In today’s art work, the more unusual, the more artistic. Gnaw, by Janie Antoni is unusual, to say the least. The ability to take a 600-pound block of chocolate, and a 600-pound of lard, and turn this into food into art. There are no traditional tools used, her teeth, therefore concluding the title; Gnaw. The bit marks a seen as irregular mark going not in any real direction. I felt, if she used her teeth, I was looking for bite marks. I am very curious to know how was this done. There is a subtext to this piece, saying the style of art is changed, and Janie Antoni is the woman has changed the art aesthetics. I feel this is not about the finished work of the chocolate and lard. The actual way the art work was created, this is the largest
Surprisingly, fifty years later, artist John Sloan happen to meet all the qualifications Baudelaire has designed for Monsieur G— making urban life observations and drawing from memory. Sloan adopts and employs Baudelaire’s idea of urban watching and further expands it for an American audience. Born and raised in Philadelphia, John Sloan first begun his art career as a newspaper illustrator. After years of working, he developed his own artistic style and started making paintings and etchings. When he moved from Philadelphia to New York, he has found that city life scenes of great interest that he then started observing and making etchings for scenes of modern life. He was well-known and celebrated as the founder of the Ashcan School and was most celebrated for this urban genre scenes. (Lobel, Chapter1)
The Resurrection was made by Francesco Buoneri, known as Cecco del Caravaggio around 1619-20. The oil on canvas painting was commission by a Tuscan ambassador. Its new permeant home is in the Art Institute in Chicago. I chose to look at this painting for many different reason. The Resurrection is an amazing painting that through basic size, composition, and theme that captured my attention.
Into Bondage, created by Aaron Douglas in 1936, is an abstract depiction of American enslavement of Africans presented in oil on canvas. The piece shows shackled African figures with low-hung heads walking toward slave ships bound towards the Americas toward their future destiny of slavery. The work borders on abstract and realistic, with the African figures appearing as more like silhouettes and the foreground and background in monochromatic coloring featuring abstract, concentric circles and other basic shapes. The piece appears to be focused largely on one particular African man, who stand just to the right of center, looking toward the sky with a solemn look on his face, and stands as the
“Dance is movement aware of itself. Dance is purposeful movement that employs artful communication to express ideas and feelings, meaning that aesthetic intention is present” (Cornett, 2014, p 394). Art could be anywhere and anything it just needs to have creativity in order to make it unique and beautiful. One simple art form, could speak for a thousand words and convey many significant messages such as the art form of dance. Baile Folklorico is a great example of communicating in a unique and a stunning art form. Baile Folklorico is a folk dance that elaborates different dances, music and costumes to represent a Latin or Mexican culture.
Visceral. Raw. Controversial. Powerful. The works which Kara Walker creates have elicited strong and diametric responses from members of the art community. She manipulates the style of antebellum era silhouettes, intended to create simple, idealistic images, and instead creates commentaries on race, gender, and power within the specific history of the United States. She has also been accused of reconfirming the negative stereotypes of black people, especially black women, that the viewer and that the white, male dominated art world may hold. This perspective implies that both her subjects and her artworks are passive when confronted with their viewers. Personally, I believe that more than anything, Walker’s work deals in power -- specifically, the slim examples of power black individuals have over their
The artwork I chose for the art criticism project was ‘The Survivors’ by Kathe Kollwitz. The piece was created in 1923 in Berlin, Germany, where she resided with her husband. She and her husband resided in a poorer area, and it is believed to have contributed too much of her artwork style. ‘The Survivors’ is currently displayed in two museums, the MoMA and the Kathe Kollwitz Museum. In the piece there is a woman directly in the middle, with sunken in cheek bones is draped in a black cloak. Her arms are around three small children, who look very frightened. On each side of her body there are an additional four small children who convey sadness upon their innocent faces. Also, they are outstretching their arms as if they are begging for her to give them something. In the background, on the top left side, there are two elderly men with their heads down, looking as if they are very sad and
The first painting analyzed was North Country Idyll by Arthur Bowen Davis. The focal point was the white naked woman. The white was used to bring her out and focus on the four actual colored males surrounding her. The woman appears to be blowing a kiss. There is use of stumato along with atmospheric perspective. There is excellent use of color for the setting. It is almost a life like painting. This painting has smooth brush strokes. The sailing ship is the focal point because of the bright blue with extravagant large sails. The painting is a dry textured flat paint. The painting is evenly balanced. When I look at this painting, it reminds me of settlers coming to a new world that is be founded by its beauty. It seems as if they swam from the ship.
Though most works of art have some underlying, deeper meaning attached to them, our first impression of their significance comes through our initial visual interpretation. When we first view a painting or a statue or other piece of art, we notice first the visual details – its size, its medium, its color, and its condition, for example – before we begin to ponder its greater significance. Indeed, these visual clues are just as important as any other interpretation or meaning of a work, for they allow us to understand just what that deeper meaning is. The expression on a statue’s face tells us the emotion and message that the artist is trying to convey. Its color, too, can provide clues: darker or lighter colors can play a role in how we judge a piece of art. The type of lines used in a piece can send different messages. A sculpture, for example, may have been carved with hard, rough lines or it may have been carved with smoother, more flowing lines that portray a kind of gentleness.
It appears to me that pictures have been over-valued; held up by a blind admiration as ideal things, and almost as standards by which nature is to be judged rather than the reverse; and this false estimate has been sanctioned by the extravagant epithets that have been applied to painters, and "the divine," "the inspired," and so forth. Yet in reality, what are the most sublime productions of the pencil but selections of some of the forms of nature, and copies of a few of her evanescent effects, and this is the result, not of inspiration, but of long and patient study, under the instruction of much good sense…
In the poem “One Art” the thesis statement declared in the first stanza, on the first line as “The art of losing isn’t hard to master” also repeating it again in line 6 and 12. The statement is better interpreted as “The skill of losing is not hard to attain”. Bishop speaks in the poem as if she has successfully mastered the skill of losing. She also goes around in circles admitting that the art of losing is not hard to master as if that is what she is making herself believe is true. She is also helping the reader create a habit as the reader reads and repeats the refrain of “The art of losing isn’t hard to master” not to mention the line 4 where she tells the reader to make it a habit to, “Lose something every day”.
As I enter the Gioconda and Joseph King Gallery at the Norton Museum of Art the first thing that Caught my attention was a painting measuring approximately at 4 ft. by 10 ft. on the side wall in a well- light area. As I further examine the painting the first thing I notice is that it has super realism. It also has color, texture, implied space, stopped time, and that it is a representational piece. The foreign man sitting on the chair next to a bed has a disturbed look on his face and is deep into his own thoughts. It’s as if someone he loved dearly just experienced a tragic and untimely death. He is in early depression. I could feel the pain depicted in his eyes. A book titled The Unquiet Grave lying open on the floor by the unmade bed suggesting something is left unresolved. The scattered photos and papers by the bedside cause redintegration. The picture of Medusa’s head screaming on the headboard is a silent scream filled with anger and pain, yet it cannot be heard. I feel as if I am in the one sitting in the chair and I can feel the anger, and regret.
Ono's instructional pieces are her most popular. The instructions are an active part of completing the work. It is a canvas on a wooden panel connected to a hammer hanging from a chain. A chair is near the canvas with a vessel of nails on it. She puts directions for the audience to participate in the art making. The viewer would hammer a nail onto the wooden panel, and a wrap a strand of their hair around it.
The first painting portrays an image that is, "dark and large" and "flecked with foam", indicating the dark complexion of Bertha Mason, who is from the Caribbean, her imposing size, and, with the addition of foam from the rabies and madness, her own insanity. It steals from the "fair arm," (Jane) a golden bracelet studded with gems for, perhaps, a wedding band, symbolizing the failed marriage ceremony between Rochester and Jane. The sudden announcement of Rochester's bigamist relationship to Bertha snatches away the wedding band that should have been on Jane's finger, instead returning it to Bertha, leaving Jane to drown in her emotions before she resolves to flee Thornfield. In comparison, critic Mark Kinkead-Weekes argues that the paintings
Diarmuid Costello, Jonathan Vickery. Art: key contemporary thinkers. (UTSC library). Imprint Oxford: Berg, 2007. Print.
He however, is not eating the items he finds. He is constructing them into something new. Varda’s other subject takes the trash, metal scraps, and old furniture he finds and forms them into pieces of art. He then either keeps the pieces for himself or sells it to buyers interested in eccentric art. He is re-coining the phrase "turning something borrowed into something new". This form of gleaning is more communal that eating garbage. In America, it is common for artists to use abnormal things to create sculptures. Many people may find the pieces this man makes to be odd or dissatisfying, but he still keeps on making them regardless of the societal norms. He does not have an issue with artists who use more mainstream tools and accepts their ideas. His contentment comes from taking something unwanted and making it desired again. This makes his life have a greater purpose than if he was to use a paint brush or clay. Any type of artist does what he or she loves, they just use different ways to create them. This man sets an example that what makes a person happy can come from numerous outlets and none of them have a greater importance than the