Modern and Contemporary

d m c* mr J o s e FL
instal
2D 00. M de m T
(Coune s y ot t h e a rtis t)

m in the m od e m a n d mnte mp o rary e r a s h a s

ce rtainly a ffe c te d th e art s c ene. Charlie Chaplin
ras th e star of th e m ole Me Pitg nfm ( 19 2 3 ) .
In m+ the re 7r e r e 2.5 m illion r a d ios in u s e in
th e [is In 19 3 7, mn S p e e r b ec ame Hitle ¢ s
¢ h₩ archim Me Mt lilm s we r e S m w mle
m maris 119 3 T) a n d Life o f Em ile
Mo de m a n d c o ntemp o ri ary

m (m).
th e S etren arti s ts c h o s e t o d o a wa y
Le o nard o a hers. \Ion a Lisa wa s
d wi t h the c o nventi o nal ml es
e xh lb iie d in Nm Yo rk a n d Wmhing to n D.C. In of m
m. Th e m lum m of the P a r th e n on in Athe ns
«e re ind ang e r o fo o llap sing as are sult o fwe ath-

his
e ing a n d ero l s i o n of foundatim
Burt wo n Acad e my Award s for
br Bulcf\·
Ba c h a r a c h
and 1l l e
Rain
s ¢ xir e PO U* T O F D IS CU S S ION
S ttnd anre Kid (19 6 9 )with its hit
E₩ ming mMy He ta d . In19TT, Masmey
Wnat characte ristics
diedh 19 78, 29 Italian op e r a m anage n
of mem and
rm
a r td ir e c a a n i a n d . Agirereamest ed fo r a lle g e d
ption in the op e r a ind ustrj. m arim lle c - co nte mp o rary art
tion afBo b e rt Ge r m a n s#m le a th e r ap p e ale d to the
mon mem art vie we r?
ta-8 and« asme
m ld at a u c tion for 53T. 6
₩:
sa le o fthe c e n t
 Mo d e m nrt e m e r g e d a s n re sult o f th e soc ia l a n d
p ol,itic a l re vo lutio n that
swe p t ove r Eu r op e . T he We st wa s b e c om in g l es s agrarian a n d m or e
se cularism wa s e xp a n d in g , a n d nrtists n o urban
lon g e r thought that the ir art s ho ul
g lor ifjT th c we althy ind iv id u a ls, th e sta te no r th e c h u r c h .
art starts fr om Historic ally m od e m
Im p r e ssion ism ( 18 8 0 ) a n d c on tin u e d to th e
up 19 70 s.
mnch painte · Paul C6 z anne m a d e th e first g re at bre akthrough in
n r t.. He wor ke d slow m od e r n
ly n n d c a r e fu lly., He e ve n d e str oye d many o fhis wo rks
b efo re
finally r e a c h in g a n e w kind o f art. He fe lt that th e in painting c o unted
m ost. He c h a n g e d th e sh a p e s
sh a p e s o f th e ole c ts he p ainte d if h e
m a ke a b e tte r p ic tu r e . His thought it wou ld
c o l o rs we r e bright a n d he le t th e b rush
in h is finishe d p ic tu r e s. stro ke s sh ow
Czanne l ed oth e r artists t o b re ak th e
trad itio ns in nrt. e sta b lish e d

Artists
W for m'sfe ltsake
that the y we r e fr e e
."The y va lu e d sh a p e ,
to c ho o s ethe iro wn c on te n t a n d had th e
s l o g an,
Fo r e xm ple : b lob s structure , s c al e, a n d c om p osition .
s i z e,
o fp aint, d r ip s, a n d thickne ss ofpaint we r e a ll
of e xp r e ssion . T he y a b a n d on e d dimrent m e a n s
be auty th e Ale s of p ro p o rtio n a n d
the y d r op p e d su b je c t matte r as an e sse n tia l p e r sp e c tive ,
th e n e e d to h a ve an art c om p on e n t of art. The y e liminate d
o b j ec t in an artwo rk. An
Ca m p b e ll' s S ou p Cans, wh ic h c on sists o f e xamp le is Andy Wa r h ol' s
3 2 c a n va se s of th e
sou p that we r e p r od u c e d b y th e c om p a n y in 19 6 2 . variety of c a n n e d
 Julia Morgan, the tir RL wo man archite ct t.O w}lduntf! fio m ttlr: /cc: {l /(' /l c r#

Be aux Ar /S in Paris, d ( ' sig n e d n n d e upe rviHtd th¢: cunnlruclio n of lrund rr d H ttf'
h om e s, churche s, uml in ntitutionn] b uild ing H, //' ' {17#l {1#//"in S n n F rinciaco ,
Cali{ornia is an e xamp le ofher mT hlte c lur I t' g l l c y.. 11

Conte m porary at· t i R U tc te rm u Re d Lr ) ]fr r ) u p t.H( ' n r t, wo rkn th: it h: lvr: cmrrrh« :{j
fr om the 19 70 R ul » to the p r(' se nt. The firt mo ve me nt« in thr: 19 6 0 «, auch a fs
minimalism n n d p n p art, p a ve d Lh [l way fb r irtiste to c xpjufc rl l J eeti o nj s I ib o ut
the co nce p tual nature of a r L, T urning away fr om the b n f$ i c te c hnique #of pninL
ing and sc ulpture , they e xpe rim e nte d with ne w fo rms includin p ho trJ g rap hy,
6 lm, vid e o, p e rfo rmance art, larg e e c a le inHLallatio nH, a n d e arth r}f e nvironm e nt.
Conte m porary a r L mo ve me nts no urish(' d afte r Wo rld War auch aiJ II
Abstrac tion, Abstract Expre ssionitsm , P op Art, op Arl, Kine tic Art , Mini malilsm,
Hap p e ning s, Asse mb lag e , a n d Installation Art.
S om e of the mo re re ce nt popular co nte mp o rary art mo ve me nti$ are p o st-
mo d e mism, fe m inism , co nce p tual, ne o -e xp re ssio nism, graffiti, n e o-p op , ne t art,
a n d futurism ,

In arc hite c ture , skysc rape rs we re the so lutio n t o the inc re asing population
o f c ity d we lle rs. T he se struc ture s are usually m a d e ofglass p a n e s and s t4j el that
g ive the vie we r a c c e ss to light a n d ou td oor vie w.
Pe rfo rm arts e xp and e d fro m the atre a n d film into digital and three-
d ime mio nal. Hollywood, Broadway anim, m e d ia art, co llab o rative art, street
d ancing , and Disne yland are the outputs ofhum an creativity in the 21st c e ntury.

M o d em a r d m fe ll l hal th e y were free to c ho «»a e thei r o wn c o n t e n t and had the s l o g a n , " art
for a r t' 8 eal c e.'

mmporary away fro m the bm o f p al nl l ng a n d s culpture , a n d exp eri mented

m new
a rd s t e ltJme d
fo rmats ,
 SLUJOdpue uJapow
pue uoa ◆ AJeJodma shv

po lepun "H·

pe

Aq pe Je h
S UOTU e lPe urlHw O

smw p tr e uJ ap o m p uu Kle J o d uraluo o

qm annb aJ B m a u Re m sKieuBjo aq
ui stp d no alp mau salR\s Jo W
BwJoaae 01 atp mo p sluam ala J ap J o
naw sualaBxBq a aqJt'sal*
e J nBg -uo u a AP
we sa r R1s are ieagdo 'uogoe Jls qv'tus lqnd'qJe

y-;
s am 'm s l [ B a J J n s

uo nellasui
qa n J lsu oa qJe smJ o j am
ae u pm
'sBm uaddeH 'aBel qm assy

-.

A4
(6d!.'"QH-ua im 37q

J -u on UV

snnnnm lc fo JydoJo
Rq mqMqJ suJ alllsd p amJ o j Rq 1 30
Jo J oloa ttm t[a ! a J e lauxa ut
man ye suuo j p u e saNs
p e 6 J a wa q6 n oJ q uJ ep o m
luamaAo m aJU leal e tlt pulm atlljo ia ALe tx .
pw m Jodm alum p e inq lou aq p o mq m sltlL uaas aolalA
q uauJ aAo w RiaausBA Ku ip Bu lzH sou a tlT'0. soJ u n b s

p ue B sap o s
d ap Jo soxoq p e auld d[1}uo
mlod 30
xaillo
01 q BaJ a
aru Rllunlau luu
13
1 0

p-oaJtll
}j o

u o u Ms
To l o a p n sn S

o },A J o se xoq;
' oon j.

m oh P eql m au urslqnd t B B J v le o tu (ls'lru

pue S alAls
palje J eql elels 9 op le Jo ue ttBoooJ sm utm ◆0

J o uewnq l pue Tto tu o a B a! . sla olh o N tu o so d

IU o uo uo uo tu ₩ so
1uaJ ed eueJ 1
 In Cuhism , ai tists paint or sc ulpt whnt the y know, not whnL the y se e . \hey
]vd uce their figure s to b n sic g e o me tric lm tte rns su c h n s c ir g l e b , squ a r e s, trinngle s,
n n d re ctang l e s The y nisa m ake thre e -dim e nsinnal fb r m ssuch a s c u b e B c y"nd e rB,

he painte d thc figures to distitrguish the m fro m the

b uckg ro urr d q h e fig urce 0 fth
\e Ind ie s ai r e d u c e d into g e o me tric rmtte rna, the e«
a p a c e s b e twe e n the m , vnrie d .
P ic a sso d i d not fo llo w the rulc of p e r sp e c tive Inste nd h e sh owe d d I llirent p nints
of vie w ollon e c aiwa S He u se d g e o me tric hrms to e xp re ss h j B id e u 0 f wo m e
e xam pl ei S Piet hlond rian's
Cnmp o st tio n 10 T hi« p ninti n g sh o W "Another
c u b is mi n ahstrac ti 0 n p r o in g that painting c n p n p p e n l to c he vie we r t broug"
co mhinatio rro fline S organizatio n. Although th e pitinting S c e m e t0
c olon an d
look sitrrpl e, itiS co mp le x in th e se n se tha L e a c h lin e vnrie s I n thic kn e s s n n de n
n
whitc shap e varie si n slze a l! o rg aniz e da n d b zr la n c ed I m nthc m atic n e xnclne a B
1

Abst ract ionchang e s the fo rm of the sub je ct m atte r, so me tirne s re duc ing it
into its b asic shap e S , or a t tirn e srendering I L I nlin
e S O r co mb ina(io n 0 f c olo r

In Henry Moore'sRee/ini n g Frgur e Nn 4, Lhe fe ma 1 e figu r e I S sho wn re c lining

T he artist to o k the liberty of re d ucing the h e a d and e nlarging the le g s, m nk-
ing it lo o k d isto rte d . He also m a d e everything smo o th. Ne g le cting the dirt , r e n L

I
te xture s t hat the human figure wo uld naturally have .
Abstract Expressionism was intro d uce d in the 19 5 0 s. Also known a s
' a c tion painting,' I tw a S b e s t sh 0 W n I n the W 0 r ks of d u c k s o n P ollo ck Wil
de Ko o n I n g a ndMark Rothko. Thi si
whn t reall y m atte rs in m otle rn art, thc
S

making of the artwork of Inckson Pollock, who p uts his canvas on the roar,
il
splashe sdiff e re nt c olor s ofpainL o n in hisd e sire d dire c tion, d n n c e s overit with
a stic k o r m ate rials othe r than the usual b msh. S pontane ity and dynam ism are
Gh own in the produc tion of the artwork. The re sult i5 se e n in P olloc k' B Nulnber
1 l«
u e lzd e r Mist. The y are fr e e and sp o ntane o us. The p r oc e ss m atte rs mo ro
than the output. Th e p r oc e ss allo ws the nbstr n c l e xpre ssioni s ts to C X P ie S s the r
e mo tio n s through a varie ty of te chni q u e S andm c d Iu mS

In £: sculptureMan Wa llting he r e d u c e d thehuman fo mr to nn e longrtle d

ith only the e sse ntial parts: tors o , he ad , le g s, and arm s. His figures are
shap e w
a ric h texture.
unpolishe d and have

Flg uratlve Art

d id no t want to d e p ict the hum m i figur e

Me D a r zc e is an e xamp le . He re , Matisse
,

m u sc le s and w ith d isto rtio n, h a n d s c l as p ed

ac c urate ly. He p a in te d t h e m without
to g e the q m oving and d ancing in a c irc ular fo rm. T he sh a p e s c r e a te d e m pty sp a c e s
in b e twe e n the figure s. Co lo r plays a fundam e ntal mle and co nve ys the fe e ling of
b e twe e n the b lu e and g r e e n b ackg ro und a n d the
oy, he ighte ne d by the co ntrast
:
human foms in light brown. Matisse explained,"My c h oic e of c olor s d oe s no t re st
o b se rvatio n, onse nsitivityonfe lte xpe rie nc e s
anyscie ntific the ory; itisb a se d
on
on

... I sihply try to put d o wn c olor s whic h re nd e r m y se nsatio n."

 the commodities found in the
to U r e m usc ulll
ln t. He 19 6 0 s, t bpA: ·/br ought

which
fr0111 popular culture, c om b in e s
P op nt· t d e r iv (' S sub je ct m n l, Le r
it, S
fashion, and c o n-
nic ntion, ad ve t· Lising , mass production,
cveit day lilb, c om n m world, e xag g e rate it
sulllcr ism. P op a r l, ist. S ge t iln o b .J ec t in the consumer-driven it on d isp la y
or r im age s, and then put
by d e p ic t. Ing it in inc r e a se d size by e p e a te d
Warhol's G re e n Coc a -C o l a
inthe nmse um I o for m p tt r t of ils co lle ctio n. Andy visual art. B
through ec aus e
Bo t//e s is all e xam ple of a c om irrodity p r e se nte d it
the se are ob je c ts wc se e ar o und us e ve ry day
in the c onsum e r world, i s n ot
e a s. V to acce p t its p r e se n c e in the art m use um .
Like other m ode rn artworks, th e
public r e je c te d the id e a.
Fre udian
S urre cz lism was an art m ove m e nt inspired by sc ie ntific research,
co nsists of artworks that a r e
psyc hology, and d re am inter p r e lation. S urre alism
fsr fl 0 111 r e a l b e c a u se they co mb ine reality and the intensity of S ub co nscio u
m ind. The ar Lists c om b in e unre late d things that are se e n in dre am s. As a r e -
suit, we se e fantastic and unre al fo rms in surre alistic art. In
Salvador Dali's
TJ fz e Pe rsiste nce ofMe r ??. oly, Dali co mb ine d a d isto rte d c e ntral figure of a h u m a n

e ye shap e d into an anim al, ro cks and lim p watche s hanging over a barre n tree
w<th ants, a ll painted in d e tail. This is the artist's interpretation ofthe sym b olic
nature of time .

Construc tion-base d An

Knet ic Art invo lve s nrate rials that are ' o rg aniz e d by the
sculptor to cre ate m o-
tion. An e xam ple is Alexander Calder's Re d Mobile . The art work co nsists of
mem she e ts c ut in vai· ie d size s, a ll painte d in re d . The se metal she e ts a r e c o n -
ne cte d by m e tal r od s and hang on the ce iling . Air
ke e ps the red mo b ile mo ving
in an irregular way.
Asse mb lag e is sim ilar to c olla g e e xce p t that in
co llag e , the materials are g lu e d
to a sum c e . Asse mb lag e e mp lo ys any me tho d
ofj oining or
e lab o ratio n or cre atio n of illusions of depth fastening, to te xtul' al
(Feldman 1981,299). Anlong th e
practitioners of asse mb lag e is Je an Dubmt. He m ixe s
asphalt, ta1 c errl errt,
varnish, g lue , sand , and so o n and p uts the m on a
two-dimensional bac kwourrd.
Happenings co nsist ofartworks d e 6 ne d to have a
atric al quahty b e c a u e e the oYe c ts a r e short hfe . They have a the -
particulai'wa
desimed to pe rform in a
and eventually disintegrate or c e a se h
'

hnction.Jean Tinguely's m m age t o

Mu) Yo rk (19 6 0 )i8 on e e xamp le . He
co mb ise d a
whe e ls, Co ke bottle s, a, twewriteq a battered piano, drum s, b ic yc le
drawisg
me ase e mb ly wm d & sig n e d to m ake machine , and a weather b a lloon ·
music, cre ate
drawings,
issue 1· ts ,
ep o r·
suicid al m' achirie wa e witne e se d by a
distinguished audience o n
March 17,1960
,
;--"aq. 19 8 1, 3 6 3 i
 ltrsto tto lio II. A/· t is c on str u c te [l i t a s p t· c i B c site . It is thre e -d ime nsio nal and
te ir r p 0 1· nril tl· ttrts h)1· IllS tlr c sp a c e w
'

lriclr it oc c u p ie s.' Fir e vie we r inte racts with

tl e irlstttlltttion b :: \\' :rlkitrg, sil. t. I trg , or sla ir ( litr g on it, n s the ( le sig n allo ws
1
it.
S t)t\\eti trres , t t r+ tsic isir r c or · P o ratec l itr[o tlre irrstallntio n. At)ro: 1[ ] rang e ofe ve ryday
111n t e i · in ls i$ ir sc d su c lt ils b ottle s, P lnslic, sn ir « l, P c b b le s, or any
h ) u n il 0 Ye ctg . It

is a lso 11ot P el · 111ul l c l l l , e s P e c i:rlly wlren it is in c ltl[le c l in nn art e xhit)itio n b e c a u se

it is d isn sse ir r b le d n l]e i· tlte e xltib it. I o 11. It c an n lso b c in t. Eg r n te d into a natural
a ditbrent
la ir d sc a p e tlrc y ale site -sp e c i{ic , tlre y c a n n ot b c m ove ( l t D
b ir t h e c : 1\l s e
se ttitrg. Arl e xa ir r p le o f itr sta lla tior r nrt is Carsten H6ller's? hs l S ite wh ic h
was

ittstalle d ill\ht e h· lod e r ir i11 2 0 0 6 . T ire p ub lic\' ie wers slid e d own h om as hig h
a s a hve s to e y bttilditrg itr sid e its tub trlar slid e s.
1·

Mod e r n A rhite cture

d iffe re nt
make t, h e ou td oorpart o fthe in d oor. Mo d e rn a r c h ite c ts a r e g u id e d by
a
follows functio n, Le Co rb usie r thinks
p r in c ip le s. Lo uis S ullivan b e lie ve s that for m
that th e h ou se is a m a c h in e for living; a n d Ad o lf Loos affirms that o mame nt
is a c r im e a n d sh ou ld th e r e for e n ot a p p e a r in a b uild ing . An inte re sting style
c a lle d d e co nstructio nism was e m p loye d by Frank 0'Gehry
in h is Gu g g e n fze im
and has
Mu se u n z. It d oe s no t follow th e c on ve n tion s o f b uild ing c on str u c tion
inte rio r i s functio nal as a muse um. Othe r
imgular sh a p e s. Ne ve rthe le ss, th e
e xa m p le s o f m od e r n a r c h ite c tu r e a r e Julia Morgan's He Qr st CQstle a n d Frank
Lloyd Wright's Fatlirzgwate r. T he h ou se was d e sim e d for Edgar Kaufm ann.
a s n ot t o d ismp t th e natural flo w of wate r
Wright u se d hang ing b a lc on ie s s o
nature b e c om e s
no r c h a n g e the la n d sc a p e on wh ic h th e h ou se sta n d s. In e fte c t,
the m. T ho usand s
a part of th e a r c h ite c tu r e , with only g la ss p a n e ls se p arating

of visit the landm ark a n d man' e l at th e a r c h ite c tu r a l g e n iu s of Wright.

g u e sts

CREATING ART
Mo b ile Art-making
to c r e a te m otion o r m ove m e n t wh ile
Kln e lic a r t is m a d e of m a te r ia ls or g a n ize d
is se t sta b le . It c an b e m a d e o f p ie c e s of p a p e r c u p s
i t s b a se or som e oth e r p a r t
of m e ta l we ld e d tog e th e r o r p la stic m a te r ia ls a tta c h e d
g l ued tog e th e r, fou n d p ie c e s
wi l l m a ke k i neti c art o ut of p a p e r c u t-ou ts of an ob je c t
tog e th e r. I n th is activity, you
of you r c h oic e .

89
 Mixing Mediums
and Exploring New
Techniques

(Lo nd o n, Um on olim h u tte r stoc k. c o m)

M· m Duc hamp , 19 17. Fo untai n,

r e e d y-m a d e s i g ned wi th a J o k e n a m e
b y Al fred S tei g l i ml tp J /

92'
(Photo
c o mmo ns . wi k i med l a.o rg /wi ku
F i l e : Duc hamp _Fo untai ne.] p s )

The fast pac e of the pet roleum-based

Expe rim e ntation with ne w
me d iums and te chniq ue s
allowe d artists to use the ir
art to m ake statements!
about the hum an co nd lllo n. -!
How dld art ist s use
new mediums and
t echniques iq art ?
development of industrial technology le d to
increased consumerism and W astage. S m og
m rd ac id rain
colrtaining atmospher ic toxins
damaged the environment, and the rising
co st of our battle against infectious dise ase s
and malnut rit ion use d up health re sourc e s
worldwide (Dasilvn, 2004).
The se
changes challenged'art ist s who
reacted in different ways. S om e use d art to
vent out t heir emotions while som e disr
garded the conventions of m· t and c am e up
C-j
'.
;. : wit h artworks that
. m ade statements about
·

the human condition,

 F! 0 1111.9 0 6 to 1941, cxper imentittion in te c h nique and subject mattercame
·
as

result ofmoder niznt ion, scientific, engineer ing, and int ellect ual development.
T hc discovery of photog! aphy nml film chnnged the American vision and art
·

representation dram: rlically.,'lr nvel was m ade easy by the new railroad system.
Artists suc h as Marcel Duchnmp, inlr oduc e d his ready-made objects suc h a
]ibu ntaitz, a urinnl removed h· 0 111 ils ulililar im fiinction in the toilet and moved
to the m use ul11, thus, posing n s onc of the ar Lwor ks on
display..
T he rrroder n:rnd cont emporary ar list s are ofthree types: (a)the sensational-
isis who want to br eak away h·om ar Listic conventions and reject most accepted
values; (b) the exper inzctztalists who se e k new methods and combinations of
mat erials to express themselves and (c) the ar list s who c om bine what I S good
in the sensationalists and exper imentalists and what is valid in the past into
t heir new art ist ic expression (Wold, 1996).
Given these characteristics of modern art , we define and describe the
techniques employed by the modern and contemporary artists.
Conzpositiotz is the arrangement of the elements of art to create a unified
whole, It shows how the diflerent elements complement one another and make
the art work pleasing to the viewer.
Proc e ss is the procedure taken to do an art work. It tells how the artist use d
various materials in creat ing the art work.
mbol is somet hing that stands for an object o r idea. For example, the horse
is a symbol of power and majesty., T he sun stands for knowledge and wisdom.
Medium is the mat erial which the artistusesforhis o r her art. S om e examples
of mediums used in art- making are:

\. Finger PaintingActlic- Theplgments

used in linger paint ing is pasty sub-
stances mixed with water and smeared
on slick paper with the fingers.

2. Wat ercolor-Wat ercolor pigments are

mixed wit h water and applied to paper
with a brush. T he c olors are t ransparent
which means that the c olors beneath
will show if you paint another color o n
/!'
top r'
3. Poster Pailzt-This medium is som e -
times called opaque watercolor. Colors
c an be paint ed over one another
and
those mderneath do not show t hrough.
Casein paint is similar to gouache but
when it dries, it becomes. very brittle.
Casein should be used on a hard surface
."

suc h a 8 wood rather t han on paper

or

canvas. Rf· ". (S hutters to c k P ho to s )

 4. oit Pairtt-oil paint, S
by
are made
mixing pigment s wit h oil to fbrm a

t hick substance like toothpaste. Oil

paint can be t hinned with t ur pcnline,
oil paint s dry very slowly., But on c e
it dries, colors can be paint ed o ve r
and comections c an be made.

5. Acl» lic-This is calledplast icpaint s.

·

It is wat er-based, quick« lrying,

durable, and adaptable to any su rface .

8..

donet
Past els-T hes epigment s ar e m olde c
into sticks simila rt
0 chai k. T h

c olors ar e used like crayon S , an

eapplie d, the ysmudge easil yan
mus tb e protected by afixat iv et ole
pigments stay I n plac e

' ( S h u tte r stoc k P ho to s )

Technique is the method of using the medium to achieve the desired result .
The following are som e techniques use d in art -making:
1. Constructed sculpture has a number of parts put together.
2. Assemblage is a direct technique using a variety of materials arranged
to form a 3-D image. It use s "found objects"or ready-mades found any-
where.
3. Mobiles are constmcted sculptures that hang from the ceiling and move
with the air. Alexander Calder (1898-1976) was an American artist who
created mobiles.

(M o nueal M us eum o l Fi ne Ms/P h oto b y

mr· m)
red mo b l l e.
Mo ntre alalmtlp mmmo ns. wl k l med l a. or g /wiklm le :
 4. lrrstnllntion is 1111111' L P of ulc{li [rms assembled together
i(' ce rrrnrle tlp
l \\1(l (le sig ne cl a)r tl
sp e c inc sp trce . IL is som e tim e s he ld outdoor to {brm
1111 0 11\' iro nirre irt. Nl nrt,. Arr exairrp le is S i« l Gom e z 1-Iil(lawa's Sunday at
(e 1\t. 1· t ll St alio 11, lre co mb irre cl h ) tl11( l okiccts 8uch a 8 sand, rope,
\\· lre re

g lo \· e s. n l t« l 1\10 11 '
olllers to ' COI1sLI· uc t' \ris itrstnllalion artwork.

l 11 nl cltitectttt· e , lire clrnirges ill e co rro trric trncl soc ial life brought about by
iltdllst. t · inllifc\, tlnirsporttlt. I o 11, nncl commullicatioll have afhcted its funct ion.
T ire incrTase ill cit y p o p t rlnt iorrp1' o rrrp te d tire arclritects to design architecture
t lrat 111e e ts tire deirrands of Lire complex and busy society. Wolc l observes:
In urban society, the ltlr g e apartment house was developed into an e co -
the
nomic and efficient e dific e for modern living. Mass education required
building of educational plans in keeping wit h current philosophies of edum-
tion. Supermarket s and large d e p . Artment store s were created to assist
in
the dist ribut ion ofthe enormous production of farms and factories. Factories
be c am e archit ect ural achievements, providing o p e n sp ace s for
the machines
the workers. Skyscrapers
ofproduction, and safe , pleasant surroundings for
be c am e symbols of the rationally-organized business life of the 20 th century
(Wold, 1996).
and efficient use ofspace
Modern architects believed that the most economical
b e cause omamentation
is desirable and t hat walls should b e bare and mt ext ured

is considered distasteful (Flet che* 1987).

(REMEMBER
are e m p loye d I n art-making .
Ne w me d iums and te c h n iqu e s
1
I n p a in tin g , a c om b in a tion of
m e d iu m s ls e xp lor e d by a r tists.
a n d mnstructio n d om in a te d art-making .
I n sc u lp tu r e , re ad y-mad e s, fou n d ob je c ts,
to r a e sth e tic
e co nmics, a n d e fflc le n c y i n u s e of sp a c e are a d d e d
In a r c h ite c tu r e , e nviro nme nt,
c on sid e r a tion s.

CREATING ART
Soap Sculpturumaklng
with new techniques and materials
Characteristic of modern art is experimentation a material that
Soap ls you can carve into a
that can be used to make an artwork. textures o n its surfac e .
form , You c an create smooth and rough
three-dimensional Posltlve spaces are occupied by the
and negative.
Space Is of fwo t yres: poit iit e have be e n carved out and thus,
and srriallforms within the sculpture. T hose that
b l§ will carve a sculpture
le ft· empty, are called negative spaces. In this actlvlty, you
m ade of soap,