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100 Ideas That Changed Art

100 Ideas That Changed Art
by Maria Popova From cave paintings to the internet, or how art and cultural ideology shape one another. On the heels of yesterday’s 100 Ideas That Changed Photography comes 100 Ideas That Changed Art (public library) — a succinct account of the most influential developments in the history of art, from cave paintings to the internet, compiled by art historian and broadcaster Michael Bird. From conceptual innovations like negative space (#98), color codes (#33), and street art (#94) to landmarks of communication like making books (#21), propaganda (#12), and handwriting (#24) to ideological developments like “less is more” (#30), protest (#79), and the body as surface (#9), each idea is contextualized in a 500-word essay with key visual examples. Bird writes in the introduction: What does it mean to ‘change art’? Polykleitos was credited with 'the idea that statues should stand firmly on one leg only.' Images and captions courtesy of Laurence King Donating = Loving Share on Tumblr Related:  Good Reads :)Storia e riferimentiOther

Fail Safe: Debbie Millman’s Advice on Courage and the Creative Life By Maria Popova The seasonal trope of the commencement address is upon us as wisdom on life is being dispensed from graduation podiums around the world. After Greil Marcus’s meditation on the essence of art and Neil Gaiman’s counsel on the creative life, here comes a heartening speech by artist, strategist, and interviewer extraordinaire Debbie Millman, delivered to the graduating class at San Jose State University. If you imagine less, less will be what you undoubtedly deserve. Look Both Ways: Illustrated Essays on the Intersection of Life and Design is an absolute treasure in its entirety, the kind of read you revisit again and again, only to discover new meaning and new access to yourself each time. Images and audio courtesy Debbie Millman

Musée virtuel - Reproduction de tableaux - Copies de peintures à l'huile peinte à la main Why “OK” Is America’s Most Useful and Compact Invention What the history of the word OK can tell us about American concision, psychology, and language. OK is a word so omnipresent, useful, and casual that it feels like it’s existed since the dawn of time. It’s hard to imagine how people could have spoken and written with those two little letters. It’s also hard to imagine that two letters could encompass as much history and human experience as OK, but there’s no need for the imagination: Allan Metcalf’s book OK: The Improbable Story of America’s Greatest Word traces its journey from “joke to business tool and then to staple of everyday conversation and an attitude toward life.” Metcalf provides many snapshots of American history, with detours into the worlds of business and celebrity and psychology, while painting a vivid portrait of the weird, wild process of word evolution. The origin of OK is an odd, unlikely one: It was a joking abbreviation for “all correct,” invented by Charles Gordon Greene in 1839 in the Boston Morning Post.

How We Spend Our Days Is How We Spend Our Lives: Annie Dillard on Presence Over Productivity by Maria Popova “The life of sensation is the life of greed; it requires more and more. The life of the spirit requires less and less.” The meaning of life has been pondered by such literary icons as Leo Tolstoy (1904), Henry Miller (1918), Anaïs Nin (1946), Viktor Frankl (1946), Italo Calvino (1975), and David Foster Wallace (2005). From The Writing Life (public library) by Annie Dillard — a wonderful addition to the collected wisdom of beloved writers — comes this beautiful and poignant meditation on the life well lived, reminding us of the tradeoffs between presence and productivity that we’re constantly choosing to make, or not: How we spend our days is, of course, how we spend our lives. She goes on to illustrate this existential tension between presence and productivity with a fine addition to history’s great daily routines and daily rituals: The most appealing daily schedule I know is that of a turn-of-the-century Danish aristocrat. There is no shortage of good days. Share on Tumblr

C’è un morto nel ritratto. Come riconoscere presenze funebri nei dipinti La pittura antica non si fermava di fronte al limite della fine dell’esistenza. In molti casi, riprendendo precedenti ritratti della persona defunta o ricorrendo – più raramente – al rilievo del suo volto sul letto di morte, i pittori giunsero ad imprimere un nuovo, eterno soffio di vita in quei corpi estinti. I casi di quadri di lutto non sono poi rarissimi. Uno degli elementi che contraddistingue la morte dell’effigiato è normalmente, specie nella pittura cinquecentesca dell’Italia settentrionale, la presenza di un albero spezzato delineato nel paesaggio retrostante o, come nel caso dei coniugi dipinti da Lotto (lui, affranto, in vita, lei morta) un temporale che ha la forza spaventosa di evento metafisico, atto a piegare la volontà dell’uomo che qui somiglia realmente agli alberi reclinati su se stessi a causa della forza del vento. Lotto: alberi piegati, violento temporaleLei è morta e lui la piange senza requie Il volto di lei è gonfio, quasi tumefatto. E’ il 26 aprile 1478.

The Inspirations Behind 20 of the Most Well-Known Luxury Brand Logos | Highsnobiety As Graphic Designer and Art Director Paul Rand once said, “It is only by association with a product, a service, a business, or a corporation that a logo takes on any real meaning. It derives its meaning and usefulness from the quality of that which it symbolizes.” His words of wisdom resonate especially as we as a society delve further into a DIY-aesthetic where every single person with a dream and an Internet connection is poised to develop the next big thing in a variety of mediums. Simply put, everyday we’re inundated with more and more “companies” that aren’t necessarily promising anything other than the fact that the “owner” himself/herself is fulfilling a dream. To explore the world of luxury logos and their inspirations is to unearth a rich history unified by the notion of excellence. Versace’s Medusa Head YSL’s Letters Rolls-Royce’s Spirit of Ecstasy The Hermés Carriage Chanel’s Interlocking C’s The Maserati Trident Prada’s Rope Emblem Louis Vuitton’s Monogram The Ferrari Horse

The Art of Looking: What 11 Experts Teach Us about Seeing Our Familiar City Block with New Eyes by Maria Popova “Attention is an intentional, unapologetic discriminator. It asks what is relevant right now, and gears us up to notice only that.” “How we spend our days,” Annie Dillard wrote in her timelessly beautiful meditation on presence over productivity, “is, of course, how we spend our lives.” And nowhere do we fail at the art of presence most miserably and most tragically than in urban life — in the city, high on the cult of productivity, where we float past each other, past the buildings and trees and the little boy in the purple pants, past life itself, cut off from the breathing of the world by iPhone earbuds and solipsism. Horowitz begins by pointing our attention to the incompleteness of our experience of what we conveniently call “reality”: Right now, you are missing the vast majority of what is happening around you. The book was her answer to the disconnect, an effort to “attend to that inattention.” The perceptions of infants are remarkable.

Digital Dada Library - The International Dada Archive - The University of Iowa The Digital Dada Library provides links to scanned images of original Dada-era publication in the International Dada Archive. These books, pamphlets, and periodicals are housed in the Special Collections Department of The University of Iowa Libraries. Each original document has been scanned in its entirety. These are page-image files only, not searchable full-text files. The Digital Library is divided into two sections. The second section includes books by some of the participants in the Dada movement, as well as some of the more ephemeral Dada-era publications, such as exhibition catalogs and broadsides. These documents are provided for research purposes only. Enter the Digital Dada Library.

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