figuredrawing
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“What I never wanted in art – and why I probably didn’t belong in art – was that I never wanted viewers. I think the basic condition of art is the viewer: The viewer is here, the art is there. So the viewer is in a position of desire and frustration. There were those Do Not Touch signs in a museum that are saying that the art is more expensive than the people. But I wanted users and a habitat. I don’t know if I would have used those words then, but I wanted inhabitants, participants. I wanted an interaction.” — Vito Acconci
In January 1972, Acconci staged one of the decade’s most notorious performance art pieces at the Sonnabend Gallery in SoHo. Gallery visitors entered to find the space empty except for a low wood ramp. Hidden below the ramp, out of sight, Acconci masturbated, basing his fantasies on the movements of the visitors above him. He narrated these fantasies aloud, his voice projected through speakers into the gallery: “you’re on my left … you’re moving away but I’m pushing my body against you, into the corner … you’re bending your head down, over me … I’m pressing my eyes into your hair.” Seedbed was a seminal work that transformed the physical space of the gallery through minimal intervention to create an intimate connection between artist and audience, even as they remained invisible to one another.
Vito Acconci
Seedbed
1972
Gelatin silver print
7 7/8 x 11 11/16 in.
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“I don’t think it’s necessary to be original. It’s necessary to be honest.”
Martin Creed: What’s the point of it? is the first major retrospective of Creed’s ingenious and often highly provocative work. Since the beginning of his career, when he made small objects that could be placed anywhere, Creed has made work that questions the very nature of art and challenges taboos. His work takes on a multitude of forms—from sculpture, paintings, neons, films and installations, to music and performance—appearing both in the art gallery and in broader public circulation. At once rigorous and humorous, his art continually surprises, disrupts and overturns our expectations. It reflects on the unease we face in making choices, the comfort we find in repetition, the desire to control, and the inevitable losses of control that shape existence.
Martin Creed
Work No. 88
1995
A sheet of A4 paper crumpled into a ball.
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“Good artists do not copy, great artists do not steal.”
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Art Movement Overview (Cont.)
Style often helps categorize and define art, making it easier for people to understand and discuss different periods, techniques, and themes in art history. Without a recognizable style, art can become more challenging to classify. However, this does not mean that art without a defined style lacks value or meaning. It just means that it may not fit neatly into the traditional frameworks that we’ve created for understanding art.
In the absence of a specific style, art may be categorized by other criteria, like the concepts behind the work, its intentions, or even its context (social, political, or cultural). For instance, conceptual art is categorized by the ideas it expresses rather than the visual style itself. Similarly, installation art might focus more on how the work interacts with space and the viewer than on the style of its execution.
In some ways, art without style challenges the idea that all art must be categorized in a specific way. It opens up a broader interpretation, where the meaning and impact of the art can come from its message or experience rather than its form.
Do you find this lack of style freeing, or do you think art needs some form of structure to be appreciated?
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Art Movement Overview
An art movement is a style or trend in art that is followed by a group of artists during a specific period. These movements often share common techniques, themes, or philosophies. They can be influenced by historical events, cultural shifts, or technological advancements.
For example:
- Impressionism (late 19th century) focused on capturing light and everyday life with loose brushwork.
- Surrealism (20th century) explored dreams and the unconscious mind with strange, dreamlike imagery.
- Abstract Expressionism (mid-20th century) emphasized spontaneous and emotional brushstrokes rather than realistic representation.
Art movements help categorize different styles and ideas in art history. Do you have a particular movement you’re interested in?
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“I would rather die of passion than of boredom.”
Vincent van Gogh
Self-Portrait (Dedicated to Gauguin)
1888
oil on canvas
65 x 52 cm
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“You have to learn to be human first… before you can learn art.” — Silpa Bhirasri
This sentence conveys the idea that art is not just a technical skill or creative ability, but also something that deals with deep humanity, such as emotions, thoughts, spirit, experiences, and moral values. If an artist lacks an understanding of humanity—such as empathy, understanding the complexities of life, or having a broad and deep perspective—the art created may lack the true meaning of the dimension.
“Learning to be human” here can mean many things, such as:
- Understanding oneself and one’s own emotions
- Understanding society, culture, and history
- Recognizing the suffering and joy of others
- Developing empathy and ethical awareness
Great art often comes from communicating humanity on a deep level, whether it’s pain, hope, love, or the changes in life. Therefore, this sentence may serve as a reminder that art practice should not only be based on technique, but also on understanding life and humanity.
“พวกเธอต้องเรียนรู้ความเป็นมนุษย์ก่อน… ถึงจะเรียนศิลปะ” — ศิลป์ พีระศรี
ประโยคนี้สื่อถึงแนวคิดที่ว่าศิลปะไม่ใช่เพียงทักษะทางเทคนิคหรือความสามารถในการสร้างสรรค์เท่านั้น แต่ยังเป็นสิ่งที่เกี่ยวข้องกับความเป็นมนุษย์ในเชิงลึก เช่น อารมณ์ ความคิด จิตวิญญาณ ประสบการณ์ และคุณค่าทางศีลธรรม หากศิลปินขาดความเข้าใจในความเป็นมนุษย์—เช่น การเอาใจใส่ผู้อื่น การเข้าใจความซับซ้อนของชีวิต หรือการมีมุมมองที่กว้างและลึกซึ้ง—ศิลปะที่สร้างขึ้นอาจขาดมิติของความหมายที่แท้จริง
การ “เรียนรู้ความเป็นมนุษย์” ในที่นี้อาจหมายถึงหลายอย่าง เช่น
- การเข้าใจตนเองและอารมณ์ของตัวเอง
- การเข้าใจสังคม วัฒนธรรม และประวัติศาสตร์
- การรับรู้ถึงความทุกข์และความสุขของผู้อื่น
- การพัฒนาความเห็นอกเห็นใจและสำนึกทางจริยธรรม
ศิลปะที่ยิ่งใหญ่มักเกิดจากการสื่อสารความเป็นมนุษย์ในระดับที่ลึกซึ้ง ไม่ว่าจะเป็นความเจ็บปวด ความหวัง ความรัก หรือความเปลี่ยนแปลงของชีวิต ดังนั้น ประโยคนี้อาจเป็นการเตือนว่าการฝึกฝนศิลปะไม่ควรมีเพียงเทคนิคเพียงอย่างเดียว แต่ต้องมีความเข้าใจชีวิตและมนุษย์เป็นรากฐานด้วย