Futurism Explained: Protest and Modernity in Art

Speeding Train by Ivo Pannaggi, 1922, via Fondazione Carima-Museo Palazzo Ricci, Macerata

When hearing the word “futurism,” images of science fiction and utopian visions tend to come to mind. However, the term was not initially linked to spaceships, final frontiers, and surreal technologies. Instead, it was a celebration of the modern world and a dream of movement that never stops: a revolution in ideologies and perceptions.

Coined by the Italian poet Filippo Tommaso Marinetti in 1909, the word “futurism” first appeared in the Italian Newspaper Gazzetta dell’Emilia on February 5th. A few weeks later, it was translated to French and published by the French newspaper Le Figaro. It was then that the idea took the world of culture by storm, reshaping first Italy and then spreading further to conquer new minds. Like various other art movements, Futurism took flight to break away from tradition and celebrate modernity. However, this movement was one of the first and the few that pushed nonconformism to its limits. With its unyielding militant nature, Futurist art and ideology were bound to become dictatorial; it sought to demolish the past and bring change, glorifying violent raptures.

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Frida Kahlo Is the Latest Artist to Get the Immersive Installation Treatment With a New Projected Light Show in Mexico City

Installation view of “Frida: La Experiencia Immersiva.” Photo by Claudio Cruz/AFP via Getty Images.

There’s a new way to experience the work of Mexican artist Frida Kahlo. Art lovers making a pilgrimage to her hometown of Mexico City, where she lived at La Casa Azul with her husband, fellow artist Diego Rivera, can now add a second stop to their itinerary: “Frida: La Experiencia Immersiva.”

That’s right, Kahlo, perhaps the world’s most famous woman artist, has gotten the “Immersive Van Gogh” treatment, with a 35-minute projected light show that animates 26 of the artist’s works in larger-than-life fashion. Because Kahlo specialized in self-portraits, the experience is something of an immersive autobiography, telling the story of her struggles with illness and disability, as well as her unconventional and often fraught romance with Rivera.

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How Joseph E. Yoakum, an Enigmatic Former Circus Hand and Untrained Artist, Found Drawing in His 70s—and the Hairy Who as Admirers

Joseph E. Yoakum, Waianae Mtn Range Entrance to Pearl Harbor and Honolulu Oahu of Hawaiian Islands (1968). Courtesy of the Art Institute of Chicago.

In 1962, Joseph E. Yoakum had a dream that told him to make drawings. 

He was 71 then, a retired veteran and one-time circus hand living in Chicago. He had no experience making art. But for the next decade of his life—his last, it would turn out—drawing was what he did, churning out some 2,000 wondrous pieces in the process. 

Most came in the form of dreamy landscapes, tethered equally to the natural world and the artist’s own fantastical one: scalloped mountains and pristine pools of water, forests that look like heads of romanesco, and winding roads that disappear into the horizon line. A sense of yearning pervades it all.

The old adage about the Velvet Underground—that only 10,000 people bought their first album, but that every one of them started a band—also applies to Yoakum. Not many people saw his drawings, but those who did came away as immediate and lifelong fans. 

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August Juried Members Exhibit

Registered community members are encouraged to submit up to 3 original works of art focused in any of the following Art Groups:

Benefits

The objective of this juried exhibit is to provide brand and market visibiliity for the work and practice of our participating members.

The jury panel will select one piece from the total work submitted by each artist member.

All juried submissions will appear in a 4-week public virtual exhibit. artistvenu will publish an SEO optimized blog article for each individual juried artist featured in the event.

Submission Close: (last Thursday of every month).

July 29

Jury Evaluation Ends: (first Thursday of every month).

August 5

Exhibit Opens: (second Thursday of every month).

August 12

Artists must have an active artistvenu membership susbcription to be eligible to submit work and participate in this exhibit.

No more than 3 pieces will be accepted from any artist member, submitted to any Art Group.

Submitted work must meet the focus its chosen Art Group category.

Since the purpose of our exhibits is to provide visibility for participating artists we strongly encourage each submitting artist to complete their Member Profile Page with as much descriptive information about their work and practice as possible including an artist statement, bio, etc, along with posting additional samples of their work to an art group's stream.

Note: We recently replaced the previous submission form. Please click either link below to visit the Art Group Submissions page that you would like to submit work to:

Submit one image per post, along with the work details you would like to inlcude such as title, size in inches and media. You may repeat this process up to 3 times submitting up to 3 seperate posts.

If you need assistance, please contact Help Desk in the upper menu for support.

A Flower Patch of Recycled Denim Grows from the Ceiling in Ian Berry’s ‘Secret Garden’

“Secret Garden,” New York Children’s Museum of the Arts. Photo by Will Ellis

Whimsical tendrils of vines, foliage, wisteria, and chrysanthemums sprout from artist Ian Berry’s wild, overgrown garden plots. Densely assembled and often suspended from the ceiling, his recurring “Secret Garden” is comprised of blooms and leafy plants created entirely from recycled denim, producing immersive spaces teeming with indigo botanicals in various washes and fades.

Since its debut at the New York Children’s Museum of the Arts, Berry’s site-specific installation has undergone a few iterations. “The first one was made with children in mind… hence the more magical secret garden angle,” he says, “just wanting to (ensure they think about) where the material comes from, see what they can make, and seek out outdoor places within a city.” It’s since traveled to London, Barcelona, The Netherlands, France, Kentucky, and the San Francisco Flower Mart, where it’s permanently installed as a trellis lining the space’s windows.

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Paulina Peavy, the Spiritualist Artist Who Channeled a UFO

Paulina Peavy, “Untitled” (circa 1930s to 1980s), oil paint on board, 16 x 16 inches (all images courtesy the Paulina Peavy Estate and Andrew Edlin Gallery, New York)

LOS ANGELES — In 1932 Paulina Peavy attended a séance at the home of spiritualist Ida L. Ewing in Santa Ana, California. There, she channeled Lacamo, an extraterrestrial spirit, or UFO in her words, who revealed to her the secrets of the universe. The encounter was a defining moment for Peavy; then 31, she continued to channel Lacamo, whom she claimed as her artistic collaborator, until her death in 1999.

Paulina Peavy: An Etherian Channeler at Beyond Baroque reintroduces Peavy to Southern California, where she lived from 1923 to ’43, first studying art at the Chouinard Art Institute in Los Angeles (now part of the California Institute of the Arts) and then teaching art and exhibiting her own work and that of others in her Peavy Art Gallery. The show at Beyond Baroque, curated by Laura Whitcomb, is the artist’s first on the West Coast in 75 years. Rare esoteric and hermetic literature presented in vitrines, and Peavy’s own writings, reflect her life and beliefs, which merged spiritualist and theosophical concepts and astroculture.

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Fluorescent corals wrap st tropez’s lighthouse to raise awareness of fragile ocean ecosystems

Film clip by claude mossessian

The lighthouse in saint-tropez, france, has been transformed with a vibrant display of corals created by french artist miguel chevalierthe public artwork is called ‘coraux fractals 1’ and it marks the fourth edition of saint-tropez couleur bleu, an event initiated by agnès bouquet that merges culture, heritage and environment. chevalier’s design is composed of printed and hand-painted corals that are brought to life with fluorescent colors in a bid to highlight fragile ocean ecosystems.

The ‘corauxllages’ exhibition is open until august 29, 2021

The artistic installation takes the form of a canvas that wraps the lighthouse and transforms it into a ‘manifeste de couleur’ (color manifesto). to create the large scale piece, chevalier revisits the shape of coral through a digital prism. set against a deep blue background, massive branches of corals overlap to evoke an underwater reef.

Where Painting Can Live

Jason Stopa, “Roman Garden Arch” (2020), oil on canvas, 28 x 23 inches

Architecture, particularly iron gates and cyclone fencing; a hand-painted wall on which brightly colored paintings are placed; abstract motifs inspired by pop culture and cartoons; solid shapes made of cheery colors, which bring to mind the cutouts of Henri Matisse and a kindergarten playroom full of toys; the paintings of Jonathan Lasker, Nicholas Krushenick, and Patricia Treib; the relationship between the sets and the costumes worn by Catherine Deneuve in the wonderful musical film The Umbrellas of Cherbourg (1964), directed by Jacques Demy — these are just some of the associations that Jason Stopa’s paintings and environments have conjured up for me over the years. More importantly, when I look at them, the paintings quickly take over and the associations begin to fade into the background, becoming part of the personal and collective buzz that accompanies all things found in culture. They are not about citation or ironic parody. 

Stopa’s desire for joy and the belief that painting can deliver this state is sincere. What is interesting about his ambition is that he has been able to mix sophistication and innocence without privileging either one.

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The halo: A symbol that spread around the world

Buddha is shown with a halo in images around the world, such as in this Cambodian temple fresco (Credit: Alamy)

Christianity, Buddhism, Hinduism, Zoroastrianism and Greek mythology are usually regarded as utterly distinct religions, largely defined by their differences. But if you just look at them, you will see a symbol that connects them all – the halo.

This aura around a holy figure’s head expresses their glory or divinity and can be seen in art across the world. There are many variants, including rayed haloes (like that on the Statue of Liberty) and flaming haloes (which feature in some Islamic Ottoman, Mughal and Persian art), but the most distinctive and ubiquitous is the circular disc halo.

Why was this symbol invented? It has been conjectured that it could have originally been a type of crown motif. Alternatively, it may have been a symbol of a divine aura emanating from the mind of a deity. Perhaps it was a simple decorative embellishment. One amusing proposal was that it derived from protective plates fixed to statues of gods to protect their heads from bird droppings.

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How the Medici Family Harnessed the Political Power of Portraiture—and Brought Renaissance Art to New Heights

Bronzino, Eleonora di Toledo and Francesco de’ Medici, ca. 1550.©HALTADEFINIZIONE® IMAGE BANK BY PERMISSION OF THE MINISTRY OF CULTURAL ACTIVITIES AND HERITAGE— POLO MUSEALE DELLA TOSCANA/MUSEO NAZIONALE DI PALAZZO REALE, PISA

The history of society’s elite using art to solidify their power isn’t short, but it’s possible that members of the Medici family are among the most innovative figures in that lineage. In 15th- and 16th-century Italy, during the height of the Renaissance, the Medici established themselves as the greatest art patrons of their day, setting a course for mega-collectors active now (think François Pinault or Mitchell and Emily Rales). Members of the Medici family forged close relationships with artists like Michelangelo and Jacopo da Pontormo, and used their deep connections to commission major works that would signify their vast influence.

In bringing on top artists to make paintings, sculptures, chapels, and more for them, the Medici weren’t just flaunting their worldliness and their wealth. Anyone with even a vague knowledge of politics at the time would know that the Medici, who came to power because of a fortune accrued through the family’s banking empire established at the end of the 14th century, had the means. The work they had artists produce also had a political purpose—acting as potent symbols of the family’s dominion in virtually all aspects of society in Florence and effectively boosting the city as an art center in the process.

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Exhibit Requirements & How To Submit Work

Artist Profile Requirements:

Artists must upload an Avatar & Cover image to their Profile Page after registration to qualify for this exhibition. Please Note: The artist profile identifies the artist in the community stream and in the virtual exhibitions. Submissions from artists who have not uploaded an Avatar and Cover image will not hang in the virtual exhibits. If you require assistance, please contact Help Desk from the menu at the top of the page.

Artists must be at least 18 years old.

Artists are encouraged to submit an artist statement and bio to their Profile Page (optional).

Artists may add a link to their website & gallery representation (optional).

Work must have a specified height and width dimension in inches.

Work Submission Requirements:

Artists may submit up to 3, pieces for this exhibit Using the provided Exhibit Submissions Form

All artworks must have been created within the last 3 years.

Each artwork must have been created by the person submitting the work.

Image File Submission:

Photos of the artwork must conform to the following specifications.

  1.  High-quality digital photos
  2.  Have a maximum dimension of 3000 pixels x 3000 pixels either horizontally or vertically.
  3.  Evenly lighted
  4.  Try for color accuracy (should represent the actual colors in the piece)
  5.  Saved as a standard .jpeg or .jpg file (no .tiffs, no other formats)
  6.  Mac and PC compatible
  7.  Must not be watermarked
  8.  Work should not be “Framed” or contain a border that isn’t part of the composition.

File Preparation:

Files must be no greater than 3000 pixels in the largest dimension and 72dpi. Each artwork photo should be saved as a .jpeg or .jpg in the sRGB color space. The maximum file size allowed is 10MB.

How To Submit Work:

Visit any Art Group page with a scheduled exhibit, and click the “Exhibit Submissions” button.

Members can post up to 3 work images directly to the Juried Exhibit Submissions page stream including work title, media, and dimensions details (one submission per post) as shown in the screenshot below

Members can repeat this process to submit up to 3 pieces for each monthly evaluation.