Jean-Pierre Tingaud – La Cueillette Du Silence
Jean-Pierre Tingaud was born in 1955 and was largely inspired creatively by the 1970s. The art sphere of the 1970s was epitomized by a desire to grow and reinforce itself, as a response to the many conflicts of the previous decade. One of the most central movement of the 1970s was Conceptualism, which appeared as an offshoot of Minimalism, while the experimental, creative voyage of Process art emerged by combining essential features of Conceptualism with further reflections on art itself. The initial ideas of environmentalism sprung from Land Art, which took art into earth itself, sculpting the land and bringing art to the outdoors. For the first time since the decline of Abstract Expressionism, Expressive figure painting slowly re-emerged and regained its status, particularly in Germany through the works of world renowned figures Gerhard Richter, Anselm Kiefer and Georg Baselitz. The city of New York persisted as the most prominent artistic hub of the decade, with international artists drifting through the downtown scene, frequenting bars and art galleries, consolidating the idea of New York City as a cosmopolitan and refined cultural capital.
Most of the leading artistic figures of the 1960s remained greatly influential and admired throughout the 1970s. Andy Warhol, for instance, secured his status as a legendary artist, by bifurcating into film and magazine publishing, thus introducing a ground-breaking concept of cross-cultural activity for a visual artist of such popularity. A few significant global movements that defined the decade include photorealism, which was firstly introduced in the 1960s and reached commercial and critical success in the 1970s, as well as feminism which had a strong impact on the visual culture. Artists such as Jannis Kounnelis, Mario Merz, and Michelangelo Pistoletto attained international success, as they were widely accepted as renowned members of the Italian movement Arte Povera, much-admired in the 1970s. Towards the end of the 1970s, street art, developing from graffiti, was starting to truly captivate the fine art community. Keith Haring and Jean-Michel Basquiat helped legitimize spray painting and tagging, proving that their artworks could exist at the same time in art galleries and in urban settings. Following, the international reach of street art would become extremely significant, representing an astonishing form of artistic expression. In the eastern part of the globe, Japanese and Korean artists who showed a strong interest in the European philosophy of phenomenology, allied with the Mono-Ha movement, exploring and shifting the frontiers between natural and industrial materials. Using stone, glass, cotton, sponge, wood, oil and water, they intended to create life to artworks that would accentuate the ephemeral state of these various elements and their surroundings, playing with their interdependency.
