In today’s art work, the more unusual, the more artistic. Gnaw, by Janie Antoni is unusual, to say the least. The ability to take a 600-pound block of chocolate, and a 600-pound of lard, and turn this into food into art. There are no traditional tools used, her teeth, therefore concluding the title; Gnaw. The bit marks a seen as irregular mark going not in any real direction. I felt, if she used her teeth, I was looking for bite marks. I am very curious to know how was this done. There is a subtext to this piece, saying the style of art is changed, and Janie Antoni is the woman has changed the art aesthetics. I feel this is not about the finished work of the chocolate and lard. The actual way the art work was created, this is the largest
Into Bondage, created by Aaron Douglas in 1936, is an abstract depiction of American enslavement of Africans presented in oil on canvas. The piece shows shackled African figures with low-hung heads walking toward slave ships bound towards the Americas toward their future destiny of slavery. The work borders on abstract and realistic, with the African figures appearing as more like silhouettes and the foreground and background in monochromatic coloring featuring abstract, concentric circles and other basic shapes. The piece appears to be focused largely on one particular African man, who stand just to the right of center, looking toward the sky with a solemn look on his face, and stands as the
How can a person reach back into the past and retrieve the criminal events of sixty years ago? Read the works provided in “Art from the Ashes,” and wait; wait for words to explode onto an emotionally unprepared mind with enough force to awaken previously dormant areas of one’s psychological capacity. One can then begin to understand. Lawrence L. Langer’s introduction provides keys to open doors of impossibility, to expand sympathy, and to venture into the dark corners of an individual’s capabilities. He reminds us not to mistake true experiences for “an alien world of fantasy” or to look for triumph of love over hate (Langer 4). The stories he has selected for this anthology “gaze[] into the depths without flinching” (Langer 5). They must also “discover and accept the twisted features of the unfamiliar without searching for words, like ‘suffering’” (Langer 6). His main principals of selection, however, include “artistic quality, intellectual rigor, and physical integrity of the texts.” The works chosen by Langer must be academically appealing but still be able “to liberate responses on the deepest levels of psychological, mental, emotional, and aesthetic concerns” (Langer 8). The following stories represent the approaches and difficulties put forward by Langer: “The Key Game” by Ida Fink, “Spring Morning” also by Ida Fink, and “Poem About a Herring” by Abraham Sutzkever. In these works, characters yearning to exist fully are placed in critical situations where they are always faced with the constant anticipation of death. The striking shortness of time is an always present force facing the characters.
The Resurrection was made by Francesco Buoneri, known as Cecco del Caravaggio around 1619-20. The oil on canvas painting was commission by a Tuscan ambassador. Its new permeant home is in the Art Institute in Chicago. I chose to look at this painting for many different reason. The Resurrection is an amazing painting that through basic size, composition, and theme that captured my attention.
Ono's instructional pieces are her most popular. The instructions are an active part of completing the work. It is a canvas on a wooden panel connected to a hammer hanging from a chain. A chair is near the canvas with a vessel of nails on it. She puts directions for the audience to participate in the art making. The viewer would hammer a nail onto the wooden panel, and a wrap a strand of their hair around it.
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.
This paining by Edward Hooper is of a lady sitting on a bed in a hotel room wearing nothing but just a shirt. The painting has bright colors like yellow and red but they do not bring life in to the painting. instead they push more focus on to the shadow in the canvas and the dark green couch that set the depressing look in the image. The women sitting on the bed is slouched over as if she is exhausted. There is what seems like a soldiers’ helmet sitting on the shelve on the right. The lady who is the focus of this piece has a book in her had but from the way its slouched over at the tips of her fingers the viewer can identify that she is not interested in it. There are two suitcases on the floor that seem unopened however her pants seem to
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 the University Of Arizona Museum Of Art, the Pfeiffer Gallery is displaying many art pieces of oil on canvas paintings. These paintings are mostly portraits of people, both famous and not. They are painted by a variety of artists of European decent and American decent between the mid 1700’s and the early 1900’s. The painting by Elizabeth Louise Vigee-Lebrun caught my eye and drew me in to look closely at its composition.
“Dance is movement aware of itself. Dance is purposeful movement that employs artful communication to express ideas and feelings, meaning that aesthetic intention is present” (Cornett, 2014, p 394). Art could be anywhere and anything it just needs to have creativity in order to make it unique and beautiful. One simple art form, could speak for a thousand words and convey many significant messages such as the art form of dance. Baile Folklorico is a great example of communicating in a unique and a stunning art form. Baile Folklorico is a folk dance that elaborates different dances, music and costumes to represent a Latin or Mexican culture.
In the poem “One Art” the thesis statement declared in the first stanza, on the first line as “The art of losing isn’t hard to master” also repeating it again in line 6 and 12. The statement is better interpreted as “The skill of losing is not hard to attain”. Bishop speaks in the poem as if she has successfully mastered the skill of losing. She also goes around in circles admitting that the art of losing is not hard to master as if that is what she is making herself believe is true. She is also helping the reader create a habit as the reader reads and repeats the refrain of “The art of losing isn’t hard to master” not to mention the line 4 where she tells the reader to make it a habit to, “Lose something every day”.
As I enter the Gioconda and Joseph King Gallery at the Norton Museum of Art the first thing that Caught my attention was a painting measuring approximately at 4 ft. by 10 ft. on the side wall in a well- light area. As I further examine the painting the first thing I notice is that it has super realism. It also has color, texture, implied space, stopped time, and that it is a representational piece. The foreign man sitting on the chair next to a bed has a disturbed look on his face and is deep into his own thoughts. It’s as if someone he loved dearly just experienced a tragic and untimely death. He is in early depression. I could feel the pain depicted in his eyes. A book titled The Unquiet Grave lying open on the floor by the unmade bed suggesting something is left unresolved. The scattered photos and papers by the bedside cause redintegration. The picture of Medusa’s head screaming on the headboard is a silent scream filled with anger and pain, yet it cannot be heard. I feel as if I am in the one sitting in the chair and I can feel the anger, and regret.
The first painting portrays an image that is, "dark and large" and "flecked with foam", indicating the dark complexion of Bertha Mason, who is from the Caribbean, her imposing size, and, with the addition of foam from the rabies and madness, her own insanity. It steals from the "fair arm," (Jane) a golden bracelet studded with gems for, perhaps, a wedding band, symbolizing the failed marriage ceremony between Rochester and Jane. The sudden announcement of Rochester's bigamist relationship to Bertha snatches away the wedding band that should have been on Jane's finger, instead returning it to Bertha, leaving Jane to drown in her emotions before she resolves to flee Thornfield. In comparison, critic Mark Kinkead-Weekes argues that the paintings
The artwork I chose for the art criticism project was ‘The Survivors’ by Kathe Kollwitz. The piece was created in 1923 in Berlin, Germany, where she resided with her husband. She and her husband resided in a poorer area, and it is believed to have contributed too much of her artwork style. ‘The Survivors’ is currently displayed in two museums, the MoMA and the Kathe Kollwitz Museum. In the piece there is a woman directly in the middle, with sunken in cheek bones is draped in a black cloak. Her arms are around three small children, who look very frightened. On each side of her body there are an additional four small children who convey sadness upon their innocent faces. Also, they are outstretching their arms as if they are begging for her to give them something. In the background, on the top left side, there are two elderly men with their heads down, looking as if they are very sad and
He however, is not eating the items he finds. He is constructing them into something new. Varda’s other subject takes the trash, metal scraps, and old furniture he finds and forms them into pieces of art. He then either keeps the pieces for himself or sells it to buyers interested in eccentric art. He is re-coining the phrase "turning something borrowed into something new". This form of gleaning is more communal that eating garbage. In America, it is common for artists to use abnormal things to create sculptures. Many people may find the pieces this man makes to be odd or dissatisfying, but he still keeps on making them regardless of the societal norms. He does not have an issue with artists who use more mainstream tools and accepts their ideas. His contentment comes from taking something unwanted and making it desired again. This makes his life have a greater purpose than if he was to use a paint brush or clay. Any type of artist does what he or she loves, they just use different ways to create them. This man sets an example that what makes a person happy can come from numerous outlets and none of them have a greater importance than the
Diarmuid Costello, Jonathan Vickery. Art: key contemporary thinkers. (UTSC library). Imprint Oxford: Berg, 2007. Print.