Cedar Rapids, Iowa, September 3, 2016 - The Artisan’s Sanctuary is pleased to present a diverse body of dynamic artworks by Iowa City artist, Jonathan Sims. The exhibition, SNACK ATTACK, features over 50 paintings and both digital and animated lenticular prints depicting an array of transformed cartoon food. The work included in this energetic show will subsequently be collated and published as a hardbound catalogue.
Sims’ current work explores the ubiquity of common food items found in popular Western culture through a humorous, satirical, and sometimes nonsensical lense. The brightly colored works on paper and panel jump off the surface with vibrating neon pigments and expressive gesture. He has long been inspired by graffiti, skateboard
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The disrupted domestic scene evokes a visceral reaction? and leaves the viewer intrigued by the unresolved narrative.
Several of the digital prints portray a more serene atmosphere, such as a solitary doughnut floating in the middle of an alluring candy-colored page. The levitating baked good appears almost as an apparition or divine icon, adding humor to what may initially appear ordinary. The result is an image that conjures feelings of simple gratification and attainable joys. These works exhibit the artist’s virtuosic drafting skills and allow the audience to explore the seductive textures rendered through exquisite modeling techniques.
Previously shown at Prairie Lights in Iowa City and Need Pizza in Cedar Rapids, this collection of cartoon food art can be previewed at skelenaut.com. The hardbound artbook will be printed with support of backers through the crowdfunding site Kickstarter. “I’m pumped about this project for many reasons, but I’m proud to say that the book itself will be the slickest, fanciest, and brightest thing I can produce. The backer rewards will include limited edition prints, an enamel pin of my Skull Slice art, a skateboard deck adorned with my Pork Pie design, one-of-a-kind acrylic paintings, and more!” says
When that room is entered all voices are hushed, and all merriment silenced. The place is as holy as a church. In the centre of the canvas is the Virgin Mother with a young, almost girlish face or surpassing loveliness. In her eyes affection and wonder are blended, and the features and the figure are the most spiritual and beautiful in the world's art.
Large and medium sizes of the forms dominate over small in the painting. The arrangement of the objects in this art piece is mostly centric. However, even though it is central, it is not symmetrical. The painter also touched the left edge of the burlap and the right bottom corner of it; this helps viewer’s eye to enter the painting smoothly, move around and escape from it. The asymmetry of the arrangement creates the sense of imbalance. Lam uses basic lines and shapes in the composition. Nevertheless, the painter creates wonderful light movement inside the figure with wavy shapes, which directs viewer’s eye from the top to the
The American artist Fred Tomaselli arranges pills, leaves, insects and cutouts of animals and body parts to create his pieces of art. His incorporation of items are arranged to suggest a level of perception along with a heightened visual experience. This gives me, the viewer, a sense of Energy. The perception of color that Fred uses gives a gravitating feel. If you take a look at the heart of this piece you can instantly visualize the different items Fred incorporates into the piece.
The visual elements in this painting are shape, color and light. The shapes and contours of the mother and child are life like.
He aspires to logically persuade his audience about the insanity of the way in which food is processed and stored. He comments on the ways by which the imperfections in the food are masked in the kitchen. The author reiterates his experience at the hands of older male chefs and the things he saw and felt while training in the kitchen. He endeavors to debunk the myth that cooking in a large kitchen is anything but noisy and infernal, as portrayed by movies such as “Ratatouille (2007)”. The essayist intends to draw his audience’s attention to the fact that eating is an interaction with the natural world. The writer discloses a story about his son to illustrate the degradation of the definition of food in society today. He prefers to reason with his audience purely through logic. He strives to make his audience see that they both literally and metaphorically digest the planet through
In this work, the colors and shapes come together to form the depiction of a woman in a chair gazing out at the landscape beyond a window. This subject matter relates to Picasso’s infamous relationship with women and may serve as a depiction of one of the many women he was linked with. The painting depicts the woman with a dual omniscient and introspective vision. Picasso develops this dichotomy through the depiction of a wayward eye gazing out the window and a larger ubiquitous eye glaring directly at the viewers. In constructing such a contrast, the painter is able to convey the personality...
In the article “The End of Food,” Lizzie Widdicombe describes an advancement of our food culture through a new product developed by three young men living in San Francisco’s Tenderloin district. After failing to produce new inexpensive cellphone towers on a hundred seventy thousand dollar investment, the three men went on to try and develop software with their remaining funding. While trying to maximize their funding’s longevity, they realized that their biggest budget impediment was food. In fact, it reached the point where their diet comprised of mostly fast food, and eventually they despised the fact that they had to spend so much time and money on eating. Due to this hardship, Rob Rhinehart, one of the entrepreneurs, came up with the
His cousin, the man who initially inspired him, was making characters from the game Space Invaders out of tiles which he then proceeded to glue onto walls and various other places to draw the eye of the surrounding population. His cousin, known to the public as Space Invader, was a big name in the street art community, not only to help start the spread of street art but to also assist in inspiring one of street art’s biggest artists.... ... middle of paper ... ...
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…
Food Inc. addresses many political issues during the film to draw in the audience. Issues such as: the environment, education, workers’ rights, health care, climate change, energy control, to name a few. Director Robert Kenner exposes secrets about the foods society eats, where the food has come from and the processes the food went through. It is these issues that are used as politics of affect in both an extreme visual representation and a strong audio representation that has the biggest impact on the audience and their connection to what they are being told. This paper aims to discuss the film Food Inc. and the propaganda message for positive change, as well as, the differences between seeing food and deciding...
... though employing a familiar subject (the female form), shows the transformation from busy mosaics with gold embellishments to a brighter palate of colors and the use of stronger, bolder lines. The piece exemplifies his versatility as an artist.
The Dark Side of the All-American Meal, a work examining the country’s fast food industry (Gale). Schlosser sets off chapter 5: “Why the Fries Taste Good,” in Aberdeen,
Gianoulis, Tina. "Foodies." St. James Encyclopedia of Popular Culture. Ed. Thomas Riggs. 2nded. Vol. 2. Detroit: St. James Press, 2013. 351-352. Gale Virtual Reference Library. Web.22 Apr. 2014.
The contrasts between depth and surface, figure and landscape, promiscuity and modesty, beauty and vulgarity all present themselves in de Kooning’s Woman and Bicycle. Although the figure is a seemingly normal woman out for an afternoon with her bike, she becomes so much more through the artist’s use of color, contrast, and composition. The exotic nature of woman presents itself in her direct stare and slick buxom breasts in spite of a nearly indiscernible figure. It is understood that, on the whole, de Kooning did not paint with a purpose in mind, but rather as an opportunity to create an experience, however, that does not go to say that there isn’t some meaning that can come of this work. Even Willem de Kooning once said that art is not everything that is in it, but what you can take out of it (Hess p.144).
When I saw Vermeer's Girl with a Pearl Earring about five years ago at the National Gallery in Washington, D.C., I felt something about the painting that I had never felt before when looking at artwork. I felt as if this girl, this young woman in the painting was real, hiding in the museum behind this canvas. She was in the flesh. Her skin was still dewy from three hundred-something years ago, the light across her face still glowing. She was in the round, her eyes followed mine, she was real. She was about to speak, she was in a moment of thought, she was in reflection. This girl was not crimson red or titanium white, she was flesh. Vermeer caught her, a butterfly in his hand. She was not just recorded on canvas, she was created on canvas. She was caught in a moment of stillness. Vermeer creates moments in his paintings. When viewing them, we step into a private, intimate setting, a story. Always, everything is quiet and calm. I realize now it is no wonder I had such a strong reaction to Vermeer the first time I saw him: he is a stillness seeker.