Lina Russo is a registered trademark number 0001414591 " Contemporary art "

Lina Russo artwork is composed by single pieces, which are numbered and can’t be duplicated. This particular method includes the demolishing of molds so that each piece represents a unique masterpiece to be cherished. These sculptures are the result of complex technical procedures. All creations are very limited due to the fact that the resin that I use is extremely toxic.
Lately Lina have been working on new creations made with resin and newspaper, wood, plastic materials, and now carbon fiber and titanio.

Sculpture is the branch of the visual arts that operates in three dimensions.
Traditionally, sculptural process have focused on carving and modelling, generally in stone, metal, and wood, but since modernism shifts in sculptural process have led to an almost complete freedom of materials and process.
The Western tradition of sculpture began in Ancient Greece, and Greece is widely seen as a producing great masterpieces in the classical period. During the Middle Ages, Gothic sculpture represented the agonies and passions of the Christian faith. The revival of classical models in the Renaissance produced famous sculptures like Michelangelo's David. Modernist sculpture moved away from traditional processes and the emphasis on the depiction of the human body, with the making of constructed sculpture, and the presentation of found objects as finished art works.
Materials may be worked by removal such as carving; or they may be assembled such as by welding, hardened such as by firing, or molded or cast. Surface decoration such as paint may be applied. Sculpture has been described as one of the plastic arts because it can involve the use of materials that can be moulded or modulated. Found objects may be presented as sculptures.
Sculpture is an important form of public art. A collection of sculpture in a garden setting may be referred to as a sculpture garden. Definition of contemporary art:
Contemporary art is art produced at this present point in time or art produced since World War II. The definition of the word contemporary would support the first view, but museums of contemporary art commonly define their collections as consisting of art produced since World War II.
Contemporary art is exhibited by commercial contemporary art galleries, private collectors, art auctions, corporations, publicly funded arts organizations, contemporary art museums or by artists themselves in artist-run spaces. Contemporary artists are supported by grants, awards and prizes as well as by direct sales of their work.
There are close relationships between publicly funded contemporary art organisations and the commercial sector. For instance, in Britain a handful of dealers represent the artists featured in leading publicly funded contemporary art museums.
Individual collectors can wield considerable influence. Charles Saatchi dominated the contemporary art market in Britain during the 1980s and the 1990s; the subtitle of the 1999 book Young British Artists: The Saatchi Decade uses of the name of the private collector to define an entire decade of contemporary art production.
Corporations have attempted to integrate themselves into the contemporary art world: exhibiting contemporary art within their premises, organising and sponsoring contemporary art awards and building up extensive collections of corporate art.
The institutions of art have been criticised for regulating what is designated as contemporary art. Outsider art, for instance, is literally contemporary art, in that it is produced in the present day. However, it is not considered so because the artists are self-taught and are assumed to be working outside of an art historical context. Craft activities, such as textile design, are also excluded from the realm of contemporary art, despite large audiences for exhibitions. Attention is drawn to the way that craft objects must subscribe to particular values in order to be admitted. "A ceramic object that is intended as a subversive comment on the nature of beauty is more likely to fit the definition of contemporary art than one that is simply beautiful.
At any one time a particular place or group of artists can have a strong influence on globally produced contemporary art; for instance New York artists in the 1980s
Definition of Modern art:
Modern art includes artistic works produced during the period extending roughly from the 1860s to the 1970s, and denotes the style and philosophy of the art produced during that era. The term is usually associated with art in which the traditions of the past have been thrown aside in a spirit of experimentation. Modern artists experimented with new ways of seeing and with fresh ideas about the nature of materials and functions of art. A tendency toward abstraction is characteristic of much modern art. More recent artistic production is often called Contemporary art or Postmodern art.
Modern art begins with the heritage of painters like Vincent van Gogh, Paul Cézanne, Paul Gauguin, Georges Seurat and Henri de Toulouse Lautrec all of whom were essential for the development of modern art. At the beginning of the 20th century Henri Matisse and several other young artists including the pre-cubist Georges Braque, André Derain, Raoul Dufy and Maurice de Vlaminck revolutionized the Paris art world with "wild", multi-colored, expressive landscapes and figure paintings that the critics called Fauvism. Henri Matisse's two versions of The Dance signified a key point in his career and in the development of modern painting. It reflected Matisse's incipient fascination with primitive art: the intense warm color of the figures against the cool blue-green background and the rhythmical succession of the dancing nudes convey the feelings of emotional liberation and hedonism.
Initially influenced by Toulouse Lautrec, Gauguin and other late 19th century innovators Pablo Picasso made his first cubist paintings based on Cézanne's idea that all depiction of nature can be reduced to three solids: cube, sphere and cone. With the painting Les Demoiselles d'Avignon (1907), Picasso dramatically created a new and radical picture depicting a raw and primitive brothel scene with five prostitutes, violently painted women, reminiscent of African tribal masks and his own new Cubist inventions. Analytic cubism was jointly developed by Pablo Picasso and Georges Braque, exemplified by Violin and Candlestick, Paris, from about 1908 through 1912. Analytic cubism, the first clear manifestation of cubism, was followed by Synthetic cubism, practised by Braque, Picasso, Fernand Léger, Juan Gris, Albert Gleizes, Marcel Duchamp and several other artists into the 1920s. Synthetic cubism is characterized by the introduction of different textures, surfaces, collage elements, papier collé and a large variety of merged subject matter.
Definition of postmodern art:
Postmodernism describes movements which both arise from, and react against or reject, trends in modernism.
Specific trends of modernism that are generally cited are formal purity, medium specificity, art for art's sake, authenticity, universality, originality and revolutionary or reactionary tendency, i.e. the avant-garde. However, paradox is probably the most important modernist idea against which postmodernism reacts. Paradox was central to the modernist enterprise, having been introduced by Manet. Manet's various violations of representational art brought to prominence the supposed mutual exclusiveness of reality and representation, design and representation, abstraction and reality, and so on. The incorporation of paradox was highly stimulating from Manet to the conceptualists.
The status of the avant-garde is particularly controversial: many institutions argue that being visionary, forward-looking, cutting-edge, and progressive are crucial to the mission of art in the present, and therefore postmodern art contradicts the value of "art of our times". Postmodernism rejects the notion of advancement or progress in art per se, and thus aims to overturn the "myth of the avant-garde". Rosalind Krauss was one of the important enunciators of the view that avant-gardism was over, and that the new artistic era is post-liberal and post-progress.Griselda Pollock studied and confronted the avant-garde and modern art in a series of groundbreaking books, reviewing modern art at the same time as redefining postmodern art.
One characteristic of postmodern art is its conflation of high and low culture through the use of industrial materials and pop culture imagery. The use of low forms of art were a part of modernist experimentation as well, as documented in Kirk Varnedoe and Adam Gopnik's 1990-91 show High and Low: Popular Culture and Modern Art at New York's Museum of Modern Art, an exhibition that was universally panned at the time as the only event that could bring Douglas Crimp and Hilton Kramer together in a chorus of scorn.Postmodern art is noted for the way in which it blurs the distinctions between what is perceived as fine or high art and what is generally seen as low or kitsch art.Whilst this concept of 'blurring' or 'fusing' high art with low art had been experimented during modernism, it only ever became fully endorsed after the advent of the postmodern era.Postmodernism introduced elements of commercialism, kitsch and a general camp aesthetic within its artistic context; postmodernism takes styles from past periods, such as Gothicism, the Renaissance and the Baroque, and mixes them in a fashion which ignores their original use in their corresponding artistic movement. Such elements are common characteristics of what is defined as postmodern art.
Fredric Jameson suggests that postmodern works abjure any claim to spontaneity and directness of expression, making use instead of pastiche and discontinuity. Against this definition Charles Harrison and Paul Wood maintain that pastiche and discontinuity are endemic to modernist art, and are deployed effectively by modern artists such as Manet and Picasso.
One compact definition is that postmodernism rejects modernism's grand narratives of artistic direction, eradicating the boundaries between high and low forms of art, and disrupting genre's conventions with collision, collage, and fragmentation. Postmodern art holds that all stances are unstable and insincere, and therefore irony, parody, and humor are the only positions that cannot be overturned by critique or revision. "Pluralism and diversity" are other defining features.
Lina Russo
4718 Kester Avenue, Suite 109 — Sherman Oaks, Ca 91403 — Phone: (310) 866-3964 - Via D. Comparetti 76, 00137 Rome - Italy Cell: +39-338-48-14728 — Fax: +39-06-70-20501 — E-Mail: pascalru@hotmail.com PI 1105460100