The painting gives a provoking title Die Fahne Hoch, named after the national anthem of Nazi Party, the Horst Wessel L the title of the image Stella’s has ironic purpose was that of destabilizing the idea of meaning itself. Movement is created by use of basic geometric systems which Die Fahne Hoch is viewed by majority as originator of Minimalism. The symmetrical painting patterns are richly crowded black enamel paint divided by thin lines of unpainted canvas which evenly makes subdivisions along the sides, bottom and at the top boundaries of the canvas.

The art work is dated back 1960s and is of type Minimalism. Judd argues that his painting background does not attempt to deliver his own political or social messages, but his main goals is to focus on the space occupied and created by his objects, their purity of form. In this context, Donald makes use of real materials in real space. The geometric shapes stand out moving to freestanding works on the floor. In this trademark for instance, it shows the progression of a painter but not a sculptor which is almost mathematical geometric series.

The working is done in series which consist of stainless painted cuboids depicting steel sculptures with an abstraction development of geometric forms that call to mind the vertical orientation of human figure. Smith uses the burning surface that catches and reflects the surrounding light. The stainless painting steel utilizes the light and depends on the reflective power of light to have a semi mirror reflection bringing likeness in sense that no other material in sculpture can have the same light effect.

Robert Morris’s L Beams

Robert Morris’s L Beams illustrate the object to understand the object both in an artistic and material sense. In his art he exposes the conditions of perception and displays the facts that the conditions affect the way we comprehend the art of an object. He clearly shows that, Sculpture always exist specifically, under the relation and the definition of Modernism. Morris demonstrates the function of space, light and the viewer’s field of vision by depicting that it is the viewer who changes the shape constantly.

As a painter, Morris’ work of the 1965 has an influenced in abstract expressionism and particularly by Jackson Pollock. It shows the idea that art making is a record of a performance by the artist in choreography. In this untilled mirror cubes Morris develops the same idea into his first Minimal Sculpture of 1965.

Tony Smiths

Tony Smiths first steel sculpture is the acquisition of a classic icon of post World War II American art which was made possible by the Gallery’s Collectors Committee. Die is the germ of all Tony Smith’s later work in steel and has achieved great landmark structure of object art since midcentury. the Sculpture of Die, a large black box, was inspired by an index and fabrication were a response to an advertisement for the Industrial Welding Company in Newark, reading  You specify it: we fabricate it.

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The monument is one of a series of sculptures which uses a standard length fluorescent tubes that Flavin began to plan in 1964. The series memorializes Vladimir Tatlin, the great innovation, who had a dream art as science. The monument stands, a vital aspiring order, in lieu of his last glider which never left the ground. the Russian artist uses the term ‘monument’ in the title of this series is supposed to be ironic; the fragile fluorescent tubes are contrary to the bronze or stone traditionally used in monumental sculpture, and in order to emphasizes this point Flavin has insisted that it be spelled in lowercase letters.

This is an American minimalist art where Carl Andre displays the content of the interesting art in his life. The minimalist sculptures are simple but loudly talks on behalf of the artist. Andre’s sculpture was concentrates on Shape and Structure giving an Abstract expressionism.

In the year 1967, Morris was out to answer the question of geometric shapes of Minimalist sculpture art. Critically he explores the way Minimalism art imposed order on materials. He maintains relinquishing control of the final appearance with precise arrangement change.

The sculpture depicts the self formulation category of female work, which has an intuitive and emotional significant. It shows some of the strongest ideas which came from the formalist tension between her minimalist and expressionist influences as she describes her work as ordered, yet not ordered.

Double Negative has the context of a big even trench but not a complete trench as it depicts the movement of rock a crosses an empty space. It consists of Constructing Double Negative that its removal constituted a creative art.  The artwork is negative space and when it crosses empty space, it is doubly negative space; it begs meditation on the principle of art as creation.

Land art

Earthworks has a history that it was coined by Robert Smithson, it refers to the Earth art which comes into existence in the late 1960s and early 1970s, in this art work it has the context of landscape which is inextricably linked. The landscape is created to depict nature, using natural materials such as soil, bed rock, boulders, stones, organic media logs, branches, leaves and water.

This is De Maria’s best known art work where the context shows weather changes the optical affects rather shows lightening during thunder storm. This work also creates movement by influencing the imagery of epilogue of masterpiece where De Maria meticulously back ground arranged brass rods leaving a permanent mark of the Lightning field living a continuous view.

A Collaborate used to create monumental temporary work placed in a natural setting creating a continuous sheet of fabric running through the California countryside and spans to two counties Sonoma and Marin it is 24 1/2 miles long and 18 feet high. It prompts the viewer to see the world with fresh eyes by transforming it in a whimsical way.

The Public Sculpture artwork

The Public Sculpture artwork includes a back ground segment on Louise Nevelson’s public art works, and a vertiginous platform sculpture creates a movement that suspends at the top of the McGraw Hill Building. The sculpture covers performance art, photography and Pop Art New Expressionism revealing the art of Pattern and decoration.

Le Witt’s art work

Le Witt’s art work is one of the outstanding Minimalist and Conceptual art of the 1960s, its context combines qualities of simple basic forms with conceptual idea rather than a form, he creates movement by initiating a process that obeys art rules and determines the form by playing itself out. The Project entails the combination of both open and closed enameled aluminum squares, cubes, and extensions  shapes, all laid in a grid which intricate the system producing  a visual field that gives its viewers all the evidence they need to unravel its logic.

Each context has an equal and consistent movement with an objective of artist, the decision as to condition rests with the receiver upon the occasion of receivership. The series of stakes set in the context group at regular interval forming a rectangle twine strung stake to demark a grid

This is an example of conceptual art where the background consists a chair, a photograph of this chair, and an enlarged dictionary with the definition of the word chair. The photograph depicts the context where the chair is located in the room the work changes each time it is installed in a new venue.

The German artist Rocha

Rocha’s books combined pop art with a flat footed photographic aesthetic which have minimalist notions of repetitive sequence and serials. The aspect of shock effect and humor has diminished leaving a landscape of highly aesthetic value.

This German artist is best known for the extensive context of photographic series images and typologies of industrial buildings and structures. He depicts them as having a perspective catalog of many types of structures, In this drawing special attention has been given to the cultural dimension of industrial architecture depicting the need for preservation of the buildings.

The artwork seeks to organize the background pictorial surface. Their methods varied greatly since the work is monochromatic, geometric and kinetic. It uses nontraditional materials such as industrial materials, light, and kinetic effects. The influence of the materials they use is clear in Hacek’s early work.

Exhibitions of Daniel Buren

Daniel Buren’s exhibitions are created solely from their architectural and institutional settings. The term “in situ” is used to describe the relationship between his work and the sites where they take place. A work in situ exists only in relation to the specific place that prompted it.

The context is more abstract of a given space the network of social, economic, and political forces at play in any given contexts which exist through direct interaction, eliciting the viewer’s sensibility, intelligence, and reflections.

The actual effect of the exhibition consists in the ultimately gain, through the encounter of fiction and stronger consciousness of reality as well as but a mental reality.

The work was centered on everyday life and the public sphere with an eye to women’s experience. Recurrent concerns were on the media and war as well as architecture and the built environment, from housing and homelessness to systems of transport.

The artwork has the context of political and intellectual forces in the twentieth century which entered into a productive critical relationship with both the discipline of art and history since the late 1960s, in the art world it contemporary depicts the feminists who uphold the social and political rights of women, it attacks all the forms of discrimination against them within what they identified as patriarchal society, and seeks for affirmative action.

The art was used to transform the definition of art, specifically this context deals with the discourse of the body, sexuality, and gender. The history of this work is characterized by archaic visual traditions, pleasure wrested from suppressive taboos, the body of the artist in dynamic in relationship to the social body.

Aramaic sought to re evoke the energy of extreme body pain; in this instance he uses a huge movement is depicted by the petroleum drenched star. Aramaic cut her nails, to nails, and hair. Burning the communist five-pointed star represented a physical and mental purification, while addressing the political traditions of her past.

In the final act of purification, Abramovi leapt across the flames, propelling herself into center of the large star.

The art works is related to destruction of interpersonal intimate, human relations. This element was particularly thought provoking in Cut Piece one of many actions she did as Destruction in Art Symposium. Ono depicts motionless on the stage after inviting the audience to come up and cut away her clothing, covering her breasts at the moment of unbosoming.

She subjected her body to pain and danger in actions designed to confront the growing satisfaction and conformism of postwar Austrian culture. In this context she examines  the ways in which the power relations inherent in media representations inscribe women’s bodies and consciousness distinguishes Vaile export’s project as unequivocally feminist.

Sculpture of Louise

Louise’s sculpture date back late 1940s. Even context is abstract; it creates amovement that suggest the human figure and expresses themes of betrayal, anxiety, and loneliness. Her work was wholly autobiographical, inspired by her childhood trauma of discovering that her English governess was also her father’s mistress. Her  art work is renowned French American artist and sculptor, best known for her contributions to both modern and contemporary art, and for her spider structures, titled Maman,

The Dinner Party is an installation artwork by feminist artist Judy Chicago who depicts the back ground settings for 39 mythical and historical famous women. The publication dates back 1974 to 1979 as collaboration and was first exhibited in 1979. Subsequently, despite art world resistance, it went around to 16 venues and had an audience of 1 million. Since 2007 it has been on permanent exhibition at the Brooklyn Museum, New York City, United States of America.

The traditional Sculpture which is an artist work of Antin uses her own body as the subject and material. The background  performance existed as a sculpture in process that lasted a total of 45 days from August 21, 1972. At that time, Antic placed herself on a strict dieting regimen and documented the work through a series of photographs taken every morning from four different vantage points. She claimed that even though the material was her own body, she was still working in the traditional mode of Greek sculpture academic development.

By taking on the gendered work of cleaning in the public sphere of the museum Ukeles personifies stereotyped women’s roles.  In miming the stereotyped woman Ukeles rejects the avant-garde’s goal of direct political intervention, instead a benign simulacrum. This demonstrates how the goals of the avant-garde have complicated since Guy Debord’s dérives. Ukeles relies on stereotypes to deliver the impact of her work rendering the piece at once both complicit and critical of the culture that enforces gendered roles.

Ana Mendieta work

Ana Mendieta work revolves around the context of body, nature, and the spiritual connections. As a Cuban exile, her earliest performances made at the University of Iowa, involved manipulations to her body, often in violent contexts, such as restaged rape or murder scenes. At that time, the natural landscape took on increasing the importance in her work, invoking a spirit of renewal inspired by nature and the archetype of the feminine.

In the 1970s Saar shifted focus exploring ritual and tribal objects from Africa as well as items from African American folk traditions. The American artist has the context of assemblage which represented stereotyped African American figures from folk culture and advertising. She incorporated them into collages and assemblages, transforming them into statements of political and social protest.

The Art photography

The colossal paintings, dates back from the postwar photograph of Albert Speer’s Reich Chancellery in Berlin: it has the context of  cavernous, ineffably racy mosaic hall where Hitler would meet around a map table with his military staff, making plans. It is modern art assuming German painting as a typographical.

The Art photography is a modernist art form. The idealized images have a background which beckons an attack per se. The art work introduces the concept of owning ideas originating from 17th century British law artists that depicts the relationship between money.

Lawler makes use of casting context where he makes use of sidelong glances at modernist masterpieces. Her art work fits in the postwar period in the work of Hans where the images cheap more wonder movement than sociopolitical conviction in her gaze.

The feminist artist Cindy Sherman depicts Untitled Film Stills that consist of black and white photographs of the artist posing movement in different stereotypical female roles. This was a contemporary art often addresses issues of conceptual concepts with political and social context abstraction in art. It depicts that Color and color contrasts can contribute to these conceptual meanings.

This is Kruger’s earliest artwork which dates back to 1969. The context consist of  Large woven wall hangings encode the beads, sequins, feathers, and ribbons which exemplify the social feminist recuperation of craft during this period of time.

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