In the vast world of glass, three artists have made a great impact on the way we see the medium as an art form. These three artists, Tapio Wirkkala , Gianni Toso, and Henry Halem have helped to pioneer new methods and ideas in this complex industry.
Tapio Wirkkala was a highly versatile Finnish artist born in 1915. His work ranges from glassware and metalwork, to jewelry and furniture for mass production. During his career, he was artistic director of the University of Arts and Design in Helsinki for many years.He is known quite famously for his work in the Finnish glassworks company, Ittala. A number of his glass pieces feature icicle-like forms, which reportedly took thousands of hours for Wirkkala to develop a technique to master this effect. These forms mimic the essence of the ice formations found in his native country. Stylistically, Wirkkala’s work tends to veer to the geometric side of the spectrum. His vessels create a sense of space that can only be captured through the use of those geometric shapes and strange angles. Private collectors who donate the pieces to museums an...
The ‘Teacup Ballet’ is one of the first and best artworks Olive Cotton has exhibited outside Australia. It was created in 1935, a Gelatin Silver, 37.3cm x 29.6cm, photograph. Six identical teacups are laid out precisely, they each have pointed, triangular handles and slender bodies. Each teacup is placed on a circular saucer. In the centre, background two teacups are placed diagonally to each other, their handles pointing in the same direction, on the left hand side. In the middle ground, three teacups are placed in a diagonal line, parallel to teacups in the background. This time the teacup handles all point to the right hand side. In the foreground, right hand corner, there stands alone one teacup, its handle facing towards the left, pushed a little more inward, than the others. In the background, there is a light shining through lighting up the teacups, and shadows are formed. A curved line is also shaped contrasting the light from dark.
His last and final piece, which is very interesting, is called the "Stoneware Vase*" It has two curled spiral handles, suggestive of ancient or pre-historic civilizat...
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.
I observed a very unique series of photographs by Vik Muniz called Seeing is Believing. Vik Muniz’s images are not simply photography but are pictures of complicated pieces of art he has produced at earlier times. Utilizing an array of unorthodox materials including granulated sugar, chocolate syrup, sewing thread, cotton, wire, and soil Muniz first creates an image, sculpturally manipulates it and then photographs it. Muniz’s pictures include portraits, landscapes, x-rays, and historical images.
The exhibition of recent stoneware vessels by Peter Voulkos at Frank Lloyd Gallery featured the sort of work on which the artist established reputation in the 1950s. The work was greeted with stunned amazement. However now it is too, but it's amazement of a different order -- the kind that comes from being in the presence of effortless artistic mastery. These astonishing vessels are truly amaising. Every ceramic artist knows that what goes into a kiln looks very different from what comes out, and although what comes out can be controlled to varying degrees, it's never certain. Uncertainty feels actively courted in Voulkos' vessels, and this embrace of chance gives them a surprisingly contradictory sense of ease. Critical to the emergence of a significant art scene in Los Angeles in the second half of the 1950s, the 75-year-old artist has lived in Northern California since 1959 and this was his only second solo show in an L.A gallery in 30 years.”These days, L.A. is recognized as a center for the production of contemporary art. But in the 1950s, the scene was slim -- few galleries and fewer museums. Despite the obscurity, a handful of solitary and determined artists broke ground here, stretching the inflexible definitions of what constitutes painting, sculpture and other media. Among these avant-gardists was Peter Voulkos.” In 1954, Voulkos was hired as chairman of the fledgling ceramics department at the L.A. County Art Institute, now Otis College of Art and Design, and during the five years that followed, he led what came to be known as the "Clay Revolution." Students like John Mason, Paul Soldner, Ken Price and Billy Al Bengston, all of whom went on to become respected artists, were among his foot soldiers in the battle to free clay from its handicraft associations.
“Life with your father was never boring.” – Rose Mary Walls. Rose Mary Walls, Jeannette Walls’s mother and Rex Walls’s spouse, reminisces life with Rex, which included migrating very frequently, refusing to conform, and advocating self-sufficiency. In Jeannette Walls’s The Glass Castle, Walls reveals that there are turbulence and order in life, the influence of family, and how she develops as she grows up through Walls’s recollection of her life, from living in a nomadic household, where her parents neglect their children, to living in a squalid hovel with no plumbing, and finally living in New York City, where she works as a journalist.
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.
GLASS written by ellen hopkins intermenes the real life struggles that teenagers face everyday, from love to drugs to destructive relationships. Ellen really hits home showing the life of a once 4.0 honors student Kristina; whose life easily got turned upside down from one toxic summer at her fathers that will show the darkest side possible of life. An estimated 12 percent of children in the United States live with a parent who is dependent on or abuses alcohol or other drugs. Based on data from 2002 through 2007, it was to be reported that 8.3 million children under the age of 18 lived with at least one substance-dependent or substance-abusing parent according to Substance Abuse and Mental Health Services Administration (Paragraph 4). The bond between a child and their parents is so pure yet
My family isn 't like the Walls family because my parents would never treat my sister and I like their parents treated them, my family and I have a decent living situation, and we would never hurt any animal. From the beginning, Rex and Rose Mary treated their kids wrong and didn 't take responsibility as parents. Every child deserves a loving home and should never have to worry if they are going to eat that night. West Virginia also seemed a lot different then because the laws are more strict now. The way the Walls are, they would get in trouble for the way they treated their kids, animals, and even their living space. "Mom always said people worry too much about their children. Suffering when you 're young is good for you, she said. It immunized
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
Turner, Jane. "Bellini, Giovanni." The Dictionary of Art. Vol. 3. New York: Grove, 1996. 657-68. Print. This book provided a wealth of knowledge and information regarding everything involving the artist Giovanni Bellini. The information was extremely detailed and was used in writing both the biography and analyses.
Mark Rothko is recognized as one of the greatest artists of the twentieth century and during his lifetime was touted as a leading figure in postwar American painting. He is one of the outstanding figures of Abstract Expressionism and one of the creators of Color Field Painting. As a result of his contribution of great talent and the ability to deliver exceptional works on canvas one of his final projects, the Rothko Chapel offered to him by Houston philanthropists John and Dominique de Menil, would ultimately anchor his name in the art world and in history. Without any one of the three, the man, the work on canvas, or the dream, the Rothko Chapel would never have been able to exist for the conceptualization of the artist, the creations on canvas and the architectural dynamics are what make the Rothko Chapel a product of brilliance.
One of the most interesting properties of glass is that of it being able to bend and reflect light. Through the bending and reflecting of light rays, an image is created. What happens though when the image formed is not the focal point but rather is the source of the image, the glass itself? In the commencement of Dave Eggers’s novel ‘The Circle,’ there is recurring images of glass. The lustrous, pristine, and progressive visage that glass supplies encapsulated the Company’s essence of high quality and rapid advancement, and as such comprised most of the physical structure of the building. However, the high-end aesthetic that glass provides is not the only idea that Eggers is attempting to promulgate through the glass images. The less obvious
When French President Francois Mitterand “personally selected Mr. Pei in 1983 to design the Grand Louvre to give air, space, and light to one of the world’s most congested museums,” (Markham, 1989) there were many critics. The press “lambasted the idea of shattering the harmony of the Louvre’s courtyard with a glass iceberg” (Markham, 1989). But Pei proceeded as planned, taking a major risk in creating a glass pyramid structure at the entrance. He did not focus on what the critics would say about his plans, but hoped that the world would see, upon completion, that his vision of a contemporary, functional entrance would not clash with the Baroque style of the Louvre itself.
The use of materials to complement a design’s emotional reaction has stuck with the modernist movement. His implementation of these materials created a language that spoke poetically as you move through the structure. “Mies van der Rohe’s originality in the use of materials lay not so much in novelty as in the ideal of modernity they expressed through the rigour of their geometry, the precision of the pieces and the clarity of their assembly” (Lomholt). But one material has been one of the most important and most difficult to master: light. Mies was able to sculpt light and use it to his advantage.