Adam Fuss Photography

In the second half of the twentieth century, artistic movements made pushes in order to move beyond the traditional gallery space, changing the terrain of displaying and making art. An artist’s body of work no longer needed to reside inside of a gallery or art collection, and artists became free to explore other ways of creating and displaying work. In this vein, Andy Goldsworthy works sculpturally with natural media, and leaves the sculptures within a particular environment, often expecting his work to decay quickly. Many times, the only evidence of any art he makes is the photographs taken during the process. By more traditional standards, art of this nature is entirely contradictory. What is the point of pieces of visual art that cannot

John Marsden’s and Shaun Tan’s epic picture book, “The Rabbits”, is an allegorical fable about colonisation, told from the perspective of the natives. An unseen narrator describes the coming of ‘rabbits’ in the most minimal detail, an encounter that is at first friendly and curious, but later darkens as it becomes apparent that the visitors are actually invaders. My chosen image (above), embodies the overall style of the book which is deliberately sparse and strange. Both text and image conveys an overall sense of bewilderment and anxiety as native numbat-like creatures witness the environmental devastation under the wheels of a strange new culture, represented by the rabbits.

In ‘The meatworks’ Gray presents a vivid and disturbing description of a North Coast slaughter house. It demonstrates Roberts’s concern of the cruelty and indifference of humankind’s relationship with nature. Sensory imagery is one of the strongest techniques used by the poet.

Museums add new context for artworks, since historical items were not made to be in modern museums. A Pair of Sensing Angels by Circle of Bernaert Orley are two ‘one by three foot’ oil painting on wood from 1535-1540 that depicts two angels. When looking at “A Pair of Censing Angels” we can infer the subject, the value the painting held, and how the meaning alters in its present setting. This visual analysis will describe the artwork, analyze the formal elements used, and how the formal elements of the work and display affects the viewer.

Alex Kotlowitz met Lafeyette and Pharoah Rivers in 1985 while working as a journalist. He was interviewing them for a photo essay in Chicago magazine on children living in poverty. The violence that occurred every day where the brothers lived in Governor Henry Horner Homes, or Horner, disturbed Kotlowitz. Lafeyette and Pharoah are 12 and 9 years old at the start of the book but have experienced more than many kids their age. The boys did not seem sure of what life held for them. Lafeyette told Kotlowitz, “If I grow up, I’d like to be a bus driver,” Lafeyette was not sure that he would grow up at just 10 years old (x). Kotlowitz wanted to show what it is like for children growing up in urban poverty after seeing the brothers’

Marcel Duchamp stated that "It was his achievement to treat the camera as he treated the paintbrush, as a mere instrument at the service of the mind” (Biography.com, 2017). In addition, the photogram might seem expressive and abstract, yet on the contrary, it is the precise medium to document the everyday objects in an unrepeatable and somehow uncontrollable way. The artist cannot predict how the selected objects will be recorded under the light sources that were tampered with. From the first glance, the image completely dissociated from its original subject, allowing one’s memory to fill the gap. Yet below its surface, the image is an accurate documentation that captured a moment of psychical intensity. It revealed a new visual experience, using objects in the simplest way. One can say that the use of this medium disclosed reality more preciously due to its invisibility and mysterious representation (The Museum of Modern Art, 2017).

In this selection of the book, Gitlin discusses a seventeenth-century Dutch painter by the name of Vermeer. Vermeer was known for being able to”fr[ee]ze instants, but instants that spoke of the relative constancy of the world in which his subjects lived” (Gitlin 558). People collected Vermeer’s paintings for display throughout their homes. Gitlin sees Vermeer as the seventeenth-century version of the media. In that time, the images painted were relative to the people’s era and private world. In today’s world Vermeer would be the equivalent to a celebrity photographer or movie director. If Vermeer, or any other artist of his time, were to see today’s households, they would find that the once private space inside the home is now much more dominated by images of the outside world than what would have been possible in the 1600’s.

The aim and intentions of this essay is to compare and contrast how the three artists (Michelle Lougee, Andy Goldsworthy, and Hermannsburg Potters) use their materials to communicate ideas about the natural environment.

According to Goldsworthy also stated on his 1990 webpage named “Philosophy”, “For me, looking, touching, materials, place and form are all inseparable from the resulting work. It is difficult to say where one stops and another begins. Place is found by walking, direction determined by weather and season” (Goldsworthy 1). There is a striking energy found in nature and Goldsworthy is a master at using line, colour and shape to help magnify this so called power. His artwork has been made in a new and innovative manner as time and the notion of being temporary have been incorporated. These are aspects of life that the environment and every human have in common. Time links all life; Goldsworthy’s unique sculptures help reinforce the importance of understanding the reality of birth, life, death and rebirth. His art is short-lived, and he captures every moment of his art’s changing and gradual demise for all his works depict their transformation due to the changing world around them. For example in the case of “Ice Spiral” (figure 3) and all of his other works, Goldsworthy takes pictures of the sculptures’ gradual destructions. When looking at Goldsworthy's work, it is easy to question the role photography plays in its documentation. The camera is crucial for Goldsworthy. His art is fragile, transient, and inaccessible. Therefore, the photograph becomes a means for the artist to make his work accessible to a wide viewing public. Through photographs, the viewer sees his work from a limited point of view. The artist is able, through the camera, to manipulate colour, light effects, and perspective. The work is taken out of its natural surroundings and the fleeting moments and randomness of nature are removed via its mechanical (re)production. Goldsworthy essentially challenges the conventional meaning of art and traditional views of what art is. Besides creating aesthetically

choices of medium seem to be purposefully chosen by the artists; the choice of color and

Like the end to a book comes an end to a photograph, Marian Drew’s “Possum with five birds,” clearly identifies historical and present signs and symbols that link back to the 17th century Vanitas of traditional still life paintings. Drew’s photography breaks down in three different frames, the subjective, the structural and cultural. From Marian Drew’s practice, we as individuals come to see the light in mortality and admire animals both dead and alive. She teaches us to love and care for all antipodean animals, rather than just treat them as slaves and sources of

This Art Appreciation exposition is looking into between The Kiss by Auguste Rodin and The Gnaw by Janine Antoni. There are different distinctive topics yet the subject the pieces have in common is love. The Gnaw symbolizes a materialistic sort of love. Chocolate is frequently given on valentine's day, and The Gnaw is a like a large bit of chocolate. The Kiss symbolizes all the more a physical and passionate sort of relationship.

The art world has been host to a vast menagerie of talent, intellect, and creativity for about as long as human culture has existed. It has grown, developed, and changed just as humanity has. Naturally, with such an impressively expansive history, various avenues of art are visited time and time again by new artists. Artists seek not only to bring their own personal flavor and meaning to timeless concepts, but to find new ways to approach them. While not every single creator and craftsman can make such a great impact on art or the world, their efforts have given birth to some truly magnificent and unique works. In an effort to create a more meaningful understanding, as well a deeper appreciation, of the nuances, techniques, and design choices employed in these attempts, a comparison will be made between Edouard Vuillard’s Interior With a Screen (1909-1910) and Henri Matisse’s Blue Nude (Souvenir of Biskra) (1907). In this essay, each artist’s approach to the subject of the female nude will be closely analyzed, compared, and contrasted, as will their styles of painting, handling of visual elements, and their use of the principles of design. An interpretation of each work and what the artist intended when creating it will also be provided.

The photographs at Harrison photography gallery, I found out that they are both different and similar from what I’ve learned within the text book “History of Photography”. I think they’re the same as from the book because of coloring, mainly in black and white. The difference between these photographs in Harrison’s gallery and from the text book are the sizes of the photos, clothing on portraits and prints. Each individual photograph has its own size and printing process.

Using natural phenomenon as a starting point for abstraction, Mark Grotjahn’s paintings straddle the polarities of artifice and nature. His painting, Lavender Butterfly Jacaranda over Green (Fig. 2), expresses his fascination with nature. Transferring the experience of observation to an intrigue of creative possibility, Grotjahn harnesses the mysticism of nature through aesthetic formality.