Jessica Stockholder
In order to aid in the interpretation of one’s self expression, the interpreter must first have knowledge of the self that is responsible for the work they aim to interpret. This very belief is the foundation behind why a person must first ask: “Who is Jessica Stockholder?”. Only after answering this question will the materials, methods, and messages behind Stockholder’s art have true meaning.
Jessica Stockholder, a site-specific sculptor and instillation artist, was born in 1959 in Seattle, Washington. She received a degree in painting from Victoria, British Columbia, Canada’s University of Victoria, and went on to receive a Mater of Fine Arts degree from New Haven Connecticut’s Yale University. Here she would later
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Nevertheless, “critics have described Stockholder as part of a genre of artists who incorporate “unpretentious, everyday objects” into large-scale installation and sculpture” (Bourbon). These everyday objects such as plastic bags, carpets, extension cords, containers, etc., act as Stockholder’s primary materials, and are placed strategically in order to “[draw] attention to [their] aesthetic and formal qualities” (Stockholder). Furthermore, Stockholder accomplishes this through her use of paint as a manipulation method; a use that has allowed her to “[play] a crucial role in expanding the dialogue between sculpture and painting and form and space” (“Jessica Stockholder”). Ultimately, she remains responsible for the creation of works that utilize color, characterized by eye-catching hues, various values, and often high intensities, as their primary element. In addition to this ever-present element, Stockholder employs a heavy use of the principle of movement created by the variety of different shapes, textures, colors, and values in her work. Together, they act as an embodiment of the purpose behind her work. According to Stockholder, this purpose is to “[ascertain] just what the nature of [her] experience is and [notice] how the world [she lives] in is meaningful in a very direct way” while maintaining “concerned about the nature of the objects [she makes] use of”
The American artist Fred Tomaselli arranges pills, leaves, insects and cutouts of animals and body parts to create his pieces of art. His incorporation of items are arranged to suggest a level of perception along with a heightened visual experience. This gives me, the viewer, a sense of Energy. The perception of color that Fred uses gives a gravitating feel. If you take a look at the heart of this piece you can instantly visualize the different items Fred incorporates into the piece.
Anything from a police man leaning on a wall that gets lost in the crowd on busy days to a cleaning lady next to a garbage can. Duane creates life like art pieces that you can lose the fact that they are fake. The amount of detail along with the expressions on the figures’ faces tells the tale. The spectator creates a relationship to the piece because its the familiar look or feeling they receive from the experience. Duane uses the figures’ as they are portrayed to accomplish an everyday ordinary person moreover with that technique displays the ability to relate the viewers to the art
"Lynda Barry." Lynda Barry: Spring 2012 Interdisciplinary Artist in Residence. Board of Regents of the University of Wisconsin System, 2012. Web. 24 Nov. 2013.
Elizabeth Catlett is widely known for her politically charged print and sculptural work during the 1960’s and 1970’s. Catlett is both a sculptor and printmaker and was born in Washington D.C in 1915. She obtained an undergraduate degree in design, printmaking, and drawing at Howard University followed by a Master’s degree in sculpture from the University of Iowa in 1940. Catlett studied sculpture and painting along with Grant Wood; upon graduating she became the first student to receive a degree in sculpture from the University of Iowa. After leaving Iowa, Catlett moved to New Orleans and became chair of the Art Department at Dillard University in 1940. Then she continues her postgraduate studies in ceramics at the University of Chicago in 1941. By 1944, she had married and relocated to Harlem where she taught dressmaking and sculpture. In 1945, Catlett applied for and received the Julius Rosenwald Foundation Grant. After her successful completion of a series of prints paintings and sculptures, she was able to renew this grant, which allowed her to continue her work in Mexico City. While in Mexico City, she continued her studies in painting, sculpture, and lithography and eventually worked with the People’s Graphic Arts Workshop; which was a group of printmakers who created art to promote social change. Eventually she settled in Mexico as a permanent resident where she taught sculpture at the National Autonomous University of Mexico in Mexico City until she retired in 1975.
Miro, V (2016). Review: Exhibits of Work by Grayson Perry [online] Available at: http:// www.victoria-miro.com Accessed on 30th May 2016.
Spending time looking at art is a way of trying to get into an artists’ mind and understand what he is trying to tell you through his work. The feeling is rewarding in two distinctive ways; one notices the differences in the style of painting and the common features that dominate the art world. When comparing the two paintings, The Kneeling Woman by Fernand Leger and Two Women on a Wharf by Willem de Kooning, one can see the similarities and differences in the subjects of the paintings, the use of colors, and the layout
The pictures say a lot, however, with petite information. The artwork she displays are somehow complex, and one gets to understand their meaning over time as she uses vivid imagination to bring out facts and fiction together.
Though people can look into color and composition, others can still even look into the source of the art itself. Cole goes deeper, delving into the source of the art, looking in particular into the idea of cultural appropriation and the view a person can give others. Though it is good for people to be exposed to different opinions of a group or an object, sometimes people can find it difficult to tell the difference between the reality and the art itself. Sometimes art can be so powerful that its message stays and impacts its audience to the point where the viewer’s image of the subject of the art changes entirely. Cole brings up an important question about art, however. Art has become some kind of media for spreading awareness and even wisdom at times, but in reality, “there is also the question of what the photograph is for, what role it plays within the economic circulation of images” (973). Cole might even be implying that Nussbaum’s advertisement can sometimes be the point of some media, and that sometimes the different genres of art can just be to make someone with a particular interest happy. One more point that Cole makes is that “[a]rt is always difficult, but it is especially difficult when it comes to telling other people’s stories.” (974) Truthfully, awareness and other like-concepts are difficult to keep going when a person or a group is not directly involved.
The contrasts between depth and surface, figure and landscape, promiscuity and modesty, beauty and vulgarity all present themselves in de Kooning’s Woman and Bicycle. Although the figure is a seemingly normal woman out for an afternoon with her bike, she becomes so much more through the artist’s use of color, contrast, and composition. The exotic nature of woman presents itself in her direct stare and slick buxom breasts in spite of a nearly indiscernible figure. It is understood that, on the whole, de Kooning did not paint with a purpose in mind, but rather as an opportunity to create an experience, however, that does not go to say that there isn’t some meaning that can come of this work. Even Willem de Kooning once said that art is not everything that is in it, but what you can take out of it (Hess p.144).
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.
This essay's primary objective is to look closer at Desk Suit , 1936, by Elsa Schiaparelli and compare it to Anthropomorphic Chest of Drawers, 1936, by Salvador Dali. These two pieces of art although so different, have a lot in common. To find out more and explore the world of surrealism, it will be worth studying and reviewing each art work based on the information found in several books about Salvador Dali and Elsa Schiaparelli as well as in other sources, such as You tube, journals, articles and web sites. For this purpose, the essay will open with a review of the work of Salvador Dali followed by a research on Elsa Schiaparelli's design, before finally comparing them in relation to surrealism. During the course of this essay themes such as surrealism, motif of drawers, fashion as an art and the influence of surrealism on current days, will be explored through the views of a various art critics.
She transformed his art work into her own style and touch. Her art work is has introduced a new form of classical art work. She speaks through her art sculptures. She is a living women, with deep roots to humanity and feeling towards relationship, search of love and untold stories of human behaviors. Her work is consisting of representational bronze sculptures, paintings and drawings of the human body which tell the stories of our short coming, betrayal, selfishness, greed and materialistic approach. Her important art themes include display of renewal, self-discovery, liberation, confinement, freedom, balance, consciousness, spirituality, time, and evolution and other human behaviors
Another view by Kathleen Grace, who for 30 years an artist, art consultant and instructor, make the following statement:
Corporate governance is the set of guidelines that determines the control and organization of a particular company. The company’s board of directors is in charge of approving and reviewing changes to this set of formally established guidelines. Companies have to keep in mind the interests of multiple stakeholders, parties who have an interest in the company. Some of these stakeholders include customers, shareholders, management, and suppliers. Corporate governance’s focus is concentrated on the rights and obligations of three stakeholder groups in particular: the board of directors, management, and shareholders. Corporate governance determines how power is split between these three stakeholders. A company’s board of directors is the main stakeholder that influences the corporate governance of a company (Corporate Governance).
Artists’ are always looking for something new and different, the best possible way to communicate their ideas. Cynthia Beth Rubin is an artist who is interested in how in all of us there are embedded cultural traditions merging and colliding. She feels she has benefited from new technology, “New technology has expanded my visual vocabulary, and all of my work, both video and still imagery, is now produced through the computer…echoing the ambiguity of memory, the computer is the instrument for allowing some images to sing, some to come forward as clear images, others to fall back into barely representational dreams of textures and colours.”