Adam R. G.’s Post

Keith Haring's work, characterised by its vibrant and dynamic figures, has become a staple in the narrative of 1980s New York's art scene. Among his array of compelling symbols, the radiant baby stands out as a beacon of optimism, innovation, and profound meaning. This article seeks to explore the layers of symbolism and historical context embedded within the radiant baby, a figure that transcends the boundaries of its time to remain a significant icon in contemporary art. https://bit.ly/46yMclu

Explore the Group of Seven's profound impact on Canadian art, their unique lens on the nation's landscapes, and the interplay with Indigenous reconciliation. 😊 https://lnkd.in/gHDv9jHv

Modern Art and Renaissance Art: Through Time and Style - https://lnkd.in/eUatgNcN

Today in Public Discourse, I address questions such as: What does this cultural moment have to do with competing philosophies about art? Why does art (real, beautiful art, not just self-expression) matter to the renewal of our culture? I argue that there has been a shift from traditional conceptions of beauty, which saw art as participating in and revealing divine order, to more modern, romantic views of beauty that reject tradition and celebrate self-expression. Modern art and architecture reject traditional harmony and form, intentionally breaking with the past. This revolution in art is a sign of a more profound revolution in the understanding of the human person and the desire to change civilization as we know it radically. Recovering art as a participation in God’s governance, and as co-creating with God, is crucial to the healthy formation of young people, our places of worship, and our everyday lives. I draw on scholars such as Jacques Maritain, Brad Elliott, OP, St. Thomas More Stepnowski, OP, artist Ioana Belcea and Tyler Graham, teacher and former student of Rene Girard.

Slow Art Day — In a world that seems to move at an ever-increasing pace, finding moments of stillness and reflection becomes a rare treasure. Yet, amidst the hustle and bustle of modern life, there lies an invitation to slow down and immerse ourselves in the timeless beauty of art. This invitation is encapsulated in the concept of Slow Art Day, a global event dedicated to the art of unhurried observation and contemplation.

Navigating the Art Market: Contemporary Art vs. Classical Art - Where to Place Your Bets

For Tate Britain’s Duveen Commission in 2010, the artist Fiona Banner didn’t make a thing. Two recently decommissioned RAF planes – a Sea Harrier hung from the ceiling and a Sepecat Jaguar parked on the gallery floor – were the extent of Harrier and Jaguar (2010). ‘Through the total oddity of their placing, and their enormous, undeniable presence in the otherwise civil and orderly gallery,’ Nathalie Olah writes, ‘Banner’s planes suggested the violence of Britain, the violence of Westminster just a few streets away, and perhaps the violence of art.’ Banner’s intervention speaks to the murky relationship between cultural institutions and a warring world – in 2010 and today. Olah cites examples like Hito Steyerl’s book, Duty Free Art (2017), in which Steyerl tells of how a Soviet battle tank was driven off a Second World War memorial pedestal in eastern Ukraine; and London’s Imperial War Museum, where in 2015 an assault rifle, discovered to be the murder weapon used to kill five Catholic people in Belfast in 1992, was removed from its cabinet. ‘The storage unit generally exists outside the scope of human activity,’ Olah explains. ‘And yet, from tools of propaganda to items looted in campaigns of cultural impoverishment and psychological tyranny, munition and even possible evidence, much of what the gallery contains has a possible political and functional life beyond its four walls.’ Indeed, Olah continues, ‘the ongoing brutal siege of Gaza – with Israel facing charges of genocide in the ICJ – has exposed the limitations of the international legal system and other instruments of Western imperialism’. What does this mean for institutions of cultural expression, held up by the hegemonic West as its apogee? https://lnkd.in/eFPyE32i

Over the past three years, Harti has exhibited at the Saatchi Gallery, London, Seoul, Korea, Venice, Italy and in Edinburgh, Scotland. Harti’s body of artwork, over 2 decades in the making, is questioning, loud and often unforgiving, stubbornly and roguishly digging to psychological depths in its commentary. Harti, a contemporary political artist, has his art denoting from the modernist, pop art movement. Through his work, Harti asks the viewer to question their own self, as well as political, historical and religious doctrines. In ‘From Obfuscation to Lucidity’ exhibition, Harti portrays the clash of the divine and earthly domains. In bringing the divine world closer to our current Covid-eaten society, the canvasses offer comparisons between divinity and capitalism. Here, Harti attempts to heighten the viewers’ awareness of the effect of theology and/or versus philosophy upon our lives and society and asks us to reflect upon the issues we currently face. Harti shows, through his work, that he is a master of layering. The aim: to stimulate, engage and challenge the viewer to peel back layers of their own mind is combined with the need to also entertain. Darkness and light, an overarching juxtaposition in Harti’s art works is played with on different levels: good versus evil and comedic pop art versus the manipulation of old Masters that, in itself, offers another playful layer, with its nod towards the mid 16th to 17th Century Tenebrism technique that uses extreme contrasts of light and dark in figurative compositions to heighten dramatic effect.

Excellent exhibition concept. Another museum trip to New York is on deck. "We like to keep history as we’ve learned it in a headlock, to make sure it doesn’t shift or change. Standard maps are useful aids in imposing paralysis. They turn the world into a fixed field of safe-spots and blanks, an us-them weave of gates and fences. One of the many — many — benefits of much-maligned “wokeness” has been its message to relax the hold, toss the charts or, better, revise them: explore blanks, rethink fences. It’s thanks to this more free-breathing approach to history, including art history, that we’re getting a challenger of an exhibition like “Africa & Byzantium,” which opens at the Metropolitan Museum of Art this Sunday. On the beauty-and-rarity scale it’s way up there: a treasure-chest of fragile and resplendent things — painted books, topline textiles, gilt-flecked mosaics — many on a first-time visit to New York from Africa, Asia and Europe."

Over two decades in the art market, I've seen firsthand how quickly the tides can turn. The opulent, eclectic collections that once dominated have given way to a preference for minimalism and contemporary art. Scott Reyburn's recent article underscores the profound changes we're witnessing. The once-stable world of art and antiques is now marked by uncertainty, with major fairs changing and the tastes of collectors shifting rapidly. As we navigate this evolving landscape, one thing is clear: nothing in the art market is permanent. The values and trends we see today can—and likely will—change in the blink of an eye. The future of the art market is more unpredictable than ever. Adapting to these changes is essential, but so is holding onto the timeless principles that have always defined true art. Photo and Article in TAN More reflections on our Chronic Art Blog - Ssa-art.com #ArtMarket #Antiques #Collecting #Minimalism #ArtTrends #Change #ArtHistory #ArtBusiness #FutureOfArt