Kiki Smith's Never-Seen Images Book Report

Many artists explore their personal journeys within their artworks, as a way of understanding their emotions and the world around them, as well as discovering their identity. Sarah Fordham’s art is inspired by her experiences including her travels around the world, and also as a way to make sense of her thoughts, ideas and emotions. These elements are displayed in bright colours, incorporating symbols and patterns in her work. Her two artworks being analysed are called “The Big Call” and “Pokeepskie”.

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

Caitlyn Hatch is a twenty year old student from Amherst, Massachusetts, who spends her weekends roaming abandoned buildings all over the western part of the state. What she does in these buildings is take photographs, however, she has not always been interested in the medium. Photography had never been her first choice for what she would possibly study at university, and she never imagined it as being something she would want to pursue professionally. Originally, she was intent on being a graphic designer. She had begun to play around with an online photoshop app, editing pictures taken by other people and was sure graphic design was for her, that is, until she got her first camera. She got her first camera at age fourteen for Christmas, one of the big black Nikon digital cameras. While she had never seriously considered photography before, she began to play around with her new camera. The novelty of it all coupled with the support of her father, who himself was an amateur nature photographer throughout his twenties, started the fire in her to take up this art and learn as much about it as she could.

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.

In this book Kiki Smith’s background is shared and broken down for the viewers to learn a different side of the artist. Allowing the readers to learn about her family and how both of her parents were also artist as well. The book also explains her work and why she chooses to reflect on the topics she created her art based

Matthew Ritchie and Susan Rothenberg are both flourishing artist’s that have set forth numerous collections of artwork. Each piece that they have created are based off of different experiences they had throughout their life. Although most of their artistically creative career continues to grow, many pieces that have been established individually by the two were developed using many different techniques, structures, and thoughts.

Seeing art in person is much different than seeing art in a book, online or projected images. The colors and texture of Smith’s paintings are very prominent in person. I noticed from the brochures that the gallery has of Ford Smith’s art, the photographs can’t translate the factual colors of his work. The paintings in the gallery stand out and call your attention. Smith’s paintings are pulsating with color; they truly stand out on the pale gallery walls.

She focuses on these pieces of work using a few of the aesthetic properties. She describes the

The first of the three studios we visit was the studio of our teaching assistant Mills. Mills’ work is primarily collage based with photographs and clippings from magazines. Mills is now trying to experiment with some instillation techniques as well. One collection of Mills’ work uses photographs of her home and meaningful places in her life, in the piece everything is symmetrical and reflects itself, but forms one shape. Mills uses photographs frequently in all her work, but it is not the only element of her art she also incorporates other materials such as yarn and wood into some of her newer installations. I found all her work very interesting as they combine images and made them into a new story other than the original ones they told. I

This grant request to the Toronto Arts Council is to seek support for a project potentially titled Darkness Is The Light That Has Not Yet Reached Us. As an artist, my interest lies in the phenomenological aspects of experience where the real, the known and imagined blend. Perception is a recurring theme within my practice, and has become a foundation from which I explore ideas that reflect on notions of time, space, simultaneity and duration. My interpretations are informed in part by science, philosophy and fiction. Experimentation and process are at the forefront of much of my practice, at times resulting in ambiguous narratives and hybrid exercises. Creating juxtapositions that are disorienting or unexpected, my work engages with the uncertain amid the assumed and probes the boundary between abstraction and representation, fact and fiction. By dismantling and recreating spatio-temporal encounters, I investigate how photo-based image making has the capacity to render views that are abstract, conjectural or entirely fictional.

From painting and drawing, light projection and written text, to her signature cut-paper silhouette installations, video and performances. Use this section to explore her processes.

Careful visual observations are key when distinguishing masterpieces of photography. The attention to the slightest details and uses of many various techniques are what distance Gregory Crewdson and William Eggleston from the norm. Though it is simple to discuss the contents of a photograph, it takes a trained eye to analyze the true visual art that the picture portrays. Every image by both of these photographs contains a hidden meaning, a variety of thousands of possible interpretations made by the viewers. Composition and content are both considered and involved when the photographers make the final decisions of the arrangement. Thus, the artist’s intensions of the the subject of the image are also essential to consider. All in all, the

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Through choosing people that would not normally be viewed by much of the public, as well as my painting of the nocturnal predator that is the owl, I force the viewer to engage with that which they are not accustomed to. This is a quality that I can attribute to Keeler’s work and it is therefore evident that she has played a large role in influencing my work to be what it is today. Not only has her technique influenced my work but I have further internalised the essence of what she really tries to portray in her artwork. In fact, without Lucy Keeler’s influence on my work, I do not think that my artwork would have the same essence and presence as it does. Like any good piece of artwork, Keeler’s work has managed to evoke emotion in me as the viewer and has lead to a processing of that emotion through the physical manifestation of those feelings that were transmitted through her work. This has allowed me to understand the power of visual beauty and has explained to me the importance thereof in a way that words cannot. Consequently, the influence of her work has left me reeling in awe and has given me momentum to explore new techniques and

"The Story of Art: Pocket Edition Paperback – Bargain Price, October 7, 2006." The Story of Art: Pocket Edition: