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Obsession theme in literature
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The main focus of this essay is to explore the connections between the acts of obsession, the visual outcomes and the ideas behind it. The concepts and themes have been narrowed down into four groups for discussion. In the first group I examine two texts that deal with obsession as art, both texts include groups of artists working with obsession in their practice. The second group includes two examples of people dealing with OCD (obsessive compulsive disorder). OCD is a behavior pattern that is not a choice. These examples I have found unveil two completely different people who share the same disorder and share with you the ways in which they cope and live their lives. Next I will discuss Colour and form with three texts that help inform the thinking and making of my art. Last but not least I have three texts that about collecting everyday objects. These texts can all relate to one another through common threads of collections though I felt it was necessary to group them into themes to best explain the relationships between theory and my practice. Scrutinizing I started my annotations journey by looking at a renowned group of 35 artists who share the same obsessive need to acquire items for art making. Lynne Perrelle’s book Art making, collecting and obsessions reveals an insight into the art practices of artists working with the same idea of obsession I have been interested in with my art. This book has been a good starting point for my thinking about connections between my work and other artists. Perrelle outlines each artists practice with how their obsession is made into art. For example, artist Daniel Essig is obsessed with looking for tiny objects that look out of place along side the riverbank. To Essig there is ... ... middle of paper ... ...oration of the mixed-media work and collections of 35 artists. Beverly Massachusetts. Quary Books. Porter, Gwynneth. (2004) Judy Darragh so… you made it? Te Papa Press. Wellington, New Zealand. Pound, Francis. (2010) The escape from the frame, Richard Killeen’s cut-outs. Retrieved from: http://www.art-newzealand.com/Issues11to20/killeen.htm Schaer Cathrin. (2009) Message behind pie charts. Retrieved from: http://www.nzherald.co.nz/entertainment/news/article.cfm?c_id=1501119&objectid=10566495 Turner G. (1999). Yayoi Kusama by Grady Turner. Retrieved from: http://bombsite.com/issues/66/articles/2192. Thornton, Nicholas. (2004) Karsten Bott, Museum of life. Retrieved from www.norfolkprepared.gov.uk/Consumption/groups/public/.../ncc081823.p. Porter, Gwynneth. (2004) Judy Darragh so… you made it? Te Papa Press. Wellington, New Zealand.
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Mary MacKillop Faithful in the dark, Sealy, Pat, Evelyn Pickering Teresita, Cormack N.S.W Sydney, 1983
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Boo, K. (2011). Behind the beautiful forevers / life, death, and hope in a Mumbai undercity. New York: Random House.
Art has always been considered the effervescent universal tool of communication. Art does not require a concrete directive . One sculpture,drawing or written creative piece, can evoke a myriad of emotions and meaning . Artistic pieces can sometimes be considered the regurgitation of the artist's internal sanctum. In Richard Hooks graphic painting,Adoption of the Human Race, the effect of the imagery,symbols ,color and emotional content projects a profound unification of a spiritual edict.
Cisneros, Sandra. Woman Hollering Creek and other stories. New York: Vintage Books Gale Writing Group, 1991.
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
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In Confronting Images, Didi-Huberman considers disadvantages he sees in the academic approach of art history, and offers an alternative method for engaging art. His approach concentrates on that which is ‘visual’ long before coming to conclusive knowledge. Drawing support from the field of psycho analytics (Lacan, Freud, and Kant and Panofsky), Didi-Huberman argues that viewers connect with art through what he might describe as an instance of receptivity, as opposed to a linear, step-by-step analytical process. He underscores the perceptive mode of engaging the imagery of a painting or other work of art, which he argues comes before any rational ‘knowing’, thinking, or discerning. In other words, Didi-Huberman believes one’s mind ‘sees’ well before realizing and processing the object being looked at, let alone before understanding it. Well before the observer can gain any useful insights by scrutinizing and decoding what she sees, she is absorbed by the work of art in an irrational and unpredictable way. What Didi-Huberman is s...
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