The Modern Collection

3D abstract art is a form of abstract art which uses the help of modern technology for the purpose of designing and drawing. Artist Colin Wilson’s original work is now sought after by collectors throughout the world and, as well as at the Red Rag Gallery in the Stow on the Wold, he exhibits at … Continue reading “The Modern Collection”

3D abstract art is a form of abstract art which uses the help of modern technology for the purpose of designing and drawing. Artist Colin Wilson’s original work is now sought after by collectors throughout the world and, as well as at the Red Rag Gallery in the Stow on the Wold, he exhibits at a number of leading contemporary art galleries throughout the UK. Catchiness is how easy it is for one to remember a song, tune or phrase. It is often taken into account when writing songs, catchphrases, advertising slogans, jingles etc. Alternatively, it can be defined as how difficult it is for one to forget it. Songs that embody high levels of remembrance or catchiness are literally known as “catchy songs” or “earworms”. While it is hard to scientifically explain what makes a song catchy, there are many documented techniques that recur throughout catchy music, such as repetition, hooks and alliteration. Selling Sounds: The Commercial Revolution in American Music says that “although there was no definition for what made a song catchy, all the songwriting guides agreed that simplicity and familiarity were vital”. The physical symptoms of listening to a catchy song include “running it over in our heads or tapping a foot”. According to Todd Tremlin, catchy music “spreads because it resonates similarly from one mind to the next”. Curtis, William J.R. Abstractions in Space: Tadao Ando, Ellsworth Kelly, Richard Serra. St. Louis: The Pulitzer Foundation for the Arts, 2001: 46-53. Hibbard, Howard. The Metropolitan Museum of Art. New York: Harper & Row, 1980. Reprint, New York: Harrison House, 1986. Davies, A., & Richards, E. (1998). Music therapy in acute psychiatry: Our experience of working as co-therapist with a group for patients from two neighbouring wards. British Journal of Music Therapy, 12(2), 53-59. Hockney, David. David Hockney: Photographs. Exh. cat. London and New York: Petersburg Press; Paris: Centre Georges Pompidou, 1982. Reinhardt frames the question of line quite literally at times. In the panels of How to View High (Abstract) Art—a cartoon that employs a tree with partly drawn and partly collaged pictures, including an image of the Laocoön Group and an abstract painting, hanging from its spindly stem—the variation of line styles is a central if subtle detail. Panels that touch on representational art are for the most part outlined by ornate drawn borders, and the objects depicted within are themselves enclosed in heavily drawn casings—for example, a landscape painting hanging in a thick, patterned frame and an elaborate, old-fashioned radio. This stands in stark contrast to panels touching on abstraction, which have only the thin boundary of the conventional cartoon panel. The radio has lost its gothic armature and become a sleek, modern appliance, and the abstract canvases have slim, clean frames. Line’s stylistic variation becomes the explicit subject in Reinhardt’s wry inventory of drawing, LINES SEEN ABOUT TOWN LATELY (part of the cartoon How to Look at Iconography), which includes dotted and curved lines, a BUSY line, a NERVOUS line, a CLOTHES LINE (perhaps Davis’s), and SWEET ADELINE.