Art
Yazmany Arboleda’s practice merges painting, photography, film, sculpture, installation, and participatory actions in order to highlight phenomena that lie just outside our collective field of vision. His preoccupations with social, political and moral issues in a culture ever more driven by the media draw our attention to slight, often overlooked but extraordinary facets of the man-made world we inhabit today.
Arboleda deconstructs the contemporary human experience by using the very same media prism that shapes our perspectives from childhood to adult life. His work considers how nature and culture combine to define standards of human beauty common across time and geography. He explores the way the growing ubiquity of information has been accompanied by a crumbling of faith in news institutions, government and business. The work depicts and analyzes inter-connections and influences, and often engages the viewer, knowingly or not, to become a part of the art itself.
Arboleda's installations include commentary on politics, current events, racism, and sexism, sometimes provoking controversy.
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Famous quotes containing the word art:
“True science investigates and brings to human perception such truths and such knowledge as the people of a given time and society consider most important. Art transmits these truths from the region of perception to the region of emotion.”
—Leo Tolstoy (1828–1910)
“Called as partners in Christ’s service,
Called to ministries of grace,
We respond with deep commitment
Fresh new lines of faith to trace.
May we learn the art of sharing,
Side by side and friend with friend,
Equal partners in our caring
To fulfill God’s chosen end.”
—Jane Parker Huber (b. 1926)
“Dada hurts. Dada does not jest, for the reason that it was experienced by revolutionary men and not by philistines who demand that art be a decoration for the mendacity of their own emotions.... I am firmly convinced that all art will become dadaistic in the course of time, because from Dada proceeds the perpetual urge for its renovation.”
—Richard Huelsenbeck (1892–1974)