Sandy Skoglund is an American photographer and installation artist who uses many bright and vibrant colors in her artwork. She graduated from Smith College, with a degree in art history. Skoglund spent a year in Paris, studying abroad, before she graduated in 1964. Later in 1969, she went on to graduate school at the University of Iowa. Here she studied filmmaking, multimedia art, and printing. In 1971, she earned her Master of Arts and in 1972, a Master of Fine Arts, both in painting, all from the University of Iowa. “Her use of brightly coloured interiors expanded into photographs of whole room installations, in which she would use domestic objects repeatedly, flattening out the photographed space” (Grant). In the 1980s she began to construct more repeated elements in her artwork. A few years later, “Skoglund began to exhibit her installations as well as the photographs of the installations, continuing to use animals and food as the key repeating motifs,” as she does in in this photo of the Cocktail Party (Grant). When first viewing, this photograph I thought it was made from bananas but after a closer observation I realized that it is actually Cheeto Puffs. I would have never imagined using a food like this for a portrait. I was also trying to figure out how the Cheetos fit in with the idea of a cocktail party. “She captured a familiar scene …show more content…
Penn was a photographer who graduated from Philadelphia Museum School of industrial art in 1938. After graduating he primarily focused on fashion, doing photoshoots for Vogue magazine. “These photographs are noted for their formal qualities, which are enhanced by elegance of line, simplified lighting and radically minimal settings” (Rule). Later, Penn began working in platinum in the 1970s, creating large prints often mounted on aluminum panels
For her first point of the “still-life on the counter” she argues that the objects on the counter are for “public consumption” and that the labels on the bottles
Upon returning to his studio Storrier picks a photograph that can be associated in a variety of ways. He makes works similar in subject matter, but which give different overall impressions. 'I never work from photographic documents. The little polaroids are just mental records. I paint pictures about, not from, photographs.' He explores the concept, and makes preliminary sketches and small studies of his ideas to decide the colour and tone. He chooses the size to make his artwork oncer he has his idea.
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.
· 1999: Private commissions (2). Continues to work on paintings for traveling exhibition, Visual Poems of Human Experience (The Company of Art, Chronology 1999).
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.
The poem “Woodchucks” by Maxine Kumin, is about the narrator’s attempt to eradicate woodchucks from a garden. The figurative message of the poem is how a person can change from good to evil effortlessly. The metaphor of the Holocaust is intertwined in the poem and helps enhance the figurative message. The uniform format and the implication of Kumin’s word choices creates a framework that allows the reader to draw out deeper meanings that the literary devices create. Maxine Kumin’s use of an undeviating format, word choice, and allusion to the Holocaust reinforces the purpose of her poem.
In The Complete Maus, by Art Spiegelman, a son of the Holocaust survivor, Art Spiegelman, learns the story of his father, Vladek Spiegelman. Art Spiegelman learns the causes of why his father acts the way he does and the reason for the eccentric nature he has. Although Vladek Spiegelman physically survives the Holocaust, his actions show that he is psychologically affected by his experience in the camps.
Aside from the central image, the poet also uses a range of other images to enhance her concern. Images such as "sun" and "sk...
“We can change anything. We can make a just and peaceful world. History has shown that a genuine people’s movement can move more than governments. It can move mountains” (World People 's Blog, 2006). These are the insightful words of Faith Bandler, one of the most significant women in the ten-year campaign for the rights of the Australian Aboriginal which ultimately led to the 1967 Referendum. Faith Bandler was given many popular awards by the media some of which include; being listed as a national living treasure in 1997 by The National Trust, being included as one of the 100 most influential Australians of the 20th century by the Herald in 2001, and being included in a list of 50 women considered the most influential in the world by The Good
Billy Graham once said, "The one badge of Christian discipleship is not orthodoxy but love." By this definition, June Callwood, a social activist and journalist, displays true discipleship through her work of bringing awareness to groups often discriminated against. June loved everybody equally and realized that gender, age, pecuniary possessions, or race do not define a person's worth. In other words, June Callwood is a disciple because she worked towards making a better world where the rights of every human are respected.
Sally Mann was born as the youngest of three children in Lexington, Virginia on May 1st of 1951 to Robert S. Munger and Elizabeth Evans Munger. She lists her father as her main influence on with how she started a real interest in photography. This interest started when she received her first personal camera from him during her late teenage years. Mann continued her interest in photography throughout her education, though she went on to major in Literature. In 1966, she attended the Putney School in Vermont to finish her secondary education. She went on to study for two years at Bennington College and at Friends World College in New York. She finished her degree at Hollins College, VA in 1974 (Chou). Throughout her collegiate years, Mann attended various photography workshops across the world including that of Ansel Adams where she worked under him as an assistant. Also during this time, Mann met and married her husband of now forty years of marriage, Larry Mann, a lawyer. Together they have three children, Emmett, Virginia, and Jessie. Mann’s children would play a large part in her photography career as they grew up, her most renowned work including them. “The things that are close to you...
After a brief couple of months there she moved back to the United States to California in the Bay area where she lived with her sister. She later enrolled in the San Francisco Art Institute with the goal of becoming an art teacher with an emphasis in painting. As she began to take more classes focused in art she instead falls in love photography. Not soon after starting college she heads to a “Kibbutz” which is a communal settlement in Israel, typically a farm. She intended to never return to the United States again, but in 1970 despite her efforts she returns to the States to accept her frost assignment from Rolling stone and to her own surprise the photo she had taken of John Lennon makes the cover. Not long after in 1971 she received her first job with one of her soon to be long-term employers Vogue for their September issue starring the world renowned psychologist Dr. Arthur Janov who invented a new primitive form of therapy. In 1973 she receives a major accomplishment she appears on the Rolling Stone’s master head as “Chief Photographer.” Her photography does a beautiful job of capturing Nixon–era political figures and classic rock...
April Greiman is a contemporary designer who is recognized all across the world. Through her life she is known as the first designer to use computer technology. Her work is signature for her use of different materials, texture, and color. She has also inspired many people, and has been inspired by many professors and artist in her lifetime. She continues today to impress people with her knowledge of graphics, architecture, and environment.
For example, in many of her photographs, she portrays animals as if they have taken over the human world and become the dominant species. In Revenge of The Goldfish, there are large, brightly colored goldfish scattered throughout the bedroom of a young boy as he sits on his bed. The mysterious fish create a dramatic scenery where the fish are seen as taking over the human’s bedroom. Skoglund’s The Green House, 1990, Janet Borden gallery (Figure 2), is constructed of 33 life-sized dog sculptures placed throughout a room portrayed as a living room. The idea that when we look at this photograph, the main concentrations are the animals in the room and the humans are second again suggests that the people are living in a world of animals, rather than the other way around. Animals are not always the main idea portrayed in her photographs. Skoglund’s A Breeze at Work, 1981, Damon Brandt Gallery (Figure 3), portrays an ordinary office workspace with a tree and with bright blue hand-sculptured leaves flying throughout the entire room as if blown by the
As I watched the two videos, I notice that, Seligman and Csikszentmihalyi, had similarities on many issues. I found myself agreeing with them both? The reason why I agreed with both was because they both presented relevant experiences in their lives. Csikszentmihalyi states; “His live experience by introducing his life story as; “Then I came to this country to study psychology and I started trying to understand the roots of happiness. This is a typical result that many people have presented, and there are many variations on it. But this, for instance, shows that about 30 percent of the people surveyed in the United States since 1956 say that their life is very happy. And that has not changed at all. Whereas the personal income, on a scale that has been held constant to accommodate for inflation, has more than doubled, almost tripled, in that period. But you find the same results, namely, that after a certain basic point -- which corresponds more or less to just a few 1,000 dollars above the minimum poverty level -- increases in material well-being don't seem to affect how happy people