attention and look like very proud half eaten apples. This represents the highest point of Hepworth’s carving career. This display at Tate Britain treats Hepworth’s fans like never before, this reveals her extraordinary like and shares even those of her sculptures that are known to only a few selected private owners.
One glance at her work fills you with peace and walking through them swipes you off into a feeling of meditation, you stare at the marble sculptors like ‘Two Segments and Sphere’ (1935-1936) or ‘The Large and Small Form’ of 1934. These sculptures will make you yearn for the brilliance behind this balance and weight distribution as well as the craftiness of these amazing sculptures. Hepworth knew her work thoroughly all the hollow spaces and protruding parts of the sculptures seem so natural and in synchronization. This is once in a lifetime opportunity to watch some of the best and most beautiful sculptures of 20th century under one roof.
This year at the Gagosian Gallery in London, the German artist Thomas Ruff displayed his collection of rare and eye catching negatives. The exhibition was called ‘Nature Morte’, this collection was solely focused on capturing the beauty of nature and displaying it to the world for appreciation. The art work included pictures of different plants, beautifully textured leaves and enchanting flowers that grasp your attention from the very first look. The exhibition started on August 6, 2015 and will end on September 26, 2015.
The basic aim behind this exhibition was to bring back the glory of negatives. The negatives, from which the master print is developed is the first step towards the development of colored photographs and according to Thomas Ruff the negatives were never given the due appreciation, they were always considered the means to an end being the master print. So this was the time to show the world how beautiful and mesmerizing things can look even in their raw negative form. This is an eye opener for the new generation who are not even aware of the concept of negatives.
Thomas Ruff is a well-known name in the field of photography and art, he is the pioneer in the generation of German artists who drove photography into the mainstream art. Ruff has a great eye for photography and then converting those photographs into pieces of art is sheer talent. He uses both old and new technologies they include; Night vision, spectroscopy and hand tinting. Using these techniques he has the ability to reconceptualize astrological, architectural, pornographic and portrait photography. This exhibition is a collection of Thomas Ruff’s latest ‘negatives’ these extend his exploration of photogram. He used a beautiful balance of positives and negative imagery to develop a new mesmerizing world of nebulous shadows, spheres, hard edges complementing the rich colored backgrounds and zigzags.
His work is brilliantly focused on the importance and impact of the Negative’s role in Photography, he has reversed the photographic process and let the negatives shine out. Digitally transforming sepia-toned albumen prints into contrasting visions to create a dramatic effect. The prints are sized 29 x 22 centimeters; this is the scale of glass plates that were exposed with a large camera during nineteenth century. Thomas Ruff has an extraordinary gift and he has the ability to transform something like negatives into brilliant artwork. Looking into the chromogenic prints of these negatives one cannot help but feel awed.
Directions to Gagosian Gallery:
17-19 Davies Street
London W1K 3DE
T. 44.207.493.3020 F. 44.207.493.3025
Hours: Tue–Sat 10-6
The direction of contemporary surrealist art has been evolving for as long as people have had the desire to replicate dreamlike imagery in a physical medium that could be experienced by everyone. The result is an emerging category of visual arts that bends rules and questions existence through a closer look at the subconscious.
The different tools available to artists have predominately driven the evolution of art. With the rise of technology, the gravitation has been toward its utilization in creative endeavors. With the help of digital imagery, surround sound, and visual movement, artists can now redirect their skills to captivate audiences through multimedia experiences. The result is the grass-roots transformation: Massurrealism.
This art genre coined in 1992, is used to identify work that blends the elements of contemporary surrealism with our current ideas and reach of mass media. Different layers of imagery, with the help of technology, are used to heighten the experiences we share as people through illusion and shared imagination
Technology offers the use of clearer pictures, brighter colors, and techniques that can’t be perfected by hand. For works that were previously static, one example, like photography, creates spaces to incorporate movement, transition, and metamorphosis. Another example such as in film, we have the ability to capture reality in real time and with the guarantee that we will all experience it the same way at playback. By manipulating video, we can create one of the most vivid forms of the surreal. Real images can be crafted and replaced in a seamless transition. Because the result is so convincing, it elevates what we know about past surrealist works. The ability to manipulate real images and sounds provides a truer form of the surreal in juxtaposition to personal reality.
The varying methods behind massurrealism lends themselves to different creative displaying and viewing formats. In the example of digitally based works, almost everyone is equipped with the technology needed to experience this form of stimulating art. This is where the idea of Internet museums and interactive art exhibitions comes from.
The goal of massurrealism is to engage the public and offer people a chance to explore their own subconscious and relate it to what they experience in everyday life. With new tools and channels of distribution this can now be possible.
To understand this idea better, it is helpful to consider the definition of spectacle:
a visually striking performance or display;
an event or scene regarded in terms of its visual impact.
The relation of spectacle to mass media partially defines massurrealism, but the relation is also intrinsically linked to the spectacle society; that is, spectacle not only as synonymous with media events or images, but also as a type of relationship mediated by representations. Massurrealist artists exploit already existing images, objects and ideas to create new constructions and meanings. Massurrealism is significant in art because it consists in a détournement of concepts and tools that are simultaneously old and new, i.e. as a renewal of past currents. It therefore doesn’t necessarily suggest an outside view to the spectacle-commodity economy, but rather gives it the structure to configure a new representational paradigm.
Underlining this new paradigm is a combination of movements, forming the hub of an expressive phenomenology that reflects the continual transformation of massurrealism itself. Looking at these artworks, we see riveting examples of the amalgam of critical influences in modern visual culture as photographic montages, the component of abstract painting, and the aesthetic derived from Internet and computer software. This combination of influences is not just symbolic of massurrealism, but rather serves to highlight the possibility of early 21st century art developing a vision which embraces outer and inner spaces. In other respects, the artists, far from confining themselves to formal explorations related to their respective medias, bear witness to social or political preoccupations by taking a critical look at the digital age of consumerism, condensed time, and globalism.
Massurrealism could thus be seen as composed of a twofold nature: a creative process in the aesthetic and anthropological sense; as the organization of this process into a system where production and diffusion of new artworks coexists with the creation of new cultural images and practices.
Massurrealism is significant to our current age because it reveals a logic of both formal or conceptual deconstruction. This has left a profound mark on the history of art itself over the last few decades. It has widened its field of reconfiguring the identity of the discipline, even breaking it down altogether as in the studies of visual culture. This deconstructive process is made particularly interesting by its possibility within the international aspect of the movement. This is embodied in massurrealism by artworks directly related to our environment and compel us to comment upon the relationship with the entertainment industry. Fertile uncertainties arise from the friction between historical and physical material, the manual and the digital, science and technology, capitalism and the post dystopian-communist world, and the ethics surrounding artificial intelligence and our relationships to objects.
Finally, massurrealism expresses a generation’s fatigue of the endless epistemology discussions on modern philosophy, paralyzed by the circular reasoning of post-structuralism. Massurrealist artists demonstrate themselves as alternatives, having revived the debate and extent of our thinking on these issues. The movement should therefore be understood not as a single philosophy, but rather as a label for a broad range of divergent ideas, as well as an extension of the limits of our relationship with the art itself.
James Seehafer “Austrian Postage Stamp Mid-Flight” extended media piece :