In his painting, Paris Street: Rainy Day, Gustave Caillebotte showcases his view on late 18th century Paris. The figures nearest to the audience are blurred and seemingly out of focus whereas the pedestrians and carriage towards the center of the town square have sharp edges and are more distinctly defined. The images in the background of the painting remain nebulous and dim. The point of focus advances the viewers eyes to the buildings in the background. Caillebotte demonstrates a two-point perspective using parallel lines in his arrangement of roads and buildings. This two-point perspective sends the focus to the back and blurs out images on the foreground.…
A certain emotion or an "aura" is said to be present when an artist creates an art work. However, some of the reproduction pieces inside Kinkade's signature gallery are highlighted by his specially trained assistant; I believe these paintings are no longer evoking this so-called "aura" of the original work. Aura is something that cannot be duplicated. Reproductions of art pieces are simply tangible and concrete object. They are digital imitations that "could be soaked in water, peeled off the paper, and affixed to a stretched canvas, so that it showed the texture of the canvas the way a real painting would." As Benjamin stated, " the most perfect reproduction of a work of art is lacking in one element: its presence in time and space, its unique existence at the place where it happens to be." The original paintings have their own unique characters and history, and these are not the things that art reproductions can generate. "The presence of the original is the prerequisite to the concept of authenticity."…
In this painting, the movement has a significant impact on how the viewer will see it. John has tended to control the direction of how he wanted the viewer to look at…
When I first observed the sculpture, I realized it was an installation. This three-dimensional work of art took up space in an art gallery and was designed to transform the perception of a space. The lines of the sculpture can be described as organized because the “X” is two straight…
Wiley’s piece communicates stability with straight horizontal and vertical lines. For example, in the young African-American man his broad shoulders, attire and unfamiliar posture challenges the viewers. Overall, it communicates a sense of power and authority. Wiley also challenges the traditional law of space. The space is shallow. The overlapping of flowers on the male figure stands out with a light blue background. It gives the male figure an illusion of height and width. Wiley shows ranges of blue tones in his jeans and brown tones in his skin. The painting has both primary and secondary colors; such as, the yellow and orange in his shirt and the red hat he’s holding in his left hand. Also, in the background he uses yellows, blues, greens and reds in the flowers. His painting has many highlights; for example, the highlights in the male figures right hand and arm, chin and neck, right pants leg, the hat and the top of his shoes. In addition, there are also many cast shadows; such as, in the males figures left pants leg, top of the hat, inside his right arm and the whole right side of his face. Wiley manipulates the paint to create visual texture of baggy, more ridged and tapered look in male figures pants. The floral motif exemplifies a feeling of movement all over and a natural pattern that are not exactly alike. When you look at this painting,…
THANK YOU all for being here this brisk March afternoon. I’d like to thank the GRAM for the invitation to speak in conjunction with such a wonderful exhibition, and especially Jean Boot for all of her diligent coordination on my behalf. (There are 3 parts to my presentation. First, a virtual tutorial on the process of screen-printing; secondly, a discussion of the formal and conceptual potential inherent to printmaking, and the way in which Warhol expertly exploited that potential. Finally, I will conclude with an actual demonstration of screen-printing in the Museum’s basement studio.) In coming weeks, you’ll have an opportunity to hear much more about the cultural-historical context for Andy Warhol’s work from two exceptional area scholars, beginning next Friday evening with a lecture by my colleague at GV, Dr. Kirsten Strom, and on _______ Susan Eberle of Kendall College of Art & Design. As Jean indicated in her introduction, I teach drawing and printmaking at GVSU. In other words, I’m approaching Warhol’s work very much as a studio artist. As a printmaker in particular, I’m predisposed to note the large degree (great extent?) to which the innate characteristics of the medium – in this case screen-printing - enable and inform the meaning of Warhol’s work. At the outset of each printmaking course I teach at Grand Valley, I provide students a brief overview of the social history of the print; I divulge its rich heritage in the service of dispensing and preserving our (collected cultural discourse, from…) verbal and pictorial languages, knowledge and history, cultural discourse, from ancient scripture to textile design to political critique. In addition I cite the formal qualities specific to the print – multiplicity, mutability, and its recombinant capabilities. I open with this background as a means of framing the work students will produce in the course. I’d like to provide a similar overview here, as a means of framing the work of Warhol, which is so richly…
Human figures are also treated in the same detached fashion, which tends to dehumanize them, as in Chuck Close’s Self-portrait (Figure 1) in which he renders himself through the distortions made by a glass tile. The representation of light, as well as the interaction of light and color together, has concerned artists throughout the ages. By using slide machines to project images onto bare canvas Photorealism for the first time unites color and light together as one element. The capturing of light is most especially evident in the highly reflective surfaces of steel and…
When one first enters the gallery that contains Chuck Close's artwork he or she will find him or herself confronted with enormous portraits of subjects that stare straight at them. From afar some of these pieces even look like they may be enlarged photographs, but at a closer inspection one may see the time-consuming method that the artist used. One of the most distinctly unique characteristics about this artist's work is his use of mixed media throughout all of his pieces. Each painting shows the artist's range of invention in etching, lithography, handmade paper, charcoal, pencil, and silkscreen only to name a few. Thus they portray a different feeling or attitude because of the creative thought process and time that went into each of them. From visiting this gallery it has become evident that Chuck Close is an artist who pushes the boundaries of traditional printmaking.…
In order to create texture in his painting, Van Gogh has used curved lines and rectangular shapes on the ground. We also see the details of texture under the balcony and on the walls with minuscule lines as well as on the pillars and the opposite building. In the background space, night has taken over the street and left it dark while the foreground is illuminated with light from the room's in the building as well as the Café. In the sky, we see that it is a starry night and many people take this chance to enjoy a walk. The tables are made up of sphere like shapes while the…
Artists throughout time are subjected to changing their practice due to context and issues within this time period. Artists that center around performance art, who use shock to convey their artworks, are subjected to change. Changes within the world inspire artists to create artworks that reflect these evolving aspects. Different developments in terms of practice have changed the world that we know. Advancements with technology, science and environment have influenced performance artists such pioneers in performance art Yves Klein, Stelarc and Ron Mueck who creates life like figures artworks that in their own way perform for the audience. These influences have shaped the performance artists practice, Klein’s use of monochrome art to represent the empty space surrounding the earth; the void, by using his own mix of the colour blue; Klein creates artworks to represent the empty space in the environment. In Klein’s later years he began to work with naked female models to create body prints. Likewise to stelarc’s use of incorporating technology within the body to make a hybrid or cyborg to reflect of what humans will become in the future, Stelarc looks at the body’s ability to expand or be altered as well as the mental capabilities of being fused with the cybernetic world. Technology has had a dramatic influence on Stelarc’s practice. Mueck creates life like sculptures often altering the size of the figures. Mueck’s use of creating grotesque, eerie life like sculptures shocks the audience, sometimes thinking that they would be real if they were the proper size ratio. Mueck’s art work ‘Dead Dad’ shocked audiences into believing that there could have been a real dead man lying on the floor. If the artwork were to be resurrected, friends and family would recognise the sculpture straight away, and to the…
The space is successfully illustrated with this clever composition. The spatial relationship is also showed with the color difference, size and details. The color gets grey and almost blends together with the sky, the amount of detail is not as much as the boats in the middle ground. The farthest steam ship is just painted with several brushstrokes. The contrast in size is what gives this painting a dramatic spatial relationship: The buoy in the foreground is almost the same size with the raft behind it, and the steam ship in the far back is the same size as a person on the raft.…
Although Olena Newkryta is interested in the image “itself “, she is – not only in sewing screens, but also in the works belonging to folding unfolding refolding, to grasp. carnal thoughts and After Image – just as interested in a message conveyed via and through the image, that has a definite reference to the world outside the image. In order to establish these references for the viewer – again “without any conclusion”, by omitting, for instance, any action within the film apart from documenting the creating of the work – the artist uses the potential of the image to evoke events or rather narratives, by adding elements that have potential representational associations. Only “potential” because the elements taken from reality are permanently transformed into an abstraction that obscures the usual viewpoint. And yet this done by using means intrinsic to the media: in sewing screens the camera zooms in on the sewing procedure, that consecutively autonomous images are created that dominate the actual process. to grasp. carnal thoughts the blanket not shown from a photographic and perspectival top view, but it is an seemingly cubist montage of image fragments. And After Image does not even hints at its pre-images when we look at the unfixed photogram pages of this book in bright day light for no longer than ten minutes. Although Olena Newkryta’s installation can be described as reductionistic and minimalistic we still move inside of it listening and seeing, yet the “to see” from Stella’s “What you see is what you see” is set in motion. It leads us via the gazing vision to finding out, recognition, “grasp” and finally to the duality of the visible and…
Artists who willfully damage or manipulate a print for creative purposes are addressing this careless attitude. The decision to make the print part of their methodology rather than solely the end product opens up a completely new way of making art in photography. Allowing the print to be as a blank canvas is to a painter brings a new dimension to saturated medium. This bring the preciousness back to photography, these works are one off, irreplaceable ‘objects’.…
The repetition of various faces that are scattered around the painting are similar in shape and color conveying belonging and normality which leads the viewer to question the placing of the dark character at the bottom of the painting. This highlights to us the separation of an individual from society.…
The man is brought forward and made to be the focal point. So when you first look at the artwork, he is the first thing you see. He is also a lighter shade bringing him forward as one of the closest things to the front in the image, once again making him a focal point. The separate box outside of the image in the artwork is closest to the front of the painting, so the viewer is drawn to reading the details on the box as they are important elements of the artwork. Negative space is in the puddles were he walked through the bed of water. Many different shades and tones of orange and brown are in the artwork creating balance. There are also many overlapping shapes.…