The difference in the approach between Margaret Kilgallen and Julian Schnabel can clearly be seen on the canvas. Ms. Kilgallen preferred to paint images that were flat yet striking; she favored street art over the main stream types of fine art. Street art is considered graffiti by a large number of people, since it is frequently placed without the property owner’s knowledge.
Mr. Schnabel chose to engage in the Neo Expressionism method of art, that style of art dominated the art market from the 1970’s to the mid 1980’s. The fascination with this type of art satisfied a hunger for something different, and touched the public in several ways (Brenson).
Ms. Kilgallen was born in Washington, D.C. in 1967 and went to Colorado College, where she received a Bachelor of Arts in printmaking in 1989. Her influences were from American and Indian folk art, hand painted signs, and typography from the 15th and 16th century (Kilgallen). Her color palette was influenced by early hand painted art from the southwestern area of United States; they were brown, a pale yellow, and black. She preferred to paint things that were happening around her, such as a woman sitting next to a man, or her husband painting graffiti on a wall.
Ms. Kilgallen produced several paintings that are very interesting. One is a photograph of an elderly gentleman sitting in front of an old wooden fence or building. His appearance is a little rough-looking with a short white beard, and a ball cap that reads Weed, California. The clothes that he is wearing are clean, but slightly tattered, and he is wearing several layers as though he may spend a lot of time outside. He has an intense look on his face as though he feels sad; or if he has regrets. She painted a woman sitting ...
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...kes it important. Both of these artists have a large following now, and will long into the future.
Works Cited
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Brooks Adams, Donald Kuspit, Jorg Zutter. Julian Schnabel Works on paper 1975-1988. Munich: Prestel-Verlag, 1990.
Kennedy, Randy. "New York Times - Movies." 18 November 2007. New York Times. 17 January 2010 .
Kilgallen, Margaret. Influences and Train marking. with Art 21 PBS.org. PBS. 2001.
Preston, John. "Julian Schnabel Interveiw." The Telegraph 3 December 2010: 1.
Vera Olivia Weatherbie was an accomplished painter in her own right, regarded more so now than during her lifetime. She was born in 1909 in Vancouver and attended Brittania Secondary School. She grew up in the Strathcona neighbourhood near Chinatown in Vancouver’s East end. Her parents were strict, conservative Presbyterians, yet somehow she was able to persuade them to let her attend the Vancouver School of Decorative and Applied Arts (VSDAA) at the young age of 16.
The idea that art can be a service to people- most importantly a service to poor and disenfranchised people is one that may be disputed by some. However, Elizabeth Catlett and other artists at the taller de Graffica Popular have proved that art could be made to service the poor. Catlett in particular is someone who has always used her art to advocate for the poor and fight injustices. While her activism and political views were very impactful, they were also very controversial. Catlett`s art and activism influenced African American and Latin American art by changing the narratives of Black and Brown working class women. In their books titled Gumbo Ya Ya, The Art of Elizabeth Catlett, African American Art: The Long Struggle, and Elizabeth Catlett: Works on Paper authors Leslie King-Hammond, Samella S. Lewis, Crystal Britton, Elizabeth Catlett, and Jeanne Zeidler speak of the work of Catlett. In a paper titled -----, ---- also speaks of the work of Elizabeth Catlett and her legacy as an activist.
Subject: Our docent, Mary, shared with us that this artist loved to paint the human body and was well known for his painting of the human body and skin. This piece certainly highlights those skills. The colors of the hair and skin are incredibly life like.
After Jean-Michel Basquiat received acclimation from the public over his unique art, many young, creative and enthusiastic artists emerged beginning Neo-Expressionism, which means the new wild ones. Neo-expressionists would create pieces that incorporated objects we recognize and see on a daily basis such as people and animals in an abstract, yet stirring way. Neo-Expressionists would create with great emotion which could sometimes be in a turbulent manner which is what gives this type of art such meaning and why it caused such a great
Shea, R. 2004. Marcia Myers: Twenty Years Paintings & Works on Paper 1982–2002. Manchester, United States: Hudson Hills.
Art could be displayed in many different forms; through photography, zines, poetry, or even a scrapbook. There are many inspirational women artists throughout history, including famous women artists such Artemisia Gentileschi and Georgia O’Keeffe. When searching for famous female artists that stood out to me, I found Frida Kahlo, and Barbara Kruger. Two very contrasting type of artists, though both extremely artistic. Both of these artists are known to be feminists, and displayed their issues through painting and photography. Frida Kahlo and Barbara Kruger’s social and historical significance will be discussed.
Andrew Lloyd Green Smith’s painting, Eileen Kramer, represents a long shot of an old lady that is thinking. Green smith uses media of oil on linen, which has
Alice Neel’s painting Suzanne Moss was created in 1962 using oil paint on canvas. As the title suggests, the painting depicts a woman’s portrait. Now resigning in the Chazen Museum in Madison, WI, this portrait of a woman lunging is notable for the emotional intensity it provokes as well as her expressionistic use of brush strokes and color. The scene is set by a woman, presumably Suzanne Moss, dressed in dull back and blues lounging across a seat, staring off to the side, avoiding eye contact with the viewer. The unique style and technique of portraiture captures the woman’s piercing gaze and alludes to the interior emotions of the subject. In Suzanne Moss, Alice Neel uses desultory brush strokes combined with contrast of warm and cool shadows
This essay will be a visual description of White Trumpet Flower, an oil painting of 75.6 cm x 100.9 cm in dimensions made by American modernist artist Georgia O’Keefe in 1932. Each paragraph will closely analyze and describe the presence of each formal element of art in the composition. As a whole, the picture illustrates an enlarged white trumpet flower using, what I believe is a combination between sponge painting and smooth brushstrokes, which brings the flower to life and gives the composition a truly naturalistic touch. The surface of the painting appears to be smooth, which contrasts with the visual texture of the composition. In terms of the composition arrangement, this piece of art displays a sense of radical balance, as the main focal point lays in the center - right at the heart of the trumpet, then our visual movement slowly circles out onto the bending white petals, then onto the darker cold colored leaves, which respectively, slowly blend into barely noticeable gray background, only left to occupy less than 10 percent of the surrounding space.
The Art Nouveau style and movement, at its height between 1890 and 1910, enabled a sense of freedom for both its artists and the public as a whole. It offered strikingly original ideologies and transformed both the artistic and the mundane world alike with common characteristics like curvilinear shapes and a sense of the return to the natural and to nature as well as being at the crux of a fundamental change in how artworks were mass produced. The Art Nouveau style seemed to walk between the two worlds: it was simultaneously fantastical and grounded in reality and there was no artist in the period that was better equipped to “know and see the dance of the seven veils,” (Zatlin) than Aubrey Beardsley. It is impossible to fully discuss the value
Gardner, Helen, and Fred S. Kleiner. Gardner's Art Through the Ages: The Western Perspective. N.p., 2014. Print.
The identity of a graffiti artist is hardly ever known, but the style of the art is. They can be identified by the way they express themselves. It can be broad and can be shown in many different forms. The forms can range from a simple tag of identity, an expression of protest and politics, to an alluring scene of art work. Although the graffiti writers work is their expression; they are trying to convey a message about the issues in the world around them.
Within the last few years, graffiti has been deemed an acceptable and tasteful genre of art. Long gone are the days where the spray can belonged exclusively to the local delinquent. From the past to present, there has been a shift in how street art is recognized by the general public and the government. Laws and policies are being put into place that both defend and threaten the promulgation of this creative medium. By both protecting and prohibiting, the government displays an inconsistent and confusing relationship with street art. When art is so subjective, it can become challenging to delineate the fine line between vandalism and creativity. This essay will discuss the changing public perception of graffiti, the trademark and copyright battles between graffiti artists and property owners, the categorization of street art as an artform, and the beneficial aspects of commissioned street murals.
Looking from the taggers' point of view, one can understand why taggers and graffiti artists draw and do graffiti, but this does not justify the fact that often times this form of self-expression is not acceptable when it is done on other peoples property. Having the opportunity to listen (film, class, talk show) to why taggers and graf...
Street art is understood to be a subculture of graffiti, but cannot be simply defined as one form (Hughs). “Street art, originally coined by Allan Schwartzman in 1985 (Lewisohn, 2008),