Bmw Art Car Analysis

1. Jenny Holzer is an American artist, born in Ohio in the 1950’s. She received her undergraduate degree from Ohio University and continued to receive degrees from several colleges of art. These colleges included Williams College, the Rhode Island School of Design, The New School, and Smith College. She later moved to New York after joining Whitney Museum’s Independent Study Program; where she currently lives and creates her works of art. Holzer’s father owned a Ford Dealership and her mother taught horseback riding lessons before marrying. A few artists that she was inspired by include, Tom Otterness, Robin Winters, Colen Fitzgibbon, and Diego Cortez.
2. Holzer started off by painting simplified writings into phrases all over the city. Her
In both works, Holzer carefully considers all aspects of each work; including size, color, shape, and font. Another similarity between the two pieces of art is that Holzer uses an interplay of language, objects, and context as equal elements which make her work unique. Both works are three dimensional. The two artworks have many differences however. Protect Protect is a large scale installation, whereas BMW Art Car is life-size. Protect Protect uses LED lighting and intense use of primary and secondary colors. BMW Art Car uses traditional BMW colors white, blue, and black. Protect Protect was created with LED signs and electronic installation. BMW Art Car was created using traditional motor parts and shiny foil for the lettering.
6. Some believe that Holzer’s strength lies in her medium, not her message. I believe that it’s a dissonance between them. When I look at the BMW Art Car I think of speed. It also takes me back to childhood because my dad used to drive BMW’s. When I look at Protect Protect, I can sense the tension behind what the messages are conveying. The vivid yellow, red, purple, blue, and pink lights are seductive and mesmerizing. The colors express “beauty yet, pain” and “pleasure yet,
American born photographer Cindy Sherman intricately disguised herself as women that reflected their social roles and stereotypes and take conceptual portraits. Often, Sherman challenged the stereotypes of our cultural portrayed by the media. She would use exaggerated features to emphasize the social representation and portrayal of the character that she was shooting. Sherman began using black and white in her series of sixty-nine “Untitled Film Stills” and then progressed to color films with large prints. The lighting and facial expression were the two keys to shooting a successful portrait.
9. We notice that many of the characters in Sherman’s portraits are nearly the same. These Untitled Film Stills portrayed the roles of women since World War II. Featuring characters from film noir, these images caught the attention of women who grew up seeing glamourous ladies on television. Cindy Sherman produced a “Sex” series in 1989 where she constructed medical mannequins in disturbing sexual positions as a response to the NEA funding cuts and attempt to censor