“I want to reveal what is usually kept hidden – it is no game – I tried to open peoples eyes to new realities: it is as true of the doll photographs as it is of Petit Traite de la Morale. The anagram is the key to my work. This allies me to the Surrealists and I am glad to be considered part of that movement, although I have less concern than some Surrealists with the subconscious, because my works are carefully thought out and controlled. If my work is found to scandalise, that is because for me the world is scandalous.”
“Transautomatism is a modern style of painting, founded by Friedensreich Hundertwasser. It is a kind of surrealism, focusing on the viewer’s fantasy rather than an objective interpretation. Different people see different things in the same picture. The artist’s intention is less pertinent to the end experience, therefore, than how the viewer chooses to interpret it. Transautomatism is based on the different styles which Hundertwasser developed, e.g. spirals and ‘drops’.”
“Transautomatism is about Hundertwasser’s theory that straight lines are ‘godless and immoral’. That as humans we have lost our connection to the organic geometry of nature by forcing ourselves to exist in boxes as homes. He believed in the fluidity of line and shape hence his architectural and painting style. Being educated in a Montessori school his self-directed learning came from nature and therefore his drive to return to colour and organic states.”
via Nesa Wake
“She exhibited with Mackintosh at the 1900 Vienna Secession, where she was an influence on the Secessionists Gustav Klimt and Josef Hoffmann. They continued to be popular in the Viennese art scene, both exhibiting at the Viennese International Art Exhibit in 1909.”
“Mackintosh did not keep sketchbooks, which reflects her reliance on imagination rather than on nature. A few sources provided significant inspiration for her works, including the Bible, the Odyssey, poems by Morris and Rossetti, and the works of Maurice Maeterlinck. Her works, along with those works of her often collaborating sister, defied her contemporaries’ conceptions of art. Gleeson White wrote, “With a delightfully innocent air these two sisters disclaim any attempt to acknowledge that Egyptian decoration has interested them specially. ‘We have no basis.’ Nor do they advance any theory.” The beginning of her artistic career reflects broad strokes of experimentation. Largely drawing from her imagination, she reinterpreted traditional themes, allegories, and symbols in inventive ways. For instance, immediately following the 1896 opening of her Glasgow studio with her sister, she transformed broad ideas such as “Time” and “Summer” into highly stylized human forms. Many of her works incorporate muted natural tones, elongated nude human forms, and a subtle interplay between geometric and natural motifs. Above all, her designs demonstrated a type of originality that distinguishes her from other artists of her time.”
reblogging Ben Katchor:
“A Novel and Original Invention, by which 46,656 words or sentences can be represented with six colors, intended as A Medium of Communication between all Nations, and Applicable to any Language; also adapted to sound and night signals, by which communications may be made at all-seasons, without regard to weather.”
“Archaeologists found the marked stone fragment as they sifted through spear points and other material excavated at Blombos cave in South Africa. It has taken seven years of tests to conclude that a human made the lines with an ochre crayon 73,000 years ago.
“The simple red marks adorn a flake the size of two thumbnails which appears to have broken off a grindstone cobble used to turn lumps of ochre into paint powder. The lines end so abruptly at the fragment’s edges that researchers believe the cross-hatches were originally part of a larger design drawn on the cobble.
“This is first known drawing in human history,” said Francesco d’Errico, a researcher on the team at the University of Bordeaux. “What does it mean? I don’t know. What I do know is that what can look very abstract to us could mean something to the people in the traditional society who produced it.”