Fine repetitive detail can visualize things both large and small “to open up into something great.” My sculptures, Memories and Wishing Well, can be viewed on both a microscopic and macroscopic scale, which allows for multiple experiences and interpretations, as the ability to shift perspectives. In that regards, I feel a connection to Tara Donovan’s use of repetition to build her forms, and to her engagement of the emotional experiences of distance and intimacy. Donovan addresses the experiences of closeness and distance with her large-scale installations. She works with large numbers of man-made materials such as papers, drinking straws, plastic cups, and toothpicks. Each installation uses an enormous quantity of a single material to create
In “Recitatif,” by Toni Morrison, racial divides are implemented throughout the story due to circumstance and place. The setting or other characters involved in the story or the actions they take often closely relate to how the two girls feel towards one another. Throughout their lives, Twyla and Roberta vary on whether or not they should be friends with one another due to racial divides, although it is not ever explicitly stated.
In Robert Gober’s exhibition “The Heart Is Not a Metaphor” at MoMA, his works are full of the childhood experiences. A piece such as "happy family" this old road of old topic and the content of his own expressive suppression. Standing in front of Gober’s twisted-crib sculptures, I ask myself: What is my regret? Do I have any memories that haunt me at night? Fuzzy I saw the ceiling, my mother’s face and the edge of crib. I think most people have those images in their dreams too.
I have chosen to review Andy Goldsworthy and his piece “Hanging Hole.” Andy Goldsworthy was born in Cheshire, England in 1956. As a young man, he did manual labor on local farms. He studied at both the Bradford School of Art from 1974-1975 and Preston Polytechnic in 1975. While there he listened to a presentation given by Richard Long who ultimately inspired him to create his natural artwork. He has been creating artistic works using the environment and ephemeral materials since the 1970s. In 1997 he created his first significant project titled “The Storm King” located in Mountainville, NY. He has created more than 70 pieces of art and exhibitions all over the world including the Canadian arctic, the streets of London, and Digne, France. All of his artwork is created using natural and ephemeral materials. He responds to natural environments and does not create anything he previously thought of, instead choosing to create whatever he is inspired by while in the space. He uses material like feathers, leaves, sticks, and stones to create his work, and then takes a picture of it to show later. Often he will take a picture of his completed work, and then return at a later date to photograph it again to show how it has changed and weathered. His photographs enhance a specific aspect of the sculpture by using special techniques and ways of photographing the space so that viewers will understand the work as they view the picture.
Dexter, E. (1991). Richard Long: Tate Gallery, London - Sculpture, p. 67 . Retrieved from http://www.speronewestwater.com/cgi-bin/iowa/articles/record.html?record=61.
A collage of memories built brick by brick. Each one painted carefully over a span of many hours. All that remains is a blank wall. Senior Hannah Kos will never get her chance to take part in the tradition of 30 years.
Rosie Gascoigne, is an artist who has aspired an appreciation for undiserable remnants and utilised with them in purpose to produce an assemblage of work that sees into a reflection of the past and present landscape of Australian society. Her growing motivation has taken further interest and development as the founding layers of her work through her deliberate perception, subject to the preservation of the environment and surrounding landscape. Gascoigne’s work offers an insight into deep country outback life of an Australian individual and introduces conceptualities that mirror a focus situated about ‘re-using’, ‘ recycling’ and understanding the insightful meaning present within everyday remnants. Her work is a collective gathering of selected materials to form a composition or an
Walls art draws on structured masterpieces to demonstrate how photography, as an art form, can accurately portray ‘everyday life’, despite its elaborately detailed artificial creation.
Christian Boltanski, as an artist, has placed an importance on the theme of memories and how they can be used to suppress the idea of despair. Memories are seen as a powerful tool in order to diffuse these ideas of despair and disillusionment in a modern world. A large portion of humanity has learned to base most of their individual identities on collective experiences as a whole. Much of Boltanski’s work explores how some of that individualism gets lost within shared experiences through the concept of memory. As an artist, this significant theme used in his work has helped re-establish a certain sense of belonging in correlation to his own identity and what it has transformed into. This form of remembering is incorporated in his own work as a way of defining his universal sense of belonging. Christian Boltanski presents a collective understanding over the loss of his true identity in his work involving the theme of memories through the representation of images and material objects.
ONCE MY EYES ADJUSTED TO THE DIM LIGHTING, I STOOD FIXED IN THE DOOR WITH AMAZEMENT. I WAS IN A WAITING AREA THAT WAS OBIVOUSLY DESIGNED BY REJECTS FROM INTERIOR DESIGN SCHOOLS NATIONWIDE. THE "FURNITURE" APPEARED TO BE REFUGEES FROM THE 1970'S SELECTION OF THE LANDFILL. I COULDN'T HELP BUT TO THINK THAT THESE MUTATED FORMS OF ONCE VITAL LIVING ROOM SUITES WOULD BE BETTER OFF IF THEY HAD REMAINED BURIED. ONCE I REGAINED MY SENSES, I SLOWLY SCANNED THE CHEAPLY PANELED ROOM IN HOPES TO LOCATE ANY FAMILIAR ITEM FROM THE PRESENT DECADE. WHAT I FOUND WAS TWO WALLS LINED WITH POSTER SIZED FLIP FOLDERS. I WALKED OVER TO THE FIRST ROW OF FOLDERS AND STARTED TO THUMB THROUGH THEM. MY EYES GLAZED OVER AS WHIRS OF MULTI-COLORED CREATIONS SWEPT PAST THEM IN INDISTINGUISHABLE BLURS. THEN, LIKE A SHOT IN THE DARK, A TINY YELLOW FORM CAUGHT MY ATTENTION. I BLINKED TWICE TO PULL MY EYES INTO FOCUS AND THERE IT WAS-- MY FIRST TATOO. IT WAS THE MOST PERFECT SUNFLOWER I HAD EVER SEEN.
Vincent Van Gogh’s strive towards new and interesting compositions of the same object is something relevant to my own work. Though, the same object repeated has been done before, the current work is set on solving the problem of what is seen inside of another object. The relationship from the viewer to the object to the object within the object creates a new sense of direction, an opportunity to explore. This is also seen with pumpkins in a previous series, which worked more from the view of the same object various ways. My paintings relate to the observations of Vincent Van Gogh and Philip Guston.
Dali, Salvador. The Persistence of Memory Introduction . 2008. Painting. Museum of Arts , New
This emphasized that the viewers perspective and state of mind could translate the pieces in a multitude of ways. There is not one way to view or interpret art. Duchamp’s art and vision have helped to transform the esthetic view of art to one of more intellectual than that of simple beauty. That an everyday object can trigger a memory of something seen or felt, whether it be man-made or natural, monumental or fleeting. That a spoon is not merely a spoon.
Adalise and her mother spent many days together in the basements. Together they painted many images on the wall. Painting was comforting. The colors, the fluidity of the paint, the experience of painting something on a flat surface and then it comes alive and has a story to tell you. The paint has a personality and it becomes a person, who talks to you and expresses what you keep deep inside your mind. The brush, the paint, the brick wall, all come together to create a story. The memory of something you want again. A field of roses. Henrik.
On that day, I had to organize and leave the room. I felt sadness and happiness remembering our memory that is left on that classroom. I saw board that letters were faintly visible, some pictures of me and my students smiling, artworks that included their names, and shabby and dirty decorations that I made. This is a place where we made together and where we spend together to learn about Christ and share and listen to each other. Even though it was not a great nor fancy decorations, the little white masking tape which I used to attach our pictures, art works, and decoration, attached to our memories of our classroom. I can’t never forget my classroom, it still remains with me as a fond memory. Interior design is not difficult subject, but easy when people start to decorate. That is what makes identity, meaning, and memory ,no matter what is its material and design. At that time, interior design did not sound like it is a hard subject to me, but it sounded hard to provide and decorate someone’s space and
My grandparents’ home was filled with fascinating and delicate objects dangerously displayed just within reach of my inquisitive hands. I learned to ask permission to handle the heavy glass paperweight so that I could contemplate how the colorful swirls got inside. Although my grandmother was sometimes cranky, there was no one to torment me anymore. Instead, my grandfather set about filling my days with a kind of extreme joy that I’ve rarely experienced since. He took me for rides on his horse and he let me tag along on his antique tractor as ...