“Taago” was done by one of Africa’s most modern artists El Anatsui. It appears that this piece of art would be considered a low relief sculpture. The material which consist of aluminum and tops of liquor bottles is expressed in a powerful manner. The values that are expressed is that this artist created a use for discarded items and made a type of metal cloth. The creases in the Taago creates a three dimensional affect. These materials mattered to the artist, he saw something old and renewed it in an artistic manner. My response to this piece of art is that it is beautiful in term of its structure. The artistic form is expressed through a variation in colors, especially the gold strip and how it is woven into the other colors. This subject …show more content…
Shrine Sculpture for Mami Wata, 1950’s. Wood and Paint. This subject matter makes you want to touch it. My tactile nature truly tempted me. Abstract ideas were expressed when this subject matter was created. You connect with this visually as it is expressed through artistic form. The values shared expressed emphasis on spirituality. This powerful interpretation represents good healthy love and wealth. Different types of textures are used. It creates a well-balanced subject matter. Although this sculpture has two human heads, it is well proportioned. The hue, saturation, and value made the subject matter appealing to the eyes. Mangbetu Artist. Democratic Republic of the Congo. Vessel, ca. 1910. Terracotta. This work of art can fully be appreciated if you know the history behind it. Having the knowledge would allow one to appreciate it more. It would have more of an impact on how it makes you feel. The subject matter is a vessel. It was made in admiration as a present for influential people visiting the Democratic Republic of the …show more content…
Kanaga Mask, late 20th Century. Wood and Pigment. The carving of the Kanaga Mask is interesting. The textures vary. The face of the mask except around the eyes is smooth, with a dark finish. The eyes and the extension above the face of the mask is a rough plastered finish, overall the mask is balanced. The back of the mask is lighter than the front, however, it is the same texture. There are strings that hang down slightly from the back of the mask, that are twisted. They blend in with the color of the back of the Helmet Mask. The artistic form expresses the meaning of the subject matter. The purpose for the mask is to show respect and pay tribute to the dead. The Kanaga Mask is worn at funerals. Kota Artist, Gabon (Obamba Region). Reliquary Guardian, ca. late 19th Century. Wood and Brass. The values that are revealed through this sculpture are the importance of family, past, and present. It also represents the importance of keeping in contact and giving support. The emotions that this work of art has stir in me is sadness. Losing family members is emotionally painful, and you feel a void. The sculpture symbolizes strength as well. It was created in order to form the connection between generations. The sculpture is made of wood and metal. The face dominates the sculpture. The head piece, ears, and legs have a rough and smooth texture. This sculpture is emotionally
Wayne, transforms this painting into a three dimensional abstract piece of art. The focal point of the painting are the figures that look like letters and numbers that are in the front of the piece of art. This is where your eyes expend more time, also sometimes forgiving the background. The way the artist is trying to present this piece is showing happiness, excitement, and dreams. Happiness because he transmits with the bright colours. After probably 15 minutes on front of the painting I can feel that the artist tries to show his happiness, but in serene calm. The excitement that he presents with the letters, numbers and figures is a signal that he feels anxious about what the future is going to bring. Also in the way that the colors in the background are present he is showing that no matter how dark our day can be always will be light to
The artist says, "I first used the horse images as a metaphorical substitute for myself-it was a way of doing a self-portrait one step removed from the specificity of Deborah Butterfield". Sculpturing is all about expression, as the image form has depth as well as width and height; three-dimensional display. Deborah's innovative and intellectual ideas are seen in the horse with its pose and energy; alert and ready to react to whatever comes its way. The form is organized to create the image; each branch represents a part of the horse's physique. It appears as though the horse is made of tree branches and twigs, however, Deborah actually does use branch material for the horse, but then completes the sculpture by casting each element in bronze; creating this life size beast.
The process by which this particular statue was created involved using a method developed by Kaikei, a Japanese sculptor. It was a groundbreaking process that involved carving different pieces of wood separately and then joining them together (“Amida”). Instead of using a single object for creating a sculpture, multiple parts could be used to make the statue easier to construct and put together. After the parts were all joined together, the statue was covered in a lacquer finish and gilt was added to the face to give it the golden look.
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.
Anything from a police man leaning on a wall that gets lost in the crowd on busy days to a cleaning lady next to a garbage can. Duane creates life like art pieces that you can lose the fact that they are fake. The amount of detail along with the expressions on the figures’ faces tells the tale. The spectator creates a relationship to the piece because its the familiar look or feeling they receive from the experience. Duane uses the figures’ as they are portrayed to accomplish an everyday ordinary person moreover with that technique displays the ability to relate the viewers to the art
Sculpture is a medium that artists in ancient Greek commonly used to express spoken truths in an unspoken form. Every piece of ancient Greek sculpture has more than what the eye sees to explain the story behind the [in this case] marble.
At first glance you see fence post and barbed wire but when you look a little deeper it could represent the crucifixion of Christ. The barbed wire as the crown of thrones and the fence post as part of the cross. Someone else may see something very different than what I see in it.
Once again the theme of support, unity, and strength is further represented in the artist choice of mass and volume. Even though the piece of art shows two individual figures, the sculpture is made out of one solid black sandstone. This lets the sculpture appear more robust and compact, signs of strength. However, when observing the relief sculpture in profile it appears that the Queen is slightly tilted back and held up by the sandstone itself which adds a notion of support to the view’s perspective.
This is an extremely high relief sculpture made of limestone. It is to be viewed from a frontal standpoint. It however does have a potential for movement. There seems to be a great deal going on in such a close space. It is very crowded, but dramatic. The figures are intertwining with each other all at once even though there are different things happening. It reminds me of a play with scenes. You can actually step in to it and feel as though you are a part of what is happening because of all the different directions each individual is facing.
2. This sculpture is very easy to understand because it is a very human thing in that it is a sculpture of a person, which anyone
The body of the Power Figure is bumpy and slightly disproportionate due to the fact that it, along with many other Nkisi Nkonde, is carved from wood and adorned with additional metals, beads, shells
The art piece I chose was a pottery that I found very interesting, not only the art itself but the story behind it. This was a red-figure archaic type of pottery; the name of the pottery is called a Terracotta hydria, which is also known as a water jar. This specific pot was made in Greece and South Italy, around 340-330BC. It was also found at Canosa before the year 1878. According to the MET museum “This pot was created by a group of BM F 308, the specific artist is unknown. However, the potter and art was produced in Greek, South Italy, and Apulia.”
I chose this sculpture because I was intrigued by the position of the man and the centaur. I was able to witness that the centaur is trying to invade the personal space of the man. The sculpture showed me that there is a strong relationship between man and creature. The quality of the sculpture made me realize that animals play a big part of a human’s life and can be seen as threatening to humans. It was interesting to see that both the man and centaur were created to have almost of the same structures. This statue has a metallic brown and green, bronze tone and appeared undersized. It has a height of four and a half feet, and six inches. It has long, thin, legs with calf muscles, and bulging thighs. The sculpture evolved from Olympia, Greece. The man and centaur sculpture was created in 750 BCE during an orderly time period. The colors used for this sculpture, proved that it has a longer lasting mold for statues. On the left side of the sculpture, the man has a wrap on his head, that can symbolize, he is some form of a god. On the right side, the centaur has the same head piece as the man, but the body of a horse. It can be seen that the man and
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.
This stone sculpture is a naked human-like figure standing six feet tall. The body is in chiasmos stance with the left leg slightly bent and the left foot slightly behind the right. The head is turned slightly downward and to the right, and its size is approximately 1/6 of the body. The hair is cropped closely to the head with no part. The body has a defined musculature, however the forearms appear to be missing. There is an object behind and to the right of the right leg that is about 2 feet tall and 10 inches wide.