Nature art contrast Artist art
Some art create in the nature but some art
is recreated the nature and original art.
Nature art: Anya Gallaccio, Keith Arnatt, NOBUYOSHI
ARAKI
Be recreated art: Giovanni Anselmo, Helen Chadwick, Robert and Shana Parke Harrison
Nature art
Anya Gallaccio
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| http://finearthsuanliu.blogspot.co.uk/2013/11/anya-gallaccio.html |
Keith Arnatt
He took garbage photos that are looked like Rococo style. ''He rendered them both surreal and beautiful.'' by book of 'I am real photography'
Nobuyoshi
Araki
He recorded his food and took photos every day.
Hsuan Liu
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| http://finearthsuanliu.blogspot.co.uk/2014/01/group-tutorial.html |
Be recreated art
Giovanni Anselmo
In the late 1960s, Anselmo began to make sculptures exploring
forces such as torsion, gravity, and magnetism. His Direction series
incorporate compasses that point to the magnetic north pole. This work is made
by pushing a glass beaker with a needle inside it against a dampened cloth. ‘I
formed a sort of trail that the energy of the magnetic fields, continuing to
orient the needle, kept alive’, Anselmo
said. Inside the gallery, the work serves as a reminder of the space outside
it, and the invisible forces that structure the world.
在60年代後期，安塞爾莫開始做雕塑探索的力量，如扭轉，重力和磁力。他的方向系列包含指向磁北極羅盤。這項工作是由推著玻璃燒杯，裡面的針對濕布進行。'我形成了一種線索，該磁場的能量，繼續以定向針，不停地活著'，安塞爾莫說。裡面的畫廊，作品旨在提醒外面的空間，和無形的力量，構建了世界。
Helen Chadwick
Chadwick's innovative and provocative use of a rich variety
of materials, such as flesh, flowers, chocolate and fur, was hugely influential
on a younger generation of British artists. Her strongly associative and
visceral images were intended to question gender representation and the nature
of desire. This theme was continued in Model Institution (1981), an ‘architectural-sculpture' of five
drab booths as would be found in a Social Security office, intended to reflect
on the high unemployment and economic frustrations of the time. Throughout the
1980s and early 1990s her work became richer and more direct in impact. A
fountain of thick chocolate called Cacao carried associations both of excessive physical
desire and pleasure, at the same time being base and nauseating. Desire and
repulsion also converged in Piss Flowers (bronze, cellulose lacquer, 12 parts, 1991–2;
various priv. cols, see exh. cat., 1994), in which casts were made of cavities
produced by urinating in snow. Evoking the infantilism and use of chance by the
Dadaists, as well as the provocative and politicised work of contemporary
artists such as Andrés Serrano and Robert Mapplethorpe, Piss
Flowers represent
transgressive behaviour as equally beautiful and disgusting. Chadwick was
shortlisted for the Turner Prize in 1987.
查德威克的創新性和挑釁性的運用了豐富多樣的材料，如肉，鮮花，巧克力和皮毛，是對年輕一代的英國藝術家的巨大影響力。她強烈地聯想和內臟圖像的目的是要質疑性別代表性和慾望的本質。這個主題是繼續在示範機構（1981），一個'建築，雕塑“五單調的展 位將作為一個社會安全辦公室發現，旨在反映在高失業率和時間的經濟挫折。在整個80年代和90年代初她的工作變得更豐富，更直接的影響。濃濃的巧克力噴泉叫可可協會進行的兩個過度的生理慾望和快感，同時為基地和肉麻。慾望和排斥也融合在小便花（青銅，纖維素漆，12份，1991-2;。各種私法cols的，看EXH貓，1994），其中蒙上由小便在雪地生產腔製成。喚起機會由達達主義，以及當代藝術家如安德烈斯·塞拉諾和羅伯特·梅普爾索普的挑釁和政治工作的幼稚和使用，小便鮮花所代表同樣美麗和噁心的海侵行為。查德威克於1987年入圍特納獎。
Robert and Shana Parke Harrison
We create works in response
to the ever-bleakening relationship linking humans, technology, and nature.
These works feature an ambiguous narrative that offers insight into the dilemma
posed by science and technology's failed promise to fix our problems, provide
explanations, and furnish certainty pertaining to the human
condition. Strange scenes of hybridizing forces, swarming elements,
and bleeding overabundance portray Nature unleashed by technology and the human
hand. Rich colors and surrealistic imagery merge to reveal the
poetic roots of the works on display. The use of color is
intentional but abstract; proportion and space are compositional rather than
natural; movement is blurred; objects and people juxtaposed as if by chance in
a visual improvisation that unfolds choreographically. At once
formally arresting and immeasurably loaded with sensations—this work attempts
to provide powerful impact both visually and viscerally.
我們 在應對不斷bleakening關係連接人類，技術，自然創作。這些作品具有一個模棱兩可的敘述，更深刻地理解了科學和技術的承諾未能解決我們的問題，提供解釋，並提供確定性有關人類生存條件帶來的困境。雜交勢力，蜂擁元素，出血過多刻畫自然由技術和人的手釋放出奇怪的場景。豐富的色彩和超現實的影像合併，揭示展出的作品的詩意根源。色彩的運用是故意的，但抽象的;比例和空間組成，而不是自然的，運動模糊，物體和人並列，彷彿偶然在一個可視化的即興展開choreographically。在一次正式逮捕並沒法比加載感受，這部作品試圖在視覺上和發自內心提供了強大的衝擊。
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