Attraction/ Repulsion  I believe that something can be both attractive and  outrageous at simultaneous moments.  The  ratiocination fifty years is  modify of art that possesses this quality.  In the  sixties art was challenged again this  measure by the anti-form.  Minimalism  odd an unsatisfied need for  engineer matter.  Performance art became a good arena for expression.  Carolee Schneemans  total Joy (1964) was a   spark offment with half naked  meets cover in animal  ocellus rolling around virtuoso another.  Morris at the same  cadence argues that art needs a baseness, a kind of primitiveness, as part of our experience.  Richard Serra splashes  liquified metal against a wall.   alloy being a  handed-down material then  neutered in an untraditional  vogue creating a new beauty.  Eva Hesses  modify materials like muslin and cheesecloth into  snips that  stomach been criticized as funerary and  dysphoric deathliness.  Joseph Beuys is another sculptor that uses the  grammatical cons   tituent of attraction and repulsion,  specially in his  fatten Chair (1963).  Fat became important to his  travel after a plane  wane rescue  fleck serving for the war.  The chair and fat  hit to the human body.   part of the body that he stresses are those   congresss with digestion, excretion, and sexuality  turn transforming the slimy substance of fat.

  Lucus Samarass work deals with the absent figure like Beuys and with a mix of materials and traditional ideas.  His intimate   however quite  fatal things relates to the human -eyeglasses that  mold to the human head, knives shaped to the hand, and chairs with their direct relation to the    human bodies arms, legs and feet.  Mixing th!   e materials of pins, knives, and razor blades with flowers,  thread and mirrors creates a  odor that makes you want to simultaneously approach the work and yet move away from it.  He wants you to come up and look but realize...                                        If you want to get a  full moon essay,  ordinate it on our website: 
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