Illusions Is An Exhibition At Casa Daros

In art, there are qualities that speak louder than words. It expresses many different messages and emotions and each person has an experience different from the next. In this paper, I will be discussing two artworks I encountered. The piece is a good example of how people can encounter different experiences in one piece. I attended the Orlando Museum of Art a while back with family and overall enjoyed my experience. On my visit, I found the museum quite impressive and felt a deep connection with specific pieces.

During my visit to Balboa Park’s San Diego Museum of Art, I was able to visit many diverse exhibitions that allowed me to explore the broader definition of art. Among the medieval, religious paintings and the European portraits of high-class nobility, there were several pieces that stood out to me -- such as the selection of colorful, geometric quilts in “Quilts and Color” and the bronze lions sculpted by Arthur Putnam in “Ferocious Bronze”. The quilts were especially shocking to see in such a grand museum, as I was used to seeing quilts in old crafting stores or bedroom closets. However, the use of pattern and optical illusion in the quilts truly made it mesmerizing; the exhibit reminded me that artists choose the medium

as integrate innovative digital technologies to provide visitors with enjoyable immersive experiences. The following report provides a detailed overview of the exhibition, beginning with an explanation of its value, content and layout, before moving on to outline the target audience and visitor experience on offer.

One of the reasons I enjoyed this exhibit so much is because several pieces involved the viewer. There were two artworks of similar style that I was immediately drawn to, which I later noticed were by the same artist. Adam Fuss is the creator of these colorless photographs and though they share similar physical characteristics they have different meanings. “Untitled” (2002) was an image of a skull and “Home and the World” (2010) showed an image of a mattress. From a distance, I saw what looked like shiny aluminum surrounded by a picture frame. As I got closer I could see an image almost jumping out towards me, but only when the light was hitting it at a certain angle. I could also see my reflection in this mirror-like creation. This type of art is called a daguerreotype and is one of the earliest forms

Al Seckel, a cognitive neuroscientist, explores the idea that a violation in our visual perception can cause us to feel a sense of joy during a TedTalk presentation in Monterey, California on February 26, 2004. He elaborates on this idea by presenting the audience with various examples of visual illusions concerning a violation in depth, colour, shape, size, and etc. The lecture is packed with various types of visual illusions ranging from old to new, from artists such as Leonardo Da Vinci to Arthur Ganson and he even included several examples of the visual illusions he has created. His hypothesis regarding the delight in visual illusions is correct, as throughout the lecture, when presented with new visual illusions the audience is entertained and joyful.

In this gripping, immersive film, the goal of the visual effects was to be invisible. Cinesite’s work covered digital matte painting and set extension, fx simulation (fluid and particles), character animation, lighting, cg trees, cleaning and compositing.

While many may picture a ‘traditional’ artist as one who creates using canvas and paint, Turrell’s ability to utilise pure light as a tool has certainly established him as one of the most unique contemporary artists. While his earliest works were sculptures from fire, he quickly found a niche home in the creation of projections “that produced illusionist geometric shapes.” Shanta, Afrum (white) 1996 and Raemar Pink White (1969) are all example of Turrell’s work with hovering, shifting shapes and his work with perception.

To question Greenberg, one must first understand how the representation of depth of space evolved over time. The full range of this evolution cannot be mapped in this essay, thus only relevant and specific ones will be discussed. Dating back to the 16th century, the Renaissance painters saw a heightening of perspective painting. By imitating how distant and close objects appear to the eye, the optical illusion of space is created by a geometric representation of unfolding space. Rafael’s Marriage of the Virgin, 1504 (fig.1) is a prominent paragon to reflect on regarding this technique. With defined lines and patterns leading to the doorway of the background building, Rafael gives the audience a sense

This paper will provide a formal visual description of le-ver-de-porto. The painting describes an injunctive atmosphere created by a lovely couple around an almost rectangular table with round edges inside a dark room with a few sources of light. The painting applies the best technique of handling that portrays visible brush strokes to present a coarse kind of a portrait. The painter uses very fade lights to define the boundaries of the objects and bring the portrait in a real life picture. He also uses a strong contrast between the bright colors, which appear to mimic one another and dark ones as can be seen on the tabletop, the skin colors, the walls and ground surfaces. What appears to be a dark room receives sufficient illumination

Since its beginning, arrangements of fruits have been synonymous with still life artistry. The fruits that Henri places within her scene are thus reminiscent of an accepted reality or, in other words, the expected. She purposefully arranges the glass mirrors in a way that hinders the viewer’s capability to distinguish between the objects that are real and those that are reflections in order to convey the notion that everything is not always as it appears. At the surface, Henri’s work suggests that photographs do not actually convey a story in its entirety, but instead only relay the details that the photographer chooses to include. Since the apple in the image is a reflection, if it were not for Henri’s arrangement of the mirrors that allow the scene to be viewed from multiple angles simultaneously, the viewer would not be brought to the knowledge that the apple is in the room. When applied to a broader context, Obst seeks to do just as Rodchenko suggests: “develop people’s capacity to see from all sides.” It makes clear the importance of considering the things that are not being reflected in the real world and urges viewers to contemplate those things that do not lie within their immediate line of sight or focus. These notions are supplemented by the inclusion of the dark voids on the edges of the composition. The darkness reflected in the

Optical illusions are images that are visually perceived differently than how they actually appear in reality. An illusions is caused by oneʼs visual sense or a misrepresented intellect. This “misrepresented intellect” occurs when mindʼs imagination or inexperiences causes the illusion. For an example the inner circle may seem smaller than the outside circles because the brain enhances the difference balls to differentiate the objects. It is interesting how the mind works in way that may seem to make sense but in reality it sometimes tricks its own self. Our perception is influenced by the presence of light, past experiences, imaginations, and associations.

For days, I’ve been wondering what to display on my designated place and space come the opening of the exhibit of the whole class. For someone who does not plan on having what is excessive, a daydream-themed exhibit has put me for days of thorough thinking and self-assessment. I have gone planning from short film about romance to abstract paintings of a complete family and still, at the end of the day, the challenge got me thinking – what do I daydream about?

Picasso states that ‘museums are just a lot of lies, and the people who make art their business are mostly imposters’. This demonstrates his attitude towards art in a commercial environment. Breton describes a scene comprising of imagery of himself running through a museum setting. In ‘slippery floors’, ‘immovable walls’, and ‘too many scenes all at once’ you can tell that he feels overwhelmed by the thundering in of artworks and the structural space in which they are presented

The use of geometric shapes in this painting allows the subject to be viewed in both a recognizable and unrecognizable state at the same time. Overall, geometric shapes and patterns play an essential role in what the viewer sees, which is further supported by a powerful color palate.

In the darkness of the theatre, a typical screening show takes place with audiences siting still in their seats, facing the screen, waiting for the projector from their backs to turn on and enjoy their butter popcorn. In a typical screening show, the screen is full of images of objects, characters and motions. However, when it came to Anthony McCall, audiences do not enjoy the projection the way it traditionally is, but interact with it as a projection artwork and a light sculpture. Anthony McCall’s “Meeting You Halfway II (2009)” at the exhibition “Primary Structures and Speculative Forms” at Art Gallery of NSW was an extraordinary light art experience.