Analysis Of Anselm Kiefer's Burning Rods

Harnett uses a variety of techniques to create this trompe l’oeil painting of a smoke backstage. The lines and implied lines from the tobacco pipe, tobacco package, newspaper, and matches overlap at perpendicular angles, creating an illusion of depth and space. These lines also create mass for the geometric, inorganic shapes presented in the foreground of this painting, especially the tobacco package. This establishes harmony and a central balance by placing

First, ask yourself how would you feel after hearing the news that one of your family members had been lynched? Throughout the chapters 1-8, we can experience and observe the disheartening history of violence and lies. It is additionally an irritating depiction of a partitioned country on the very edge of the social equality development and an eerie contemplation on race, history, and the battle for truth. Throughout history, the conditions of the lynching, how it affected the legislators of the day, quickened the social equality development and keeps on shadowing the Georgia people group where these homicides occurred. During the 1900s until 19600s various African-Americans experienced various harsh conditions of violence, never being granted the right to vote and being segregated from whites based on their race and skin-color from their white masters. In general racism between whites and blacks can be seen throughout the globe during the era of slavery

In her Fire in a Canebrake, Laura Wexler describes an important event in mid-twentieth century American race relations, long ago relegated to the closet of American consciousness. In so doing, Wexler not only skillfully describes the event—the Moore’s Ford lynching of 1946—but incorporates it into our understanding of the present world and past by retaining the complexities of doubt and deception that surrounded the event when it occurred, and which still confound it in historical records. By skillfully navigating these currents of deceit, too, Wexler is not only able to portray them to the reader in full form, but also historicize this muddled record in the context of certain larger historical truths. In this fashion, and by refusing to

Oil on canvas, presented by Sir Colin and Lad Anderson through the Friends of the Tate Gallery, 1976

Laura Wexler wrote Fire In A Canebrake to expose the truth of what happened in Walton County, Georgia in 1946 to the four black people who were lynched. The author wanted to show the racism in the south and how it conflicts with the truth of what happened. The author showed us that it took many years to actually get something done about the lynchings because the people in power in the south were just as racist as the people doing the lynchings. They didn’t want to get involved with the injustice and wanted to stay out of the problem. The author gave us the full story on what happened, because in 1946, many people never got the full truth. The author’s thesis would be that racism obscured the search for justice for the four black people who were lynched. Throughout this book, they showed how, at the beginning, there was hardly any search for the people who lynched the fur black people, showing that racism stopped them from

The artwork is one of the main ways to express the culture of a region or a country. Therefore, art has played a very important role throughout history. When talking about art, the first thing that comes to most people’s minds is probably that art is a painting or it is a sculpture. However, art has many forms of expression, and it closely connects to human’s daily life. Besides paintings and sculptures, art is everywhere around us. I am always interested in how people have linked art with daily life throughout history. For this reason, the two pieces of artwork I chose from my visit to the Museum of Fine Arts are both objects that can be used in everyday life: one is the mixing bowl and the other is an incense burner. Though they are from different cultures, have different making processes, and have a different purpose in usage, they both are good examples to show how artists tried to apply art using different techniques to human’s daily life.

Jasper John’s 1983 artwork of Racing Thoughts and Byron Kim’s 1991 Synecdoche are both in the exhibited as part of the Whitney Museum’s: Human Interest: Portraits from the Whitney Collection. Applying encaustic process, which is known as a hot wax painting, Jasper John created this screen-print with wax crayon on collaged cotton and linen. Jasper John describes this piece as a series of images that ran through his mind while he was lying in the bathtub. He included items he saw around the room and things he was thinking about. Some of the elements in this piece are his hanging khaki pants, the running faucet, a nail on the wall, a dirty window, a vase and a decorative piece on a piece of furniture. Until you read the artist’s description it is difficult to tell that the white smear of paint is, evoking a feeling of disorientation. His arrangement of his images is seemingly affixed to the faux-wood grain background with trompe l’oeil tape, thumbtacks, and a protruding nail. The scale of images in Jasper’s Racing Thoughts appears to be scaled to real life. The texture of the painting evokes feeling of an antique surrounding like a bathroom in a third world country. In addition, the colors and patterns in this painting, display how he is a person with many things going through his mind at the same time with unorganized thoughts. A panel of Byron Kim’s, 1991, Synecdoche is displayed in the Whitney Museum one section out of a four hundred panel ongoing project depicting the

by 90 in, or approximately 5 ½ ft. high by 7 ½ ft. wide. The artwork is imposing and takes up much of the wall, necessitating that the viewer stand in multiple places to view the panting from multiple angles. The painting is in a relatively thin frame, with no glass. The media is oil and acrylic on canvas. The lighting in this gallery space is dim, and the painting is illuminated with two dim spot lights, in such a way that middle of the painting is illuminated more so than the sides. The subject matter of the painting is a view of the San Francisco bay, with San Quentin State Prison visible on the opposite side of the bay. The prison composes the background and is placed in the center right of the painting, the water in the bay and a small sailboat compose the middle ground, and the coastline composes the foreground and is placed on the left side of the painting. The prison is very small in scale compared to the coastline, to create the illusion of distance between the two, and the viewer’s perspective is that of standing on the coastline opposite the prison. The prison and the sailboat are the only two man-made objects in the painting. The coastline depicted is a small and rounded beach. Large tan and brown boulders with sage green and brown plant-life growing on them are placed on the opposite side of the small beach from the viewer’s perspective, and partially obstruct the view of

“The Away Team Beams Down to What Appears to be Unlimited Planet” is large in scale encompassing the whole space of one wall. This creates the illusion that the viewer can just step right into it. It is the largest piece in the collection and brings all of the other works together. Assu embraces a digital print of “Vanquished” by Emily Carr and imprints a large digital symbol on top of it. This process of embellishing another artist work is a common way of addressing a message, though, is surrounded by controversial opinions. The question is, does this way of making art have as deep of an effect on the audience compared to a piece that is fully the work of one artist? The symbol is a traditional Kwakwaka’waka element. The smooth paint strokes of “Vanquished” contrast with the hard bright neon orange abstract shape of Sonny Assus. The symbol resembles a face, with eyes and a mouth. Out of the ovoid shape Assus has added thin circles overlapping each other, in a spiral like pattern, leading towards the ground, The shape takes up around a third of the original painting and is very dramatic becoming the most dominant feature and capturing the audience 's attention first. All together the embellishment resembles an abstract UFO, placed looking down at the planet searching for something.

Seven7 inched long, long high jumping, and a master of light manipulation, Pepe can definitely beat any super villain that comes his way. Being a frog is hard, but not for Pepe. With his frog like body, and only being Seven7 inches long, you bet that his jumps are out of this world. If Scorcher, the evil villain, were to attempt to use his fire against Pepe, the frog like man can just spring out of harm’s way. From high to low, fast or slow, either way, his jumps will lead him to some format of safety. Scorcher can attempt his fire usage all he would like to, but in the end all that will happen would be everything ending up in fire and Pepe being fire free. Just like how he prefers to be.

There are many artist’s who can make an impact with how they convey their work. An artist who conveys his work with elegance, is Tom Killian. He is a local artist from California, and went to the University of Santa Cruz California. Living in California was going to shape his perspective on the world forever, specifically on how he depicted his work. In a work of art of his itled, Monterey Bay from Santa Cruz Pogonip. The work of arts creation came to be in 2002. The process in creating this piece was intricate, it was created from a wooden stamp press, the presses used are hand carved into wood and linoleum blocks. For each of the colors used in the piece, a new block has to be created to ensure that the colors doesn’t blend in ways the

Michelle Murray Yang writes an article titled “Still Burning: Self-Immolation as Photographic Protest.” Yang analyzes photography and self-immolation as rhetoric. He uses the image of burning monk in act of protest taken by Malcolm Browne to show that pictures especially the picture of the self-immolating monk can have deep rhetorical implications. Yang even explains that the image continues to have deep rhetorical implications today by being a symbol against oppression today, and that in a way Duc, the burning monk, is still burning today.

These works were beautiful, but some of them were very attractive to author. Therefore, it was difficult to choose just one artifact to describe. It took some times, but finally one decided a painting. This picture was used for the summer 2017 pamphlet cover. This painting is untitled (Woman on Beach) by David Burliuk. He painted it in 1945. In addition, the painter used the watercolor on paper; the paper's size is 14 3/4 x 11 1/4 in. David used many dark colors such as indigo, gray, and black. The woman in the painting, she looks like tanned or Native American. David Burliuk was a futurist. The futurism was started from the early 20th century. During this time period, the technology was developed and people started to accept it. And then, the futurists tried to express the motion and its after-image. According to drawer's background, by one's perception, there is a woman who is dancing on the beach. She is moving her arms up and down. It seems like, David tried to draw a woman's motion. Additionally, the woman is wearing like a primate person, who lived between 1400 to 1800BC. Furthermore, the beach where she stands, it looks like she is in the island. The image of the island and beach is somewhere to relax and enjoy. Moreover, the painter didn't name his figure. One thinks, the painter may wanted the viewers see the picture and imagine the freedom of the movement and named it themselves, instead of stay in the tunnel vision. On the other hand, simply the artist didn't want to title it. Most of the artists are unique and odd. They have their own world and vision; they are sensitive and emotional, difficult to

As I walked to The Art museum to observe a few of the art work. There were many canvases, but one particular canvas that caught my attention was an oil painting. The oil painted canvas is of a realistic mysterious woman and a phonograph, by the artist named Robert Bean. The woman shown in this painting has short dark brown hair with a long black beautiful one shoulder dress; her skin color is very light that gives that beautiful glow. Her long black dress has a mixture of dark blue and white. She is standing with her arms semi-crossed with one hand holding a small white fan. The small fan has a design of brown flowers. She is standing sideways on the right of the canvas with a piece of light green fabric around her arms; the light green material has a tent of light blue and

The piece I choose to critic is titled “Buscado por su madre” or “Wanted by his Mother” by Rafael Cauduro, no year. This piece is an Oil on Canvas painting that measured 48”x36” located at the Long Beaches MoLAA. The work is presented as one of a few Mexican artists that share an interest in their painting primarily figurative style, political in nature, that often narrated the history of Mexico or the indigenous culture. The painting is one of the first viewers see as they enter the Museum. It is at eye level and demonstrates a superb use of illusionistic realism that it creates the illusion of being real. The painting is of a old Missing poster of a man on a brick wall. What made it stand out in my eyes was the fact that it looked to be a three dimensional object on what looked like real bricks with the words wanted by mother on the top. Cauduro’s piece, in my eyes looked like he literally took a chunk out of a wall, and placed an old torn missing poster of a man on the front and put it out for display. Cauduro uses texture to represent the look of brick by applying thick strokes of paint creating a body of its own as and mimics the look and shape of brick. He also makes applies the same technique on the wanted poster by implying that it is old and torn by again layering his paint to create the