Archive | January, 2013

Oriol Angrill Jordà

15 Jan

oriol angrill jorda 4

“I did not start like most of the artists I’ve met… A majority of them had been enthusiastic about Art, almost since they were born, as a native desire to create or express themself. Unfortunately, it wasn’t like that (for) me.”

• Spanish illustrator
• variety of media (pencil, watercolour, charcoal)
• In his most recent project, “Blendscapes“, Jordà creates hybrid images with human figures constructed from delicate landscapes
• unique colour and texture combinations
• interesting displacement and reconstruction of traditional landscape imagery.

oriol angrill jorda 3

HANS BELLMER

14 Jan

Germany, 1902-1975
“If the origin of my work is scandalous, it is because for me, the world is a scandal.”
• Bellmer began creating disturbing dolls in 1933, the year Adolf Hitler assumed power in Germany.
• Interpreted as acts of political defiance against the Aryan ideals and social norms promoted by the Nazis – Whom he openly opposed, and expressed the outrage he felt when his father joined the Nazi party.

Hnas Bellmer, doll

• Doll: made from glue and tissue paper, then painted a flesh tone.
Its order is undermined by the lack of distinct head or feet.

Hans Bellmer, doll

• Offer an alternative to the image of the ideal body and psyche popularized in German fascist propaganda of the 19030s
“an artificial girl with multiple anatomical possibilities”.

BRUNO CATALANO

14 Jan

“Drawing a blank”
Born in1960, France

brunocatalanos1

• Bronze sculptures
• “The Travellers” (In search of missing pieces)?
• The viewer fills the blanks
• Maybe a message to all of us to become a bit more transparent…?
• Images sometimes behind the sculptures (picturesque landscapes)
• How comes the sculptures don’t fall?
The unifying element of all the sculptures: a suitcase, bag or guitar case

catalano-bruno1322495470

OTTO DIX

13 Jan

Born in 1891, Germany

• 1914 volunteered for the German Army in WWI
• Wounded several times during the war. Nearly died when a shrapnel splinter hit him in the neck.
• In 1918 (end of the war), Dix had won the “Iron Cross” (second class) and reached the rank of vice-sergeant- major.
• Developed left-wing views and his paintings and drawings became increasingly political
• Angry about the way that the wounded and crippled ex-soldiers were treated in Germany.

otto dix, trench warfare

• “The Trench” was purchased and exhibited by the Wallraf-Richartz Museum. Its depiction of decomposed corpses in a German trench created such a public outcry that the museum’s director, Hans Secker, was forced to resign.
• “No More War!” travelling exhibition put on with other artists who had fought in WW1
• 1933: Hitler and Nazi Germany
• Government disliked Dix’s anti-military paintings and arranged for him to be sacked from his job as an art tutor at Dresden Academy.
Dismissal letter said his work, “threatened to sap the will of the German people to defend themselves.”

otto dix, war cripples

• “The Trench” and “War Cripples” appeared in a Nazi exhibition to discredit modern art. Later several of Dix’s anti-war paintings were destroyed by the Nazi authorities.
• With the Nazis in power, artists in Germany could only work as an artist, buy materials or show their work if they were members of the Imperial Chamber of Fine Arts.
Dix was allowed to become a member in return for agreeing to paint landscapes instead of political subjects.
• Dix mainly painted landscapes during this period, but still produced the occasional allegorical painting which contained coded attacks on the Nazi government. He exhibited several of these paintings in a one-man exhibition in 1938. In 1939 Dix was arrested and charged with involvement in a plot on Hitler’s life. Eventually he was released as the charges were dropped.

otto dix

• In 1945 Dix was forced to join the German Army to fight in WWII. At the end of the war he was captured and put into a prisoner-of-war camp. Released in Feb. 1946.
• Most of Dix’s post-war paintings were religious allegories. However, paintings such as “Job” (1946), “Masks in Ruins” (1946) and “Ecce Homo 2” (1948), dealt with the suffering caused by WWII.

Otto Dix died in 1969

ADAM DIX

13 Jan

“A creation of a world where the human race would live in a technological utopia.”

• Born 1967, London
• M.A. Fine Art at Wimbledon College of Art, 2009

adam dix, Aloft
“Aloft”

• Works set out to investigate the associations between technology and our need and fascination with it.
• Telecommunications and its impact on society
• Examined futuristic past predictions of the 21st century and the subsequent representation of that imagined future.
• Morphing past dreams together with present aspirations.
• Describing behavioural responses with regard to communication, how we relate or comprehend technology on a humanistic level.

adam dix, The Blessing 2011
“the Blessing” 2011

• Results = amusing take on how dependent on technology we have become.
Figures almost praying/worshipping (New Religion)
• Painted in ink and oil, but because of the style, could almost be watercolour

OLYMPUS DIGITAL CAMERA
“Olympus Digital Camera”