“One of the most powerful motivations in my life’s work has been expanding, because I want to make an art that works for everyone on earth, not just people from a certain place.” When viewing his work, this statement by contemporary artist Richard Tuttle, proves itself true. Richard Tuttle is known for his sculptures, installations, and drawings which often feature a small scale, occupy unusual spaces, and are comprised of common material such as paper, wood, string, and wire. Tuttle’s Other (2009) fits within the category of his own work, offering a bright orange arch, made of paper pulp, bolted into place by two wooden brackets. Universality, the ability of something to be understood or appreciated by anyone in the world, is an essential …show more content…
Due to their commonality and utility, these materials are often overlooked as a means to an end. However, rather than making art out of wood and paper, Other displays these materials as the art itself. The wooden brackets, for example, with the exception of the artist’s signature written on them, appear ordinary, as if purchased from a furnisher store and mounted onto the museum wall. The natural appearance and smooth texture of the wood creates a sharp contrast with the vivid color and crisp surface of the paper arch. Like the materials, these textures are very well known to viewers, making it possible to feel the work without the need to touch it. Therefore, the universality of these materials, and the texture they carry with them, serves to connect the viewer with the work on a tactile level. Another example of universality appears upon closer examination of the construction of the paper pulp arch. Paper pulp, initially used by printmakers to create paper, surfaced as an art medium in the 1970s, and has been a recurring material in Tuttle’s work. Paper pulp, like all paper, is made out of wood and glued into its desired shape. In Other, Richard Tuttle further develops the characteristic of universality by selecting materials that are only found in nature, a concept which can be understood and appreciated by all
The exhibition of recent stoneware vessels by Peter Voulkos at Frank Lloyd Gallery featured the sort of work on which the artist established reputation in the 1950s. The work was greeted with stunned amazement. However now it is too, but it's amazement of a different order -- the kind that comes from being in the presence of effortless artistic mastery. These astonishing vessels are truly amaising. Every ceramic artist knows that what goes into a kiln looks very different from what comes out, and although what comes out can be controlled to varying degrees, it's never certain. Uncertainty feels actively courted in Voulkos' vessels, and this embrace of chance gives them a surprisingly contradictory sense of ease. Critical to the emergence of a significant art scene in Los Angeles in the second half of the 1950s, the 75-year-old artist has lived in Northern California since 1959 and this was his only second solo show in an L.A gallery in 30 years.”These days, L.A. is recognized as a center for the production of contemporary art. But in the 1950s, the scene was slim -- few galleries and fewer museums. Despite the obscurity, a handful of solitary and determined artists broke ground here, stretching the inflexible definitions of what constitutes painting, sculpture and other media. Among these avant-gardists was Peter Voulkos.” In 1954, Voulkos was hired as chairman of the fledgling ceramics department at the L.A. County Art Institute, now Otis College of Art and Design, and during the five years that followed, he led what came to be known as the "Clay Revolution." Students like John Mason, Paul Soldner, Ken Price and Billy Al Bengston, all of whom went on to become respected artists, were among his foot soldiers in the battle to free clay from its handicraft associations.
In “Sacrality and Aura in the Museum: Mute Objects and Articulate Space,” Joan R. Branham argues about the experiences art viewers have in museums based on their surroundings. Her points include how a person is to completely understand and feel a ritual object if it is taken out of its natural context or how someone is able to fully appreciate of work of art if they can’t see it where it truly belongs.
Out of the plays that we could have chosen to produce, I have decided to go with Molière’s, “Tartuffe.” This play is a comedy that comes from 17th century France and is heavily influenced by two large sources of experience for Molière. Those sources are the rules and structure for a play put in place by the French academy and the lessons of improvisation taught by the Commedia dell’Arte. This piece is written in fives acts that are in a unique alexandrine style of verse which have 12 syllables in a line and usually ends with rhyming words. The reason I chose this play is because, in my opinion, things like television, movies, plays, and other forms of media and entertainment are meant to transport you away from all the bad things happening in real life and focus you on something fun and/or interesting. I find this play to have a lot of fun moments that can be mined for even more comedy and I think it has the good chance to keep a large audience entertained for a long period of time. To accomplish my goal I will use elements of situational comedies, France in the 1660’s, and one of Molière’s plays, “A school for girls.”
With works in every known medium, from every part of the world, throughout all points in history, exploring the vast collection of the Museum of Modern Art was an overwhelming experience. The objects in the Department of European Sculpture and Decorative Arts are an important historical collection, reflecting the development of a number of art forms in Western Europe. The department's holdings covered sculpture in many sizes, woodwork and furniture, ceramics and glass, jewelry, and tapestries. The gallery attracted my appreciation of the realistic qualities of the human body often portrayed in sculpture.
Today it is located in Philadelphia in the Museum of Art. The surfaces of collages such as The Table are nearly entirely covered with a wide variety of overlapping papers. These fragments, moreover, are now deployed in increasingly complex ways: the shape of a piece of paper may correspond to the shape of the depicted object or it may itself provide a ground for figuration, whether drawn, painted, or in the form of additional, superimposed collage elements. And Gris continued to appropriate materials for their literal representational function as mere images, as he had in his earliest collages.
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 Art Bulletin, Vol. 57, No. 2 (Jun., 1975), pp. 176-185. (College Art Association), accessed November 17, 2010. http://www.jstor.org/stable/3049368.
Although today the only highwayman who people remember by name is Dick Turpin, the myth of the highwayman was created long before he came about. The idea of highwaymen was deeply engrained in the minds of the English people, and they were thought of as courageous national icons by many at the time.1 One of the main questions that the study of this matter focusses on his how highwaymen, who often committed abhorrent crimes, were able to gain such a favourable reputation. The explanation for this lies in the stories of highwaymen that depicted their activities, as well as the context in which the crimes took place. Popular literature, pamphlets and ballads, amongst other things, helped to depict highwaymen as gentlemanly, and as those who did good to the poor, even though this was largely not the case in reality. The political and social contexts in which the crimes took place also had a large influence on how highwaymen were perceived, often providing justification for the crimes they took part in. These factors helped to create the myth of the highwayman long before Dick Turpin was e...
It appears to me that pictures have been over-valued; held up by a blind admiration as ideal things, and almost as standards by which nature is to be judged rather than the reverse; and this false estimate has been sanctioned by the extravagant epithets that have been applied to painters, and "the divine," "the inspired," and so forth. Yet in reality, what are the most sublime productions of the pencil but selections of some of the forms of nature, and copies of a few of her evanescent effects, and this is the result, not of inspiration, but of long and patient study, under the instruction of much good sense…
In addition, the use of spot lighting also draws more attention to the pieces, especially in dimly lit rooms. I feel that it would also be appropriate to set an intimate, feminine ambiance, which relates to the fact that the artwork celebrates female influence. I want the audience to feel like they’re stepping into the House of Invention and perhaps even discover some revelations about themselves. As the audience circulate through the exhibit, they will feel the mystic and protection of the art and culture Indigenous artists such as Christian Chapman and Norval Morrisseau have been fighting to preserve. The exhibit will be the Future of the House of Invention, which could also serve as the
...ng materials also linking back to Herzog’s use of wood. This is reflected an interest in the use of Japanese wooden-frame traditions showing the sensitivity and irregularity of the composition.
Her technique used is adhesive on the wall, black cut paper, and a projection. The background of the silhouettes exhibit has warm colors, and trees arching along the path to the unknown. Her visual elements are circles, straight thin lines, curved lines, triangles, and positive shapes. Walker identify her pieces as “making depth” the illusion of the audience standing there seeing their own shadow bouncing off a wall by the light of the projectors. Therefore, the audience can visually see themselves in the
In the artwork, the bright carpet contrasts with the untamed nature of the forest, despite the obvious link with nature through the floral motifs. This highlights the destruction and attempted integration of nature with the artificial. Here, Laing has played on typical domestic floor covering by combining nature and contemporary living, re-inventing the mundane habit of hanging images of nature in our households and replicating its patterns in decor. This is a tongue in cheek comment on society’s journey of living in the natural environment and society’s isolation from it, exemplified by the way it is used as something that is not valued but rather is just decorative. Additionally, the introduction of man-made materials into a natural environment and its subsequent contrast through the complimentary red and green hues of the carpet and rainforest …heighten the tone and conceptual vigour of the union (Art Gallery of New South Wales, 2006).
In the sculptures, Buddha with Wall by Rachel Harrison and Patrick by Oliver Herring, the artist’s use distinctive materials such as digital e-prints and Portland cement. Both artists’ are also aware of the size, orientation, and the relation to the surrounding space in order to create realistic statues needing to be viewed from all points. Harrison and Oliver created their sculptures differently and more complex than normal sculptures. Oliver uses over a million different photos of his model, Patrick, in order to cut each photo and create a three- dimensional image with all of the photos. This allows a close up to his model’s hair, skin, and so much more.
The use of materials to complement a design’s emotional reaction has stuck with the modernist movement. His implementation of these materials created a language that spoke poetically as you move through the structure. “Mies van der Rohe’s originality in the use of materials lay not so much in novelty as in the ideal of modernity they expressed through the rigour of their geometry, the precision of the pieces and the clarity of their assembly” (Lomholt). But one material has been one of the most important and most difficult to master: light. Mies was able to sculpt light and use it to his advantage.