View allAll Photos Tagged provocation
photo by Jessica Stewart - www.romephotoblog.com Public Provocation: www.colab-gallery.com/ June - October
Capa watched from the curb. Doisneau stayed for the view.
Ying crossed the bridge like a provocation in heels.
Steel beneath her steps. Lace beneath her coat.
There was no turning back—only desire.
Framewritten by Charly & Ying
An interdimensional project by Ying.Ding.Studios · AI photography · 2025
Without warning or provocation this framed photo just fell off the wall. I thought the remnants looked interesting.
In July 2015, Liz Ixer, sometime entropologist, took a careful photo of Bagsy's assisted found sculpture: "Summer Holiday".
It became one of his most celebrated pieces before disappearing mysteriously - rumoured to have been lovingly and skilfully restored and sent for auction in Miami. (I wonder did they get the clock going?)
Astounding
As Bagsy - Tottenham's sacchetti genius - approaches his 94th birthday, we see how his range of creative work remains astounding. It includes: sculpture; assisted found art; unfound art; exquisite miniatures; pastries; and giraffiti astride walls and bridges.
Despite his advanced age and current inability to scale heights, the good news is that the master has developed a training programme with a multi-talented workshop of apprentices, interns, consultants, interims, spin doctors; brand strategists; and miscellaneous hangers-on. They produce an endless flow of pieces and provocations, which appear across Haringey and elsewhere in London.
Demotic Interventions
Bagsy and his team, true community artists, generously donate many fine works to the people. Staging impromptu free public Art in the Open exhibitions in streets, parks, and alleyways, Such demotic interventions may be displayed in trees; behind phone cabinets; or hung proudly on fences.
___________________________
§ My grateful thanks to Liz Ixer for permission to post her photo here. It originally appeared on Twitter.
§ Thanks also to the Trustees of the Seymour Road Sculpture Garden.
§ Entropology according to Claude Lévi-Strauss, is the discipline that devotes itself to the study of the process of disintegration in its most highly evolved forms.
canon EOS 1d mark IV
Model :Librarian_D Mayhem #1807041
Please don't use this image on websites, blogs or other media without my explicit permission. © All rights reserved
this is not a teaser for Machete 2 or Nude Nuns with Big Guns II but just a bit of provocation and fun! thanks to LD who managed to pull out this shot with the perfect attitude, it was simply a great moment shooting this! hope you enjoy! ;-)
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.
Cursor.....
The ultimate provocation of negative space.
La provocation de l'art #9
See the full album "Les provocations de l'art" here:
Peter Fuss zrobił Billboard z kategorii kontrowersyjne... Co ciekawe kolejność jest alfabetyczna...
A bit weird kind of artistic provocation
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.
August Macke (1887 à Meschede – 1914 près de Perthes-lès-Hurlus, Champagne, FR) illustre par son œuvre la curiosité d'une jeune génération d'artistes qui, en divers lieux d'Europe, puis d'Amérique, s'engagent dans l'établissement d'une nouvelle perception du monde et d'un nouveau sens de la vie – voire, dans bien des cas, dans la provocation par des scandales délibérément mis en scène :
« Tout cela », écrit Macke en 1913 dans une lettre à un ami, « le cubisme, le futurisme, l'expressionnisme et la peinture abstraite ne sont que les termes d'un changement de direction que notre pensée picturale veut opérer et opère.»
Ses œuvres se caractérisent par la vitalité et la sensualité de la vie.
Cela se reflète dans la force et la beauté des couleurs, qui dépassent souvent les formes picturales individuelles et intérieures pour envahir l'ensemble du tableau. Sans adhérer rigidement à un manifeste artistique ni radicaliser unilatéralement son langage visuel, August Macke reste ouvert à de nombreuses influences et stimulations dans sa pensée artistique, tout en créant une œuvre indépendante qui offre une synthèse exemplaire des caractéristiques spécifiques de l'expressionnisme rhénan. Son regard se tourne ainsi vers l'Occident : vers la France, vers Paris où, dans les œuvres de Robert Delaunay, il estime avoir trouvé une âme sœur.
Avec des peintures, des sculptures et des gravures, la vaste collection Macke du Kunstmuseum Bonn comprend des œuvres de toutes les phases de la création de l'artiste.
August Macke (1887 in Meschede – 1914 near Perthes-lès-Hurlus, Champagne, FR) illustrates through his work the curiosity of a young generation of artists who, in various parts of Europe and later America, were committed to establishing a new perception of the world and a new meaning of life—in many cases, even to provocation through deliberately staged scandals:
"All this," Macke wrote in a 1913 letter to a friend, "Cubism, Futurism, Expressionism, and abstract painting are merely the terms of a change of direction that our pictorial thinking seeks to bring about and does bring about."
His works are characterized by the vitality and sensuality of life.
This is reflected in the strength and beauty of the colors, which often transcend individual, inner pictorial forms to invade the entire picture. Without rigidly adhering to an artistic manifesto or unilaterally radicalizing his visual language, August Macke remained open to numerous influences and stimuli in his artistic thinking, while creating an independent body of work that offers an exemplary synthesis of the specific characteristics of Rhenish Expressionism. His gaze thus turned toward the West: toward France, toward Paris, where, in the works of Robert Delaunay, he felt he had found a kindred spirit.
With paintings, sculptures, and prints, the Kunstmuseum Bonn's extensive Macke Collection includes works from all phases of the artist's creative process.
2 ème prix du jury au concours photographique lors du 20ème Salon Automnal de Gargenville en octobre 2014
Thème "La gourmandise"
August Macke (1887 à Meschede – 1914 près de Perthes-lès-Hurlus, Champagne, FR) illustre par son œuvre la curiosité d'une jeune génération d'artistes qui, en divers lieux d'Europe, puis d'Amérique, s'engagent dans l'établissement d'une nouvelle perception du monde et d'un nouveau sens de la vie – voire, dans bien des cas, dans la provocation par des scandales délibérément mis en scène :
« Tout cela », écrit Macke en 1913 dans une lettre à un ami, « le cubisme, le futurisme, l'expressionnisme et la peinture abstraite ne sont que les termes d'un changement de direction que notre pensée picturale veut opérer et opère.»
Ses œuvres se caractérisent par la vitalité et la sensualité de la vie.
Cela se reflète dans la force et la beauté des couleurs, qui dépassent souvent les formes picturales individuelles et intérieures pour envahir l'ensemble du tableau. Sans adhérer rigidement à un manifeste artistique ni radicaliser unilatéralement son langage visuel, August Macke reste ouvert à de nombreuses influences et stimulations dans sa pensée artistique, tout en créant une œuvre indépendante qui offre une synthèse exemplaire des caractéristiques spécifiques de l'expressionnisme rhénan. Son regard se tourne ainsi vers l'Occident : vers la France, vers Paris où, dans les œuvres de Robert Delaunay, il estime avoir trouvé une âme sœur.
Avec des peintures, des sculptures et des gravures, la vaste collection Macke du Kunstmuseum Bonn comprend des œuvres de toutes les phases de la création de l'artiste.
August Macke (1887 in Meschede – 1914 near Perthes-lès-Hurlus, Champagne, FR) illustrates through his work the curiosity of a young generation of artists who, in various parts of Europe and later America, were committed to establishing a new perception of the world and a new meaning of life—in many cases, even to provocation through deliberately staged scandals:
"All this," Macke wrote in a 1913 letter to a friend, "Cubism, Futurism, Expressionism, and abstract painting are merely the terms of a change of direction that our pictorial thinking seeks to bring about and does bring about."
His works are characterized by the vitality and sensuality of life.
This is reflected in the strength and beauty of the colors, which often transcend individual, inner pictorial forms to invade the entire picture. Without rigidly adhering to an artistic manifesto or unilaterally radicalizing his visual language, August Macke remained open to numerous influences and stimuli in his artistic thinking, while creating an independent body of work that offers an exemplary synthesis of the specific characteristics of Rhenish Expressionism. His gaze thus turned toward the West: toward France, toward Paris, where, in the works of Robert Delaunay, he felt he had found a kindred spirit.
With paintings, sculptures, and prints, the Kunstmuseum Bonn's extensive Macke Collection includes works from all phases of the artist's creative process.
If Any Man Thirst
"In the last day, that great day of the feast, Jesus stood and cried, saying, if any man thirst, let him come unto me and drink." [John 7:37]
Patience had her perfect work in the Lord Jesus, and until the last day of the feast he pleaded with the Jews, even as on this last day of the year he pleads with us, and waits to be gracious to us. Admirable indeed is the longsuffering of the Saviour in bearing with some of us year after year, notwithstanding our provocations, rebellions, and resistance of his Holy Spirit. Wonder of wonders that we are still in the land of mercy! Pity expressed herself most plainly, for Jesus cried, which implies not only the loudness of his voice, but the tenderness of his tones. He entreats us to be reconciled. “We pray you,” says the Apostle, “as though God did beseech you by us [read 2 Corinthians 5:20].” What earnest, pathetic terms are these! How deep must be the love which makes the Lord weep over sinners, and like a mother woo his children to his bosom! Surely at the call of such a cry our willing hearts will come. Provision is made most plenteously; all is provided that man can need to quench his soul’s thirst. To his conscience the atonement brings peace; to his understanding the gospel brings the richest instruction; to his heart the person of Jesus is the noblest object of affection; to the whole man the truth as it is in Jesus supplies the purest nutriment. Thirst is terrible, but Jesus can remove it. Though the soul were utterly famished, Jesus could restore it. Proclamation is made most freely, that every thirsty one is welcome. No other distinction is made but that of thirst. Whether it be the thirst of avarice, ambition, pleasure, knowledge, or rest, he who suffers from it is invited. The thirst may be bad in itself, and be no sign of grace, but rather a mark of inordinate sin longing to be gratified with deeper draughts of lust; but it is not goodness in the creature which brings him the invitation, the Lord Jesus sends it freely, and without respect of persons. Personality is declared most fully. The sinner must come to Jesus, not to works, ordinances, or doctrines, but to a personal Redeemer, who his own self bare our sins in his own body on the tree. The bleeding, dying, rising Saviour, is the only star of hope to a sinner. Oh for grace to come now and drink, ere the sun sets upon the year’s last day! No waiting or preparation is so much as hinted at. Drinking represents a reception for which no fitness is required. A fool, a thief, a harlot can drink; and so sinfulness of character is no bar to the invitation to believe in Jesus. We want no golden cup, no bejewelled chalice, in which to convey the water to the thirsty; the mouth of poverty is welcome to stoop down and quaff the flowing flood. Blistered, leprous, filthy lips may touch the stream of divine love; they cannot pollute it, but shall themselves be purified. Jesus is the fount of hope. Dear reader, hear the dear Redeemer’s loving voice as he cries to each of us, “IF ANY MAN THIRST, LET HIM COME UNTO ME AND DRINK.” Hallelujah, God bless
I needed something to make me laugh. I've been crying at the slightest provocation: travel channel specials, cereal commercials, and of course anything on Steve Irwin. I want to get better and take new pictures. Soon.
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.