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Automatinė dioramaAlbum Page
1982
45.0 x 75.0 cm
Skaityti daugiau
Giclée / Meno spausdinimas
Muziejų lygio „giclée“ arba drobos spausdinimas: greita gamyba ir lankstios apdailos parinktys. (
Pirkti rankomis tapytą paveikslą Pirkti vaizdą)
Pasirinkite iš mūsų nustatytų dydžių, atitinkančių originalaus meno kūrinio proporcijas.
Galite nurodyti savo matmenis, kad vaizdas atitiktų konkretų rėmą ar erdvę. Jei pasirinktas dydis nesutaps su originalaus paveikslėlio proporcijomis, mes arba apkirpsime kūrinį, arba išplėsime vaizdą naudojant veideliu atspindėtą arba vientisą šoną. Skaitmeninis maketas bus išsiųstas jums patvirtinti prieš pradedant gamybą.
Atkreipkite dėmesį, kad ekrane matomas vaizdinys neatspindi tikrojo apkirpimo ar išplėtimo. Tik maketas tiksliai parodytų galutinę kompoziciją.
Nors galima rinktis ir individualius dydžius, rekomenduojame pasirinkti vieną iš išanksti nustatytų matmenų, kad būtų išlaikytos originalios proporcijos.
Pristatymas visame pasaulyje () per 2 weeks, o ne įprastas 4/5 savaičių laikotarpis. (12 rugpjūtis)
Nemokamas greitasis pristatymas visame pasaulyje
Aukštos kokybės lininis drobė
Pilnas siuntimo draudimas
Muitinės mokesčių grąžinimo garantija
Tikro spalvų atitikimo garantija
60 dienų grąžinimo politika (tik esant gamyklinėms defektams)
100% pinigų grąžinimo garantija
Nuolaida už kelias reprodukcijas
Stiklo variantas prieinamas tik pasirinkus dydį iki 110 cm
Album Page
Giclée / Meno spausdinimas
Reprodukcijos matmenys
-
Galutinė kaina
$ 64
Kolekcinio eksponato aprašymas
panašūs kūriniai
Autoriaus biografija
Dick Higgins: Pioneer of Intermedia and Danger Music
Dick Higgins (15 March 1938 – 25 October 1998) stands as a singular figure in the landscape of experimental art and music, inextricably linked to the Fluxus movement and its radical reimagining of artistic practice. Born in Cambridge, England, to American parents Carter Chapin Higgins and Katherine Huntington Bigelow—a lineage that would later include his murdered younger brother Mark Huntington Higgins—Higgins’s formative years were spent traversing America's New England region, fostering a worldview shaped by both intellectual curiosity and profound personal loss. This early experience instilled in him an unwavering commitment to challenging conventional artistic boundaries. His academic pursuits centered around composition with John Cage at the New School for Social Research in New York during the late 1950s, marking the genesis of his groundbreaking explorations into performance art and sound-based interventions. Cage’s influence proved pivotal, prompting Higgins to conceive of “events” that deliberately disrupt everyday routines—transforming mundane activities into theatrical performances imbued with musical elements. This conceptual approach foreshadowed the burgeoning field of intermedia, a term Higgins coined in 1965 – an ambitious descriptor for artistic endeavors transcending disciplinary distinctions and embracing diverse mediums like sound, image, text, and performance. His seminal essay defining intermedia established it as “the interpenetration of disciplines,” encapsulating the spirit of Fluxus’s core ethos. The founding of Something Else Press in 1963 solidified Higgins's role as a champion of avant-garde thought and artistic dissemination. This publishing house became a conduit for disseminating influential texts by luminaries such as Gertrude Stein, Marshall McLuhan, Cage himself, Merce Cunningham, Henry Cowell, and fellow Fluxus artists like Hans Ulrich Röhrig and Alistair Grundy—artists who similarly questioned established conventions. The “Great Bear Pamphlets,” documenting early Fluxus performances, stand as invaluable records of this transformative period in artistic history. Higgins’s collaborative spirit extended beyond publishing; he actively participated in the Wiesbaden Fluxus Festival in 1962 alongside Cage and other pioneering figures, cementing his position at the forefront of Fluxus's genesis. Beyond Fluxus, Higgins pursued diverse artistic endeavors encompassing printmaking, poetry, and conceptual art projects. His prints—often characterized by meticulous detail and striking visual juxtapositions—demonstrated a mastery of technique while simultaneously reflecting his preoccupation with exploring complex ideas. Notably, “Graphis No. 19 (Act One of Saint Joan at Beaurevoir)” exemplifies Higgins’s commitment to pushing artistic boundaries through innovative approaches to printmaking. His exploration of danger music – a genre he championed and developed—further solidified his reputation as an artist dedicated to confronting uncomfortable truths and challenging listeners' perceptions. Dick Higgins passed away unexpectedly in Quebec City, Canada, in 1998, leaving behind a legacy that continues to inspire artists and scholars alike. He is remembered not merely for his artistic output but also for his intellectual rigor and unwavering belief in the transformative potential of experimental art—a conviction that cemented his place as one of the most significant voices within the Fluxus movement and the broader history of intermedia art.
Dick Higgins
1938 - 1998 , United Kingdom
Trumpa informacija
- Artistic Movement Or Style: Fluxus
- Artists Or Movements Influenced By This Artist: Fluxus Movement
- Artists Who Influenced This Artist: John Cage
- Date Of Birth: March 15, 1938
- Date Of Death: October 25, 1998
- Full Name: Dick Higgins
- Nationality: American
- Notable Artworks:
- Danger Music No. 17
- Graphis No. 19
- Place Of Birth: Cambridge, United Kingdom
