Elements of Fusion, Interrelated and Overlapping

 

WHAT IS ART FUSION? Art fusion occurs when an artist (from any field – music, literature, architecture, fine art, design, graffiti, etc.) collaborates with a brand (of any kind  – product, service, fashion, charity) to create a product, service, concept or ‘piece’ (for lack of a less pigeon-holing word) for the benefit of both parties and society as a whole. The artist provides the vision, the creativity, cre ativity, the heart and meaning, while the brand provides the production infrastructure, scale and marketing channels.

HISTORY AND EXAMPLES Art fusion has proliferated over the past decade but examples of collaborations date back as far as the 1930′s. Fine artists and fashion designers were the first to engage in this new breed of partnership – the first high profile union being Salvatore Dali and Elsa Schiaparelli in 1933. Andy Warhol and Yves Saint Laurent collaborated in the 1960′s and recently, re cently, the idea has gained the momentum of a movement with many different types of artists collaborating with many different types of brands. For examples we find inspiring, please subscribe to our blog. We post stimulating examples regularly.

HOW ART FUSION BENEFITS BRANDS A well-chosen, well-planned, well-executed collaboration can have many positive effects on a brand. It can bring newsiness and talk-value, create a feeling of innovation and excitement, and generate genuine ge nuine interest in staid or even forgotten fo rgotten brands. It can be used to activate a quiet brand and can often be effective in introducing it to a whole new audience.

HOW ART FUSION BENEFITS ARTISTS Art has a profound impact on society’s capacity to grow and evolve and embrace change. It is the forseer and the destroyer of the status quo. Artists have voices that must be heard to nurture our society’s soul – something art fusion can amplify. A collaboration with a brand can give an artist the ability to produce work that will reach a new and wider audience, gain notoriety for their future work, or simply be a means to permeate culture in places their art wouldn’t otherwise be seen.

http://old.artsandlabour.com/art-fusion-101/  http://old.artsandlabour.com/art-fusion-101/ 

 

WHAT IS OVERLAPPING? Overlapping in art is the placement of objects obje cts over one another in order to create the illusion of depth. Painting is a two-dimensional artistic expression. It has length and width but no depth. It is necessary, therefore, for artists to provide viewers with some sort of perspective in establishing size and distance in paintings. This is where overlapping come into play. If everything in a painting was of the t he same basic size, without overlapping there would be no way for viewers to distinguish small but important details, such as who or what w hat is closest to or farthest from tthe he viewers. Overlapping turns paintings into windows of sorts by creating the illusion that there is an entire world inside the canvas and that viewers are merely m erely getting a glimpse of it. Overlapping was an aspect of works of an art form that emerged just before the middle of the 20th century called abstract expressionism. Many abstract expressionist paintings are simply a series of overlapping lines or shapes. Overlapping can also be used to blur the lines of where one thing starts and another beg begins. ins. Pablo Picasso's Three Musicians is an excellent example of this. The famous cubist painting appears to be comprised of paper cutouts positioned to create the illusion that the three musicians merge.

https://www.reference.com/art-literature/definition-overlapping-art-c133be30a9d9e866 https://www.reference.com/art-literature/definition-overlapping-art-c133be30a9d9e866  

interrelated. Interrelated  things

are connected — they compliment or depend on each other.

Your mood and whether or not you ate breakfast this morning might be

interrelated .

https://www.google.com.ph/search?biw=1517&bih=675&sxsrf=ACYBGNSLSHgYPFrdcdunwX55rfy9PkM O1A%3A1570871276446&ei=7JehXcbyGsj7wAOuuL7QBw&q=define+interrelated+art&oq=interrelated+ art+&gs_l=psy-ab.1.4.35i39j0i22i30l5.6383.8217..16751...0.2..0.194.1293.0j10......0....1..gwswiz.......0i71.QCUw1qzFDOk   wiz.......0i71.QCUw1qzFDOk

 

Graffiti, form of visual communication, usually illegal, involving the unauthorized marking of public space by an individual or group. Although the common image of graffiti g raffiti is a stylistic symbol or phrase spray-painted on a wall by a member of a street gang, some graffiti is not gang-related. Graffiti can be understood as antisocial behaviour performed in order to gain attention or as a form of thrill seeking, but it also can be understood as an expressive art form. Derived from the Italian word graffio (“scratch”), graffiti gr affiti (“incised inscriptions,” plural but often used as singular) has a long history. Ex: markings

have been found in ancient Roman ruins, in the remains of the Mayan city of Tikal in Central America, on rocks in Spain dating to the 16th century, and in medieval English churches. During the 20th century, graffiti gr affiti in the United States and Europe was closely associated with gangs, who used it for a variety of purposes: for identifying or claiming c laiming territory, for memorializing dead gang members in an informal “obituary,” for boasting about acts (e.g., crimes) committed by gang members, and for challenging rival gangs as a prelude to violent confrontations. Graffiti was particularly prominent in major urban centres throughout the world, especially in the United States and Europe; common targets were subways, billboards, and walls. In the 1990s there emerged a new form of graffiti, known as “tagging,” which entailed the repeated use of a single symbol or series of symbols to mark territory. In order to attract the most attention possible, this type of graffiti usually appeared in strategically or centrally located neighbourhoods.

is poetry   poetry that is specifically composed for or during Poetry Performance, is   performance before an audience. During the 1980s, the term came into popular usage to describe  poetry written or composed exclusively for performance and not for print distribution. Whereas  poetry readings featured poets reading their printed books for a live audience, some of which were recorded on audio media, performance poets use a different style of writing poetry that is less conducive to print and better suited for their oral presentations. Conversely, much  performance poetry does not work well when printed in books. Performance poets are often not academically trained in writing poetry. Their poetic allusions are to pop culture rather than to the great literature of the past. Consequently, many performance pe rformance poets are denied credibility by Academics, but are able to build a greater audience for poetry by communicating to a wider range of people.  people.  The term term performance  performance poetry originates poetry originates from an early press release describing the 1980s 198 0s  performance poet  poet Hedwig Gorski, Gorski, whose audio recordings achieved success on  on  spoken word word  radio programs around the world. Her band, East of Eden Band, was described as the most

 

successful at music and poetry collaborations, allowing cassettes of her live radio broadcast recordings to stay in rotation with popular underground music recordings on some radio stations. Gorski, an art school graduate, tried to come c ome up with a term that would distinguish her text-based vocal performances from  from performance  performance art, art, especially the work of performance artists, such as  Laurie Anderson, Anderson, who worked with music at that th at time. Performance poets relied more on the as rhetorical and philosophical expression in their poetics than performance artists, who wh o arose from the visualbi-weekly art genres"Litera" of painting and sculpture.  sculpture.  The Austin Chronicle Chronicle   newspaper, printing Gorski's column, first published the term "performance poetry" to describe the work of Gorski with composer  D'Jalma Garnier  III as early as 1982. She began be gan using the term, however, to describe a 1978 "neo-verse drama" and "conceptual spoken poetry for five voices" titled Booby, titled Booby, Mama! that Mama!  that employs the cut-up method made popular by  by William Burroughs  and Burroughs and  conceptual art  art methods.

 

Performance Art, While the terms ‘performance’ and ‘performance art’ only became widely used in the 1970s, the history of performance in the visual arts is often traced back to  to futurist futurist  productions and  and dada dada  cabarets of the 1910s. Throughout the twentieth century performance was often seen as a non-traditional way of making art. Live-ness, physical movement and impermanence offered artists alternatives to the static permanence of painting and sculpture. In the post-war period performance became aligned with conceptual art, because of its often immaterial nature. Now an accepted part of the visual art world, the term has since been used to also describe film, video, photographic and installation-based artworks through which the actions of artists, performers or the audience are conveyed. More recently, performance has been understood as a way of engaging directly with social reality, the specifics of space and the politics of identity. In 2016, theorist Jonah Westerman remarked ‘performance is not (and never was) a medium, not something that an artwork can be but rather a set of questions and concerns about how art relates to people and the wider social world’.  https://www.tate.org.uk/art/art-terms/p/performance-art 

Digital Art, The first use of the term digital art was in the early 1980s when computer engineers devised a paint program which was used by the pioneering digital artist  Harold Cohen. artist Cohen. This became known as AARON, a robotic machine designed to make large drawings on sheets of paper placed on the floor. Since this early foray into

 

artificial intelligence, Cohen continued to fine-tune the AARON program as technology becomes more sophisticated. Digital art can be computer generated, scanned or drawn using a tablet and a mouse. In the 1990s, thanks to improvements in digital technology, it was possible to download video onto computers, allowing artists to manipulate the images they had filmed with a video camera. This gave artists a creative freedom never experienced before with film, allowing them to cut and paste within moving images to create visual collages. In recent times some digital art has become interactive, allowing the audience a certain amount of control over the final image.

 

https://www.tate.org.uk/art/art-terms/d/digital-art