Essay - Museum of Modern Art Ireland
What is Modern and Contemporary Art
Artists today continue to question what they are making art from and comeback to querying what art's forms mean. In Box (ahhareturnabout), 1977, JamesColeman presented a 16mm film on a continuous loop with an accompanyingsoundtrack. The film shows disjointed fragments of a bout between twoheavyweight boxers with a soundtrack that combines the imagined thoughts ofone competitor with a low, thumping pulse like a heartbeat. It is a disorientating,profoundly physical experience. The grainy and obscure flicker of the film,when coupled with the jarring jump cuts, becomes part of the meaning of thework. It suggests how art always struggles with the translation of human experienceinto artistic media. Whilst Coleman addresses media that are becomingobsolete in today's increasingly digital world (film reels, slide projectors), manyartists have also returned to one of the oldest artistic mediums painting tocontinue to ask questions about it. Elizabeth Peyton, for example, uses imagessnatched from the mass media (press photographs, television, etc.). The imagesare used in such a way that you would never mistake the pictures for photographs;instead they encourage you to think about what it means to put wetpaint on a surface and move it around. This art asks questions about what isemployed in the making and experience of art.
The Modern Essay by Virginia Woolf - ThoughtCo
When Ryman created Core XII in 1995 (fig. 2), he was exploring many of the same strategies that he had pursued in PART 12 but through variant iterations. The work—created with encaustic, pencil, and crayon on cardboard—has a similarly open-ended white boundary, defining a nuanced surface space. But the marks are less discrete: the materials are blurred and shift in gradation. Instead of differentiating, they implicate. The effect is unctuous, almost as if the cardboard holds the imprint of oily skin or has yellowed, its distinctions faded by age. The undulating chromatic spectrum of the work is brought to a halt at the meeting of the nuanced surface and the gallery wall, as Ryman contrasts the ambiguousness of his creation and the clinically regulated surface on which it is hung.