Abstract art involves paintings or sculptures which do not have a clear depiction of a place, person or thing as it exists in the real world. The art is displayed in a distorted and exaggerated way. The subject of abstract art is based on what one sees in terms of color, size, shapes, scale and brushstrokes. Even though most people have liking towards abstract art personally I do not like abstract art at all. There are various reasons why I do not like this type of art.
First of all, abstract art refers to art which has no forms that can be recognized or art which does not aim to display anything. Abstract art in most cases is more personal and less figurative. Abstract art means a lot to the artist who did the art work since the image has some sense of appeal to the artists. When looking at abstract…...

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References

Gaya, R.(2011). Abstract Art: the Personal Hidden in the Impersonal. Retrieved April 19,201from  http://soler7.com/IFAQ/Abstraction.htm 

Stambor, Z.(2006). Lack of meaning may spur some to dislike modern art. Retrieved April 19, 2013 from http://www.apa.org/monitor/sep06/art.aspx

Thus surrealist art is much more difficult to interpret and more subjective than abstract art. Abstract art is less visionary and more the equivalent of an artist attempting to create an image that represents something real in symbolic form (Wittenborn, 1957). For this reason abstract art more similarly represents realism, only the artists works to deliver an impression or symbol of an actual object or event rather than create something purely from a visionary perspective. One might actually suggest that abstract art is closer to impressionist technique than surrealism in this respect as the artist when creating abstract art often tries to produce something that is equivalent but not exactly the same as a real object, event or circumstance.

At first glance abstract art and surrealism appear very similar, when in fact both forms of art are created from very different perspectives. Abstract art and surrealist art are similar in that…...

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Reference:

Wittenborn, G. (1957). The world of abstract art. New York: Questia Media.

Another artist who fits into the abstract mold and who is also concerned with non-objective art is obert Pepperell. He differs from the works of Frank Stella in that his works do suggest to some extent a world that lies outside the artwork per se, but his focus is not on an idealistic spiritual area of apprehension but rather on the way that we see the world around us. Like Stella, his work does not conform to the earlier abstract views and to Kandinsky's'inner necessity'.

Paradox 1. (2005)

Source: (http://www.robertpepperell.com/Artpages/Paradox%201.jpg)

obert Pepperell's work has been described as an exploration and even a postmodern deconstruction of the habitual mode of seeing the world. In other words, the paintings refer to elements and images that are on the fringes of recognition but are never able to be completely placed or categorized. The works tend to put our normal sense of viewing the world into doubt…...

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Reference List

Art History: Abstract Art: (1910 -), viewed 21 July, 2008,  http://wwar.com/masters/movements/abstract_art.html 

Abstract Expressionism.

The Art History Archive - Movements, viewed 21 July, 2008,  http://www.arthistoryarchive.com/arthistory/abstractexpressionism/ 

Durbin S.   Visual indeterminacy, viewed 22 July, 2008, http://www.artandperception.com/2007/09/visual-indeterminacy.html "

The title of the painting comes from Latin and means "Man, heroic and sublime," going back, in fact, to an essay that the painter wrote, in which he asks "If we are living in a time without a legend that can be called sublime, how can we be creating sublime art?." This is, in part, his answer.
According to some interpretations, the thin lines are a show of admiration for the Italian artist Giacometti and they are a representation of the human individual in all his weaknesses and glory as well. However, it is also a geometrical representation which helps divide the painting and the red background into different segments. Apparently, there is no rule to that, however, one can notice that the segment that is thus created in the middle is a perfect square.

The strive for perfection and the ultimate symmetry is perhaps even more obvious in Robert Motherwell's…...

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Bibliography

1. On the Internet at   retrieved on July 22, 2008http://www.flickr.com/photos/wallyg/2377958983/.Last 

On the Internet at

Art One-Point Linear Perspective in the enaissance
One-Point Linear Perspective in the enaissance

In the context of art, perspective is generally defined as "… the technique an artist uses to create the illusion of three dimensions on a flat surface" (Essak). Perspective is in essence an illusion of depth and realism in the work of art. It is also an intrinsic part of human evolutionary makeup. As Edgerton ( 2006) states, "

Every human being who has ever lived from Pleistocene times to the present, has experienced in vision the apparent convergence of parallel edges of objects as they extend away from our eyes and seem to come together in a single "vanishing point" on the distant horizon… (Edgerton, 2006)

However, from an art historical perspective it is also true that linear or single-point perspective has not always been an accepted part of painting and artistic creation. It is in fact only fairly recently…...

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References

Edgerton, S. ( 2006). Picturing the Mind's Eye. Tampa University. Journal of Art History,

1. Retrieved from  http://journal.utarts.com/articles.php?id=4&type=paper 

Op Art History Part I: A History of Perspective in Art. Retrieved from http://www.op-

art.co.uk/history/perspective/

One can easily recognize this by the line that runs down the back of the object which represents the spine. This
idealized subject is also stretching his "muscles", for one can see where
the "muscles" bulge in the middle section of the back, the shoulders, and
the biceps.
Since this object meets all of the above-mentioned traits, being
form, space, mass and volume, proportion and scale, it is indeed a work of
art. Personally, I find this object very appealing, due to its abstract
nature and the way that the light is reflected from its curvaceous surface.
My overall reaction is based on the object's aesthetic value, being one of
beauty and great eye appeal. Although it is not as aesthetically pleasing
as Rodin's The Kiss, it nevertheless serves as a great example of modern
abstract art....

The basis of collage with is associated with humor and entertainment forms its captivating content, an element for passing its information. Materials that are used for collage are normally readily available old objects that have been disregarded. Use of new materials in the art is not restricted but again not considered to add value to the collage work. It is thus a considerably less expensive process as compared to other artistic communications avenues such as painting that requires newly acquired materials that consequently calls for extensive financial commitment. Its relative affordability together with its captivating elements makes collage a good avenue for communication especially in social campaigns. This becomes specifically effective if the entire society is integrated in the collage representation (Learning, 10).
Other collage artists

There are a number of collage artists that have also been significantly felt because of their contribution in collage. Apart from Michael Anderson, Oliver outlines…...

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Reference

Anderson Michael. (2006). Monthly statements; Retrieved from:  http://www.accumulationproject.org/anderson/index.html 

Bemstein Mark. (2003). Collage, composite, construction; Retrieved from:  http://www.ht03.org/papers/pdfs/18.pdf 

Endtorture. (2010). Well-known collage artists. Retrieved from:

 http://endtorture.net/well-known-collage-artists/

Pollack and othko
The 1930s art world enjoyed several different creative styles. The Social ealists painted works that normally depicted a social message and, with Edward Hopper, even oppression. The egionalists also felt a need to show the trials of daily life. However, others began to see things in greater abstraction. Hans Hoffman was interested in expressive abstract art, and the American Abstract Artists favored a more mathematical perspective1. By the 1940s, the younger artists wanted to break away from earlier methods and pursue a method to show reality in a more unpredictable and immediate fashion. Jackson Pollack and Mark othko exemplified this new style. As othko said in a letter to the editor of the New York Times in 1943: "We are for flat forms becaue they destroy illusions and reveal truth."

This new artwork technique sprang from a non-realist language, searching for "power of color, internal luminosity and powerful lines…...

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References Cited

Anfam, David. Abstract Expressionism (World of Art). New York: Thames & Hudson, 1990

Baigell, Matthew. Story of American Painting. New York: Praeger, 1971.

Craven, David. Abstract Expressionism as Critical Critique. Cambridge: Cambridge University Press, 1999.

Diehl, Gaston. The Moderns. New York: Crown, 1970.

Art
Along with Georges Braque, Fernand Leger and Pablo Picasso were firmly at the forefront of the cubist movement in modern art. Cubism sprouted from Picasso's experimentations with collage, along with Braque, but later morphed into an interpretive and expressive style of painting that heralded many related movements in abstract modern art including futurism. As Fitz puts it, Picasso used the cubist style to express the things he could not see, but which he knew were there; the things that everybody is "certain of seeing," but which are not depicted on a traditional canvas (228). As a result, Picasso reinvented painting, and reinterpreted what the function of painting was. Leger deserves credit also, for he too pursued the " quest for a means by which to accurately describe three-dimensional objects on a two-dimensional canvas," (Spector). Leger and Picasso developed totally unique and distinct brands of cubism, even if their formative influences…...

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Works Cited

Dickerman, Leah. Inventing Abstraction. New York: The Museum of Modern Art, 2013.

Fitz, L.T. "Gertrude Stein and Picasso: The Language of Surfaces." American Literature. Vol. 45, No. 2. May 1973.

Lanchner, Carolyn, Leger, Fernand, Hauptman, Jody, Afron, Matthew, and Erikson, Kristen. Fernand Leger. New York: The Museum of Modern Art. 1998.

Spector, Nancy. "Fernand Leger." Guggenheim. Retrieved online:  http://www.guggenheim.org/new-york/collections/collection-online/show-full/piece/?search=Nude%20Model%20in%20the%20Studio&page=&f=Title&object=49.1193

Art Culture: Public Space Art
Public art like that of Koon's Train (2011), Serra's Tilted Arc (1981), Lin's Vietnam Veterans Memorial (1981), and James' Sea Flower (1978), ignite discussion to the point of its modification, re-arrangement, or removal. The reason for this controversial treatment of public art is its ability to embrace a variety of aesthetic practices. The adoption of different aesthetic values like poster art, outdoor sculpture, earthworks, multimedia projections, and community-based projects among others, breaks the public's traditional understanding of art (Glahn, 2000). This critique finds that the public's totalizing classification of public sphere brings about controversy and dialogue over public art displays. By reviewing the famous public art "Tilted Arc" (1981) by Richard Serra, this analysis will show that there are distinct differences between public understanding and professional understanding of public art.

The government with the intention of exhibiting, protecting, and edifying art, commissions public art in America to…...

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Works Cited

"REVIEW & OUTLOOK (Editorial, b) -- Asides: Tilting with the Arc." Wall Street Journal: 1. Sep 04, 1987. ABI/INFORM Complete. Web. 21 Feb. 2013.

Doss, Erika. "Public Art Controversy: Cultural Expression and Civic Debate," Americans for the Arts, October 2006. Web. 20 Feb. 2013.

Drescher, Timothy. "The Harsh Reality: Billboard Subversion and Graffiti," Wall Power, Philadelphia: Institute of Contemporary Art, University of Pennsylvania, 2000.

Fleming, Ronald Lee. "Public Art for the Public." Public Interest.159 (2005): 55-76. ABI/INFORM Complete. Web. 21 Feb. 2013.

Art can come in many shapes, sizes, and mediums, yet one thing that all art has in common is its ability to connect to individuals and enable them to experience catharsis, that is illicit an emotional response. Some of the most awe-inspiring works of art are architectural such as the Lincoln Memorial, which bookmarks the National Mall in Washington, D.C.
The Lincoln Memorial is impressive and its sheer magnitude and size was unexpected. Walking up to the memorial, I realized that it was much larger than I had anticipated and that much like a temple, the actual memorial is located at the top of a series of steps. It was nothing like looking at the back of a penny or a five-dollar bill. The Lincoln Memorial successfully combining the concepts of form and function through its structure (Pearson Publication, Inc., 2009, p. 164). The memorial itself was designed by Henry acon,…...

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Bibliography

National Parks Service. (2012). Lincoln Memorial design individuals. Accessed 21 August 2012,

from  http://www.nps.gov/linc/historyculture/lincoln-memorial-design-individuals.htm .

Pearson Publications Inc. (2009). Chapter 5: Art. The Art of Being Human: The Humanities As A

Technique For Living, pp. 114-169.

In essence, this painting "mixes a toothpaste smile with the grimace of a death's head" and symbolizes the true work of an American "action" painter (de la Croix & Tansey, 774).
Another great example of an American abstract expressionist master is Mark Rothko (1903 to 1973), who emigrated to the United States in 1914 from Latvia with his family to escape Czarist Russia and its strict policies towards Jews. Although Rothko was a friend and contemporary of Pollack, Kline and de Kooning, his paintings exhibit none of the aggressive attack or slashing brushwork one finds in the works of these artists. Rothko's Four Darks on Red does not exhibit the usual traits of "action" painting, for it shows a calm and contemplative mood with soft color variations, yet it also shows "a mysterious effect of forms and images occupying an ambiguously-defined space," much like Kline and Pollack (de la Croix…...

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Bibliography

Paul, Stella. "Abstract Expressionism." Metropolitan Museum of Art. Internet. Retrieved at  http://www.metmuseum.org/TOAH/hd/abex/hd_abex.htm .

De la Croix, Horst and Richard G. Tansey, eds. Gardner's Art Through the Ages. 10th ed. New York: Harcourt, Brace, Jovanovich, 2003.

Art and Architecture
Architecture and Art

In a recent visit to Chicago, I observed the Chicago Picasso which was a gift to the city by the famed artist Pablo Picasso. Located in the downtown Chicago loop, the monument stands 58 feet tall, weighs 162 tons and is constructed of Cor-Ten (corrosive tensile) steel. Pablo Picasso gave this massive work of art to the city of Chicago, even though he'd never been to the city, and never went during his lifetime. The unpaid work was based on a 42-inch-tall version Pablo crafted. It was later executed by U.S. Steel Corporation ("Chicago Sculptures," 2011).

It is reported that Pablo Picasso never named his creation nor gave an explanation as to what it represents. The 3-D piece of art looks different from every angle. People have stated that it resembles a baboon; mainly because of the close-set eyes and flaring nostrils. Also, the copper maquette of…...

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References

Chicago Sculptures. (2011). Professional Safety, 56(4), 64.

Cunningham, B. (2011, June 5). City in Bloom. New York Times. p. 4.

The Warhol Bubble. (2012). Wilson Quarterly, 36(1), 72-73.

Windy City Windfall. (1966). Time, 88(13), 83.

Art History
Roy Lichtenstein -- Stepping Out is a painting done in oil and magna on canvas by Roy Lichtenstein. (Magna is a plastic painting product made of permanent pigment ground in acrylic resen with solvents and plasticizer. This material mixes with turpentine and mineral spirits and dries rapidly with a mat finish) (www.artlex.com/ArtLex/M.html).Painted in 1978, this work is 85 inches in heighth and 70 inches in width, 218.4 cm by 177.8 cm. This work of art, accession number 1980,420, is located at The Metropolitan Museum of Art in New York (5th Avenue and 82nd Street). It was purchased in 1980 as a Lila Acheson Wallace Gift with additional funding through the Arthur Hoppock Hearn Fund, the Arthur Lejwa Fund, in honor of Jean Arp; the ernhill Fund, the Joseph H. Hazen Foundation Inc., the Samuel I. Newhouse Foundation Inc., and gifts fromWalter areiss, Marie annon McHenry, Louise Smith, and Stephen…...

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Bibliography

Fineberg, Jonathan. Art Since 1940: Strategies of Being. 2nd Edition. New York:Harry N. Abrams, Inc., Publishers, 2000.

A www.artcyclopedia.com/artists/lichtenstein_roy.html www.artlex.com/ArtLex/M.html www.nga.gov/cgi-bin/pbio?224210 www.metmuseum.org/collections

Art Practice in the Past and Present
Art practice

A skill or mastery that stimulates the process of thought, amusement, and emotions is called an art. It is also defined as a special quality used by many people to express their feelings, approach and position. Dating back to 50,000 years ago, art has various forms that ground itself from sculptures, rock paintings, wall craving to modern paintings. Countries like Egypt, Persia, India, Europe and America have great foundations of ancient civilizations that developed their own way of expressing their work and teaching it to their future generations. These teachings started with simple body signs for expressing there need to using brushes, knifes and other tools to explain there work. As a result of these teachings, the art present today expresses an urbanized form of historic art.

Similarities and difference of past and present art

Artists today are very similar in their ways to the…...

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References

Bolin, Paul E (2009). Studies in Art Education: A Journal of Issues and Research in Art Education, 50(2): 110-123.

Comunian, Roberta (2009). Journal of Arts Management, Law & Society, 39(3): 200-220.

Gaiger, Jason (2011). Art Bulletin, 93(2): 178-194, 17p.

Keizer, Joost (2011). Art Bulletin, 93(3): 304-324, 21p.