You transport the labyrinthine qualities of the Lewitt text within visual transformation, boggling the mind with density of expression; I felt drawn to investigate further. At first, I sought to understand, to find the transfer of information, and then this search led to the question of whether a point even exists, a question, in certain schools of art, that cannot be fully answered. And yet, your experiment reminds me of ancient pictographs, ancient systems of writing used by ancient Egyptian, Sumerian and Chinese civilizations, and therefore have decipherable meaning. Among the many aspects I noticed, I will focus on your manifestation of this phrase, “A parallelogram whose top and bottom sides are two and a half times as long as its left and right sides”, as stick figures. In this, you had to choose how “a half” would be rendered, and you …show more content…
That would be an eerie illustration of the frustration felt when reading Lewitt’s instructions. Or, abandoning the idea of stick figures altogether, which has its merits and demerits, for geometric shapes or trees or steaks, etc. I personally like the stick figures, remnants of prehistoric art, drops of written language, though I would have chosen stick figures missing body parts (half-bodies) to represent “a half”. Not to mention, Sol Lewitt’s instructions nearly split my brain with its daedal maneuvers. As a side note, I have yet to figure out what those almost symmetrical vine like structures represent or mean in your experiment, but I still thank you for providing such a unique, thought-provoking experiment for this week’s workshop. I, a fellow aspiring maker and obsessed with poesis and creativity, have the honor to be your nerdy, overanalyzing auditor, and I hope you keep taking the road less
Hans Holbein’s “The ambassadors” portrays to two imperial looking men standing over a wooden slab, filled with numerous trinkets books and instruments. They are supplemented by a large green curtain as a backdrop. Aslanted image catches the eye as it lay nearthe bottom of the painting ,thisis an example of anamorphic perspective. The image is truly a skull but can only be seen from a certain angle. When looking at the image we take notice of the two men, but our eyes are guided toward what their standing next to, acting as almost a rail showing us where we should be looking.
Although both Fragonard’s and David’s work convey different ideals through their style of painting, they are still able to use light in a very similar form. The viewer’s attention is directed on a specific point in the painting through the use of light. Both artists cast a spotlight on the figure or action in the painting that they want the viewer to especially notice. It is what each artist decides to focus on that makes his work is different from the other. A young woman on a swing who enjoys the pleasures of life is clearly where Fragonard wants to direct the viewer’s attention. However, David focuses attention on a male figure, specifically Socrates. How does the use of light help the viewer understand the ideals of each form of art? While Fragonard chooses to focus on a female and David chooses to focus on a male, the viewer now understands how Rococo can be a feminine form of art and Neo-Classicism the opposite. In addition, other stylistic elements like color and form depict how each art form differs from the other. By using all this visual evidence, we will later see how the concept of deciding...
In the essay “Naturalism and the Venetian ‘Poesia’: Grafting, Metaphor, and Embodiment in Giorgione, Titian, and the Campagnolas,” Campbell explains the role of poetic painting, poesia, in Venetian artwork during the 1500s. Titian personally used the term poesia when he “[referred] to paintings he was making for [King Philip II] with subject matter derived from the ancient poets.” Poesia now refers to a type of sixteenth century Venetian painting, which Giorgione and Titian initiated and used within their works. Campbell’s main argument is that poesia is not simply aesthetic or reflective of poetry, but rather “grounded in the process of making – and in making meaning – rather than in an aesthetics of self-sufficiency or self-referentiality.” Like poetry, it is not self-contained; meaning lies outside of the work, within the interpretations of the viewers. He discusses the idea of grafting in poetry and how the same grafting model is utilized in the visual arts. Different images, such as pagan figures and contemporary figures and settings, are juxtaposed to create visual discordance and give an intrinsic meaning to the viewer. Campbell then uses many examples of writing, poetry, engravings, and paintings to explore his argument and the connections between artists during the 1500s.
The Interpretation/Meaning (III) will be written without any guideline points, the aim of this part will be to determine what the painter wanted to express with his piece of work and what it tells us in a symbolic or not instantly clear way. This part will also handle why the artist drew the painting the way he did it and why he chose various techniques or tools.
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.
One of the literary techniques most prominently featured throughout the passage would be that of imagery. The author takes great care to interweave sentences comparing the traits
Theo and the young Narrator similarly discover the revelatory capacity of art through a single pivotal painting and author respectively, both which become significant motifs in either text. Tartt utilizes an existent painting ‘The Goldfinch’ as a fixed point of reference, which, for both Theo and the reader provides a sense of reality and constancy ‘rais[ing him] above the surface’ of an otherwise tumultuous childhood. Whereas Proust uses a fictional author, ‘Bergotte’, to communicate the universality of art, and invite the reader, through the vivid immediacy with which the Narrator’s early reading experiences are described, to participate in his epiphanic discovery that art can translate ‘imperceptible truths which would never have [otherwise] been revealed to us’ (97). Artistic imagery becomes a motif in Proust’s descriptions of scenes of domesticity and nature. In a scene recounting Francoise ‘masterful’ preparation of a family meal the Narrator describes asparagus in the technical language of painting as ‘finely stippled’ provoking an association between his observations of asparagus and the creation of a painting. By forming this improbable link he elevates unremarkable asparagus to the ‘precious’ status of art in the eyes of the reader. Proust’s presentation of his Narrator’s ‘fascination’ and pleasure at their ‘rainbow-loveliness’, forces the reader to consider asparagus with unfamiliar and attentive appreciation, conveying the idea that art can uncover the overlooked beauty of the mundane. Though Theo reveals a far more cynical view of ordinary life as a ‘sinkhole of hospital beds, coffins and broken hearts’ Tartt conveys the similar belief in art’s capacity to create a ‘rainbow-edge’ of beauty between our perceptions and the harshness of reality. In the most
One of the greatest advances in the development of a society is the establishment of a writing system. Along with writing systems, come other methods for keeping records. Writing can be anything from a series of images used to communicate ideas, to the full on use of characters that can be interpreted and spoken. The use and development of these systems of communication can greatly affect the development of a culture. With that in mind, I’d like to address how the use of text and other methods of recording information in early art assist in the development of a culture.
The random paint splatters on the canvas are meant to evoke visualizations of their creation and their creator. The creator, or writer in Goldsmith’s case, makes “all of the [plans] and decisions beforehand and the execution is a perfunctory [or mindless] affair. The idea becomes a machine that makes art”(lewitt, “uncreative writing” 4). The choosing of the colors, the canvas, the brushes…etc. and the order of the colors, the amount of color, and the instruments used, is the part of the art that holds the most significance. The machine, or the creator, and the process are what are on display rather than the resulting
...thin this painting is appealing to the eye. With regards to linear perspective, this painting has a diagonal in which the figures line up and converge to one point.
...de its appearance and preserved... [t]he painter's way of seeing [and] reconstituted … the marks he [made] on the canvas or paper." (Berger 9-10) The fact that this concept is still relatable to a modern audience illustrates the magnitude of this work’s meaning.
...nd gazing something that seems to be definite and familiar to the speaker but is also the vice versa to us as the readers. At the end of his interpretation he symbolizes the worm as the women because the women are no less than the worm that infects the image like “allegorical swelling” .
Emmer, Michele. “Intoduction to the Visual Mind:Art and Mathematics.” The Visual Mind: Art and Mathematics. Ed. Michele Emmer. Cambridge: MIT Press. 1-3.
If a viewer looks at the piece Giver of Names (1991-present) they are likely to see the artistic aspect at first. The person is able to take the pieces and arrange them on the pedestal how they please; the shadows shown on the wall behind them all give the piece its artistic aesthetic. Once the pieces are arranged the computer will scan them and perform a search of the words program into its system based on what it has seen to make sense of what the ...
Keats describes the change as a continuous process that is independent of human interaction and perception, where Wilbur shows changes that are brought upon by specific human interaction, and that require a change in perception to be inherently noticeable. Both poems use metaphors to enhance the descriptions of their changes, though Keats uses a metaphor of poetry to describe the changes, while Wilbur uses the changes as a metaphor to describe a speaker’s love of a beloved. The tone of both poems is used to show that a change has occurred, but while Keats presents a repeating tonal pattern to show the continuous cycle of changes, Wilbur presents a single change in tone that parallels the change within nature. Polarizing imagery of two very different settings is used in both poems to show that a change has occurred, however the methods by which the changes are observed are quite different. Through this comparison of the two poetic works, we are shown that observable changes within nature can happen whether they are independent of human interaction, or caused by a change in the perspective of the