Walking into the gallery filled with ceramic pieces reminded me of the ceramics class I took my senior year in high school. Out of all the gallery openings that I have been to so far, my favorite pieces were in this one. The ceramic pieces created by Chanda Droske were placed on one side of the gallery and the work of Mike Kern on the other. While the pieces of the two have some similarities, I feel like the arrangement of the gallery highlighted the differences between them.
Coming from a family where she did crafts with her mom growing up and working with her hands all her life, the fact that Droske ended up getting a degree in ceramics seems to me to fit her lifestyle growing up. She graduated from UW Whitewater with a bachelor degree in ceramics, though she began with painting. In her work, she uses nature-inspired designs swirls, organic designs and floral designs. She mainly uses pastel colors in her work. She works with a porcelain clay body. She uses shiny glazes and fires her work at cone 10. She also uses underglaze pencils. I had never heard of this before and I learned that it is a hardened material that is used to draw on bisqueware. She tested and layered glazes. One of the things that intrigues me the most about her work is her use of colored slips. Another thing I found interesting about her presentation was that she applied to 8 different residencies. When she said that, I immediately thought, “wow, that’s a lot”. I also found it interesting when she talked about doing image transfers and when she talked about being a waitress and working on pottery at the same time. She worked on the empty bowls project. Her pieces at the show included teapots, cups, and bud vases.
Kern, on the other hand, had farmer grandpar...
... middle of paper ...
... in their styles are made obvious, both in the pieces themselves, and in the arrangement in the gallery, that there are similarities to what they do. To me, it seems their backgrounds have somewhat influenced their work. While I enjoyed all the pieces immensely, I feel more of a connection to and that I can relate more to Droske's. The colors of hers, given the opportunity, are more likely ones that I would. Also in terms of design, hers are also more similar to designs that, when it comes to pretty much anything, are more of my style. While I have nothing against the pieces that Kern does, I am more of a girly person and I think that Droske’s pieces fit the girly style, as well as even my overall personality better than Kern’s do. Overall, this artwork was simply, in my opinion, enjoyable to look at. It was an experience that also ended up being educational for me.
Richard Fairbanks and Takeshi Yasuda are very different in nature, but I find each of their works visually and aesthetically compelling. Difference creates questions, which creates interests, which creates answers. I feel both of these men treasured simplicity in its realist form! Fairbanks and Takeshi both explored the "unknown" to create identity for themselves. The creativity, ingeniousness, and capacity of knowledge that these men display helps identify who they are and what they stand for as artists.
When visiting the McKissick Museum I was engrossed by the American Folk Art, ceramic Face Jugs, also known as ugly or grotesque jugs. There are gaps in the history in regards to how the face jugs were made, what they were used for, and the meaning of the face vessel pottery. However it is believed that these vessels were original, useful, creative expressions of the African slave culture of the time created as early as the seventeenth century. Few artists of face jugs have been identified and their inspirations for producing the vessels are not completely known. According to Hirst, it is believed that this art form originated in Edgefield County South Carolina, from African slaves who worked on the plantations as potters. They worked on these jugs after work and it’s believed that they were a product of the heritage and tradition from Africa and held a spiritual connection for the potters. Hirst also stated that, Dave Drake, a slave and employee of a pottery factory is the only known producer to ever be allowed to sign and put the date of manufacture on some of his face jug work.
My second gallery review is on the work of Philip Denker. I analyzed the art work at his exhibit; OVER + UNDER”. I saw his exhibit Friday November 15, 2013 at 11:00 am at Trifecta gallery inside the arts factory. When I walked into the room I loved that the room was illuminated with the light of the light bulbs, as well, with the natural illumination of the sun coming through the glass windows and door. When I got inside the room I also noticed it was spacious, and the pieces were very well ordered. The pieces were hung vertically or horizontally, and I liked this because it got my attention.
The room was set up by having paintings on the walls with a sculpture directly in the center. This was the focal point of the room, Soundsuit, by Nick Cave. This piece was rich in color and character and I was immediately drawn to it. When I rounded the corner of the gallery there were many extravagant pieces such as Untitled #8 (2014) by Mickalene Thomas and Woman Under Willow (2014). Both pieces are inspired by Matisse, rich in color, and represent woman. The American gallery does a good job transitioning from one piece to another because each work is similar in some aspects. This gallery was less organized and different mediums were presented all throughout. There was a traditional quilt, Tar Beach 2 (1990) displayed in the same area as mediums such as wooden panels, oil pastel, and the metal hood of a car. This gallery and collection inspired by Matisse displayed many breathtaking works that I enjoyed seeing.
With works in every known medium, from every part of the world, throughout all points in history, exploring the vast collection of the Museum of Modern Art was an overwhelming experience. The objects in the Department of European Sculpture and Decorative Arts are an important historical collection, reflecting the development of a number of art forms in Western Europe. The department's holdings covered sculpture in many sizes, woodwork and furniture, ceramics and glass, jewelry, and tapestries. The gallery attracted my appreciation of the realistic qualities of the human body often portrayed in sculpture.
Since then, Perry has been the curator of major exhibitions, written books and been involved in TV and other media, while continuing his work in ceramics. Perry incorporates such “traditions” as Greek pottery and folk art into his work. He has said, “I like the whole iconography of pottery. It hasn’t got any big pretensions to being great public works of art, and no matter how brash a statement I make… it will always have certain humilit...
Crooked Beak of Heaven Mask is a big bird-figure mask from late nineteenth century made by Kwakwaka’wakw tribe. Black is a broad color over the entire mask. Red and white are used partially around its eyes, mouth, nose, and beak. Its beak and mouth are made to be opened, and this leads us to the important fact in both formal analysis and historical or cultural understanding: Transformation theme. Keeping that in mind, I would like to state formal analysis that I concluded from the artwork itself without connecting to cultural background. Then I would go further analysis relating artistic features to social, historical, and cultural background and figure out what this art meant to those people.
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
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.
One pleasant afternoon, my classmates and I decided to visit the Houston Museum of Fine Arts to begin on our museum assignment in world literature class. According to Houston Museum of Fine Art’s staff, MFAH considers as one of the largest museums in the nation and it contains many variety forms of art with more than several thousand years of unique history. Also, I have never been in a museum in a very long time especially as big as MFAH, and my experience about the museum was unique and pleasant. Although I have observed many great types and forms of art in the museum, there were few that interested me the most.
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”.
“May your hands be full of clay and your hearts be full of imagination...” ~Chrysalis Pottery. The hands are amazing appendages of human beings that can create wonderful pieces of art. When ones hands are filled with clay the possibilities are limitless, which brings us to the potter, Paul Soldner. This potter is renowned for his Japanese Raku style in ceramics. Raku originated from Japan in the 16th century as a form of ceramics that basically focuses on it's unique firing process that creates a metallic cracking effect.
Within the collection of several artists in, Fe! A collective Experiences in Iron show, these artists all represented iron uniquely, also demonstrating the interest in Iron as art. The Cloyde Snook gallery at Adams State University’s, Art Department was crowded with several items of iron. There were statues, umbrellas, driftwood, functional and decorative items that could be described as both interesting and beautiful in their own way. Among
Rhodes, Daniel. Stoneware and Porcelain: The Art of High-Fired Pottery. New York: Chilton Company, 1959.
I feel my work is a resemblance of Robert Rauschenberg in a sense of innovation and expanding the use of material and mediums. Rauschenberg was well known for his ability to combined nontraditional material and objects creating a single - unified piece. Much of Rauschenberg 's work consisted of employing innovative combinations. Though, Rauschenberg was both a painter and a sculptor and implemented a combination of both, he also worked with photography, printmaking, papermaking, and performance -allowing him to expand his ideas and innovations. Like Rauschenberg, much of my work is based on combining different elements and media to create singular bold works. With my recent work, it manifests into a composite of sculpting and painting leading