1990 · Czech Republic
Klára Hosnedlová is considered to be an emerging artist, who was born and brought up in Czech Republic, like other prominent artists such as Jakub Janovsky, Miroslav Adámek, Frantisek Kupka, Filip Nadvornik, and Igor Hosnedl. Klára Hosnedlová was born in 1990.
About Klára Hosnedlová's works
Klára Hosnedlová plays a pivotal role in the fields of Conceptual, Abstraction, Design and Figuration. For a conceptual artist, the artwork needs to break free from any sort of traditional representation of what is art, and invite the viewer to enter a world of ideas and concepts, detached from the material reality. Indeed, the core of Conceptualism lies in the fact that the idea behind the artwork has significantly more importance than the completed artwork itself. As a defined movement, Conceptualism first emerged in the late 1960s, with figures such as Sol LeWitt, Lawrence Weiner and Yoko Ono. The most revolutionary feature of Conceptual Art is that the artwork can take the form of anything, from writings to performances, to a derived use of everyday objects - the boundaries of art are thus defied, the tradition is critiqued. Conceptualism has been, and still remains, subject to controversy and debate, due to its tendency to provoke the audience. As a contemporary movement, is it often used as a tool to defy institutions, societal structures and political systems.
Abstract art first started to emerge in the early 20th century, as a new and rather radical form of art. Artists were looking for a way of expressing the societal changes occurring at the time, and release their creative energy, thus distancing themselves from figurative art. With abstraction, the artists move away from any literal representation of reality, and the visual qualities often put in focus in such non-representative works are colours, shapes and textures. Some of the most influential contemporary art movements born from Abstraction include Cubism, Surrealism and Abstract Expressionism, with key figures such as Pablo Picasso, Salvador Dali and Jackson Pollock. With abstract art, a sense of self-renewing freedom is materialising through the artworks, in a new tradition of creativity.
What separates art from design has been a longstanding debate, the lines are blurred. The classical notion of design used to be anchored in the Decorative Arts, but later on branched itself into a variety of areas such as graphic design, fashion design, or industrial design. The Arts and Crafts Movement and The Bauhaus were extremely influential movements that pursued for a unification of true artistic creativity with the manufacturing of objects.
In essence, figurative art is art which depicts familiar aspects of reality, or of the human figure. Although the definition appears to be rather humble, figuration still remains in its very core more than just a depiction of reality. Indeed, the different styles in which figurative art can be achieved are infinite, thus making figurative art a ground-breaking and ever changing category, in which Klára Hosnedlová's work is mainly grounded. Some prominent artists known for their impact on figurative art include Pablo Picasso, Henri Matisse, Paul Cézanne or Jean-Michel Basquiat.
Further Biographical Context for Klára Hosnedlová
Klára Hosnedlová was born in 1990 and was largely influenced by the 1990s growing up. Art in the 1990s was defined at the start of the decade by a group of artists in the United Kingdom that came to be known as the YBAs, or Young British Artists. They were a diverse group of creatives, affiliated loosely by their age, nationality, and their association with Goldsmiths and the Royal College of Art in London, as well as being favoured by super collector of the time Charles Saatchi. The most famous artist of the group is Damien Hirst, who was also an early organiser of group activities. Other artists included Chris Ofili, Tracey Emin, Marc Quinn, Gavin Turk, Sarah Lucas and Sam Taylor-Wood. Much of their art became noted for shock tactics and the sensationalism of both material and message. They also became famed for their use of throwaway materials, wild-living, and an attitude that was simultaneously counter-culture rebellion but also entrepreneurial. They gained a large amount of media coverage and dominated British art during the 1990s. Their international shows in the mid-1990s included the now legendary ‘Sensation'.
Conceptual photography led by German ideas and artists came to prominence. Artists such as Andreas Gursky, Thomas Struth, and Wolfgang Tillmans gained major recognition, and inspired other artists such as the Canadian Jeff Wall, who experimented with the kind of cinematic expansiveness associated with the German artists’ work. Painters like Albert Oehlen and Martin Kippenberger exerted a notable influence on less established artists.
Also gaining prominence at this time was an emergent trend in Japan related to the huge boom in advertising and consumerism that took place during the economic dominance of the 1980s. The indigenous comic book culture of manga, allied to trends in advertising, graphic design and packaging, saw a young artist called Takashi Murakami develop his theories which he coined ’Superflat’. Influenced by his experiences in New York City in the mid-1990s, Murakami was to form a significant collective called Kaikaikiki, which became internationally renowned as an artistic group.
Relational Aesthetics became a key idea. It was a term coined by curator Nicholas Bourriaud in the 1990s to describe the tendency to make art based on, or inspired by, human relations and their social context. Works by artists such as Douglas Gordon, Gillian Wearing, Philippe Parenno and Liam Gillick were described as important artists who worked to this agenda.
A proliferation of trends characterised the decade, including the highly irreverent sculpture of Maurizio Cattelan, and extremely sensitive advancements of conceptualism as evidenced by the work of artists like Felix Gonzalez-Torres.