Marian Goodman Case Study

Although examining art requires a huge knowledge, my intention in this essay is to analyze a piece of art, besides lyrics and the context, I’m going to examine it by following the steps presented by Alain de Botton.

Modernity and the Spaces of Femininity was written by Griselda Pollock in 1988, and later published in The Expanding Disclosure in 1992. Griselda Pollock is an art historian, and writes this article for fellow art historians. This is an article written to show the different approaches to femininity in the late 19th century, mainly dealing with the field of art. This article shows how during this time period there were women artists, but due to the gendered ruled ideas attached to art history, these women are largely ignored by art historians. Pollock thought that these women artists are primarily overlooked due to the fact that they are judged by the same standards that are affixed to the work of their male counterparts. But she argues

1985 (Figure 2) first appeared in 1985 plastered on billboards around New York City. The piece is illustrated in monochrome colours so to not distract viewers from the meaning of the poster. The harsh contrast in colours between the black writing and white background make the piece stand out and draw the attention of bypassers. Written on the artwork is a list of well-known museums in New York City and beside them is a score of how many women artists have had one-person exhibits there in the past year. The results showed that the Guggenheim, Metropolitan and Whitney museums each had zero, whilst the Modern museum had one. These results are supposed to shock the audience and make gallery curators feel a sense of guilt, that it’s clear the art world don’t appreciate women artists like they do men. Whist they are confronting the public with that truth they are also providing another critical message with this piece. The Guerrilla Girls identified these museums by first name, not out of convenience, but to make a statement, that the only museums to allow women artist some form of respect like male artist do was the ‘modern’ museum. Emphasising the fact that gender discrimination and bias nature in the art world should be in the past, and the only museum that realises and recognises this is the modern one. The poster’s main message challenges the patriarchal world of art and confronts art galleries

The Artist/Gallery I have chosen to write about is Kathy O’Leary and her studio is located at 208 “C” Street in Old Town Eureka. I’ve chosen to write about her because she is a landscape artist who works in oil and travels around either painting on sight or from a photograph that she has taken herself. Firstly, I'll be talking about how she paints, A series she’s currently working on, and a painting I liked the most.

Terror and mockery come together in the portraits of Cindy Sherman on display at the Crocker Art Museum. Walking into the large, dimly lit ballroom, one may begin to feel a slight sense of trepidation as the viewer looks around to find nine sets of beady eyes watching one’s every move. Sherman produced her History Portraits during the late eighties and early nineties, nine of which are displayed at the museum. In her portraits she uses lush fabrics, lavish jewelry, and false body parts to decorate herself in these self-portraits. Her portraits have been know to cause discomfort in the viewers who find the general stereotypes, depicted in her portraits, amusing, yet confusing and terrorizing.

Ms. Lawson’s testimony revealed that back in 1984 her name was Marilyn Anthony. She stated she was divorced on August 17, 1984; in the divorce decree her ex-husband was ordered to pay her $37.50 per week for their minor children; she has not received the support as of this day. She stated that she and her two sons, Antonio Lawson and Donyell Anthony, moved in with her mother, Betty Lawson. Ms. Lawson stated unknown to her, until a relative notified her, there was a court proceeding going on regarding custody and child support of her two children. She stated she began working at the Heritage Health Care Center in Northport, Alabama at the age of 18 and that she did make it to the final court hearing that brought a final judgment against

Marian Anderson was born on February 27, 1897 in Pennsylvania, Philadelphia. Anderson was the oldest of three girls, and at the age of six became a member in the choir at the Union Baptist Church. She was greatly supported by a her dad, whom later bought a piano at the age of eight. Her dad was an ice and coal dealer for a living. With Anderson’s family unable to afford lessons, Anderson taught herself.

was a pioneer and led the way for future female painters to have the courage to become

The first half of this chapter is a story of Vivian Goodman and her love affair with Emmanuel. Vivian was a forty two year old woman who had two children from a previous marriage, that ended because her husband had had an affair with another woman. She met Emmanuel who was a coworker at Amerco and who also had a child from a previous relationship. Vivian and Emmanuel found that they both had little time to spend together because of their shift differences, and Vivian always picked up overtime shifts whenever she could. Emmanuel had recently moved out of Vivians trailer because Tim, Vivian’s nineteen year old son, still struggled to accept that his parents, Vivian and her ex husband, were done.

Esther Jackson’s symptoms lead me to believe that she is having a myocardial infarction. Her symptoms are similar to Jarvis’ elaboration, “Heaviness or pressure; poorly localized pain lasting 20-30 minutes to hours and does not resolve with rest. Generalized substernal or retrosternal pain with indigestion-like feeling, nausea and or vomiting” (2017, p. 493).

Casteel’s exhibition is attractive not only in its thematic purpose, but also in the quality of the art. The way she is able to blend many different vibrant colors together to create a serene piece of art is amazing. Whether you visit the gallery when it is full of many people, or you hear every footstep as you walk through it alone, it will be a worthwhile experience. It is not the typical art one would see in a museum or gallery, and for that reason, I would encourage anyone to go out and see the unusual. You may find out that what you thought was unusual, is more like home than you

It showcases the dense, extensive and delicate connections in the artist’s experimental practices, which includes performance, installations, prints, photographs, films and paintings. The show reveals the transgression with the thematically structured six main galleries with an impressive display of Parr’s diaries in the foyer, films in the theatre and the artist’s archive, ‘Information Centre’. According to Parr, he said, “But in the foyer, I must say, there’s this rather beautiful pop-up space, which is nearly confined entirely to language pieces, and outside this space on the curved wall we’ve got 40 beautiful vitrines..and I’ve displayed 45 years of diaries. So the foyer’s got all of this text, and it’s very intimate.” The diaries were a very clever idea that gave a lot of help to the audience in terms of better understanding of the

Judy Chicago’s feminist artistic career ironically began with minimalist styled art. Minimalist art is defined by the Tate (a highly respected institution in London that runs 4 separate museums) as “an extreme form of abstract art developed in the USA in the 1960s and typified by artworks composed of simple geometric shapes based on the square and the rectangle”. Its essence is best condensed by artist Frank Stella when he describes his minimalist paintings as “What you see is what you see”. Judy Chicago was trained as a minimalist artist and she explains in a lecture she gave at the Carpenter Performing Arts Center in Long Beach, California that “during the first decade of my career I experienced two forms of censorship the first was self-censorship

The exhibition that focuses on contemporary artworks since 1960 will be small, containing only two pieces. The pieces are both sculptures, Violet Persian Set with Red Lip Wraps by Dale Chihuly and Nefertiti by Wendall Castle. The theme of the exhibition will be about the reimagining of the exotic female form through abstract sculpture—specifically, in-the-round, free-standing sculptures. Both Chihuly’s piece as well as Castle’s fit this theme as they depict abstract forms that can be interpreted as feminine. However, the pieces look radically different from one another and are fairly abstract. One sculpture shows a strong and regal womanly form while the other could be interpreted as the exact opposite. Both sculpture’s in the exhibition can also be seen as being inspired by the exotic and romanticized past.

Marian is a great person to work with, she takes the big picture in consideration, however she pays attention for too many details. I will suggest that she pays attention less for the details and little more for the big picture. Although , during the period we worked together she was improving herself over