Mark Dion's Art Analysis

The artist that I decided to research was Lee S. Ivey. She was great at making sculptures. She did oil painting and drawings as well. Her paintings were amazing. However, I’m more fascinated with her sculptures because they’re so different and they tell a story. She even have a piece called “Deaf President Now”, which is currently on display at Gallaudet University. Pieces like this really shows how she was part of the Deaf community, and how she saw the talent and aspirations of the community. I like the mysteriousness of her art and how it causes you to wonder what emotions she was feeling when she created the piece, and what the message was that she was trying to convey. All of her pieces seem to have some kind of message. For example,

For this weeks artist, we were asked to summarise the information provided to us based on the artist, Tracey Moffatt, and research other information to include in the summary. We then had to gather four images of her artworks and write comments on them including, our thoughts, opinions and other general statements about the image. Another requirement of the two week task, was writing about what we personally thought our chosen series produced by Moffatt was about, and also including a short 200 word paragraph on what image we would add to the series and why. The last task was to create an artwork based on Tracey Moffatt’s style of art.

More lately, she has been enthuse by the Japanese kigurumi culture, whereby men and women just go out in communal dressed as life-size dolls. Simmons was actually the beneficiary of frequent awards, counting the National Endowment for the Arts Grant as well as the Guggenheim Fellowship, The Distinguished Alumni Award at Temple University and also the Roy Lichtenstein Residency in Visual Arts,’ at The American Academy in Rome, (Nelson, V. 2012).   She is well thought-out part of The Pictures production, along with comedian like for instance Cindy Sherman as well as Barbara Kruger and also Louise Lawler.

Many scholars criticize Neiman’s work because of his splashy, kinetic, and jigsaw-like style however; these critics have failed to fully evaluate Neiman’s work. Neiman is known for capturing many split second moments such as many of Muhammad Ali’s boxing matches and other Olympic events. Receiving much scorn, Neiman’s works are often dismissed for superficiality and garish among the art world. The common misconceptions have failed to acknowledge the discrete hints that reflect the development of African Americans. Leroy Neiman's paintings capture juxtaposition between frustration and aspiration through dramatic brush strokes, contrasting portrayals of community development, and metaphorical placements symbolizing the possibility of opportunity

The two that I have chosen for this specific topic would be John Adams, and Howard Baker because they had both seemed to catch my eye. I would say that both of the artworks are about medium, however, John Adam's painting seems a little bit smaller as the height comes out to be 29.3 inches, and Howards comes out to be a total of 49.5 inches. I would say the most dominant of art in Howard Bakers artwork would be texture, and also shape and form. The color of his suit really makes the entire picture stand out very well and neat, compared to the background it has a almost "glowing" effect to it. John adams most dominant artowkr would be the form and shape of how it was portrait. The black coloring looks constantly repeating because almost half

And so he bathed in the blood of the lepers. Why would anyone want to bathe in the blood of a leper? They’re infected people. Rejected. Shunned. Unwanted. Useless. Or is that how society chooses to view them?

A pale, tall figure looms over all who are in its presence, overwhelming and shockingly real. The Giant, 'Wildman ', a huge modal of a man, is nude, this nakedness, displayed for all to see. This ultimate exposure is a symbol to modern culture as one of ultimate indecency and of vulnerability. He sits on a simple, sturdy wooden stool. His pose is rigid, his knuckles are tightened and white as he grips his seat, his eyes are wide with fear, accusing the society that has placed him on this pedestal. Upon his head, a thick mane of curly hair sits, entwining with his bush-like un-kept beard with greying strands throughout, reaching past his shoulders and ending midway down his chest. The majority of his body

As I write this post, a recent memory springs up in my mind. Earlier this year, my dad had an art show at the Steffen Thomas Museum focused on Christian Art. One afternoon, Chris and I decided to go over there so I could look at his show. I am always amazed at my dad's art and this was no exception. As we went from painting to painting, I could not imagine the countless hours he spent on each one of these paintings.

In the contemplation of art, or rather the conceptually intangible definition it currently possess, it is imperative to be mindful that “art” has been utilized as a promotional device, ceremonial item, aesthetically purposed article or perhaps none of these or all. It is because of this vague term that Carolyn Dean, in her text, “The Trouble with (The Term) Art”, makes a case for the consequences of applying the term “art” in societies that lacked such a notion which also accounts for the Western-centric lens the field intrinsically utilizes when viewing non-Western art. The claim is deftly supported by the utilization of expert accounts in the subject, alternative perspectives for what is considered the current norm, and self-examining questions,

The two works of art that I have chosen to analyze are 1) Jordan Casteel. Miles and JoJo. 2014. Oil on canvas, 54” x 72” and 2) Aaron Fowler. He Was. 2015. Mixed media, 134” x 165” x 108”. The themes that these works of art represent in regards to the exhibit are love, family, and pain. However, they also fall into other thematic categories. The main theme that seems to apply to both “Miles and JoJo” and “He Was” is Human Experience. Additionally, these arts differ in some ways.

) While studying under Jacob Kahn, Asher engages with Western Christian culture via art; this interaction alienates Asher from his family while enabling him to explore art and find his purpose. Jacob Kahn is a former Hasidic Jew who studies with the Ladover Rebbe yet maintains a largely secular lifestyle. His perspective of being a former Hasid leads Kahn to understand Asher’s tie to Judaism and not dissuade him from remaining a Jew. However, while instructing Asher, Kahn exposes him to nudes and crucifixions, both forms of art that the Ladover Hasidic community judges to be improper and from the Other Side. Kahn articulates his firm desire for Asher to be able to present an artistic rendering of the human form, stating,

The artwork, “Number 10,” by Mark Rothko displays two rectangles (top, yellow and the bottom, white) with a baby blue background color. Seeing the painting for the first time was surprising since I didn’t understand how it correlated with the title. It was easy to look at, but it didn’t catch my attention right away! I felt confused and frustrated while observing the piece because I didn’t know how I was going to find the meaning that lay behind the painting. This reminded me of my first-born nephew; I had such a difficult time trying to understand why he would cry so much. However, I was aware that crying was his way of communicating how he felt, just like painting this abstract piece was Rothko's style of communication.

This artwork appears to be an abstract piece made from magazine clippings to create a collage. The artwork is a vertical piece that measures approximately 17 x14. It focuses in on the subject of a girl who is created out of neutral colors. She stands out against the rainbow background. In the background each clipping has a different element and pattern, but they all work in unison creating a rainbow background.

In Nature & Landscape: An Introduction to Environmental Aesthetics, Allen Carlson proposes that scientific knowledge can enhance our aesthetic appreciation of the natural world. He draws a connection between technical know-how used in the context of natural landscapes and art history or criticism in the context of conventional art forms. In either case, the viewer would find relatively more meaningful experiences of aesthetic appreciation than if one looked at a painting or landscape without any prior knowledge about it. Carlson endorses this point within his larger Natural Environmental Model, which asserts that though the environment is not entirely of our creation, it does not mean that we have to approach it without any prior understanding.

The urban environment that I live in is my nature. My nature is filled with birds, cats, grass, and flowers. It may not be as abundant with mother nature’s resources compared to most places, but it still provides me with an experience of nature. Nature is not limited to just what we see anymore. However, you must use your senses to truly achieve the full experience of nature. In nature, you must smell the wonderful odors from the flowers, you should use your sight and observe the natural beauty of the ever-changing sky, touch the rough and jagged bark of the trees, and hear the spectacular songs of the birds that fly above you.