Part of the problem with this work is that Park has made it almost too abstract. This exhibit which was also taken in the international arena loses the audiences once they are not fully Korean. This is because non-Koreans cannot appreciate the subtle aspects of the artwork because they are dealing with objects and symbols that unique to Korean culture. When the images of the video-art lose their meaning, Park's exhibit shows that there are many limitations to this medium. Specifically, that it is so abstract in nature it only has relevance in the Korean setting. This is a problem with the new video-art format, because it has become so abstract that they cannot be translated across cultures. Park's work especially deviates from the traditional Korean symbolism but he still attempts to have a strong connection with Korean culture.
Park has continued to focus on his theme of the blending of nature, technology and beauty in his more modern artwork. In one recent exhibit, he created "Water Series" which was exhibited in 1997 at the Sonje Museum of Contemporary Art in Kyongju. He uses the exhibition floor for this exhibit where he projects images of waves onto cubes of artificial stone. The projections ultimately resemble small ponds through their interplay and weaving. Park explains that he is attempting to use this piece to convey a traditional Korean concept of poetry composing parties during the Chosun Dynasty. His projections mirror the attitude of contemplation that the attendants of the parties feel when they are by the river streams composing poetry and drinking. The piece is very symbolic but also alluring because when the viewer looks at the waves he gets mesmerized and "pulled in."
This piece is much different from his last work because he focuses on creating something that is neutral rather than highly cultural. Both Korean and non-Korean audiences can draw something from this piece because of its overall beauty. The significance of the interpretation can be different provided different circumstances because the importance of the piece...
It would have been as ridiculous for a working class man or woman to make art as it would have for that same person to become an accountant. Still, artists throughout time have snuck in their personal values in their paintings. Hieronymous Bosch is one of the artists I believe to have inserted personal values into Church-commissioned art. Even in the modern era, art is still entwined with money. The
Note the distinct similarities. An examination of Escher's Circle Limit III can thus tell us much about distance in hyperbolic geometry. In both Escher's woodcut and the Poincare disk, the images showcased appear smaller as one's eye moves toward the edge of the circle. However, this is an illusion created by our traditional, Euclidean perceptions. Because of the way that distance is measured in a hyperbolic space, all of the
Art Analysis: Art21 After reviewing the artists from Art21, the artists chosen are Pierre Huyghe and AI Weiwei as the subjects of this paper. The pieces the paper will be "This is not a time for dreaming" by Huyghe and "Forever" by Weiwei. Both pieces are installation pieces although the artists are not classified under the same grouping on the Art21 website. Weiwei is listed as "Featured in Change" and Huyghe
Art During Renaissance The Evolution of Art During the Renaissance The Renaissance period is defined as a cultural movement that spanned approximately from the 14th to the 17th century, beginning in Italy in the Late Middle Ages and later spreading to the rest of Europe (Brotton 2006, p. 6). This period in the history of art included the painting, decorative arts and sculpture of the period and for many was considered a
ART CRITICISM AND THEORY: Question: How constraints practices artists/designers/architects influence make? Make reference TWO response: - Site - Views art critics historians - Historical precedents - Materials technologies - Time - Audience expectations. Post-modern art and theory Artists in the post-modern era realized that they dealt with a lot of pressure coming from the public and that it was important for them to employ attitudes that would reflect positively on their works.
The "self-portraits" might perhaps be viewed in terms of the artist's own past illnesses: At 37, Taylor-Woods, having already survived both colon cancer and breast cancer, likely understands, on personal level, the state of "suspense" between sickness and health, life and death. She may, then, have been "bound" to breast cancer (the invisible ropes may symbolize the disease), cured of it, and her body "released to freedom." In my opinion,
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