WHAT IS ART FUSION?

Art fusion occurs when an artist (from any field – music, literature, architecture, fine art, design, graffiti,
etc.) collaborates with a brand (of any kind – product, service, fashion, charity) to create a product,
service, concept or ‘piece’ (for lack of a less pigeon-holing word) for the benefit of both parties and
society as a whole.

The artist provides the vision, the creativity, the heart and meaning, while the brand provides the
production infrastructure, scale and marketing channels.

HISTORY AND EXAMPLES

Art fusion has proliferated over the past decade but examples of collaborations date back as far as the
1930′s. Fine artists and fashion designers were the first to engage in this new breed of partnership – the
first high profile union being Salvatore Dali and Elsa Schiaparelli in 1933. Andy Warhol and Yves Saint
Laurent collaborated in the 1960′s and recently, the idea has gained the momentum of a movement
with many different types of artists collaborating with many different types of brands. For examples we
find inspiring, please subscribe to our blog. We post stimulating examples regularly.

HOW ART FUSION BENEFITS BRANDS

A well-chosen, well-planned, well-executed collaboration can have many positive effects on a brand. It
can bring newsiness and talk-value, create a feeling of innovation and excitement, and generate genuine
interest in staid or even forgotten brands. It can be used to activate a quiet brand and can often be
effective in introducing it to a whole new audience.

HOW ART FUSION BENEFITS ARTISTS

Art has a profound impact on society’s capacity to grow and evolve and embrace change. It is the
forseer and the destroyer of the status quo. Artists have voices that must be heard to nurture our
society’s soul – something art fusion can amplify. A collaboration with a brand can give an artist the
ability to produce work that will reach a new and wider audience, gain notoriety for their future work, or
simply be a means to permeate culture in places their art wouldn’t otherwise be seen.

http://old.artsandlabour.com/art-fusion-101/
WHAT IS OVERLAPPING?

Overlapping in art is the placement of objects over one another in order to create the illusion of depth.
Painting is a two-dimensional artistic expression. It has length and width but no depth. It is necessary,
therefore, for artists to provide viewers with some sort of perspective in establishing size and distance in
paintings. This is where overlapping come into play.

If everything in a painting was of the same basic size, without overlapping there would be no way for
viewers to distinguish small but important details, such as who or what is closest to or farthest from the
viewers. Overlapping turns paintings into windows of sorts by creating the illusion that there is an entire
world inside the canvas and that viewers are merely getting a glimpse of it. Overlapping was an aspect
of works of an art form that emerged just before the middle of the 20th century called abstract
expressionism. Many abstract expressionist paintings are simply a series of overlapping lines or shapes.
Overlapping can also be used to blur the lines of where one thing starts and another begins. Pablo
Picasso's Three Musicians is an excellent example of this. The famous cubist painting appears to be
comprised of paper cutouts positioned to create the illusion that the three musicians merge.

https://www.reference.com/art-literature/definition-overlapping-art-c133be30a9d9e866

interrelated. Interrelated things are connected — they compliment or depend on each other.
Your mood and whether or not you ate breakfast this morning might be interrelated.

https://www.google.com.ph/search?biw=1517&bih=675&sxsrf=ACYBGNSLSHgYPFrdcdunwX55rfy9PkM
O1A%3A1570871276446&ei=7JehXcbyGsj7wAOuuL7QBw&q=define+interrelated+art&oq=interrelated+
art+&gs_l=psy-ab.1.4.35i39j0i22i30l5.6383.8217..16751...0.2..0.194.1293.0j10......0....1..gws-
wiz.......0i71.QCUw1qzFDOk
Graffiti, form of visual communication, usually illegal, involving the unauthorized marking of public
space by an individual or group. Although the common image of graffiti is a stylistic symbol or phrase
spray-painted on a wall by a member of a street gang, some graffiti is not gang-related. Graffiti can be
understood as antisocial behaviour performed in order to gain attention or as a form of thrill seeking,
but it also can be understood as an expressive art form.

Derived from the Italian word graffio (“scratch”), graffiti (“incised inscriptions,” plural but often used as
singular) has a long history.

Ex: markings have been found in ancient Roman ruins, in the remains of the Mayan city of Tikal in
Central America, on rocks in Spain dating to the 16th century, and in medieval English churches. During
the 20th century, graffiti in the United States and Europe was closely associated with gangs, who used it
for a variety of purposes: for identifying or claiming territory, for memorializing dead gang members in
an informal “obituary,” for boasting about acts (e.g., crimes) committed by gang members, and for
challenging rival gangs as a prelude to violent confrontations. Graffiti was particularly prominent in
major urban centres throughout the world, especially in the United States and Europe; common targets
were subways, billboards, and walls. In the 1990s there emerged a new form of graffiti, known as
“tagging,” which entailed the repeated use of a single symbol or series of symbols to mark territory. In
order to attract the most attention possible, this type of graffiti usually appeared in strategically or
centrally located neighbourhoods.

Poetry Performance, is poetry that is specifically composed for or during

performance before an audience. During the 1980s, the term came into popular usage to describe
poetry written or composed exclusively for performance and not for print distribution. Whereas
poetry readings featured poets reading their printed books for a live audience, some of which
were recorded on audio media, performance poets use a different style of writing poetry that is
less conducive to print and better suited for their oral presentations. Conversely, much
performance poetry does not work well when printed in books. Performance poets are often not
academically trained in writing poetry. Their poetic allusions are to pop culture rather than to the
great literature of the past. Consequently, many performance poets are denied credibility by
Academics, but are able to build a greater audience for poetry by communicating to a wider
range of people.

The term performance poetry originates from an early press release describing the 1980s
performance poet Hedwig Gorski, whose audio recordings achieved success on spoken
word radio programs around the world. Her band, East of Eden Band, was described as the most
successful at music and poetry collaborations, allowing cassettes of her live radio broadcast
recordings to stay in rotation with popular underground music recordings on some radio stations.
Gorski, an art school graduate, tried to come up with a term that would distinguish her text-based
vocal performances from performance art, especially the work of performance artists, such
as Laurie Anderson, who worked with music at that time. Performance poets relied more on the
rhetorical and philosophical expression in their poetics than performance artists, who arose from
the visual art genres of painting and sculpture. The Austin Chronicle newspaper, printing
Gorski's bi-weekly "Litera" column, first published the term "performance poetry" to describe
the work of Gorski with composer D'Jalma Garnier III as early as 1982. She began using the
term, however, to describe a 1978 "neo-verse drama" and "conceptual spoken poetry for five
voices" titled Booby, Mama! that employs the cut-up method made popular by William
Burroughs and conceptual art methods.

Performance Art, While the terms ‘performance’ and ‘performance art’ only
became widely used in the 1970s, the history of performance in the visual arts is often
traced back to futurist productions and dada cabarets of the 1910s.

Throughout the twentieth century performance was often seen as a non-traditional

way of making art. Live-ness, physical movement and impermanence offered artists
alternatives to the static permanence of painting and sculpture.

In the post-war period performance became aligned with conceptual art, because of its
often immaterial nature.

Now an accepted part of the visual art world, the term has since been used to also
describe film, video, photographic and installation-based artworks through which the
actions of artists, performers or the audience are conveyed.

More recently, performance has been understood as a way of engaging directly with
social reality, the specifics of space and the politics of identity. In 2016, theorist Jonah
Westerman remarked ‘performance is not (and never was) a medium, not something
that an artwork can be but rather a set of questions and concerns about how art
relates to people and the wider social world’.

https://www.tate.org.uk/art/art-terms/p/performance-art

Digital Art, The first use of the term digital art was in the early 1980s when
computer engineers devised a paint program which was used by the pioneering digital
artist Harold Cohen. This became known as AARON, a robotic machine designed to
make large drawings on sheets of paper placed on the floor. Since this early foray into
artificial intelligence, Cohen continued to fine-tune the AARON program as technology
becomes more sophisticated.

Digital art can be computer generated, scanned or drawn using a tablet and a mouse.
In the 1990s, thanks to improvements in digital technology, it was possible to
download video onto computers, allowing artists to manipulate the images they had
filmed with a video camera. This gave artists a creative freedom never experienced
before with film, allowing them to cut and paste within moving images to create visual
collages.

In recent times some digital art has become interactive, allowing the audience a
certain amount of control over the final image.

https://www.tate.org.uk/art/art-terms/d/digital-art