Art Analysis: Less Than Art

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

The figure 1.120 on page 123 of Gateways to Art depicts a 3 dimensional piece of art called Monogram. Inside the work includes mixed media with taxidermy goat, rubber tire, and a tennis ball. The work was done by Robert Rauschenberg from Sweden. There is strong emphasis on the goat, making it the focal point of the mass. The installation of the tire is wrapped around the goat’s torso, while the goat is mounted onto the center of the wood frame. The size of the work is monumental compared to other works of art. The subordination of the painted half of the work prevents the viewer from looking at the plain pieces of wood. The span of the mount stretches diagonally across the frame. The addition of red paint brings a sense of luminosity to the work. There are illuminated letters printed of the wood pieces that draws attention to the left half of the piece. The text says Rauschenberg created the work “as a symbol of himself as a rebel and outcast.” The goat relates to a religious perspective as goats used to be offered as a sacrifice by Christians to God. This work was so odd at the time because it was not a sculpture or painting, making it unique in its own way.

Art is able to transport its viewer through time and connect us as a community. Audiences are able to infer the content and context of the artwork. Art displayed through different mediums and about different topics can share many similarities and draw connections between one another. Exodus, created by Shelby Lechman (2015), uses oil paint on canvas to depict a young boy and father in a train car, leaving their home in Hungary during the time of the Hungarian Revolution (fig.1). Back into the Earth: Creation and the Interpretation of Meaning, created by Tamara Himmelspach (2015) is a series of 11 prints and a physical dress displaying the designer in a jingle dress representing the traditions of the Ojibwa culture

1985 (Figure 2) first appeared in 1985 plastered on billboards around New York City. The piece is illustrated in monochrome colours so to not distract viewers from the meaning of the poster. The harsh contrast in colours between the black writing and white background make the piece stand out and draw the attention of bypassers. Written on the artwork is a list of well-known museums in New York City and beside them is a score of how many women artists have had one-person exhibits there in the past year. The results showed that the Guggenheim, Metropolitan and Whitney museums each had zero, whilst the Modern museum had one. These results are supposed to shock the audience and make gallery curators feel a sense of guilt, that it’s clear the art world don’t appreciate women artists like they do men. Whist they are confronting the public with that truth they are also providing another critical message with this piece. The Guerrilla Girls identified these museums by first name, not out of convenience, but to make a statement, that the only museums to allow women artist some form of respect like male artist do was the ‘modern’ museum. Emphasising the fact that gender discrimination and bias nature in the art world should be in the past, and the only museum that realises and recognises this is the modern one. The poster’s main message challenges the patriarchal world of art and confronts art galleries

As we know, the result of “Art is” is “Art is” which returned in an ephemeral form at the Studio Museum. All forty photographs are on display on the basement level of the galleries, which are supposedly reserved for pieces in their permanent collection. The room just outside, whether coincidentally or not, is filled with photos of students - reflecting personal memories. How the museum decides to play with this, is by missing them with old-timer photos of Harlem from the

In the contemplation of art, or rather the conceptually intangible definition it currently possess, it is imperative to be mindful that “art” has been utilized as a promotional device, ceremonial item, aesthetically purposed article or perhaps none of these or all. It is because of this vague term that Carolyn Dean, in her text, “The Trouble with (The Term) Art”, makes a case for the consequences of applying the term “art” in societies that lacked such a notion which also accounts for the Western-centric lens the field intrinsically utilizes when viewing non-Western art. The claim is deftly supported by the utilization of expert accounts in the subject, alternative perspectives for what is considered the current norm, and self-examining questions,

The Starry Night by Vincent Van Gogh is consistent of his typical artwork. He uses the lines free and loose making it an expression of his contour lines. The spacing between the stars and the curving contours making it a dot to dot effect. Van Gogh’s, The Starry Night” portrays his personal emotion. He writes to his brother about his painting almost as if he would be confused himself about the painting. The village is dark but at the same time it is peaceful compared to the dramatic sky life. In Sol Le Witts, Wall Drawing it uses an ordered form and symmetrical form called classical lines. The line Sol Le Witts uses is considered a connection between two separate points. Although

Art is one aspect of the past that has carried on for decades. Art in any form may it be poetry, novels, and playwright, sculpting as well as painting, has been an outlet for generations and continues to be an outlet and a means for expression. This paper will discuss “ The Mona Lisa” one of Da Vinci’s most famous paintings, as well as another great painting, Antonio Veneziano’s

The art work that I have chosen for this formal analysis of an art work is the Painter of Paestum’s piece titled “Red-figure lebes gamikos (marriage vessel) it was made with terracotta red clay. This piece was made between 340-330 B.C. It is approximately 10 inches in height. The present location of this art piece is at The San Antonio Museum of Art in the Greek Late Classical section. The collection is a permanent collection from Gilbert M. and Denman, Jr. whose funds were used to purchase the vessel.” (“San Antonio Museum of Art Wall Text”). These marriage vessels are frequently shown in marriage scenes on Greek vases. This marriage vessel could have been given as a wedding gift or used to contain water for the bride’s bath before the wedding ceremony. Also, it could have been placed by the bride’s door and was possibly used in a ritual of sprinkling the bride with water before the wedding ceremony.

This past Friday, I attended an art exhibition at the Memphis College of Art where I saw great paintings from Meghann Riepenhoff, along with Tim Andrews. The show consisted of both their paintings in separate sections, they were the only two artist. Personally, I’d say the show combined did not have a theme, but as separate it did. When I first stepped in the building, I was welcomed by greeters, the event coordinator and Riepenhoff’s paintings. Her painting’s made me think the overall event theme was about the beach and waves, but that was not the case. While I continued walking and observing the painting’s I was greeted into Mr. Andrews’s exhibit, which consisted of self-portraits. Both artist having paintings placed in the same space didn’t take away from one another’s paintings.

When visiting an exhibition of art work by artists was organized by Winston Salem State University at the Diggs Gallery. When I reached, the Art Gallery, it packed with students of the university. Clusters of people were inflowing the exhibition halls, their faces were pleased with joy. On the walls, pencil drawings and Jet Magazines were up for presentation. Most of them replicate daily activities and some of them brought us into a world of imagination of how life was in the past. As I sauntered through the exhibition halls, I heard the voice of a public speaker who was telling the guests about the artists and their works. The exhibition offered me precious minutes of moderation and enriched my mind. It brought me back into my pleased and peaceful past.

Judy Chicago’s feminist artistic career ironically began with minimalist styled art. Minimalist art is defined by the Tate (a highly respected institution in London that runs 4 separate museums) as “an extreme form of abstract art developed in the USA in the 1960s and typified by artworks composed of simple geometric shapes based on the square and the rectangle”. Its essence is best condensed by artist Frank Stella when he describes his minimalist paintings as “What you see is what you see”. Judy Chicago was trained as a minimalist artist and she explains in a lecture she gave at the Carpenter Performing Arts Center in Long Beach, California that “during the first decade of my career I experienced two forms of censorship the first was self-censorship

The art piece that I chose to critique is the sculpture of a figure kneeling down and getting shocked. It is located on campus near the Morris University Center(muc). When I first saw this sculpture it caught my attention immediately, because of how gruesome the piece was. I feel like I don’t have a good understanding of what the sculpture represents, but it seems like it would raise plenty of controversy, due to its erotic features. It seems like the artist was venting his emotions when he created his idea. The sculpture is fairly large in size, which makes it noticeable, among the other art pieces on campus. The sculpture media consist of wood and concrete, and metal mostly. The individual is keeling down toward the west and is supported

Positioned alongside Central Park within the heart of New York City, The Metropolitan Museum of Art is one of the largest and most influential art museums in the world. The Met houses an extensive collection of curated works that spans throughout various time periods and different cultures. The context of museums, especially one as influential as the Met, inherently predisposes its visitors to a set of understandings that subtly influence how they interpret and ultimately construct meanings about each individual object within a museum. By analyzing two separate works on exhibit at the Met, I will pose the argument that museums offer a unique expression of a world view that is dictated through every element of its construction.

Lucy Lippard, a United States internationally known writer, art critic, and activist recognized the dematerialization at work in conceptual art and was an early champion of feminist art. Lippard felt the feminist contribution to art was the lack of contributing to modernism. “Offering a socially concerned alternative, threading female experience into the fabric of mainstream art through autobiography, narrative, and collage, feminism aimed not to add a new style, or shift the formal trajectory of art” (Pollock, 70). The view is that feminism has affected the historical interpretation, and emphasizes of how it is dangerous. This is linked to the issue of preservation and cataloguing, which as the author says creates division and keeps