Have you ever been to Iowa State University and seen all of the magnificent art that is located on campus? Iowa State is home to one of the largest campus public art collections in the United States. There are over 2,000 works of public art (George Washington Carver). The foundation of the contemporary Art on Campus Collection and Program began during the Depression in the 1930s, when Iowa State's President Hughes envisioned that, "The arts would enrich and provide substantial intellectual exploration into our college curricula” (George Washington Carver). Who doesn’t love art? Every day you wake up and experience some sort of artwork; whether it’s a sculpture or just seeing something made so wonderful. Walking across the magnificent campus of Iowa State you see many pieces of art, but the one that stuck out to me was the George Washington Carver Sculpture. When first looking at it you won’t catch all of the small details behind his wonderful work. Once you know all the fine details Christian Petersen did when creating George Washington Carver and why he created it the way he did; you will enjoy it that much more.
Knowing information about the artist plays an important role in why some art was created in such an extraordinary way. Artist Christian Petersen practiced his art during a transitional stage in American sculpture when styles moved from heroic to realistic (George Washington Carver). In 1934, Iowa State President Raymond Hughes offered Petersen a one-semester residency to create the fountain and bas-reliefs in the Dairy Industry Building courtyard. Amazingly this one semester job turned into 21 years, and from 1934 to 1955 Petersen served as Iowa State's sculptor-in-residence (George Washington Carver). According t...
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Creating a sculpture can last a lifetime if made well like this George Washington Carver sculpture he designed. Artist Christian Petersen put in outstanding work to create a piece of work that not only he enjoys, but others can see and enjoy as well. Every piece of art has a story and that is overlooked most of the time. People seem to look at the art work and that’s just about it. When starting a book do you just look at the cover and not actually read the book? No, because then you are creating a false illusion. The George Washington Carver Sculpture is more than just a silhouette of himself, it emphasizes the vision for the future of agriculture and his passion for science, students and farmers Carver had. I recommend everyone to go check out the outstanding work Christian Petersen put into creating the George Washington Carver sculpture.
Paul Duncum initially graduated college with a degree in graphic design in 1970, from Sydney Technical College. In 1974 he returned back to school and began work on his B.A. at the Flinders University of South Australia, in Art history and theory, which he completed in 1977. Duncum also received his graduate diploma from Adelaide College of Arts and Education in art education in 1979. According to the University of Illinois at Urbana Champaign, he then went back to Flinders University in 1981 to being working to get his P.h.d in Art Education. During this time he was also teaching high school art and design. (University of Illinois at Urbana Champaign, 2003) Paul Duncum then started his current career as a college lecturer and professor. His first lecturing position was at the Brisbane College of Advanced Education in the visual arts curriculum. A year later he moved on the Central Queensland University as a senior lecturer in the visual arts curriculum. In 1...
... shapes but could not understand the point it was trying to convey. Now that I have read and learned about Meadmore, I can distinguish the three goals that Meadmore intended for. I see the flexibility of simple geometry and how it can express dynamic movement through this sculpture. Overall, it is interesting how Meadmore’s life and ideas relate to his artistic design, “Always.”
told a story through their artwork. All the different artists had different mediums and ways of expressing
The Museum of Contemporary Art Detroit (MOCAD) had three different artists work on display. It was split up into three different rooms the first room was Design 99 To Much of a Good Thing and in the next room is Latoya Ruby Frazier Mother May I and in the last room was Jef Geys Woodward Avenue. The art that was on display was not traditional art work. All of the artist’s work displayed in the Museum of Contemporary Art Detroit was out of the box thinking. The flow in each exhibit made it easy to move from one piece of art work to another piece of work.
Richmond Barthé was born in Bay St. Louis, Mississippi on January 28, 1901. Richmond was born in a hard time for African Americans. He demonstrated incredible guarantee as a craftsman at a youthful age, however as a Colored American in the South, he was banished from selecting in any of the craft schools in New Orleans, Louisiana, close to his home. At eighteen his area minister in New Orleans and an author for the New Orleans Times Picayune distinguished his capability. Richmond was eventually admitted to the Art Institute of Chicago, after struggling to get admitted to an art school. He began to study sculpture, which denoted a defining moment in his profession. After Barthe graduated in 1928, he opened up a studio in Harlem, where he stayed permanently in 1930. Nonetheless, ending up progressively disregarded by a symbolized world that had come to esteem deliberation an imaginative style which held no enthusiasm for him; Barthé moved to Jamaica in the late 1940s, and later existed in Switzerland and Italy before coming back to the United States in 1969. His career in Jamaica flourished, till he later decided to come back home to the states. Overall Richmond Barthe received many honors and awards including: Rosenwald Fellowship, Guggenheim Fellowship, Audubon Artists Gold Medal in 1950, and awards for interracial justice and honorary degrees from Xavier and St. Francis Universities. Overall this artist intrigues me as I’m sure it was extremely hard to start off. He was born during the worst times in America, racism throughout his life and then leading into the great depression. I’m glad he was able to express himself through the art that he published.
The Harlem Renaissance, a time of global appreciation for the black culture, was a door opening for African American women. Until then, African Americans, let alone African American women, were neither respected nor recognized in the artistic world. During this time of this New Negro Movement, women sculptors were able to connect their heritages with the present issues in America. There is an abundance of culture and history to be learned from these sculptures because the artists creatively intertwine both. Meta Warrick Fuller and Edmonia Lewis, two of the most popular sculptors of this time, were able to reflect their native heritages and the dynamics of society through their artwork.
Turbide, Anne F. "Why Art Programs Are Beneficial to Students." The Synapse. N.p., 15 May 2015. Web. 10 May 2016.
The famous sculptor that I chose to write about is Andy Goldsworthy. Andy Goldsworthy was born July 26, 1956 in Cheshire, England. Andy Goldsworthy’s parents name was Fredrick Alan and Muriel Goldsworthy. Andy’s father, Allan Goldsworthy, was a Professor of Mathematics at the University of Leeds. Andy love the outdoors at a young age so he started working on a farm at the age of thirteen in Yorkshire. It says by him working on the farm gave him a better understanding of nature. After working on the farm, he studied at Fine Art at Bradford School of Art and Preston Polytechnic. At Preston Polytechnic, he learned how to turn nature into work of art. He was inspired by Professor Long, who was also an artist. So, he decided to get his Bachelor’s degree in arts.
Imagine pondering into a reconstruction of reality through only the visual sense. Without tasting, smelling, touching, or hearing, it may be hard to find oneself in an alternate universe through a piece of art work, which was the artist’s intended purpose. The eyes serve a much higher purpose than to view an object, the absorptions of electromagnetic waves allows for one to endeavor on a journey and enter a world of no limitation. During the 15th century, specifically the Early Renaissance, Flemish altarpieces swept Europe with their strong attention to details. Works of altarpieces were able to encompass significant details that the audience may typically only pay a cursory glance. The size of altarpieces was its most obvious feat but also its most important. Artists, such as Jan van Eyck, Melchior Broederlam, and Robert Campin, contributed to the vast growth of the Early Renaissance by enhancing visual effects with the use of pious symbols. Jan van Eyck embodied the “rebirth” later labeled as the Renaissance by employing his method of oils at such a level that he was once credited for being the inventor of oil painting. Although van Eyck, Broederlam, and Campin each contributed to the rise of the Early Renaissance, van Eyck’s altarpiece Adoration of the Mystic Lamb epitomized the artworks produced during this time period by vividly incorporating symbols to reconstruct the teachings of Christianity.
Bringing together 16 sculptures made between 1958 and 1995, the exhibition allowed viewers to trace Sugarman's career from his carved-wood works of the late 1950s to his polychrome, laminated-wood pieces of the 1960s to the painted-aluminum work that has occupied him since the early 1970s. While the show did not cover Sugarman's extensive activity in the public-art realm--over the last 30 years he has created large-scale public sculptures throughout the U.S. as well as in Europe and Asia--it was an effective presentation of his "indoor" work. (Sugarman has drawn a useful distinction between what he calls the "indoor eye," a museum- and gallery-oriented esthetic vision which perceives the work of art in isolation from its surroundings, and the "outdoor eye,"
Eck, Susan. "The Sculpture Plan by Karl Bitter, Director of Sculpture." Pan American Exposition: Buffalo 1901. (http://panam1901.bfn.org/documents/sculptureplan.html).
"Smithsonian Curator Looks at Civil War's Influence on American Art." VTDigger. N.p., n.d. Web. 23 Oct. 2013.
This book was very vivid in its description of all the hardships, hard work, and effort George Washington Carver put into his research. I learned that George was very dedicated to his research, and he proved this in many ways. George donated his entire estate to enable his research to continue, which coerces me to strive to do better for myself. Overall, this book gave me a real role model that I could strive to be like. I realized from reading the book that George never gave up, no matter how many people gave him a fight.
My goal for this paper is to give a practical critique and defense of what I have learned in my time as a Studio Art Major. During my time here I have learned that Pensacola Christian college’s definition of art “art is the organized visual expression of ideas or feelings” and the four parts of Biblosophy: cannon, communication, client, and creativity. Along with Biblosophy I have studied Dr. Frances Schaeffer 's criteria for art, seeing how the technical, and the major and minor messages in artwork. All of these principles are great but they do need to be refined.
Lewis, R., & Lewis, S. (2008). The Power of Art. Connecticut, United States: Cengage Learning.