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Art as a catalyst for social change
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Savannah west Professor West ARTA 1030-M05 April 14, 2017 Inside Out Many might have been working on Good Friday, but many others were enjoying The Frist Museum of Visual Arts. A museum visitor visited this exhibit on April 14, 2017 early in the morning. The time that was spent at the art museum was approximately two hours and a half. The first impression that one received was that this place was a place of peace and also a place to expand the viewer’s imagination to understand what artists were expressing to the viewers. The viewer was very interested in all the art that was seen ,but there is so much one can absorb. The lighting in the museum was very low and some of the lighting was by direction LED lights. The artwork was spaciously …show more content…
The name is called Cluster Fuck by Claire Morgan. This piece of artwork is 30¾ by 24¼ by 24¼ inches and has unique mediums, which is Carrion Crow (which is Morgan’s own taxidermy), nylon, glass, flies, and also fragments of polyethylene. This insulation was created in 2015 in the providence of Paris St. Moritz at the Gallery of Karsten Greve. This piece did not have much information by it so one cannot tell if it was a typical piece of art for that general area. This piece is now Located at the Frist Museum of Visual Arts. One can view this from three sides but not the backside. Since the artwork is with objects it is three dimensional. The art might make one feel demented or feel odd due to the taxidermy and the dead flies. This piece is approximately the size of a watermelon and is encased in a clear box so it does not get ruined by …show more content…
It is called Scenes of Hell Japan, Endo period (1603-1868). The mediums are ink, colors, and paper. It was located at the Newman Museum and was purchased in 1915. Now it is also in the Frist Museum of Visual arts. The specific artist in unknown but was found in Japan. This is a very large painting. Dimensions were not given in the museum. This painting is very dark it has demons blowing fire on dammed souls that were thrown in the fire of heaven. This painting has a lot in common with the installation called ClusterFuck. They both have a dark realism to them. They express death and the consequences of humans choices that they make in their own life. Along with that they do have differences. The installation had light, by that a sweet innocence to it that calmed the darkness down. The painting did not. Figures are distorted and evil looking. The painting had implied lined from the demons to the burning people. It also has more color to it then the installation. The installation had subjects that were just there but in the painting the subjects moved the viewers around the painting. Both were similar by the death aspect but the painting had more color, lines, and more of a story that goes with
If the above mentioned paintings do not sound intriguing, the Frick’s remarkable holdings also include works by David, Goya, Renoir, Bruegel, and Velasquez. However, its collection is not limited to paintings only as significant sculptures like Bernini’s “Head of an Angel” from 1655 and Clodion’s ”Zephyrus and Flora” from 1799 can be found there as well. Along with these sculptures, an extensive collection of Italian bronzes and eighteenth century furniture combine to create a museum which although is small in size compared to the Metropolitan Museum of Art, makes up for it with an extensive collection of carefully selected pieces from some of the world’s most renowned artists.
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.
I believe that the Norman Rockwell painting induces his audience to become visible to themselves as white in a politically progressive way by displaying nostalgic concepts that his audience can identify with as they relate to the white boy more than the black man.
The painting has realistic 3 dimensional space by the use of linear perspective and chiaroscuro. It also looks to be 2 dimensional as well, because it almost looks like some influence on the Japanese print, like flat patches of paint. The lines converge from the edges of the paint to the center letting off the effect of a background and a foreground. It looks as though the trash is in the foreground and the man is in the background. In the back of the painting, it is darker which also adds to the effect of the 3 dimensional space.
This piece is and is 218.4 centimeters in height and 172.7 centimeters in width. I was not able to find the medium of this artwork but I am assuming it is either acrylic or oil on canvas. The style is also abstract and features what looks like random painted figures and shapes positioned all over the canvas with patches of red, yellow-green, mustard yellow, white and beige as the background. There are a couple random objects painted on this piece that are recognizable, such as a red cup with sugar cubes next to it, but there also many unrecognizable shapes that are more open to interpretation. It is my least favorite because I do not find the overall color scheme of the painting very appealing. Personally I feel as if the colors in this piece do not go well together, especially the shade of green and yellow in the background. Compared to Basquiat’s other pieces that are richer in color, this piece falls
Another painting by Kiefer is Deutschlands Geistesbelden or in English Germany’s Spiritual Heroes. He uses bi-lateral symmetry. Each side of the hallway has the same amount of support beams and a large dish filled with some type of kerosene or oil that is burning on each beam. Under each candle there is a name written in black paint, and maybe these are the German Spiritual Heroes. The flaming dishes run all the way down the hallway and it leads to a door. The door that the hallway leads to is the center of the painting.
The art piece chosen for analyzing in this essay is from Claude Monet, The Windmill on the Onbekende Gracht Amsterdam oil on canvas painting from 1874. Claude Monet was born on November 14 in 1840 in Paris, French, and he death on December 5 in 1926 in Giverny, France. He was a founder of French impressionist painting, and the most consistent and prolific practitioner of the movement 's philosophy of expressing one 's perceptions before nature, especially as applied to plain air landscape painting. According with the information next to the painting in the museum of art in Houston “on one of his visits to Holland, Monet was intrigued by this charming windmill situated on the small “unknown quayside” in Amsterdam. The mill, built in 1656, produced textile dyes and was demolished in 1876.
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.
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.
Masks by Emil Nolde is an oil painting which is currently displayed at The Nelson-Atkins Museum in Kansas City Missouri. My first response to the still life painting was that of a very weird and bizarre, yet playful mood. The mischievous looking figures rendered with intense color, gave off a sense of horror without the dim dull color scheme typically portrayed in horror settings. At first glance, one could notice the eerie grin or grimace upon the countenance of each of the five individual figures. I believe Nolde rendered the painting in this manner to capture the viewers attention in a way that would provoke a sense of terror and jab at their emotions.
The “superstar” museum gained this status by considering every important detail during its establishment and initial phases of conversion from royal palace to museum (Gombault, 2002). As the purpose of the building changed, each room addressed new functions with new requirements. Although the function of the Louvre is different from the building’s original intention, the building is still appears dignified and important enough to display priceless artifacts and painting (Steffensen-Bruce, 1998). This consideration was applied in designing the Met. The Met looked towards the South Kensington Museum (Victoria and Albert) and the “ideal role model” due to its extensive collections and international reputation (Heckscher, 1995). The Met found itself in a similar situation to the South Kensington, because it did not have a building or a collection to start with (Heckscher, 1995). When designing museums, architects strived to create monuments that “prepare and educate the mind of the visitor (Steffensen-Bruce, 1998).” Education is an essential function of a museum. Acquiring, preserving, and properly displaying materials, permits a museum to fulfill this duty (Steffensen-Bruce, 1998). For instance, lighting is a factor that affects the manner in which artwork is viewed and can be properly appreciated. When determining the proper lighting for the Louvre, Comte d’Angiviller, strongly believed that natural, overhead lighting was the most effective solution (McClellan, 1994, p. 72). The same determination impacted the decision to add skylights at the Met. During the initial phase, architects Vaux and Mould, added skylights to the upper floor, and windows to the lower floor that provided a natural light solution (Heckscher, 1995). Additionally, glass-roofed courtyards provided “unimpeded light” for displaying
The design elements of the painting are different compared to most paintings because it is an abstract expressionism. Since there is not distinct lines in the painting, I believe this painting can be described as having chaotic
This is Isa Genzken’s first public artwork in the United States. A crucial figure in postwar contemporary art, Genzken is a sculptor whose work reimagines architecture, assemblage, and installation, giving form to new plastic environments and precarious structures. The artist represented Germany at the 2007 Venice Biennale and has shown her work in leading museums across Europe. She was among a group of prominent international artists featured in the exhibition “Unmonumental,” the survey that inaugurated the New Museum’s SANAA building and a retrospective of that same work was brought to MoMA from November 23, 2013 through March 10, 2014.