Biography of Francesco Clemente, Neo-Expressionist Artist

Francesco Clemente (born March 23, 1952) is an Italian artist most closely associated with the Neo-Expressionist movement. His work reacts against Conceptual and Minimalist Art by returning to figurative ideas and techniques from the past. His work is influenced by other cultures, most strongly that of India, and he frequently collaborates with artists and filmmakers. Fast Facts: Francesco Clemente Occupation: ArtistKnown For: Key figure in the Neo-Expressionist artistic movement Born: March 23, 1952 in Naples, ItalyEducation: University of RomeSelected Works: Name (1983), Alba (1997), The Sopranos (2008)Notable Quote: When I look at a drawing of a person, I look at that person as living. Early Life and Career Born into an aristocratic family, Francesco Clemente grew up in Naples, Italy. He studied architecture at the University of Rome. He has spoken about a philosophical crisis that he experienced as a student. He felt deeply the fact that all people, including himself, would eventually die, and he believed he had no specific separate identity or consciousness from others. He said, I believe there is such a thing as an imagination shared by the different contemplative traditions. Self-Portrait (1991). Sally Larson (CC BY-SA 3.0) Clementes first solo exhibition took place in Rome in 1971. His works explored the concept of identity. He studied with Italian conceptual artist Alighiero Boetti and met American artist Cy Twombly, who lived in Italy. Boetti and Clemente traveled to India in 1973. There, Clemente encountered the Indian Buddhist concept of anatman, or lack of self, which became a central thematic element in his work. He opened a studio in Madras, India, and created his 1981 series of gouache paintings titled Francesco Clemente Pinxit while working with painters in the Indian states of Orissa and Jaipur. In 1982, Clemente moved to New York City, where he quickly became a fixture of the art scene. Since then, he has lived primarily in three different cities: Naples, Italy; Varanasi, India; and New York City. Neo-Expressionism Francesco Clemente became part of what was known as the Transavanguardi or Transavantgarde movement among artists in Italy. In the U.S., the movement is considered part of the broader Neo-Expressionist movement. It is a sharp reaction to Conceptual and Minimalist Art. The Neo-Expressionists returned to figurative art, symbolism, and an exploration of emotions in their works. Neo-Expressionism emerged in the late 1970s and began to dominate the art market for the first half of the 1980s. The movement received sharp criticism for the omission or marginalization of female artists in favor of all-male shows. Clemente was at the center of sometimes-heated discussions about Neo-Expressionism and its authenticity. With its relative lack of political content, some observers criticized the movement for being inherently conservative and market-focused instead of concerned with the creation of art itself. Clemente responded that he didnt feel it was necessary to tamper with reality in his work and said that he preferred to present the world as it truly exists. One of Clementes best-known Neo-Expressionist works is his 1983 piece entitled Name. The vividly-colored painting depicts a man, who looks similar to Clemente, staring out at the viewer. There are small versions of the man inside his ear, eye sockets, and his mouth. Another significant portrait in Clementes career is his 1997 painting titled Alba, featuring the artists wife. She is a frequent subject for his paintings. In the portrait, she is reclining in a slightly uncomfortable pose. The image feels like it is squeezed into the frame, giving the viewer a claustrophobic sensation. Many of Clementes portraits have a similarly distorted, almost uncomfortable style. Collaborations In the 1980s, Francesco Clemente began a series of collaborations with other artists, poets, and filmmakers. One of the first of those was a 1983 project with Andy Warhol and Jean-Michel Basquiat. The artists each began their own individual paintings, then swapped so that the next artist could add their own content. The result was a series of canvases full of dramatic flourishes that are instantly recognizable as belonging to an individual artist; these flourishes collide into and overlap each other. In 1983, Clemente began his first project with poet Allen Ginsberg. One of their three collaborative works is the book White Shroud, with illustrations by Francesco Clemente. In the 1990s, Clemente worked with the poet Robert Creeley on a series of books. Another joint project was Clementes 2008 work with New Yorks Metropolitan Opera. He first worked with the renowned opera company when he created a large banner for the Philip Glass opera Satyagraha. Later in the year, Clemente created a series of paintings called The Sopranos: portraits of the divas featured in the Metropolitan Operas 2008-2009 season. They were created over a four-month period and featured the singers in their stage roles. Film and TV Appearances Francesco Clemente began his association with the film industry in 1997, when he made a cameo appearance as a hypnotherapist in Good Will Hunting. In 1998, Clemente created approximately two hundred paintings for director Alfonso Cuarons adaptation of Charles Dickens classic Great Expectations. In 2016, Clemente appeared in a film by independent writer, director, and actor Adam Green titled Adam Greens Aladdin. In the reworking of the Arabian Nights story, Aladdins dysfunctional family lives in an average American city ruled by a corrupt sultan. Francesco Clemente appears as the genie, Mustafa. Clemente is a frequent subject of TV interviews. One of the best-known is an extended interview with Charlie Rose in 2008 from his self-titled PBS show. Legacy and Influence Clementes work often defies specific characterization. Although he uses figural techniques associated with Neo-Expressionism, his pieces are not always intensely emotional in content. He eagerly embraces inspiration from artistic traditions other than his own. He encourages other artists to experiment boldly with media and techniques that are new to them. Travels, everyday life, and study in India heavily influence Francesco Clementes work. He has avidly studied Indian spiritual texts, and he began studying the Sanskrit language in New York in 1981. In 1995, he took a trip to Mount Abu in the Himalayas and painted a watercolor a day for fifty-one consecutive days. The Solomon R. Guggenheim Museum in New York City organized a major retrospective of Clementes work in 2000. Another retrospective at the Irish Museum of Modern Art in Dublin followed in 2004. Source Dennison, Lisa. Clemente. Guggenheim Museum Publications, 2000.

The Scarlet Letter By Nathaniel Hawthorne - 2297 Words

â€Å"On the breast of her gown, in fine red cloth, surrounded with an elaborate embroidery and fantastic flourishes of gold-thread, appeared the letter A.† (40) Every aspect of the story of Nathaniel Hawthorne’s, The Scarlet Letter, whether it be major or minor, stems from this line. From beginning to end, the scarlet letter has a major bearing on the unfolding of the plot. Hester Prynne, an adulteress, has been spared death for her sin, but she must wear a scarlet letter â€Å"A† for the rest of her life. Her husband, who has been living with Native Americans for the past two years, arrives in town just in time to see her holding a baby and being publicly humiliated for the crime of adultery and vows to get revenge. As the story unfolds, Hester and Pearl continue with their day to day lives while Reverend Arthur Dimmesdale, Pearl’s father, struggles with the sin that he has committed. It later becomes public knowledge that Pearl, Hester’s da ughter is the child of the beloved reverend. Hawthorne uses the themes of adversity resulting in joyfulness, presenting to the reader that even though everything at the present may be hopeless, there is something that will come about and make all the suffering seem petty, and freedom from captivity, allowing the reader to consider that while a burden may not seem like such, once it is removed, the effect is similar to that of a bird being released from a cage. These lead to the production of the novel that is The Scarlet Letter. ThroughShow MoreRelatedThe Scarlet Letter By Nathaniel Hawthorne1242 Words   |  5 PagesLYS PAUL Modern Literature Ms. Gordon The Scarlet Letter The scarlet letter is book written by Nathaniel Hawthorne who is known as one the most studied writers because of his use of allegory and symbolism. He was born on July 4, 1804 in the family of Nathaniel, his father, and Elizabeth Clark Hathorne his mother. Nathaniel added â€Å"W† to his name to distance himself from the side of the family. His father Nathaniel, was a sea captain, and died in 1808 with a yellow fever while at sea. That was aRead MoreThe Scarlet Letter By Nathaniel Hawthorne960 Words   |  4 Pages3H 13 August 2014 The novel, The Scarlet Letter, was written by the author Nathaniel Hawthorne and was published in 1850 (1). It is a story about the Puritan settlers of the Massachusetts Bay Colony, set around 1650 (2). The story is written in the third person with the narrator being the author. The common thread that runs through this novel is Hawthorne’s apparent understanding of the beliefs and culture of the Puritans in America at that time. But Hawthorne is writing about events in a societyRead MoreThe Scarlet Letter, By Nathaniel Hawthorne919 Words   |  4 Pagessymbolism in Nathaniel Hawthorne’s â€Å"The Scarlet Letter†. Symbolism is when an object is used in place of a different object. 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Pearl grows throughout the book, which in the end, help the readers better understandRead MoreThe Scarlet Letter, By Nathaniel Hawthorne1488 Words   |  6 Pages In Nathaniel Hawthorne’s novel The Scarlet Letter, the main character, Hester Prynne, is a true contemporary of the modern era, being cast into 17th century Puritan Boston, Massachusetts. The Scarlet Letter is a revolutionary novel by Nathaniel Hawthorne examining the ugliness, complexity, and strength of the human spirit and character that shares new ideas about independence and the struggles women faced in 17th century America. Throughout the novel, Hester’s refusal to remove the scarlet letterRead MoreThe Scarlet Letter By Nathaniel Hawthorne1319 Words   |  6 PagesPrynne and Arthur Dimmesdale are subject to this very notion in Nathaniel Hawthorne s The Scarlet Letter. Hester simply accepted that what she had done was wrong, whereas Dimmesdale, being a man of high regard, did not want to accept the reality of what he did. Similar to Hester and Dimmesdale, Roger Chillingworth allows his emotions to influence his life; however, his influence came as the result of hi s anger. Throughout the book, Hawthorne documents how Dimmesdale and Hester s different ways of dealingRead MoreThe Scarlet Letter By Nathaniel Hawthorne1714 Words   |  7 PagesSome two hundred years following the course of events in the infamous and rigid Puritan Massachusetts Colony in the 1600s, Nathaniel Hawthorne, descendant of a Puritan magistrate, in the 19th century, published The Scarlet Letter. Wherein such work, Hawthorne offered a social critique against 17th Massachusetts through the use of complex and dynamic characters and literary Romanticism to shed light on said society’s inherent contradiction to natural order and natural law. In his conclusive statements

The Modernist Movement Of Literature - 2005 Words

The modernist movement in Literature came about in the late nineteenth and early twentieth centuries as authors began to consciously break from traditional writing styles and experiment with new methods of storytelling. These authors drew their inspiration from the real world and their own experiences. Every aspect of the world has its own influence from historical events to developments in psychological theory. The authors of the modernist era, such as William Faulkner, Virginia Woolf, T.S. Elliot, and James Joyce, experimented heavily with established laws of language and structure by modifying the narration of the story and breaking the plot into pieces for the reader to put together. In a way, the authors were rebelling against the old views of how stories were supposed to be told. Some of the most complicated pieces of fiction and poetry came out of the modernist era. The most prominent characteristics of the modernist movement in literature were the results of a culmination of the types of thought and ideas that defined the early twentieth century in the United States and Europe. The events of the world which modernist authors experienced in their time, most notably the First World War in conjunction with emerging ideas from different spheres of study such as psychology and art led to the creation of new forms of narration and stories that broke the rules of traditional writing and challenged the previous eras of literature. 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Expository Narrative on James Moores free essay sample

One difficulty is that along with a policy vacuum there is often a conceptual vacuum. Although a problem in computer ethics may seem clear initially, a little reflection reveals a conceptual muddle. What is needed in such cases is an analysis that provides a coherent conceptual framework within which to formulate a policy for action. (Moor, 1985, 266) Even though today computer ethics is no longer an idea in its infancy, there are many interpretations of ethics in relation to information technology. Today almost all companies use computer and information technology to serve their clients and because of that they have to have strong ethical standards for the conduct of their business. Microsoft Corporations â€Å"Four Pillars of Trustworthy Computing† (Reynolds, 2010) which combine security, privacy, reliability and integrity in a system focused on the aspect of trustworthiness – something Microsoft and other companies see as important. Moors 1985 essay and later work helped lay the groundwork for the development of a policy, thus breaking down the vacuum for ethics in the computer age. He added additional ideas in the 1990s, including the important notion of core human values: According to Moor, human values such as life, health, happiness, security, resources, opportunities, and knowledge, are so important for the survival of a community that all communities do hold them near and dear. Certainly if a community did not value the â€Å"core values†, it would soon cease to exist. It was these human â€Å"core values† that Moor used for examining computer ethics topics like privacy and security (Moor 1997), and to add an account of justice, which he called â€Å"just consequentialism† (Moor, 1999), a theory that combines â€Å"core values† and consequentialism with Bernard Gerts deontological notion of â€Å"moral impartiality† using â€Å"the blindfold of justice† (Gert,1998). In his essay, Moor introduces the â€Å"conceptual vacuum,† which he says is the lack of terminology to define elements in a specific system or model. According to Moor, while it is possible for a conceptual vacuum to be discovered only after the policy vacuum is identified, it is the conceptual vacuum that needs to be addressed first. Only then can the relevant actions and policies be implemented to solve a computer ethics problem. At least a basic understanding of terms and their relationship to one another, or â€Å"coherent conceptual framework,† (Moor, 1985) is necessary otherwise it would be close to impossible to define a computer ethics problem without understanding what a computer actually is and what it can do, and the specific ethical values, unique to computers systems. Conceptual vacuums may still exist in certain fields in which the conceptual framework remains unclear. As an example, today, in the field of advanced genetic engineering, cloning, and stem cell research conceptual vacuums may still exist, since these areas are not fully developed and the related terminologies are still not specifically defined. Since the field of computers itself was not fully understood any actions that were taken would still be subject to a policy vacuum. Moor also talks about logical malleability, which is basically the concept of the computers ability to perform virtually any task, using ideas that can be represented as simple values. Since these values can represent anything, a computer is basically able to perform calculations or logical deductions in any area of work. Logical malleability, then, according to Moor, is the process of computers taking in information as input, processing it with a logical unit, and then producing an output. In this way, computers become very much like human beings, where the central nervous system and the brains higher cognitive functions, processes the sensory input and the resultant thought or action the is output. Moor does say that â€Å"computers manipulate symbols but they dont care what the symbols represent,† it is possible, however, for a user to assign priorities to certain processes or tasks in the form of a hierarchy of importance, the computer thinks a certain task is importance and treats accordingly is because it has been told (programmed) to do so. Moors comparison of the Computer Revolution to the Industrial Revolution is spot on. He forecasts their methodological footsteps and their effects on society to be similar. According to him, In the Industrial Revolution there were two stages; the first was the implementation of technology, and the second was the permeation stage in which the workings of the economy became permeated with technology to the extent that it became inconceivable to imagine any aspect of the economy without technology and there was a transformational effect on the way people lived their lives and what they expected from society. Even though the essay was written in 1985, it seems that the Computer Revolution is still not over, in fact, it may be in a state of perpetual evolution much the same way as we are as human beings. Moore says that as computers become embedded in every aspect of our lives, they will not only alter the way lives are lived but make people question our values. As computerized machines take over craftsmanship, flying skills are automated by computer, and photographs are enhanced by picture enhancing software, some may question the value of the pride and joy of creating a masterpiece or the exhilaration of a perfect takeoff or landing. Moors highlights the element of conceptual vacuum by considering the invisible environment in which computers carry out their functions. He argues that computers are not fool-proof and to base important ethical decisions on outcomes of computer calculations is wrong. As more and more aspects of life are computerized, we are taking the outputs of computers for granted and basing our decisions whether big or small, on those outputs without verifying the methodology behind those invisible processes. He makes the reader think hard about the perceived infallibility of computers by using the example of a nuclear attack: For instance, computers are used by the military in making decisions about launching nuclear weapons. On the one hand, computers are fallible and there may not be time to confirm their assessment of the situation. On the other hand, making decisions about launching nuclear weapons without using computers maybe even more fallible and more dangerous. What should be our policy about trusting invisible calculations? Moore, 1985) Moors 1985 essay was a convincing argument for the consideration of computer ethics as an important and independent field of study. He highlighted some of the ethically questionable issues that may arise due to the use of computers, and illustrated his point with numerous examples. Some of the issues are obviously dated as this essay was written over a quarter century ago and many of the computerized processes now are far more evolved now than t hey were back then, making them more secure, for example, or fool-proof. One of the questions I’d like to ask Mr. Moor is about Internet marriages and divorce, and what his opinion vis-a-vis ethical considerations of divorce is about them. If a divorce can be applied for and granted online, can a marriage also not take place along similar lines and should it be accepted in a court of law, especially if a judge or magistrate is a witness on camera? Another question that I’d like to ask Mr. Moore is based off of his comparison of the Computer Revolution to the Industrial Revolution. I don’t feel that the Computer Revolution can be defined in two stages like he described the Industrial Revolution. While the Industrial Revolution changed the way we lived our lives, computers as they get embedded into every aspect of our daily lives continue to do so every day and this is not something that seems to have an end point. As our values change in step with advances in computers, does he think that at some point we may even question the very notion of computers not being part of a certain aspect of life if it were? Would not our thinking also change and our standards not be based on life without computers to even ask why we depend on computers so much? My last question for Mr.