Exposition Art Blog

Ancient Egyptian Art - History of art


Ancient Egyptian art refers to paintings, sculptures, architecture, and other arts produced in ancient Egypt between the 31st century BC and the 4th century AD. It is very conservative; Egyptian styles changed remarkably little over time. Much of the surviving art comes from tombs and monuments, which have given more insight on the Egyptians' belief of the afterlife. This has caused a greater focus on preserving the knowledge of the past. Wall art was not produced for people to look at but it had a purpose in the afterlife and in rituals.


The Ancient Egyptian language had no word for "art". Artworks served an essentially functional purpose that was bound with religion and ideology. To render a subject in art was to give it permanence. Hence, ancient Egyptian art portrayed an idealized, unrealistic view of the world. There was no tradition of individual artistic expression since art served a wider and cosmic purpose of maintaining order
























Eugeniusz Geno Małkowski


Eugeniusz Geno Małkowski ( 1942 – 2016) was a Polish painter. Małkowski was a professor of contemporary art at the University of Warmia and Mazury in Olsztyn, founder of artistic groups and associations throughout Poland, organizer of modern art exhibitions, and popularizer of art. He was known for his speed painting happenings in which he invited people to paint together. In 2005, in Bełchatów, he beat the Guinness World Record for the 24-hour-long-painting performance.In the 1980s he introduced figurative elements and started experimenting with space division of art work Furthermore, he implemented collage techniques mixing them up with graffiti  In the 1990s he abandoned tapping replacing it with so-called speed painting techniques. He became closer to the basis of abstract expressionism reproducing persons or situations in a spontaneous, automatic and almost subconscious way. In the first decade of the 21st century he moved back to the graffiti technique superposing multicolor stencils of human shapes on monochromatic background  In 2010 in Olsztyn he exhibited a series of 44 female nudes painted in several short sessions mixing up speed painting and realistic techniques. The last nude was painted by the artist in public exhibition during the opening day.Wikipedia
















Tomoko Takahas - Contemporary art - Installation Art


Tomoko Takahashi is a Japanese artist born in Tokyo in 1966 and based in London, UK. She has been based in the UK since the early 1990s. She studied at Tama Art University, Goldsmiths College and the Slade School of Fine Art.Takahashi's main medium is installation art, often made of found objects, and is generally site-specific. She studied painting at Tama Art University, however, in around 1994, whilst a student at Goldsmiths she developed an interest in working with found objects.















Manoucher Yektai - Abstract Expressionism Art


Manoucher Yektai is an Iranian American artist who belongs to the school of New York School Abstract Expressionist.
Yektai became a naturalized U.S. citizen in 1959.
"The metaphysical absolutism that attracted what Rosenberg called the theological branch of Abstract-Expressionism did not attract him. His natural approach combined the celebration of the beautiful with something of the painting-of-everyday-life approach. Far from seeing himself as a destroyer of beauty, Yektai believes in the dignity of human life and celebrates the beauty of the forms it transpires among. In discussing Yektai's work of the early 19 50S John Ashbery contrasted its" opulent sobriety" with the "heroicism" of such as Pollock.4 Yektai himself never thought that he was an Abstract- Expressionist, though when Castelli brought some of his painters to the Borgenicht show in 1951 they immediately affirmed him as such, and so did the critics: a reviewer in Arts magazine in 1957, for example, wrote: "Yektai is in the Abstract Expressionist school, not as an undergraduate, but as a member of the faculty."5 In fact, Yektai himself always knew that, as he says, "I was a figurative painter." It was his insistence on the value of figuration that pointed to the underlying philosophical difference. He was not seeking the sublime to the exclusion of the beautiful; Malevich's desert of pure feeling beyond form did not seem to him an attractive residence.
In his insistence on at least residual figuration in even his most abstract works, Yektai retained awareness of what deKooning referred to when he said, about the origin of abstraction: "One day some painter used 'Abstraction' as a title for one of his paintings. It was a still life. And it was a very tricky title."6 For Yektai also it was obvious that gestural abstraction was rising out of the still life in a lineage that went back to Cezanne, and he did not wish to disguise this fact in his work. Yet in his paint-handling and his feelings toward painting as a medium he definitely shared a lot with the mainstream Abstract-Expressionists. ."(yektai.com)