Olaf Breuning is a Swiss-born artist now living in New York. His exhibition “Small Brain Big Stomach” consist of wall drawings and wood sculptures. The wall drawings are done in broad, black lines painted directly on the walls. The wooden sculptures are painted black and appear as three dimensional drawings. The imagery of these works is cartoonish, childlike, simple and one dimensional. As one walks into the gallery, it feels like one enters a funhouse filled with black and white wall drawings and sculptures.
As one enters the gallery, one experiences the fun of looking at simple, painted drawings of six men on the wall talking on cell phones with letters reading “idiots” in their mouths. Across the room space, machine-like drawings as well as drawings of people dominate the walls. Different abstracted, simplified people like sculptures as well as machine like sculptures are spread across the floor. This reminds of a childlike setting where everything is just spread across the room instead of being carefully organized. The second room is also organized in the same manner with some...
The object I chose in the Lightner Museum is a painting with a gold frame. The medium in which it was created is oil on canvas. Featuring this piece is a man on a seat in front of a podium. He looks around the age of fifty, wearing a black cap and glasses. His clothing consists of a collared shirt, a coat, slacks, long socks to his knees, and black shoes. In one hand he holds a small book, which he appears to be reading from, and in his other hand he carries a brown stick about a foot in length. Standing in front of the man is a boy about ten years of age. He is standing with very straight posture and his hands by his sides. The boy is adorned with a blue vest, a white collared, long-sleeved shirt and brown pants. To the right of the man is another boy with his head resting in his hands. He is sitting on a bench and appears to be sobbing. There is a boy ducking behind the podium with his hand cupped beside his mouth, inferring that he is whispering something secretly to the boy being addressed by the adult figure. The rest of the children in the classroom-type setting sit behind desks in the far right corner of the painting, each sharing a collective look of mischief and laughter. There also appears to be a chalkboard on the back wall of the room, and some sort of picture hangs above the board on the same wall.
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.
This paper will discuss and compare A Faun Teased by Children sculpture, of the Italian Baroque style, and the Little Fourteen Year Old Dancer of the French impressionist style. These two sculptures give us a clear insight and allows us to peer in on the moment that is taking place. The active movement, strong diagonals and dramatic facial expressions of the figures in A Faun Teased by Children tells the on looker a vivid detailed story of the actions that are taking place and what role each figure is taking on, in a mythical scene, while the stagnant and serene pose of the Fourteen Year Old Girl resonates calmness and a moment that has not taken place just yet.
Many might have been working on Good Friday, but many others were enjoying The Frist Museum of Visual Arts. A museum visitor visited this exhibit on April 14, 2017 early in the morning. The time that was spent at the art museum was approximately two hours and a half. The first impression that one received was that this place was a place of peace and also a place to expand the viewer’s imagination to understand what artists were expressing to the viewers. The viewer was very interested in all the art that was seen ,but there is so much one can absorb. The lighting in the museum was very low and some of the lighting was by direction LED lights. The artwork was spaciously
The tree like sculptures are spread throughout the room similarly to a small patch of trees in the country side. There are three tall sculptures, one laying on its side, and one that resembles a tree stump. Two of the tall standing structures wrap around each other and stretch nearly to the ceiling. There isn’t more than a foot of space between them. Scraps of veneer have been fastened to their outer shell in a way that resembles the bark of a tree. The next piece is wider and stands on its own. Its tan color draws you in and holds your gaze. Another piece lays on its side. Its shape differs from the others and appears to be more abstract. From the side
As the German painter and sculptor, Kathe Kollwitz conveyed in her statement that the art she created held the burden of transfiguration. The fixation of sorrow and hardship that occurred while she sat huddled with the children was the driving force of her drawings. Her realization that art could not only be an escape from the horror happenings in Germany such as the rationing of food and the starving-to-death children at that time was also a way to voice her opinion of change and revolution. It was the quest, in which she enamored in her drawings and it is this feeling that I value from it. I choose this artist because she delineated the various circumstances surrounding the human individual, she took into account perspectives that involved life with its tragedies, and the lives of little angel children. Her drawings and sculptures were prepared to emulate and capture what her eyes had seen while she was in Germany and this is why I had taken a likening to her drawings. The two artworks that I am specifying in this research paper is the drawing labeled “Germany's children starve!” and”Self-Portrait, Hand at the Forehead (Selbstbildnis mit der Hand an der Stirn)”.
As the German painter and sculptor, Kathe Kollwitz conveyed in her statement that the art she created held the burden of transfiguration. The fixation of sorrow and hardship that occurred while she sat huddled with the children was the driving force of her drawings. Her realization that art could not only be an escape from the horror happenings in Germany such as the rationing of food at that time was also a way to voice her opinion of change and revolution. It was the quest, in which she enamored in her drawings and it is this feeling that I value from it. I choose this artist because she delineated the various circumstances surrounding the human individual, she took into account perspectives that involved life with its tragedies, and the lives of little angel children. Her drawings and sculptures were formed to emulate and capture what her eyes had seen while she wa...
I have decided to give the Art Gallery in the F building a chance. The title of the artwork is called, Still Table, by Julie Lemon. This is a very interesting gallery. Also, I thought it was very mysterious and unusual. Every image had a story behind it. They were all colorful and were made of different shapes and materials. Obviously, the artist had a vision of how her gallery was going to turn out. She wanted to spread her vision in more than one image and she succeeded. Some people were may be confused about her results, but others were very satisfied. When I look at her images, I see tables filled with colorful objects that are combined together to create a story of some sort. Although, the images had no visible
Everything has beauty, but not everyone can see it. (Confucious) The piece “Little’s Barn” by Sonia Grineva is an oil on canvas which depicts the movement of everyday life. There is such a diverse and simply outrageous amount of negativity today, it tends to outshine all the beauty. However, there is beauty everywhere, you just have to take a moment to see it. As has been noted, even with all the negativity in the world, beauty shines through, within your everyday routine, as shown in “Little’s Barn”.
Whilst the negative space capturing the beauty of New York itself with nature. Thus, creating a story of both beauty, and people’s responsibilities. The Negative space helps draw emphasis towards the focus point of the painting. Lie’s inclusion of shapes are concise, giving Lie’s main idea more creative structure.
The composition of this piece consists of choreographed lines projected through smoke in a dark room. The solid, moving beams of light, shining through the smokey-mist, create a moving and interactive sculpture. This sculpture can change as viewers interact with the beams of light and the mist. As the viewers move through the space, small movements can be perceived in the mist. Also, every angle of viewing the work is different. Looking at the screen, the video seems to be of an animation, not unlike an early screensaver. But if the viewer moves towards the screen, the beams of light seem to be solid. And as the viewer stands at the screen, looking back towards the projector, the viewer can become surrounded by the darkness, and then watch as the sculpture slowly moves over their body, slowly absorbing it into the sculpture itself. The shape of the sculpture is evolving and changing. Therefore, negative space around the positive space of the white lines and beams is as important as the positive white lines and light beams.
In this artwork there is the use of organic and geometric shapes, space, and lines. Lippi uses his space actively in this picture it is not just void and dull but it brings the whole picture into focus. We could examine in the picture that space behaves as insight into the picture. Space in this picture gives context clues to the location of the picture, the emotions of the artist, and emotions of the characters in
One pleasant afternoon, my classmates and I decided to visit the Houston Museum of Fine Arts to begin on our museum assignment in world literature class. According to Houston Museum of Fine Art’s staff, MFAH considers as one of the largest museums in the nation and it contains many variety forms of art with more than several thousand years of unique history. Also, I have never been in a museum in a very long time especially as big as MFAH, and my experience about the museum was unique and pleasant. Although I have observed many great types and forms of art in the museum, there were few that interested me the most.
Ibsen, Henrik. "A Doll's House." Literature the Human Experience. Shorter 8th Ed. Eds. Richard Abcarian and Marvin Klotz. Boston: Bedford/St. Martins. 2004. 437-495.
With the desire to escape the misery of her everyday life style, Yayoi Kusama releases her feelings through her outstanding works of art. Whether you are looking at her canvasses, walking through her installations or witnessing a happening performance, Kusama’s work leads any viewer to step into a world that is more than just an exhibition, but is a world and life of hallucinations. Yayoi Kusama’s unique style of art has made her a noteworthy artist in contemporary art today. With a concentration on polka dots, or how the artist would call “infinity nets”, Yayoi Kusama reveals her hallucinations of life through her massive amount of pattern. With her obsessive nature and background of personal traumas, Yayoi Kusama aims to eliminate the world in her form of art. This research paper will explore how the thoughts in her mind have led her to create the fascinating, polka dot themed, art work she is well known for.