Nemi Miranda is an established contemporary visual artist. Nemi Miranda was born in 1949. Artists born in the same year and of the same generation are Ahmet Fazil Aksoy, Kyoungwoo Jin, Dominique Le Rigoleur, Walter Horton, and Andrea Way.
Further Biographical Context for Nemi Miranda
Born in 1949, Nemi Miranda was largely influenced by the 1960s. The 1960s were an explosive decade internationally, witnessing a great increase of modernist ideas and trends. It was the era of Kennedy and Kruschev, and the beginning of the Cold War, which would endure for most of the second half of the twentieth century, and was characterised most symbolically by the construction of the Berlin Wall in 1961. The Iron Curtain divided Eastern and Western Europe, both ideologically and literally, and student political uprisings took place across the globe. Psychedelia, an enormous increase in consumerism, and the associated trends of marketing and advertising further defined the era. Minimalism developed a formal language with no external references, focused solely on line, colour and geometric form as key constituents of both painting and sculpture. The main figures of Minimalism included Frank Stella, Donald Judd and Agnes Martin. Colour Field painting, as practiced by Morris Louis, Kenneth Noland and Helen Frankenthaler, further developed some of the expressive ideas of Abstract Expressionism, but stripped away much of the rhetoric, instead approaching a more rule-based approach to surface and colour that related this practice to Minimalism. Around the world many artistic movements resonated the artistic concerns of the above mentioned movements, often with regional specialties and nuance. In Italy, Lucio Fontana and Piero Manzoni established Spatialism, and in Germany the Zero group under the leadership of Gunter Uecker adopted similar ideas. The influential school of Existentialist Philosophy was an important source of inspiration for artists, with artists like Francis Bacon and Alberto Giacometti achieving international prominence for their idiosyncratic approaches to the human form and the anguish related to the human condition.