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| "offering," another word for altar where food, candles, flowers, pictures, and momentos are left for the dead |
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| "punched paper," paper banners decorated with elaborate designs |
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| sugar skulls that are elaborately decorated and placed on altars |
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| "bread of the dead," baked into different shapes (human bones, etc.) and usually put on altars |
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| Day of the Dead art forms: basic characteristics (Brandes) |
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| ephemeral, seasonal, humorous in context, secular, commercial, designed for living people, ludic (playful), small/light/transportable, urban and shared among Mexico's urban elite |
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| Psychic automatism in its pure state, by which one proposes to express--verbally, by means of the written word, or in any other manner--the actual functioning of thought. Dictated by the thought, in the absence of any control exercised by reason, exempt from any aesthetic or moral concern. |
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| newspaper in a single sheet format, late 19th century |
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| modeling of form and space through light and dark gradation and contrast |
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| painting in an outside setting |
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| representation based on individual response of sensations, rejects academic imitation of 3D forms, structured by discreet, unblended color units; engaged modern life and colors were more vivid and detached from reality |
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| a reaction to academic art of the 19th century, it is characterized by organic, especially floral and other plant-inspired motifs, as well as highly-stylized, flowing curvilinear forms |
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| inward-directed art, anti-historical, intensely personal, and sometimes even confessional; visual strategies shift away from Classical concepts of imitating the natural world |
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| ostensibly the interpretation of local customs, manners, and the everyday in literature and art |
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| a set of ideas put forth by the ruling class (Spanish creoles); manifested itself in a rediscovery and reevaluation of native cultures and traditions; nativism, asserting native-born people over immigrants |
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| literary concept that was appropriated by other writers--rejected writing that reflected naturalism or modernism, a more personal expression, things that might come from a dream, how we project our emotions, looking to mythology |
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| 3 different types of breaks from Modernism |
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| Cubism, Symbolism, and Post-Impressionism |
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| fundamental issues of Mexican Mural Movement |
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| need to address concerns of their own culture, need to transform the materials and formal conventions of art, desire to destroy the function of the art work as a commodity |
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| movement of late 19th/early 20th century Europe that rejected previous art values and made paintings look as naturalistic and 3D as possible |
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| response to older artist generation's modernistic movement, characterized by break of subject matter and the objects being displayed |
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| post-WWII international art trend |
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| emphasized the body as art, goal was to bring art practice closer to life to increase the experimental immediacy, emphasis on process over product, shift from representational objects to presentational models of action that extended formal boundaries of painting and sculpture into real time and movement in space, removed art from purely formalist concerns and the commodification of objects, sought to re-engage artist and spectator by reconnecting art to the material circumstances of social and political events |
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| defined itself in the way of being in opposition to abstract art; it emphasized the physical extension of artistic objects, processes, and media with the actual world, differed from the illusionism implicit in the term "abstract" (metaphorical representations of nature), differed from the term "non-objective" (images of mental concepts) |
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| underlying ideas of Brazilian Concrete Art |
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| inherited the language of geometric abstraction, as in Mondrian's work, which was the most complete break with traditional representation; inherited Dada, as in Du Champ's work, which gave freedom to posit any object as a "sign" and which engaged the institutions of the art world in continual critical questioning; composition and construction is the subject |
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| communicate a complex idea by engaging viewer directly through the senses; addresses a broad audience including a potentially illiterate one-populist base; function and content more important than form; incorporation of the spectator as an essential component of the work; use of simple, inexpensive and easily available materials; purpose of work is to stimulate creativity in the participant and eliminate the notion of the artist as .... |
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