Standing at 75”x69”, the oil and gold leaf on canvas painting makes a huge impact on any gallery it resides leaving viewers both amazed and confused. At first glance the painting presents just an elephant head atop a bouquet of flowers; which, while elegantly painted leaves one with no sense of what he artist is trying to bring across. The painting has unusual lighting which resemble the baroque style; also, it is structure
After reading “An Introduction to the Murals,” I was able to better understand what I read in Lewisohn’s article. It was quite difficult to digest what
The San Diego Museum of Art has remained a must-see stop for tourists and locals alike due to the informative nature of the displayed artwork pieces and its relation to world history. The centuries of artwork pieces can perhaps broaden one’s perspective of art cultures from around the world, as I have become more informed about Asian cultures and traditions through pieces, such as Brush and Ink. As Hans Hofmann stated, “through a painting, we can see the whole
Despite evident differences in the compositional elements of Picasso’s Les Demoiselles and Manet’s A Bar at the Folies-Bergère, both utilise a composition with a shallow plane to distort visual perception in their work. This distortion promotes the spectator to revaluate the way they perceive these female prostitute subjects. Picasso’s treatment of paint and use blocked colours in Les Demoiselles creates the sensation of a flat, two-dimensional image, signifying a radical break from traditional modes of representation. The lack of depth in the painting pushes the figures of female prostitutes on top of each other, layering the stark angles and sharp forms that make up their bodies. In addition, this layering on such a large scale (243.9 cm × 233 cm) creates a feeling that the figures are pushing beyond the boundaries of the work and imposing themselves onto the spectator. Furthermore, the stances of the prostitutes, who are dramatically flaunting their bodies with arms raised and torsos presented openly, fills the frame, refusing the spectator to accesses to other areas of the image. Instead the female figures dominate the attention of the viewer, in some ways empowering these figures who previously lacked representation. These formal elements of composition all come together in Les Demoiselles to challenge the spectator’s ways of viewing the females in the work.
Many of Tao Qian’s poems illustrate a life of farming and drinking wine, encompassing themes that urge its audience to remove themselves from official life, move to the countryside, and take up a cultivated life of drinking wine, writing poetry, and avoiding the complicated aspects of life such as working in high society. Earlier scholars believed that Tao was “neither Confucian nor this-worldly, neither egocentric nor defiant, neither gallant nor stubborn, Tao is contented, free from the unnatural, he has got all Nature can offer” (Lu 2017). It is evident in Tao Qian’s poetry that he utilized nature as a means to escape what reality had to offer, corruption and political instability, as opposed to his own idea of utopia or a simple, easy life in recluse.
My paintings give material form to the human tendencies to compartimentalize, and desegregate, both nature and our built environments. In each two-dimensional work, I start with an impression ---a feeling, a memory, a childhood friend, a family member, or a location---and build the forms using patches of color, showing my own habit of separating parts of the world around me into smaller, consumable parts. For example, in L.A. Bus Routes, I utilized my frustration with the pervading image of Los Angeles’s car-riding culture by making a largely unspoken bus-riding culture take center stage. I drew lines with colored pencil representing the L.A.’s city blocks defined by bus routes surrounding my East Hollywood home. Fluidly, colors bled into others where watercolored shapes met, representing the permeable borders of neighborhoods in L.A. My work questions the fabric of social dissonances using a patchwork of watercolor, gouache and pencil marks that suggest a human need to compartmentalize aspects of our surroundings, our selves, and
The idea of mixed race, culture, heritage has been a subject for many discussions and debates regarding its communication through art. How the artist themselves relate to this idea and how or why they use specific art pieces to portray their idea is very interesting. Viewers who do not share the same upbringing or lifestyle may find it harder to understand such pieces if it is only characterized as being artworks of Asian Americans. Questions such as who is Asian American or what is an Asian American start to emerge amongst audience like that. However, two Asian American artists: Roger Shimomura and Kip Fulbeck – both men who are clearly of different generations
Finally, the depiction of figure is perhaps the most interesting and intellectually challenging element in this piece. The figure, while emotionally withdrawn from the viewer, is physically imposing. She is looking down and away from the viewer, as if the isn’t aware that she is being watched. Her mask-like facial features also do little in the way of conveying emotion. Her body, however, is quite different. The dark thick lines shaping her muscles and limbs, the detail in the curls of her hair, the placement of her fingers, and her exposed breast all demand the attention of the viewers’ eye. The bold lines that define her legs, waist, and hip, make her seem intrusively part of our space. The awkward placement of her
One may expect a lot of different reactions when going to your first performance art exhibition. You may have prepared yourself to be taken aback by these performances. One may imagine each of these performances were still acted out by the artists. As you receive your ticket, sticker and your bag checked you are greeted by a huge sign that indicated the start of the exhibition. Radical Presence it reads, with lower case capital letters and uppercased vowels. It is interesting that the wall installation that says the title of the exhibition is itself a part of it. The title and how it was designed evoked a sense of presence for minor letters that are vowels. It could be interpreted that these vowels represent racial minorities as the exhibition
Each living being experiences the world in a proprietary way that, though capable of resembling another’s, can never be fully duplicated. These differing perspectives, in their inherent complexity, are a principal patron to the chaos and beauty that perpetually plague and gift mankind. With over seven billion individuals (Population Clock), it is intelligible to claim that with so vast a sea of differing vistas; the power of perspective is the most influential contributor to modern civilization and the human spirit. Arthur Golden’s Memoires of a Geisha and Salvador Dali’s “Swans Reflecting Elephants” demonstrate the power and influence that differing perspective can have in a positive, artistic manner; while simultaneously bringing notice
Any art medium can be utilized to tell a story or evoke emotion in a viewer. Artistry is unique in that it is purely visual and can be left to interpretation if the artist chooses to stay ambiguous in the message they are trying to convey. As an artist, I am always trying to analyze the meanings behind famous works of art, whether those meanings happen to be incidental or purposeful. So, when contemporary artist, Enrique Chagoya expressed his adoration for the social commentary expressed in Francisco Goya’s Los Caprichos sketches, I was intrigued.
‘Rasen Kaigan is all work completed in the wake of the disastrous tsunami of 2011 that led to the nuclear disaster at Fukushima. She employs a dazzling, fresh, dynamic style, photographing at night or dusk with blown out flash, cross-processing and double exposures conveying a palpable energy and a sense of chaos.’ What first attracted me to Leiko Shiga’s work was her use of lighting and color. Her phantom like style transmits the viewer to another realm. The presentation of these dark spaces being selectively lit omits the feeling of intrusion. I relate this space to a state of mind, like snapshots of memories of people and places, slowing fading in and out of recognition.
Zhang Zeduan’s masterpiece depicts the landscape of his hometown, Kaifeng and the life of its people during the Song dynasty. Nearly 500 years later, Qiu Ying portrayed his hometown Suzhou in a similar way, but in his version, the scenes are different to the original version. Compared to Zhang, Qiu Ying added more blue-and-green landscape patterns, and the feeling of the artisan is not strong in this work. The most important thing is that both artists show different visual perspectives of the culture and customs of the city.
Elise Lai (b.1987) is an artist based in Hong Kong. Her works are about the mode of living, using and embracing the given and the prevailing elements of the surroundings in everyday life in the forms of painting, photography, video and mixed media. In a general sense, they are a kind of distant intimacy in the everyday banal routine of the perceived environment, personal habits and mundane chores. She is interested in the residues of everyday life, always wondering what is left behind after these experiences have taken place — the emotional and physical changes to the perceived environment, the feelings which remain, the material effects like the lingering smells etc., and see what these residues can be, what they can suggest and evoke. She
A landscape painter “tended to be a recluse, an individualist, and a Daoist (Morton and Lewis 2005).” These artists thought of landscape painting as the “grandest and most satisfying way to represent nature as a whole, to feel a sense of communion with nature, and to know oneself to be part of an orderly cosmos (Morton and Lewis 2005).” Thus, one can see the implications of landscape painting lay not just in its beauty and simplicity, but also in its spiritual connection with Nature, and thus had wide appeal. The point of view in landscape painting was also of paramount importance. The Chinese artists understood that Western artists took in scenes from five or six feet from the ground. Chinese artists worked from a raised viewpoint, so that they are not bogged done by small details in the front and get a better sense of the whole scene (Morton and Lewis 2005). Every part of the image that is created has its own innate interest, and yet it all comes together and works well as a whole (Morton and Lewis 2005). It is clear that landscape painting was a cherished and important art form in Song Dynasty culture.