Harvard Art Museums’ Post

A Brief History of Collecting Art https://flip.it/NOXE6N

Visionaries such as Hilma af Klint and Wassily Kandinsky created paintings that challenged traditional aesthetics and defied representational art. Their profound impact on art history is not only evident through their works but also through the enduring legacy carried forward by contemporary artists today. Read more to see how abstract art has changed today and why

The artwork as traditionally understood is something that embodies art in itself, that makes it immediately present and visible. When we go to an exhibition, we usually assume that what we see there—whether paintings, sculptures, drawings, photographs, videos, readymades, or installations— is art. Artworks can, of course, refer in one way or another to something other than themselves—say, to objects in reality or to specific political subjects—but they cannot refer to art, because they are art. But this traditional assumption about what we find at an exhibition or museum is proving more and more misleading. Increasingly, in art spaces today we are confronted not just with artworks but with art documentation. The latter can also take the form of paintings, drawings, photographs, videos, texts, and installations— that is to say, all the same forms and media in which art is traditionally presented—but in the case of art documentation these media do not present art but merely document it. Art documentation is by definition not art; it merely refers to art, and in precisely this way it makes it clear that art, in this case, is no longer present and immediately visible but rather absent and hidden.

In an age of decontextualised ideas which have been imported from very specific historical contexts to become supposedly universal truths, let's teach not only the construct, but the unique history behind the construct. What better place to start than Art? Works might be viewed in museums (virtual or real) for their immediate, intrinsic effect, but is this ahistorical consumerist curatorship, this supermarket of aesthetics, really how Art should be appreciated? Read on! International School of Geneva UNESCO-IBE World Education Summit https://lnkd.in/eVtiZb7N

Hughes' argument resonates deeply. Standing in Tintoretto's church, the air thick with history and devotion, I felt his art not just on the walls but in the very bones of the building. Museums offer a curated feast, but the actual flavor lies in the original setting, where every detail is a brushstroke in the grand narrative. However, the ethical complexities of acquisition, like the plundered obelisks, add a bitter note to the symphony. Integrating context into education, as Hughes suggests, is vital. Only then can we truly appreciate art, not just as "beautiful" but as a tapestry woven with history, purpose, and the sometimes-painful threads of human ambition. By understanding the story behind the art, we can better understand the story behind ourselves.

Blooms in Art: Explore the representation of flowers in art across different periods and styles. From still life paintings to contemporary installations, witness the enduring influence of blooms on artistic expression. #FloralArt #ArtisticBlooms

Review: Some May Work as Symbols: Art Made in Brazil, 1950s-70s

East Asian Art History in a Global Context: A Transnational Journey https://hubs.la/Q02kCwk40

Interdisciplinary crossovers between different art forms are becoming the norm and bear testimony to the unfolding of limitless potential. More and more modern artists have been tapping into the intricate synergy that exists among different artistic disciplines to create one-off jewels by adding unusual elements to the oft-seen forms.  Head to the following link to read the whole article. https://lnkd.in/d2pHth2F #SolitaireMagazine #GJEPCIndia #finejewelry

As an advocate and practitioner of “slow art,” Makoto Fujimura believes that art should be made slowly and deliberately and viewed with this same respect, not just as a background but as a focal point we can immerse ourselves into. This is the first in a series of two articles in which Louise explores the work of Makoto Fujimura. https://lnkd.in/eVqptrG7