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History of south africa easay
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Jennifer Maestre’s, a unique sculptor, caught my eye immediately with her lurring pieces. Born in Johannesburg, South Africa, Jennifer went on to study at Wellesley College, and received her B.A., Fine Arts/Economics in 1981. She later went to Massachusetts College of Art, and obtained her B.F.A. in Glass with Distinction, Departmental Honors in the year of 1997. From here Jennifer began to construct beautiful structures that inspired one after the other. She went through many materials such as nails, but couldn’t quite find one that would shape the organic forms she wanted, so she moved to color pencils. Jennifer Maestre got her inspiration from life below sea level. Jennifer states in her artist statement, “My sculptures were originally inspired by the form and function of the sea urchin. …show more content…
She continues to say, “The sections of pencils present aspects of sharp and smooth for two very different textural and aesthetic experiences. Paradox and surprise are integral in my choice of materials.” Jennifer is saying in so many words that she uses color pencils to show both humbleness and warning at the same time. Maestre Constructs her exhilarating pieces by first collecting hundreds of color pencils. She then moves to modifying them to be linked together. She take hundreds of pencils, cut them into 1-inch sections, drill a hole in each section (to turn them into beads), sharpen them all and sew them together. The beading technique she rely on most is peyote stitch. Peyote stitching, also known as
The face of the portrait is detailed, and more naturally painted than the rest of the composition. However, the left iris exceeds her eye and extends past the normal outline. The viewer can see every single brush stroke resulting in a unique approach to the capturing human emotion. The streaky texture combines with the smoothness flow of the artist’s hand creating contrast between the hair and the face. The woman’s hair is painted with thick and chunky globs of paint. The viewer can physically see the paint rising from the canvas and flowing into the movement of the waves of hair. Throughout the hair as well as the rest of the portrait Neel abandons basic painting studies and doesn’t clean her brush before applying the next color. Because of the deliberate choice to entangle the colors on the brush it creates a new muddy palate skewed throughout the canvas. Moving from the thick waves of hair, Neel abandons the thick painting style of the physical portrait and moves to a looser more abstract technique to paint the background. Despite the lack of linear perspective, Neel uses a dry brush technique for the colorful streaks in the background creating a messy illusion of a wall and a sense of space. The painting is not clean, precise, or complete; there are intentional empty spaces, allowing the canvas to pear through wide places in the portrait. Again, Neel abandons
something on the end of a pencil. That was the night that I started to figure and configure, contemplate, and computate just how I might leave my delible mark on this life” (Inquisitors and Insurgents). The pencil has been a life giving force, a fountain of life, a symbol of readiness and ability to write. Her professor and mentor Dr. Gloria Wade Gayles encouraged her to show her poems to Nikki Giovanni who corrected them with a red pen but assured Finney that something good was about to happen. She spent two years attending Toni Cade Bambara workshop with a pencil and paper. She stresses the metaphor of sharpened thought “The more I pencil-dig down,
For instance , when Joy asked her classmates why they were copying eachother, she said “For me drawing is dreaming on paper. ‘ (5) to describe that drawing on paper is her favorite way to express all of her thoughts on paper . In addition , Joy made note of how much it bothered her classmates that she colored differently , she said “I saw the eyes of
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.
"Lynda Barry." Lynda Barry: Spring 2012 Interdisciplinary Artist in Residence. Board of Regents of the University of Wisconsin System, 2012. Web. 24 Nov. 2013.
The Art Bulletin, Vol. 57, No. 2 (Jun., 1975), pp. 176-185. (College Art Association), accessed November 17, 2010. http://www.jstor.org/stable/3049368.
The Harlem Renaissance, a time of global appreciation for the black culture, was a door opening for African American women. Until then, African Americans, let alone African American women, were neither respected nor recognized in the artistic world. During this time of this New Negro Movement, women sculptors were able to connect their heritages with the present issues in America. There is an abundance of culture and history to be learned from these sculptures because the artists creatively intertwine both. Meta Warrick Fuller and Edmonia Lewis, two of the most popular sculptors of this time, were able to reflect their native heritages and the dynamics of society through their artwork.
TXT- He was concentrated with the spiritual forces of nature than the exterior aspects and curvy shapes of the pastels were inspired from nature. The image is a complete abstraction of a dove used with pastels to create a geometric figure. Pg 346
When beginning my sketch, I took a moment to analyze the work of art and found that the statue illuminated a sense of serenity. Like most viewers my initial reaction was to explore the statue from head to toe as I sought out the different elements and principles of art. The statue was close to life-size and just about my height, so looking straightforward we were eye to eye. I noticed the softness gathered about the facial structure, but all the same time the depth and complexity that was engulfed around the muscularity of the body. The rigorous symmetry was accounte...
Burton, David. "Exhibiting Student Art." Virginia Commonwealth University Journal 57.6 (2004): 41. eLibrary. Web. 30 Oct. 2013.
A pencil Listeni/ˈpɛnsəl/ is a writing implement or art medium constructed of a narrow, solid pigment core inside a protective casing which prevents the core from being broken or leaving marks on the user’s hand during use.
Another subject that appears in a majority of her works is pumkin. She has a series of screenprint in different colors, sculptures, or painting on cast, etc. There is texture on her pumkin and of course, it had to be polka dots. The pumkin may have a slightly different shapes too. Dots and net structure appears in most of her work. For instance, in Pumkin, dots are the decoration of pumkin, net structure is used for her back ground.
Another view by Kathleen Grace, who for 30 years an artist, art consultant and instructor, make the following statement:
Lewis, R., & Lewis, S. (2008). The Power of Art. Connecticut, United States: Cengage Learning.
Once a student has developed a little self-confidence in creating a pleasing drawing, he is most anxious to embellish it in some way. That is usually color. To keep things simple and inexpensive, the artist may choose to do pen and ink drawings and illuminate them with watercolor. Artists also use this technique to expand on ideas they have for future, more heroic works. However, a good pen and ink drawing can stand on it is own as a final output with no apologies needed.