Description In the following essay I will be developing an analysis an artwork from the artist Doug Wheeler. The analysis will be on Wheeler’s DW 68 VEN MCASD 11, which is an installation that was created in a white room that was covered in plastered walls, acrylic paint, nylon scrim,and white UV and Grolux neon tubing. The artwork was created in 1968-2011. This particular art piece has no true subject other than to affect the nature of perception towards the viewer. The artwork is abstract because Wheeler tries to reshape or change the spectator’s perception of the seen world. Formal Analysis The elements of art are the building blocks used by artists to create a work of art, which are: line, shapes, forms, space, color, texture. DW …show more content…
By doing so, wheeler “embraces light as a premium medium in their art and demonstrate a keener interest in perception than in the process of crafting discrete objects.”(http://www.aestheticamagazine.com) Wheeler uses light as a material that can be manipulated and constructed to alter the audience’s perception of it. Bounded by the instillation, the human eye is limited , hence it is optically manipulated through the interaction between artificial light and the walls creating an illusion. In a way the disorientating feeling produced by light-based works and installations is accountable for the immateriality of light. In a sense, the audience becomes the actor upon “his” stage as the ,“...work does not exist without the viewer there to actually take part”(http://www.aestheticamagazine.com). If I were ever able to visit the installation, I can just imagine myself getting lost in my own thoughts and let the illusion consume my mind. Doug Wheeler captivates his viewers within an artwork, which I find innovative and unique in the art world. By creating an interactive installation it really allows the viewer to alter their own reality and let one's mind to experience infinite
Visceral. Raw. Controversial. Powerful. The works which Kara Walker creates have elicited strong and diametric responses from members of the art community. She manipulates the style of antebellum era silhouettes, intended to create simple, idealistic images, and instead creates commentaries on race, gender, and power within the specific history of the United States. She has also been accused of reconfirming the negative stereotypes of black people, especially black women, that the viewer and that the white, male dominated art world may hold. This perspective implies that both her subjects and her artworks are passive when confronted with their viewers. Personally, I believe that more than anything, Walker’s work deals in power -- specifically, the slim examples of power black individuals have over their
People usually expect to see paintings and sculptures in Art Galleries. Imagine the surprise one finds when they are presented with a man stitching his face into a bizarre caricature, or connected to a machine which controls the artist’s body. These shocking pieces of performance art come under the broad umbrella that is Postmodernism. Emphasis on meaning and shock value has replaced traditional skills and aesthetic values evident in the earlier Modernist movements.
Many of these artists' works contain subtle hints to the author's opinion on the subject. By analyzing their central compositional effects, the viewer can obtain a greater appreciation and understanding for the art.
The playwright provides many aspects to create a play and to make it interesting. The actions and dialogue the characters make must be fluid and have a purpose. The playwright entices the audience with the different aspects to captivate their attention and keep it throughout the play. In The Illusion, Tony Kushner provides vivid details of the characters’ actions through dialogue. The actions characters perform absorbs the audience’s attention and leaves them wanting to see more of what will happen next to the characters. Although all aspects provided by the playwright are essential, action is the most riveting.
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.
In his book Art for God’s Sake, Philip Ryken breaks away from “… a negative view of the arts” (11) which he perceives in the church and argues for the evangelistic and philosophical value of art. He attempts to defend the arts and outline how they ought to be used within the church, but his vision falls short. Art for God’s Sake contains important ideas, but it is poorly researched and fails to develop a complete vision of what it looks like for art to glorify God.
Within new media, there exists the desire and possibility to produce new effects upon the viewer, to grant new experiences. Pipilotti Rist seeks the creation of virtual utopias within the limitations of the video medium in installations such as her recent work at the Museum of Modern Art, Pour Your Body Out (7354 Cubic Meters) in 2009. The work transforms the typically bare atrium of the Museum of Modern Art into an active environment, where a reciprocal relationship between the viewer and the projection can take place. Communication between viewers also forms an essential component in the work; discourse becomes the mediator in the spectator’s relationship to the imagery.
In the following essay the painting Nighthawks by Edward Hopper will be analyzed to determine what messages the artist was trying to convey to the viewer, and the significance of the very detailed depiction of the figures occupying the diner. The realism style of the painting that contributes greatly to the intense effect on the viewer, chosen for this reason, will be explored as well. The somber and lonely mood of the painting will be analyzed as well as the aspects of the empty street and the sparsely populated diner. I will discuss how the painting accurately represents the Great Depression era it was painted to portray, why this specific medium was chosen and how it affects the painting itself.
The director’s concept was again realized in a very creative and simple way. The stage crew did not have time to literally place trees on the stage, or to paint a border that elaborate—the light made the slatted walls look real and really allowed the audience to become a part of the experience.
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.
Théodore crafted the image hoping that the art enthusiasts would be able to get a glimpse of the real incident. In his book, Ways of Seeing, John Berger (1972) claims that any image has an outer meaning and a deeper meaning that can only be deduced by people who understand the art and its origin. The next discussion will assist one to derive the main themes of this particular artwork. It will help reveal details such as the timeframe and the source of inspiration of the art. Lastly, it will discuss the impact of the art to the creative industry and the world in general.
... a way for audiences and performers to connect on a closer level. They are both experiencing the surreal, disassociating themselves from the performance taking place. They both become more introspective. The performance becomes a vehicle for self-understanding, metacognition.
AA theory by Clive Bell suggests the pinpoints the exact characteristic which makes a work true art. According to Bell, an artwork must produce “aesthetic emotion” (365). This aesthetic emotion is drawn from the form and formality of an artwork rather than whether or not it is aesthetically pleasing or how well it imitates what it is trying to depict. The relation of objects to each other, the colors used, and the qualities of the lines are seemingly more important than what emotion or idea the artwork is trying to provoke. Regardless of whether or not the artwork is a true imitation of certain emotions, ideals, or images, it cannot be true art unless it conjures this aesthetic emotion related to formality (367).
Paintings, like many forms of art, are very subjective—what one may find intriguing another may completely disagree. “Art is physical material that affects a physical eye and conscious brain” (Solso, 13). To glance at art, we must go through a process of interpretation in order to understand what it is we are looking at. Solso describes the neurological, perceptual, and cognitive sequence that occurs when we view art, and the often inexpressible effect that a work of art has on us. He shows that there are two aspects to viewing art: nativistic perception—the synchronicity of eye and brain that transforms electromagnetic energy into neuro-chemical codes—which is "hard-wired" into the sensory-cognitive system; and directed perception, which incorporates personal history—the entire set of our expectations and past experiences—and knowledge (Solso, preface)
I picture myself center stage in the most enormous and fantastically beautiful theater in the world. Its walls and ceilings are covered in impeccable Victorian paintings of angels in the sky. A single ray of light shines down upon my face, shining through the still, silent darkness, and all attention is on me and me alone. The theater is a packed house; however, my audience is not that of human beings, but rather the angels from the paintings on the walls come alive, sitting intently in the rows of plush seats. Their warmth encompasses my body, and I know at that moment that it is time to begin.