James Turrell: Museum Analysis

When I attend the Oklahoma Art Museum this morning, I was completely blown away by the different styles, technique, and artistic abilities that artist have. Art can come in many forms and can involve many different things. From paintings, sculptures, and abstract pieces of the modern world. Along with my visit, I got to experience a new collection of blown glass that was absolute remarkable. As I walked though the museum, it was as I walked though time and got to see how each period’s art changed throughout time. From the different shades of color to the different types of technique that filled the halls of the Oklahoma City Art Museum, each piece was genuine in its own way. I was starstruck as I witnessed Lowell Nesbitt’s Parrot Tulip, Richard Diebenkorn’s Albuquerque, and Dale Chihuly’s blown glass.

While my project clarifys Baldwin and Delaney’s metaphorical and literal exploration of light, the synergy in their work, points to the value of collaborative learning through the experiences, understanding, and the judgements they made in their everyday lives or their art disciplines.

James Turrell is a sculptor and designer born on the 6th of may 1943. He was born in Los Angeles, America to Quaker parents. When Turrell turned 16, he obtained a pilot license, for years, he restored antique airplanes to sustain his love for art. He obtained his bachelor degree from Ponoma college in perceptual psychology, he also studied math, geology and astronomy there. He enrolled in the university of California in 1966 and got into the graduate art studio program. After graduating, he obtained a space in an abandoned hotel in Santa Monica (Govan et al. 37). This space became his primary studio for the next 8 years, he started experimenting with light, shape and space. He was in the ‘Light and Space’ movement with artist Robert Irvine. By concealing windows and only allowing light from the streets, he created his first light projection. He is best known for his work in progress, ‘Roden Crater’, it is a natural cinder cone crater situated outside Flagstaff, Arizona.

     The Met and the Guggenheim possess two of the most famous museum façade’s in the world. Upon first glance at the Guggenheim Museum, one is both impressed and intrigued by its design (pictures 1-4). It is an organic form that derives its source from Central Park located just opposite. The best impression of the structure is obtained from just across the street (picture 1). The attention to detail is evident everywhere – the circular pattern of the sidewalk outside the museum, the porthole-like windows on its south side (picture 4), and the smoothness of the hand plastered concrete. The main component on the west façade (facing Fifth Ave) is represented by an upward spiraling helix (pictures 1-3). Horizontal lines are stressed throughout the exterior, with the museum being longer than it is tall. There are very few corners, with smoothness and blending of form the focus. The museum gives an impression of stacked shapes with its long horizontal base, the viewing room capped by a steel structure on the north façade, the spiraling helix

The first work you encounter is part of CIVIC. CENTRE. works by Larissa Fassler. Palace/Palace (2012), is two side-by-side layered Styrofoam and mixed media cut-outs of sculptural palaces. The pair have a reflective gold surface and are reminiscent of architecture you might find in a European capital, or Disneyland. Behind

One of Wright’s apprentices heard of the eminent destruction of this building that Wright had so painstakingly worked on that he felt “obligated to Mr. Wright’s memory to do what I could for the Imperial” (28). However, Tafel was only able to save samples of every structural element, “a brick, a piece of the terra-cotta, a segment of the cornice, and so on— for the architecture department of the State University at Buffalo and requested a chair for the chair collection of the college at Geneseo, New York.” (29). If Wright was alive by this time, he “surely would have done something.” (30).

After visiting the Los Angeles County Museum of Art (LACMA), I felt as if this was an entire new experience for me, seeing that this was my first time to visit a museum. Before entering the museum, I decided to analyze the front entrance of the Ahmanson building. What I observed is that the inventor of the building kept it simple and precise, which there were red metal bars that supported the front entrance. And there was a glass door incorporated into the entrance as well, this glass door would consist of information of what type of art is inside. For example, modern art, Islamic art, European art, and so on. As I went inside, I was welcomed with an enormous piece of art that encompassed several geometric shapes. Likewise, this art piece could be studied from multiple perspectives, from the first floor and second floor. As for the work of arts, most of the art was displayed on white walls, it should be noted that the walls were beginning to become dirty. One last thing about the interior of the building is that I appreciated the atmosphere, since there was sufficient space to observe the art from different viewpoints. That being said, I will now go on and discuss about the piece of art that spoke to me (not literally).

This paper will be describing and analyzing the African Art Galleries in the Metropolitan Museum of Art. The galleries that will be critiqued in this paper are 350, 351, and 352. Gallery 350 (Samuel H. and Linda M. Lindenbaum Gallery) is an averaged size rectangular room that spans about the length of a sidewalk. The gallery contains several carved wooden sculptures, primarily located in the center of the gallery that immediately take over upon entering. While most objects are not enclosed in cases and are instead freestanding, some works such as the Senufo Face Mask are not freestanding and are supported by a wall in a case allowing for frontal viewing. The Bozo door has a slight relief and can be viewed frontally as it hangs on the wall. Some freestanding works are displayed in cases that are built into the walls of the gallery, which limits the individual’s ability to view the work all the way around. Though external lights bring some brightness into the gallery, they seem to add a muted sepia tone to the room. In the cases against the walls, the lights are installed in the panels above the pieces in order to provide an even distribution of light amongst all of the work. In the entire gallery, the lights are scattered on the ceiling and angled in a way to provide light on each sculpture. The sculptures are arranged in a geographical manner since most of the items are from the people of Mali and Côte D 'ivoire . In this gallery, the pieces are also grouped in a

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.

The gallery is on the ground floor with floor-to-ceiling glass doors, which the viewer could be able to have a panoramic view of the small space outside the gallery. Johnson’s abreact drawings are arresting with different compositions, colors, and forms. By using Ballpoints, Gelly roll pens, Crayola crayons, and Exacto knife incisions,

The Guggenheim museum in New York is unlike any other art gallery/ museum in the world. Its round, top heavy shape is something like no other and Wright prided himself on this artistic integrity1. The section of the Guggenheim, shown in Figure 3, shows that the main exhibition spaces are ramped from the top floor all the way down to the ground floor. This was a very

Without light, the theatre cannot exist, that much is certain. As actors, as audience members, as technical visionaries, we are only as powerful as the light we are given. The extent to which we depend upon light in performance has changed dramatically throughout history, however, as light technology developed and expanded. In the history of performance, the artistic community is constantly victim to the limits of lighting technology, and exponentially altered by breakthroughs. From the utilization of candles and natural light to isolated light and electricity, the histories of illumination and theatre are virtually inseparable, and continue to push the boundaries of live performance.

James Archibald Turrell born on May 6, 1943 in Los Angeles, California. Turrell began his studies at Pomona College where he earned a BA in Perceptual Psychology and Mathematics, and later going on to receive his MA in Art at Claremont Graduate School in California. As the master of light and perception Turell’s works concern themselves with the perception of light, time and space in regards to the viewer. Whereas a painting can be viewed upon, Turrell’s works have a way to immerse the viewer into the work itself giving the viewer a sense of being in the moment of this experience.

Three years ago I was studying high school in Los Angeles, and during vacation I travelled around and explored the city. I still remember out of all the locations that I have toured, Walt Disney Concert Hall probably is the one that stands out most in my memory. Although I didn’t visit the interior of the Concert Hall, the exterior appearance left a profound impact on me influencing my view regarding the society and art. I feel astounded by how Gehry’s work can beautifully allow art and architecture to

Some are like sea serpents, others like office cubicles, but regardless the shape, all art museum galleries intend to give viewers a certain experience. The flowing into, out of, and around gallery spaces within an art museum can positively or negatively affect the patron’s experience. Unfortunately, when the design of an exhibition gallery negatively affects a viewer, a disservice is done to the artists and culture of the artworks on view. On view in the permanent collection of the Kimbell Art Museum in Fort Worth, Texas is the exhibition of several seventeenth and eighteenth century artworks with Spanish influences, accompanied by a single Japanese artifact of the same era. At first glance, all the pieces on display within this