The New York artist Robert Longo (1953 –) is one of the most prestigious creators of recent times with works as admired as this sculptural mural en titled La War of the Consortia, a work he created in 1982.
Longo defines himself as a painter, draughtsman and sculptor, but also as a musician, film producer, performance author and even an investor in fine arts, since he never forgets the important monetary issue that surrounds thecontemporary art. And in any of these facets he is seen as a man of his time, and like all of us he is tremendously influenced by television and cinema, an influence that undoubtedly manifests itself in his art.
Robert Longo's War of the Corporations
A Longo we can call him a committed artist. Thus, in works like this we see that his favorite themes are power and violence. Going over these issues and leaving it up in the air if violence and wars are for power, or is it power that provokes wars. And if it is not resolved what is cause and what is consequence, what he does capture in his creations is that man was fascinated by both things, power and violence, and for this reason he presents them to us in ecstatic poses, with distorted postures full of effusion, which can look like dances or exclamations of pleasure.
A magnificent example of all this is this work carved in bronze. A high relief with various figures, male and female who are fighting each other. In some fights loaded with gestures, both in their postures and in their hands and in their mouths.
Shows the full range of attitudes that can be had during a confrontation. In some cases you see rage and anger, but you also see fear, modesty or surrender. And we return to the gestures, since these attitudes are manifested above all with the hands and the mouth.
Many contemporary art critics have associated the works of Robert Longo with Baroque art. In this sense, the vibrant composition of this mural can be understood, full of movement in each character, all of them expressive and with an undoubted dynamism due to the postures and gestures, but also thanks to the intense play of light and shadow generated by the accused molded.
And if there are certainly points in common with the art of the Baroque, although they are reviewed under the prism of several centuries of artistic evolution, and especially after spending a convulsive twentieth century full of movements of avant-garde, each one more abstract and conceptual. And yet, behind all these currents appear artists of the so-called Transavantgarde, such as Robert Longo, who returns to a totally figurative art.