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Street art is visual art created in public locations, usually unsanctioned artwork executed outside of the context of traditional art venues. The term gained popularity during the graffiti art boom of the early 1980s and continues to be applied to subsequent incarnations. Stencil graffiti, wheatpasted poster art or sticker art, and street installation or sculpture are common forms of modern street art. Video projection, yarn bombing and Lock On sculpture became popularized at the turn of the 21st century.
The terms "urban art", "guerrilla art", "post-graffiti" and "neo-graffiti" are also sometimes used when referring to artwork created in these contexts.[1] Traditional spray-painted graffiti artwork itself is often included in this category, excluding territorial graffiti or pure vandalism.
Street art is often motivated by a preference on the part of the artist to communicate directly with the public at large, free from perceived confines of the formal art world.[2] Street artists sometimes present socially relevant content infused with esthetic value, to attract attention to a cause or as a form of "art provocation".[3]
Street artists often travel between countries to spread their designs. Some artists have gained cult-followings, media and art world attention, and have gone on to work commercially in the styles which made their work known on the streets.
Un piccolo omaggio per il 4 luglio: ma questo è orgoglio newyorkese o provocazione francese?
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A little homage for the Independence Day: Pride of New York or French provocation?
🇬🇧 One of the most interesting choices in Le forme della bellezza is the decision to place Robert Mapplethorpe’s photographs alongside classical sculpture. Looking at this ancient marble figure from a low angle, surrounded by the photographer’s images, I had the impression that centuries had suddenly collapsed into a single moment.
The body represented by the sculptor and the bodies photographed by Mapplethorpe belong to different worlds, yet they pursue the same ideal: the search for form. Muscles, proportions, posture and balance become a universal language that transcends time.
I deliberately tilted the frame to break the apparent stillness of the statue. Classical sculpture is often associated with stability and perfection, but here I wanted to suggest movement and dialogue. The marble figure seems almost to step into the exhibition, joining a conversation about beauty that began in antiquity and continues today.
What fascinates me is the irony of history. The nude body celebrated in classical art for centuries was, in some contexts, accepted without question. When Mapplethorpe revisited the same subject through contemporary photography, he often generated debate and controversy. Yet here, displayed side by side, sculpture and photography reveal how thin the line can be between tradition and provocation.
Perhaps beauty has never really changed. What changes is the way we choose to look at it.
📍 Museo dell’Ara Pacis, Roma
📷 Robert Mapplethorpe – Le forme della bellezza
🇮🇹 Una delle scelte più interessanti della mostra Le forme della bellezza è l’accostamento tra le fotografie di Robert Mapplethorpe e la scultura classica. Osservando questa figura in marmo dal basso, circondata dalle immagini del fotografo americano, ho avuto la sensazione che i secoli si fossero improvvisamente compressi in un unico istante.
Il corpo rappresentato dallo scultore e i corpi fotografati da Mapplethorpe appartengono a mondi diversi, eppure inseguono lo stesso ideale: la ricerca della forma. Muscoli, proporzioni, postura ed equilibrio diventano un linguaggio universale capace di attraversare il tempo.
Ho scelto volutamente un’inquadratura inclinata per spezzare l’apparente immobilità della statua. La scultura classica viene spesso associata alla perfezione e alla stabilità, ma qui volevo suggerire movimento e dialogo. La figura sembra quasi entrare nello spazio espositivo e partecipare a una conversazione sulla bellezza iniziata nell’antichità e ancora viva oggi.
Ciò che trovo affascinante è anche una sottile ironia della storia. Il corpo nudo celebrato dall’arte classica per secoli è stato considerato patrimonio culturale senza particolari discussioni. Quando Mapplethorpe ha ripreso lo stesso tema attraverso la fotografia contemporanea, ha spesso suscitato dibattiti e polemiche. Eppure, osservate una accanto all’altra, scultura e fotografia mostrano quanto il confine tra tradizione e provocazione possa essere sottile.
Forse la bellezza non è mai cambiata davvero. È cambiato il modo in cui decidiamo di guardarla.
📍 Museo dell’Ara Pacis, Roma
📷 Robert Mapplethorpe – Le forme della bellezza
Le Grand assistant (La grande grenouille). [1967/1976]
Bronze sculpture by German artist Max Ernst (1891-1976).
Max Ernst is one of the most prominent figures from the Dada and Surrealist movements of the 20th Century, and known for being a master of provocation. Ernst’s body of work demonstrates his persistent engagement with culture, especially in terms of the social and political climate. His subjects range from ancient mythology to literature to theory, often imbued with undertones of the artist’s biting humor. While varied, Ernst’s work also exhibits consistency in the recurring scenes of highly incongruent and disorienting groups of figures and objects that often display striking disruptions of scale, invoking an overwhelming sense of anxiety. For Ernst, art was a device by which the nightmarish realities of the world could be reflected.
Source: Kasmin Gallery
The Louisiana Museum of Modern Art, also known as the Louisiana, is an art museum located north of Copenhagen, Denmark. Attracting over 700,000 guests annually, the Louisiana is Scandinavia's most visited museum for modern and contemporary art, hosting 6 to 10 exhibitions each year alongside a permanent display of Yayoi Kusama's Gleaming Lights of the Souls. The museum is recognized as a modernist landmark in Danish architecture, and is noted for its synthesis of art, architecture and landscape, boasting a sculpture park with works by Alexander Calder, Henry Moore and Richard Serra. In addition to its permanent and temporary exhibitions, the museum has a shop featuring Danish design items, a restaurant with a view of the Øresund, and a three-storey Children's Wing hosting daily workshops. The museum is included in Patricia Schultz's book 1,000 Places to See Before You Die.
Source: Wikipedia
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12 septembre 2011, Paris.
—NUM952 © alain-michel boley 2011
Published in : www.lavieengris.com/?p=28709
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personal website : bolerophotos.blogspot.com/
first flickr website : www.flickr.com/photos/bolerophoto/
Facing Beauty : www.flickr.com/groups/a_hrefhttpwwwflickrcomphotospillaba...
fb : www.facebook.com/bolero.photo
© alain-michel boley 2012 | All rights reserved
My images are not to be used, copied, edited, or blogged without my written permission.
Excerpt from douglasbentham.com/the-hardingham-sculptures/:
The Hardingham series is comprised of six monumental steel sculptures executed in 1990 at the Hardingham Sculpture Workshop at Norfolk, U.K. These sculptures were Bentham’s direct response to the stimulus provided by fourteen days confronted with British steel, hot days tempered by cooling rains, other sculptors’ provocations and his own competitive spirit. Hardingham Memory was created some time after his return to his prairie studio, and is dedicated to his friend and fellow sculptor, John Foster.
The European robin (Erithacus rubecula), known simply as the robin or robin redbreast in the British Isles, is a small insectivorous passerine bird, specifically a chat, that was formerly classified as a member of the thrush family (Turdidae) but is now considered to be an Old World flycatcher. About 12.5–14.0 cm (5.0–5.5 inches) in length, the male and female are similar in colouration, with an orange breast and face lined with grey, brown upperparts and a whitish belly. It is found across Europe, east to Western Siberia and south to North Africa; it is sedentary in most of its range except the far north.
The robin is diurnal, although has been reported to be active hunting insects on moonlit nights or near artificial light at night. Well known to British and Irish gardeners, it is relatively unafraid of people and drawn to human activities involving the digging of soil, in order to look out for earthworms and other food freshly turned up. Indeed, the robin is considered to be a gardener's friend and for various folklore reasons the robin would never be harmed. In continental Europe on the other hand, robins were hunted and killed as with most other small birds, and are more wary. Robins also approach large wild animals, such as wild boar and other animals which disturb the ground, to look for any food that might be brought to the surface. In autumn and winter, robins will supplement their usual diet of terrestrial invertebrates, such as spiders, worms and insects, with berries and fruit. They will also eat seed mixtures placed on bird-tables.
Male robins are noted for their highly aggressive territorial behaviour. They will fiercely attack other males and competitors that stray into their territories and have been observed attacking other small birds without apparent provocation. Such attacks sometimes lead to fatalities, accounting for up to 10% of adult robin deaths in some areas.
Because of high mortality in the first year of life, a robin has an average life expectancy of 1.1 years; however, once past its first year it can expect to live longer and one robin has been recorded as reaching 19 years of age. A spell of very low temperatures in winter may also result in significant mortality.
For more information, please visit en.wikipedia.org/wiki/European_robin
"Before you stands a sports car of flesh and blood. Boasting a voluminous 4.0-litre six-cylinder horizontally opposed and naturally aspirated engine packing 383 kW (520 hp), mounted in the rear.
Its race track chassis will show you what it means to confront the tarmac head on. Eye for an eye. Lap after lap. The fixed rear wing is a flagrant provocation to do battle. To the opponent. And to the opposing headwind. The rear silencer as well as the tailpipes in titanium are a visible sign of what the new 911 GT3 RS is promising: unadulterated sound, pure performance, and a challenge that nobody whose heart beats for sports cars can shy away from..."
Source: Porsche
Photographed at Mondello Racetrack during Fundracer - event returned to Mondello Park for fifth time to raise funds for The Jay & Ellie Foundation and supporting Autism.
If you'd like to keep eye for future events follow FundRacer Ireland on facebook.
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He was a man of his word. By his word he would remain, though, as in the present case, any objective observer would be forced to admit that his provocation to betray her, his temptation to betray her, must have been unusual in the extreme. By honor, such an important jarl must set an example for the men of Torvaldsland. He had nobly, if not cheerfully, set the example.
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Long time no see. I've been busy on some shootings and vacations. Now I have to catch up with this series. :/ I have quite a few ideas sketched and we'll see how it goes.
I have a feeling this will have to be reshot. A lot of things went wrong. The vintage wooden wagons were all taken and we had to sit into the "modern" plastic one, that doesn't have that typical "train" look. This is the idea: www.flickr.com/photos/nikio/6039520598/
But we had fun afterall. Big thanks to Mr. Gombač who brought this character to life.
Facebook profile with behind the scenes material.
Street art is visual art created in public locations, usually unsanctioned artwork executed outside of the context of traditional art venues. The term gained popularity during the graffiti art boom of the early 1980s and continues to be applied to subsequent incarnations. Stencil graffiti, wheatpasted poster art or sticker art, and street installation or sculpture are common forms of modern street art. Video projection, yarn bombing and Lock On sculpture became popularized at the turn of the 21st century.
The terms "urban art", "guerrilla art", "post-graffiti" and "neo-graffiti" are also sometimes used when referring to artwork created in these contexts.[1] Traditional spray-painted graffiti artwork itself is often included in this category, excluding territorial graffiti or pure vandalism.
Street art is often motivated by a preference on the part of the artist to communicate directly with the public at large, free from perceived confines of the formal art world.[2] Street artists sometimes present socially relevant content infused with esthetic value, to attract attention to a cause or as a form of "art provocation".[3]
Street artists often travel between countries to spread their designs. Some artists have gained cult-followings, media and art world attention, and have gone on to work commercially in the styles which made their work known on the streets.
I was out, but Sophie grabbed my camera to take some good shots of the Mistle thrush from indoors.
This bird is very nervous and will take flight at the slightest provocation.
War does not discriminate among soldiers and civilian. Every moving vessel at sea can always be seen as offensive to the eyes of the adversary. Largely defenseless, many a life have been lost when commercial ships are attacked without provocation. Just count them among the casualties of war.
the American Merchant Mariners' Memorial, Battery Park, New York, the US
more pics and journeys in colloidfarl.blogspot.com/
a title with a double entendre, if you will.
here, a Toronto cop from the PSU (public safety unit).
as captured at the massive Tamil protest that shut down
an entire highway in Toronto and brought out cops in full riot gear.
click into the shot for many more.
for more info on what is taking place:
torontoist.com/2009/05/tamils_take_to_the_gardiner.php
for a limited time - 17 shots of the event in one set:
FLOCKE//ART is an urban artist from Berlin. As almost every street artist, he also started with the spraying and implemented his ideas and visions in graffiti. Today, it is mainly dedicated to the cut-out, or paste up, but the specificity of FLOCKE//ART is the combination of paste up, spraying and painting. FLOCKE wants to touch the passers at many different places with his works. In the short life of the cityscape, the motifs should appeal to the casual observer. The style offers colorful versatility, humor and subtle provocation.
Berlin (Germany)
*Copyright © 2010 Lélia Valduga, all rights reserved.
*Reprodução proibida. © Todos os direitos reservados.
*Imagem protegida pela Lei do Direito Autoral Nº 9.610 de 19/02/1998.
Modelo: Nanda
Like so many raptors, a snowy owl boasts claim to a jealous sky. These majestic birds allege title to all that spans their horizons. A jealous sky does not tolerate the intrusion of competition. It does not condone the company of another mighty hunter. The presence of a peregrine falcon, or even another snowy owl is little endured. There need not be provocation, for the simple sight of another within its visible hemisphere is provocation enough for battle. The battle is short lived and the winner takes all, while the loser takes to the air, to establish its own new horizons, its own jealous sky. These two juveniles carry on that tradition with vigor, and this jealous sky will soon have a new master. #SnowyOwls
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Roxanne, you dont have to put on the red light
Those days are over
You dont have to sell your body to the night
Roxanne, you dont have to wear that dress tonight
Walk the streets for money
You dont care if its wrong or if its right
Roxanne, you dont have to put on the red light
Roxanne, you dont have to put on the red light
Put on the red light, put on the red light
Put on the red light, put on the red light
Put on the red light, oh
I loved you since I knew ya
I wouldnt talk down to ya
I have to tell you just how I feel
I wont share you with another boy
I know my mind is made up
So put away your make up
Told you once I wont tell you again its a bad way
Roxanne, you dont have to put on the red light
Roxanne, you dont have to put on the red light
You dont have to put on the red light
Put on the red light, put on the red light
Half the size of the more common larger green iridescent LL local flies. Difficult to approach and photograph. It is wary, agile and flys away with little provocation.
600w flash with 50cm reflector w/grid on red bg, 600ws flash masked with heart gobo on model
The work "The Virgin Unveiled" presents itself as a visual and conceptual provocation. The artist, with a desecrating intent, draws on an imagery deeply rooted in Western culture: the iconography of the Madonna offering her heart. However, traditional sacredness is deconstructed here, dismantled to be reassembled in a new and ambivalent form.
The image evokes a sense of vulnerability and revelation; the female figure, almost completely immersed in shadow, loses its distinctive features, becoming an archetype of suffering humanity. The heart, projected onto her skin like a flickering flame, is the emotional core of the work; it is a symbol of love, passion, but also of pain and fragility. The pose of the hands, protecting or offering the heart, suggests an internal conflict, a struggle between the desire to give and the need to defend oneself.
The framing is frontal, almost hieratic, recalling traditional representations of the Madonna. However, the absence of a defined face and the soft lighting create an atmosphere of mystery and ambiguity.
The predominance of dark red in the background creates a feeling of oppressive, almost claustrophobic heat. The color can be interpreted as a symbol of passion, but also of suffering and sacrifice. The use of chiaroscuro accentuates the contrast between the female figure and the luminous heart, drawing the viewer's attention to the most significant detail.
The heart is the central symbol of the work; its projection on the skin suggests a profound and intimate connection between the body and emotions. The absence of a face in the female figure can be interpreted as a desire to universalize the experience of pain, making it accessible to all viewers.
The nudity of the female figure is a key element in the demystification of traditional iconography: the Madonna is often depicted in sumptuous robes and lavish decorations, but here her image is stripped of all artifice, revealing a raw and authentic vulnerability. The work could be part of an artistic movement that deconstructs religious symbols to explore themes of identity, sexuality, and power. Echoes of artists such as Marlene Dumas, known for her raw and direct depictions of the female body, and Tracey Emin, who often uses autobiographical and provocative elements in her work, can be found.
"The Virgin Unveiled" is a complex and thought-provoking work that invites the viewer to question the meaning of religious symbols and the nature of human experience. The desecration of traditional iconography is not an end in itself, but serves to create a space for reflection and openness to new interpretations of the sacred and the profane. The image leaves us with a sense of unease and wonder, inviting us to look beyond appearances and confront our most intimate vulnerability.
"Art is the provocation for talking about enigma and the search for sense in human life. One can do that by telling a story or writing about a fresc by Giotto or studying how a snail climbs up a wall."
John Berger
From the Wikipedia entry: Tarantula hawk wasps are relatively docile and rarely sting without provocation. However, the sting—particularly that of P. grossa—is among the most painful of all insects, though the intense pain only lasts about five minutes.[9] One researcher described the pain as "...immediate, excruciating, unrelenting pain that simply shuts down one's ability to do anything, except scream. Mental discipline simply does not work in these situations."
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