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Contemporary Art: Italian Painter Giuseppe Alletto talks about his collage titled "Selfportrait with Duchenne's tie"
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A face perceived as friendly or hostile is a typical example of physiognomy, and so, too, are objects (a brooding mountain, a peaceful glen) and events (an expectant crowd, a threatening movement). These affective and cognitive meanings, in phenomenological terms, emerge naturally, spontaneously, and without delay. In this essay, the place of physiognomy in the arts is introduced, both in general and for specific forms, along with its relevance to creativity and aesthetics. As an overview the review is selective, given the limited space available. (For a broader treatment of physiognomy, including its history, theories, methods, findings, and research possibilities, as well as an in-depth examination of its role in the arts, artists, and arts audiences, together with extensive references, see Lindauer, M. S. [2013].)
The topic of physiognomy has a marginal if not unsavory status in psychology because of its historical excesses and fakery; its close association with phrenology; and following the popular writing of Lavater in the late 18th Century, its use as a parlor game (Crabtree, 2000). Consequently, neutral labels like non-verbal behavior (or communication), interpersonal space, body language, gestural psychology, and kinesics are substituted for physiognomy in order to avoid its negative connotations. However, physiognomy’s preeminence in the arts (Gombrich, 1960), unlike its faint presence in ordinary objects, layered as they are by familiarity and habit, as well as its relevance to artistic creativity and aesthetics, makes it hard to ignore.
Artists are especially attuned to the physiognomic overtures of people, objects, scenes, and events that “demand a hearing.” Their evocative pulses challenge artists, to translate visual, auditory, written, and textural messages imaginatively. Colors, shapes, sounds, words, and movements are manipulated and transformed into music, paintings, literature, and other artistic forms. Hence, a positive correlation between creativity and physiognomy (e.g., Dailey, Martindale, & Borkum,1997). Creative artists, open to the physiognomic wisps of sounds and other stimuli, discern what is difficult for most of us to hear, see, touch, and notice. The expressive undercurrents of a painting and the other arts supplement if not transcend literal, concrete, explicit, and denotative meanings .
Physiognomic undercurrents capture and hold the attention of arts audiences, including readers of literature, who are sensitive to the subtle nuances of artistic works. What they see in a painting or sculpture, read in a story, observe in a dance, hear in a theater, and listen to at a concert are facilitated and enhanced, readily attended to and perceived, strongly felt, and assigned greater meaning with physiognomic undercurrents.
(Martin S. Lindauerc)
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Hi guys! My name is Giuseppe Alletto, I'm an Italian Artist working in the fields of Contemporary Art, Drawing, Painting, Art Installation, Videoart, Photography.
In this video I'll talk about my collage titled "Selfportrait with Duchenne's tie".
I hope you'll enjoy it!
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In this artwork I depicted myself by sticking in the paperboard support a photographic self portrait with blur (out of focus) effect in which I assumed a disquieting face expression similar to that of a psychopath’s smirk.
The collage, which is part of the series of the “Emotions” (completed by 2017) , is constituted by the presence of my face at the centre with inserts of electronic circuit and three symbolical but real golden nails stuck in the centre of the forehead.
On the left area of the composition there is the image of a tie decorated with the little size images of the Duchenne’s studies.
This weird object (that I really found on the internet during a reaserch) ironically refers to the photos of the studies of the psychologist of 19th century Guillaume Duchenne which were a fundamental source of inspiration for me to carry on my series of works globally titled “Emotions”.
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