Rubik's Cubes An Analysis for an Image Analysing an image is an important task to do when wanted to understand what is really happening in an image. When we see images we can create first impressions very easily that can be extremely false. While some images are easier to understand than others, it is important to know why the creator made the decisions they did when making an image. The image I chose to talk about is simplistic to the eye, but has a lot more behind the scenes. And while the image is easy to understand in meaning compared to some, that is not to say that there weren't hidden points and conclusions that were not so easy to come by. The Image I chose displays two cartoon style drawn objects, that occupy most of the space, on …show more content…
Is there a story behind this particular frame? I want to know why the cube on the right would be upset at the one on the left, and why in turn the one on the left looks sad. Lastly, I wanted to know why the author decided to use rubik's cubes rather than using real human characters. I discovered that the cube on the right is angry and upset at the cube on the left because he is scrambled. When the cube on the right says “complicate” his is really referring to the fact that the cube on the left is unsolved. Furthermore the representation and use of cartoonistic cubes was an easy way to display this complicatedness within the left …show more content…
Art and comedy like this have been done countless times and in many better ways. That is not to say the image is poor in any ways, but that it lacks the uniqueness to impact someone's life in any substantial way. After analyzing this image I learned what its purpose was and why it was created. I found that the image was for comedic purposes and that it was made for laughter. I would still like to know who created the image and what their own personal inspiration was. I would like to know if they saw similar images and wanted to make there own or if this person wanted or still wants to be a
Why I picked this picture? Simply because I appreciate Prevalence of Ritual: Tidings by: Romare Bearden. Just from knowing about his work from previous art classes he based his art work on real life situations. In most times it was things he actually went through in his own life as young boy. His art work just isn’t any piece of work it has value. To me every inch of this picture has its own
“The photograph both mirrors and creates a discourse with the world, and is never, despite its often passive way with things, a neutral representation”. On many bases, an individual’s interpretation is usually based on what they can visually see rather then the message behind what they see. What I believe Clarke meant by the following statement, is that it is vital to acknowledge an image by not just what it is representing or portraying but also the meaning it is delivering. The viewers who view this image, can see how the image is interpreted to show the dirty
The mixed reaction I have towards the painting is because, first off, I still wouldn’t know what is really behind it or what it’s trying to tell us without looking at it from a distance. When I looked at it from a computer desktop I could see a shoe, a mountai...
People tend to views an image based on how society say it should be they tend to interpret the image on those assumption, but never their own assumptions. Susan Bordo and John Berger writes’ an argumentative essay in relation to how viewing images have an effect on the way we interpret images. Moreover, these arguments come into union to show what society plants into our minds acts itself out when viewing pictures. Both Susan Bordo and John Berger shows that based on assumptions this is what causes us to perceive an image in a certain way. Learning assumption plays into our everyday lives and both authors bring them into reality.
In order to understand the meaning of an artwork, besides the overall aesthetics of an artwork, it requires the viewer to have knowledge on the context in which a work of art is produced. With this knowledge, the viewer employs a holistic approach towards an artwork. For example, Pete Fecteau’s “Dream Big” is a mosaic is made of 4,242 officially licensed Rubik’s Cubes, as shown in the image below. When looked as the whole, the icon, Martin Luther King Jr. is seen. A historical icon that embodies freedom and hope, for people who are aware of his social and cultural influence, at that time. The simple components in this case would be the image of Martin Luther king Jr. and 4,242 well-arranged Rubik’s
This piece is acrylic, oilstick, and spray paint on wood panel that is 186.1 centimeters in height and 125.1 centimeters in width. This piece features a human-like figure in the center that is mostly half red and half black. This figure has a gray head with one yellow eye and one light gray eye and above its head is a black halo. The background consists of patches of various colors such as light blue, black, dark red, light green, beige, turquoise, pink, and yellow. On the bottle left corner there is a figure drawn that looks like a fish and has a strip of mustard yellow painted through it. Also towards the bottom right of the artwork, there is some drawn on letters that almost look like words but are messily painted over with a desert sand color. This piece is my favorite because I find it aesthetically pleasing. There is a lot going on in this piece that makes looking at it genuinely interesting. The colors that Basquiat choses for the background go very well together and overall compliment the figure in the center. I like how incredibly expressive this piece is and it makes me want to buy a canvas and start painting that I desire. I also like how the human-like figure is drawn. One could see what looks like an outlined ribcage on the figure, which makes me believe that the head is actually a skull. Upon further research I learned that Basquiat was
Critical thinking is a very important aspect to understanding art. As David Perkins put it in “The Intelligent Eye”, we must avoid “experimental thinking”, a rash, quick way of thinking based on observations and use “reflective intelligence”, a way of thinking in which a viewer takes their time and dissects details and nuances to fully understand a work of art. A majority of viewers will look at a piece of art and come to a quick analysis of it, without much thought. But, according to Perkins, “The more attentive the observation is, the better the opportunity is for deeper learning” (Perkins 14). As Banksy said in Exit Through the Gift Shop, “the reaction to the work of art is the most important thing about it.” Without a reaction or an opinion, the work of art has no meaning. Therefore, in order to trul...
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.
My chosen methodology for analysis is semiology, Rose (2001) argues semiology confronts the problem of how images make meanings directly. It is not simply descriptive, as compositional interpretation does not appear to be, nor does it rely on quantitative estimations of significance, as content analysis at some level has to. Instead, semiology offers a wide range of analytical tools for depicting an image apart and tracing how it works in relation to broader systems of meaning. A semiological analysis entails the implementation of highly refined set of concepts, which construct detailed accounts of the particular ways the meanings of an image are produced through that image.
The first sets of the visual analysis are on drunk driving and drug use. All of these pictures relate to drunk driving and drug use and why it is bad for us to drive under the influence of alcohol or drugs. In the first visual set, there are drunk driving and drug use advertisement pictures that are more effective than the others.
The commercial cube is composed of 26 visible pieces and one central core. These two distinct components of the Rubik’s cube are what maintain the shape of the Rubik’s cube. The shape of the core can be visualized as a central, three-axis spindle with six attached octagons, one on each face of the cube. These are referred to as octagonal extensions and are what allow the free movement and rotation of the cube.
The most emphasized part of this image is the man lying on top of the child and leaning against the bed, part of the body being directly in the center and seems to take up the most space, this is where the eye tends to linger. The negative space is made interesting by including a turned over chair, and rumpled sheets on a bed and other homely objects, which indicates that this is set in a home. The contrast that is shown in this artwork is through the use of value since Daumier used implied light, the brighter and darker areas create a contrast against each other. While this piece is not symmetrically balanced, it is balanced asymmetrically. It is asymmetrically balanced through a man and most of a bed being placed in the center, on the right is a small child, the upper torso of an older looking man, a chair next to him, and the rest of the bed; on the left of the man is most of what seems to be a woman, and other less detailed furniture. There is a sense of repetition through the positive shapes of the people lying on the floor, this is also shown through the use of line that creates the entire lithograph. This provides a sense of cohesiveness and unity throughout the
The use of multiple images to propel a narrative allows the audience to learn something through the characters that are there. Bloomer (1990)’s study on visual perception also draws upon Newton (1998)’s concern, as he explores the multiple perspectives and views of the event. By using a series of images, the characters mood and tone can be established throughout different elements of what we see. This may be the people, the place itself or the items within the place. By having a narrative of photographs, the audience has an even deeper understanding of the reality of that moment or event as they see more than just the ‘big picture’ as
According to the first article, that caught my attention, they mentioned that people are still trying to determine whether this picture is truly genuine from the artist or if it is just a replica. (Argwal) After finding out that the picture originally produced from the artist, they moved on to discuss the background of the
Taking photographs and photography itself is a great tool of power in many different aspects of life that one might not realize day to day. Photography has the power to reveal things that if expressed in words, would cease to be as powerful a truth. It serves as evidence of something larger. Yes, photos can be manipulated- yet because they can it makes the viewer even more cautious and observant on the details of these photos. Taking pictures is so much more than what it is painted to be on the surface. It is not always superficial and inconsequential. If you look deeper into the photo meaning and the details about the photos’ source, you observe things you would have never seen otherwise, like the slight hint of sorrow on her face, the contradiction in human ability, and the subtle external truths about the reason we do things, such as take pictures.