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A short note on art communication
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Tonight on ‘Picture Perfect’ we will be talking about how artists use many different visual techniques to communicate their message through their artwork. The image being analysed tonight was taken by surf photographer Zak Noyle. In this image Indonesian surf champion Dede Suryana is in the barrel of a wave filled with rubbish. This picture was taken at Untung Jawa Island, a small island in Indonesia, on Monday, August 19th 2013. Noyle took the photo in hope that people would become more aware of where their rubbish goes, and cause an urgent call for action.
The photographer used colour, framing and shots to make this image effective. When looking at this photograph the viewer’s eyes are immediately drawn to the rubbish, due to its volume and colour. The bright colours are highlighted in this image to draw attention to how unnatural the rubbish is. This shows that the rubbish doesn’t belong in the pristine water. Noyle’s photo has been framed in a way that the
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Juxtaposition is used by showing the mass of rubbish in the ocean. This is an example of juxtaposition as waste doesn’t belong in the ocean. Prior knowledge is needed to understand this use of juxtaposition. It is also used to deeper understand the message in Noyle’s image. Recognising that the surf is usually full of pristine waters, and knowing how bad ocean pollution is will help the viewer better understand the image. By realising these two simple things the audience can have a deeper understanding of the use of juxtaposition, and of the overall message in Noyle’s image. This type of photo is usually found in surfing magazines will help the viewer understand the impact of the mass of rubbish. When seeing this photograph the audience is confronted with the reality that people’s ignorance is causing extreme ocean pollution. Being exposed to this mass of rubbish in the ocean evokes strong negative emotions from the
She starts by bringing a pessimistic view to photographs of nature, by describing what may or may not lie just outside the boundaries of the picture. Mockingly she leads the reader to assume that there are no real nature photos left in the world, but rather only digitaly enhanced photos of nature wit...
Rosie Gascoigne, is an artist who has aspired an appreciation for undiserable remnants and utilised with them in purpose to produce an assemblage of work that sees into a reflection of the past and present landscape of Australian society. Her growing motivation has taken further interest and development as the founding layers of her work through her deliberate perception, subject to the preservation of the environment and surrounding landscape. Gascoigne’s work offers an insight into deep country outback life of an Australian individual and introduces conceptualities that mirror a focus situated about ‘re-using’, ‘ recycling’ and understanding the insightful meaning present within everyday remnants. Her work is a collective gathering of selected materials to form a composition or an
Juxtaposition is defined as “the act of place two or more things side by side” (Merriam-Webster). Markstein juxtaposes two scenes together in his cartoon: one of George Bush in the White House and the other of the Grim Reaper sitting in a chair. The juxtaposition of these two scenes creates a link between them. The Grim Reaper, in this cartoon, is merely a façade for our president’s ulterior motives and his consequences. This is most likely a hit at President Bush since he was public blamed for the deaths of “ nearly half a million people who have died from war related causes” (Abrams). Despite the rising death toll, President George Bush, infamously, still requested at least twenty thousand extra troops be poured into Iraq (Abrams). Another curious observation I made while glancing at the cartoon was that the Grim Reaper had no discernable facial features. This could be another hint dropped by the artist stating that the President Bush is acting based on the interests that both he and the Grim Reaper share. The viewers can assume from a lack of facial features that President Bush is merely a puppet of the Grim Reaper. In the “Five year’s in Iraq” cartoon the three billion dollar cost casket is juxtaposed between the Sunni and Shi’ite caskets. The placement of these caskets shows that despite the crippling debt we face due to the Iraq War, the human damage is simply sickening. This political cartoon attempts to dissuade Congress from continuing the war effort and informs the audience about the true cost of this war on terror. The caskets for the Sunni and Shi’ite are proportionally larger and placed purposefully in the center of the cartoon, however the death of American soldiers and the cost of the war are placed off to the side and is smaller, respectively. This prioritizes the consequences as a result of the US led invasion of Iraq. It lets one infer
The 21st Century appears to be headed towards a future of vast corruption and exploitation as a result of the often inhumane and uncivilised individuals who, over the years have become desensitized to poverty, war, consumerism, racism, mental illnesses and political corruption. As the world moves towards further democracy, and decentralization it is vital that art is given the opportunity to stimulate people’s awareness, participation and judgment. Arts purpose is not only to be a fulfilment of society’s visual needs but is needed be utilised as a function to alert people to society’s problems. Australian born George Gittoes, works within war zones to create confronting paintings, film, photography and prose that frequently portray man’s inhumanity to man. Gordon Bennett, also Australian, paints images that depict his own self questioning about his identity and the injustice towards Aboriginal Australians since the time of settlement.
Anything from a police man leaning on a wall that gets lost in the crowd on busy days to a cleaning lady next to a garbage can. Duane creates life like art pieces that you can lose the fact that they are fake. The amount of detail along with the expressions on the figures’ faces tells the tale. The spectator creates a relationship to the piece because its the familiar look or feeling they receive from the experience. Duane uses the figures’ as they are portrayed to accomplish an everyday ordinary person moreover with that technique displays the ability to relate the viewers to the art
Having such an image before our eyes, often we fail to recognize the message it is trying to display from a certain point of view. Through Clark’s statement, it is evident that a photograph holds a graphic message, which mirrors the representation of our way of thinking with the world sights, which therefore engages other
The subject of this artwork is a shipwreck. I see it looks like a storm in the ocean and there’s a ship but the ships mass and sails appear to be damaged. The crew is lowering lifeboats, suggesting that they have to abandon ship. A rescue boat is coming in on the right side of the painting and another boat and ship are coming in on the left side of the painting to help the crew from the distressed ship. There also appears to be a lighthouse at a distance. The action being conveyed is the waves crashing into the ship. The darkness in the waves and the colors he used made them seem like there real ocean waves. The art piece does seem to be telling ...
There you are holding your camera an arm’s length away from your face, posing in the most flattering position to capture your best angle. There you are taking a photo of yourself to share with all of your Facebook friends. Taking a self-portrait photo, also known as a selfie, is something almost everyone has done in this new generation. This action is typically done without a second thought. In Alex Williams’ article “Here I Am Taking My Own Picture” that second thought is provoked through exploring the quickly spreading trend of self-portrait photography. In the article while Williams’ provides interesting examples on a changing generation as this trend progresses through social media and modern technology; Williams also leaves something to be desired within the article due to a lack of direction in the author’s stance on the topic.
It’s his compassion for his subjects and his commitment to them that surpasses the act of making a pretty picture. Spending days with his subjects in the slums of Harlem or the hardly developed mountains of West Virginia, he immerses himself into the frequently bitter life of his next award-winning photo. Often including word for word text of testimonials recorded by junkies and destitute farmers, Richards is able to provide an unbiased portrayal. All he has done is to select and make us look at the faces of the ignored, opinions and reactions left to be made by the viewer. Have you ever been at the beach safely shielded by a dark pair of sunglasses and just watched?
A popular contemporary graffiti artist, Banksy, creates intriguing and intricate designs for public display on regular and everyday streets. His rising popularity serves as a catalyst for the renowned importance of the attainability of visual literacy. Visual literacy is the ability to understand and interpret the message of a visual image or object, and having this skill is becoming increasingly important in todays culture. According to Zemliansky, the first crucial step towards developing visual literacy is to treat visual messages as text and arguments. Although the message of most visual images are ambiguous, it is still logical to surmise that different ideas can stem from one image because of our varying perception due to varying experiences,
The opening paragraph of the story emphasizes the limitations of the individual’s vision of nature. From the beginning, the four characters in the dingy do not know “the colors of the sky,” but all of them know “the colors of the sea.” This opening strongly suggests the symbolic situations in which average peo...
In the performance of life, one cultural representation that captivates and entrances people more fluently and describes the human experience more eloquently is that of artistic expression. It imposes itself unto the face of society through the individual who creates it as a reflection of any one or combination of personal, emotional, or physiological effects society or one’s own environment has inflicted onto them to compel them convey their feelings to the public. The essential argument, is whether graffiti has a place in the grand context of society. One end of the spectrum paints it as a nuisance to property owners and city officials allow for a criminal perspective of the practice. While at another end you can view it as the artist in a sense blessing others with the fruits of their inner consciousness. An artistic expression no matter what the viewpoint of society, in an anthropological context graffiti is essential to modern society and its impact is one that cannot be forgotten or lived without.
In the graphic communications world, David Carson is known as the “American graphic designer, whose unconventional style revolutionized visual communication forever” (The Editors of Encyclopedia Britannica, 2013). He is famous for his experimental typography, and his never-thought-to-be-done-before magazine designs (David Carson, 2013). But in the beginning, he was just a regular person. On September 8, 1955, David Carson was born in Corpus Christi, Texas (The Editors of Encyclopedia Britannica, 2013). At an early age he found his first passion of surfing, and was ranked 8th in the world (The Editors of Encyclopedia Britannica, 2013). He soon realized that he could not make a living off of surfing so he found a new passion
Hans Erni captivated me with his bold artwork, which transcends physical size with ingenious design. He furthered his humanitarian goals by presenting concepts, places, and events through a medium few artists would consider. Instead of letting this art be exclusively stored in galleries and private homes, Erni pushes it into everyday use through the postal system. If anyone complains about the small size of the artwork, I challenge him to lick a stamp without holding it in front of his face.
“There is always hope,” stands on the gray background of the concrete of the famous Banksy graffiti art. The art chosen is made of spray paint and stencil, on a concrete background. The image is a black and white portrait of a little girl, wind blowing through her hair and dress, holding out her arm towards a red, heart-shaped balloon. On the side of the image is the statement written in what appears to be the dirt and soot on the wall, “There is always hope.” The artwork stands out on the inner-city concrete walls, with the bold of the black and white image of the little girl and the brightness of the red balloon, certainly catching to the eye of parents and children in these inner-cities that have little to no hope. It portrays the message