Answer:
Explanation:
The temporary art - such as public art that is exhibited only for a short amount of time or visual performances - can't be experienced by everyone and in a longer period. Therefore, the only way to preserve this art is to document it via text, video or a photograph.
<u>We must expect that the art won't stay the same and provoke the same feelings as the original, temporary art. </u><u>Seeing something in real-time and in real life, experiencing the movements, the size of it, the three-dimensionality, is something that is different from anything else. That is why the art is exhibited or performed in the first place, even if for a temporary time.</u>
What we can expect is to change the focus of art.
This does mean the art will become more two dimensional. However, we can provide that documenting it becomes another, a special form of art that will save the part of original quality, but that will absorb qualities of another form of art.
<u>If we photograph the temporary sculpture in the public space, we can provide that the way we photograph it (aerial photography, with many spectators, isolated, in a different light) expands some of its qualities. If we make the video of the performance, we can use special techniques that are used in filming to accent certain aspects of the performance.</u>
<u>Therefore, while the art will lose some of its three-dimensionality it will gain different qualities and will transform itself into a completely different medium of the art piece.</u>
<h2><em>That note is an 8th note. It's called that because if you have a 4/4 note measure, it has 8 beats in total.</em></h2>
Answer:
Pieter Cornelis Mondriaan (Dutch: [ˈpitər kɔrˈneːlɪs ˈmɔndrijaːn]), after 1906 Piet Mondrian (/piːt ˈmɒndriɑːn/,[1][2] also US: /- ˈmɔːn-/,[3][4] Dutch: [pit ˈmɔndrijɑn]; 7 March 1872 – 1 February 1944), was a Dutch painter and art theoretician who is regarded as one of the greatest artists of the 20th century.[5][6] He is known for being one of the pioneers of 20th-century abstract art, as he changed his artistic direction from figurative painting to an increasingly abstract style, until he reached a point where his artistic vocabulary was reduced to simple geometric elements.[7]Mondrian's art was highly utopian and was concerned with a search for universal values and aesthetics.[8] He proclaimed in 1914: "Art is higher than reality and has no direct relation to reality. To approach the spiritual in art, one will make as little use as possible of reality, because reality is opposed to the spiritual. We find ourselves in the presence of an abstract art. Art should be above reality, otherwise it would have no value for man."[9] His art, however, always remained rooted in nature.
He was a contributor to the De Stijl art movement and group, which he co-founded with Theo van Doesburg. He evolved a non-representational form which he termed Neoplasticism. This was the new 'pure plastic art' which he believed was necessary in order to create 'universal beauty'. To express this, Mondrian eventually decided to limit his formal vocabulary to the three primary colors (red, blue and yellow), the three primary values (black, white and gray) and the two primary directions (horizontal and vertical).[10] Mondrian's arrival in Paris from the Netherlands in 1911 marked the beginning of a period of profound change. He encountered experiments in Cubism and with the intent of integrating himself within the Parisian avant-garde removed an 'a' from the Dutch spelling of his name (Mondrian).[11][12]
Mondrian's work had an enormous influence on 20th century art, influencing not only the course of abstract painting and numerous major styles and art movements (e.g. Color Field painting, Abstract Expressionism and Minimalism), but also fields outside the domain of painting, such as design, architecture and fashion.[13] Design historian Stephen Bayley said: "Mondrian has come to mean Modernism. His name and his work sum up the High Modernist ideal. I don't like the word 'iconic', so let's say that he's become totemic – a totem for everything Modernism set out to be."[13]
My interpretation of this is that the author was hoping for something futile - they 'grew a flower' (put effort or hopes toward) that can't be bloomed (is pointless or futile, will not produce anything) that can't come true (their effort/hope is just a hopeful dream). Basically, the author hoped for something that was not possible.
