Author(s): WASIM MUSHTAQ WANI
Journal: ThirdFront : Journal of Humanities and Social Science
ISSN 2320-9631
Volume: 1;
Issue: 1;
Start page: 146;
Date: 2013;
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Keywords: Leonardo | Michelangelo | Mannerists | Bernini | Caravagio | Turner | Goya | Modernism | Post Modernism
ABSTRACT
More than an academic professional (one who teaches art) I prefer to interact as an artist – be it a classroom or writing in a journal. I believe I can make more sense by being random, spontaneous and perhaps incongruous and like an artist narrate my story in an extempore spasmodic flash. My present article would not have been possible without this faith. A word that has often come to my rescue, and will perhaps justify the plot (content/ form) of my article is “contingency”. It means the turning from past to future, the acceptance of risk, the omnipresence of change, the malleability of time and space – something contrary to a predictable linear organized whole. Considering the length of subject and the brevity of space my article will, more or less, adopt a cinematic strategy: take a number of images (events) and connect them to form a sequence and keep cutting and connecting until a number of (decentralized) view points or angles are created. The time-frames, viewed through a question mark, go as far as Leonardo, Michelangelo, Mannerists, Bernini, Caravagio, Turner, Goya, each appearing with an anticipation to be justified as the first true artist. The frames appear out of focus as they move, as if unawares, from locating the first true artist to the first true modern artist. And then (as Giles Deleuze, the great philosopher of cinema has taught that cinema is at its most cinematic when it frees us from the idea of time as a connected order or sequence) the disruption of a linear sequence between modern art and post modern art leads to a host of montages, jump cuts, irrational cuts and multiple view points.
Journal: ThirdFront : Journal of Humanities and Social Science
ISSN 2320-9631
Volume: 1;
Issue: 1;
Start page: 146;
Date: 2013;
VIEW PDF
DOWNLOAD PDF Original pageKeywords: Leonardo | Michelangelo | Mannerists | Bernini | Caravagio | Turner | Goya | Modernism | Post Modernism
ABSTRACT
More than an academic professional (one who teaches art) I prefer to interact as an artist – be it a classroom or writing in a journal. I believe I can make more sense by being random, spontaneous and perhaps incongruous and like an artist narrate my story in an extempore spasmodic flash. My present article would not have been possible without this faith. A word that has often come to my rescue, and will perhaps justify the plot (content/ form) of my article is “contingency”. It means the turning from past to future, the acceptance of risk, the omnipresence of change, the malleability of time and space – something contrary to a predictable linear organized whole. Considering the length of subject and the brevity of space my article will, more or less, adopt a cinematic strategy: take a number of images (events) and connect them to form a sequence and keep cutting and connecting until a number of (decentralized) view points or angles are created. The time-frames, viewed through a question mark, go as far as Leonardo, Michelangelo, Mannerists, Bernini, Caravagio, Turner, Goya, each appearing with an anticipation to be justified as the first true artist. The frames appear out of focus as they move, as if unawares, from locating the first true artist to the first true modern artist. And then (as Giles Deleuze, the great philosopher of cinema has taught that cinema is at its most cinematic when it frees us from the idea of time as a connected order or sequence) the disruption of a linear sequence between modern art and post modern art leads to a host of montages, jump cuts, irrational cuts and multiple view points.
