Kayla's Overflow

In relation to Brown’s work, we can see this individual expression emerging through her paintings by using reoccuring nude subjects that can be considered

When in an art gallery that displays oil paintings from the Renaissance era, one might by mystified as to the true interpretation of such paintings. The majority of people today are unaware that they do not view oil paintings the way they were traditionally meant to be viewed. As we admire them, do we ever stop to analyze why they were painted in the first place, and for whom they were they painted for? By understanding why oil paintings depict certain things, consequently our view and interpretation of them will alter. Oil paintings were a luxury only the wealthy could partake in, seeking out artists that would be able paint their possessions in the most realistic way. Anthropologist Levi-Strauss comments “… rich Italian merchants looked upon painters as agents, who allowed them to confirm their possession of all that was beautiful and desirable in the world.” (qtd. in. Berger 86). It was the wealthy who ultimately instructed the artist what to paint, usually a possession they desired to be put on canvas. In John Berger’s book Ways of Seeing, he writes “Oil paintings often depict things. Things which in reality are buyable. To have a thing painted and put on a canvas is not

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

Salvador Dali’s 1931 painting The Persistence of Memory is a hallmark of the surrealist movement. Dali famously described his paintings as “hand-painted dream photographs” and The Persistence of Memory is a prime example of that description. The Persistence of Memory depicts striking and confusing images of melting pocket watches and a mysterious fetus-like structure all sprawled over the dreamscape representation of Dali’s home of Port Lligat, Spain. Dali uses strange images, color, and shadows in The Persistence of Memory to convey an abstract view on dreams, time, and reality.

Marcel Duchamp stated that "It was his achievement to treat the camera as he treated the paintbrush, as a mere instrument at the service of the mind” (Biography.com, 2017). In addition, the photogram might seem expressive and abstract, yet on the contrary, it is the precise medium to document the everyday objects in an unrepeatable and somehow uncontrollable way. The artist cannot predict how the selected objects will be recorded under the light sources that were tampered with. From the first glance, the image completely dissociated from its original subject, allowing one’s memory to fill the gap. Yet below its surface, the image is an accurate documentation that captured a moment of psychical intensity. It revealed a new visual experience, using objects in the simplest way. One can say that the use of this medium disclosed reality more preciously due to its invisibility and mysterious representation (The Museum of Modern Art, 2017).

Every painter has a certain style of painting, whether it's intentional to paint abstract or unintentional to paint as a modernist. I analyzed Abigail Kuchar’s artwork. She is an artist at Western Washington University. Currently, she is enrolled as a student and working on her Bachelor of Fine Arts. Recently, she exhibited her work in a Symbiotic Qualia, Western Gallery (group BFA Thesis Exhibition). Her ideas on visuals are very unique as compare to another artist. Her work is heavily influenced by reoccurring natural forms and patterns, representing, the specific shapes that have been successful in a variety of different applications. For example, the formation of bubbles, lichen, barnacles, anemones, spores, pollen, and seed pods, all have similar compositions. By creating work that includes these forms, the viewer is presented with something unusual, but vaguely familiar. Her material used in the artwork is environment-friendly.

The piece I am writing about is the Red Canna, by Georgia O’ Keefe. This oil piece of art is a painting that is nonrepresentational. The forms in this painting are flourishing which can be seen from looking at the flower petals developing across the canvas.The shapes in this piece can be described as sharp, organic, and curvy. The subject of this artwork is growing as means to the flower maturing which show more and bigger details. The location background of this picture is outdoors, maybe in the woods, the jungle, or by a beach. The location of this piece is currently located at the Arizona State University Museum. I found this beautiful painting on Santa Fe Campus on one of the wall columns. The light in this composition is very powerful

The primary focus of this section is to explain the “act of painting.” Flack begins her book with notes on the creative process and what it means to be an artist. Everything from the perception of color to confronting a blank canvas is addressed in this section. Audrey Flack briefly touches on the spiritual

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

Visual opulence, creativity, inimitable vision, and a style that is highly influential are the many characteristics of an admired movement in art history, that being of the Post-Impressionism movement (1875-1892). This movement, which was a by-product of the Impressionism movement, is the bridging gap between the two movements known as Realism and Expressionism. Post-Impressionism takes on some of the stylistic characteristics of these movements; however, it does not contain the all too glossy visuals of Realism or the heavily fantastic visuals of Expressionism, rather it is the intermediary of these two poles. My paper will discuss why this link was absolutely essential to the history of art movements, and I will be specifically using the

Katharina Grosse has a very interesting approach to her way of art-making, it can be thought of as both a simplistic approach yet complex as well. She likes to create cool things to look at because she enjoys looking at things. It’s a simple approach because she entertains herself and pleases herself, but her work has to be complex, fun, ridiculous, and tricky. Grosse refers to herself as “the painting trickster.” Her medium of choice is spray paint delivered by a high power, large-nozzle gun (Powell). Through this, she is able to cast her vibrant and electrifying colors onto many different canvases. Her work can be a large scaled sculpture or a smaller wall painting. Grosse makes use of vibrant colors, light, shadows, and space. Her ideas

Abstract artist, Rachel Goodyear, created a large scale drawing in her work Restless Guest. Each piece of the artist’s work relates to one another in their use of formal and principal elements of design. Tonal gradations of black and white is a common feature in her works, as well as the use of pencil and watercolor. In most of her abstract pieces she often uses various forms of space and mixed media. Rachel manages to create a push pull relationship within her drawings based on the uniqueness of her expressive

The oil painting is an attempt to map the motion and energy of the body. It is a sequential depiction of movement split into a series of about twenty different static positions that show a nude figure descending a flight of stairs. The nude, like the notion of the painting, is abstract, composed of conical and cylindrical shapes and elements, assembled in a way that suggests the rhythm of the body when going downstairs. The colours used are those typical of Cubist paintings - ochres and browns. This is because Cubists felt that using a

Observations of Kayla were completed at her home and community. Each time, she was appropriately attired, and hygiene was adequate. Kayla and her family live in a nice size home on a large lot to accommodate their family business. In the initial interview at home, Kayla appeared to be shy at first and let her mother, Karen, answer the majority of questions. After about an hour, she opened up and talked about her interests and things she likes to do in her spare time.

This paper will take a look at Salvador Dali’s painting, The Persistence of Memory, painted in 1931. As the viewer can tell, this is a story of time and life. The memories start in the background where all is well and things are straight and calm. Moving on to the cliff, the observer possibly sees a well-behaved teenager. There is nothing horrible here that leads the spectator to gasp, and the viewer knows this person made it through that time in their life. Then the picture moves on to the age of about twenty, the memories are fond but in the distant past. The memories are protected by a white blanket so that they do not just fall into the background. Then something happened where the person had some