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Australian Postwar Art and Film: Ian Burn and Conceptual Art Name: Tutor: Course: Institution: Date: Australian Postwar Art and Film: Ian Burn and Conceptual Art Burn’s Works as a part of International Conceptual Art Movement Ian Burn is a renowned artist from Anglo-Australia; in fact, he participated in international Conceptual art movement such as New York branch of Art and Language…
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Australian Postwar Art & Film
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Download file to see previous pages Members of this movement engaged in other activities such as composing, performing, recording, and videotaping humorous songs, which had revolutionary lyrics quoted from Marx. Nevertheless, Burn had achieved an artistic career prior to commencement of these movements; in fact, he had a profound involvement in conventional landscapes and self-portraits. In the beginning of 1965, he ventured into abstract and Minimalist painting. Therefore, this resulted to Conceptual art work and installations, which facilitated participation in the International Conceptual Art Movement. After disbarment of Art and Language movement from the international panorama, Burn seemed to withdraw from the International Conceptual Art Movement. Apparently, in 1977, he decided to go back to Australia, where he joined Australian labor movement via Union Media Services, which as a small company. During this period, he focused on organizing cultural programming for trade union members; exhibitions that show cased their art work, and authored associated essays and commentaries. Furthermore, he focused on publishing articles on Anglo-Australian landscape painting, while others were Albert Namatjira, who was Anboriginal artist of Aranda tribe (Burn and Stephen, 1992, 266). It is evident that Ian was a renowned writer in the realm of International Conceptual Art Movement and guardian of contemporary art; in fact, he served as unofficial mentor to numerous dissertations in esthetics and art history in various universities in Australia (Burn, 1991, 115). It is evident that Burn used his early painting to experiment with strategies was a way of separating perception from cognition. He offered conceptual systems aimed at facilitating perception of different things in various ways, which were in temporal and instinctive order. For instance, he segregated the square canvas into six, hard-edge, quasi-organic shapes in the Re-ordered Painting from 1965. In this painting, he used different colours on each of the six utensils; in fact, these organic shapes created a perception in a specific sequence. Therefore, Burn utilized cognitive analysis insentience as a way of redirecting the perception of the audience in their own situation. It is evident that Burn focuses on the theme of status and circumstance of self in his works; for instance, in Blue Reflex from 1966, he expresses functions that reflect the blue lacquered surface. Another example is Mirror Piece from 1967, which proved a question seeking to determine the meaning of self-reflection; in fact, this work entails a horizontal sequence consisting of thirteen framed pages of notes and diagrams (Burn, 1991, 118). Therefore, this led to a reflection and refraction of light, which was relative to mirror under various situations. However, he offers a sequence that ends with a large plain and framed mirror. Furthermore, he offers instinctive perceptual relations, which appears to be a mirror that offers a reflection to different people around the world. This work of art is framed in a gallery in a way that modified people’s perceptions regarding the art object. In this case, Burn’s work of art as a part of International Conceptual Art, by presenting a cognitive system, which is independent of the frames references, whereby this is considered disentanglement of the mirrors from the true meaning. Definition of Conceptual Art ...Download file to see next pagesRead More
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