The art of Michael Merrill has always been seeking to subvert the established system of art. Merrill’s recent Apartment complex paintings count among his most sophisticated and daring works to date. He chose the subjects to be not the artwork themselves, but rather their situational contexts and architectural details in which they were exhibited. He wanted to paint from experience, rather than from his own experiments in the surreal. As a result, he was inclined towards subjects that were immediately available to him. Merrill convinces the viewers that the artwork depicted is his to interpret. As a part of his Apartment series, Apartment 1, Apartment 2, and Apartment 3 are oil on canvas, finished in 2016. To add, he has related inks on paper …show more content…
The bluntness of the architecture against the sky, softened by foliage or stark against snow or illuminated in the night, is captivating.” In simpler terms, he is stating that he is fascinated at not solely the looks of the building, but how the light hits it, and how the architecture has such a sharp and blunt quality against the background. The apartment in Apartment 1 guides us forward toward the coming surface rather than obscuring our view. In Land of Art, another art series, Merrill executed oil sketches, watercolours, and various drawings after being strongly inspired by the Group of Seven. In the late 1980s until 1995, he had executed an extended series of oil paintings and works on paper based on light reflecting off the grey concrete floor in his studio. Apartment 1, Apartment 2, and Apartment 3, finished in 2016, are oil on canvas. To add, he has inks on paper and sculptures of architectural models. Merrill has a very broad range of medium used in his artwork. Because oil paints stay wet for a lot longer than acrylics, they give you the flexibility to start a painting and then come back to it the next day and continue right where you left …show more content…
I will use this newly acquired information to view everyday items differently, to see the beauty behind plain brick walls. I will take in Merrill’s way of thinking to ask myself, “What was learned?” each time I have completed an artwork. This will improve my future techniques and widen my range of perceptions and thoughts. I believe that Michael Merrill was successful in reaching his goal. He wanted to focus on viewing objects in a different way and using light sources to differentiate colour and contrast from night and day. I was unbelievably fascinated with Merrill’s way of thinking, as it showed me that there is more than one way to view an object. He so eloquently explained his opinion on his apartment complex that it made me realize that no two people in the world see something the same way. I would consider the building to be not worth of my time to paint, yet Merrill demonstrates his capabilities in a piece of art that I would consider incredible. All of Merrill’s artworks are so perfectly done, from every crisp edge, to the shadows, to the
In chapter 5, Pink presents Mihaly Csikszentmihalyi. At the age of twenty-two, Csikszentmihalyi moved to the United States to study psychology. He registered at the University of Illinois-Chicago and earned a Ph.D. in nine years after moving to the United States. Csikszentmihalyi set up an experiment with the electronic pager to study what he called “autotelic experiences” which is the objective of self-fulfillment and the endeavor acts as is its own incentive. The outcomes from the experiment led to the finest moments of flow: “The highest most satisfying experiences in people’s lives were when they were in flow” (112). The thought of flow is important to mastery because goals are strong and an individual is engaged as people in flow is
Jeffrey Smart was an artist with exemplary vision and intense productivity throughout his career. Smart was a master of painting urban landscapes and industrial wastelands with “precise attention to clean lines, composition and geometry” (Pearce, 2012). The development of his visual bloodstream can be attributed to significant architectural and cultural influences in his hometown Adelaide, Australia, as well as Sydney, Rome and Tuscany.
Though strong as a transition between other works in a gallery, Building More Stately Mansions individually possesses an appropriately glum physical atmosphere. Visually, the painting has a highly representational element,
There are many artist’s who can make an impact with how they convey their work. An artist who conveys his work with elegance, is Tom Killian. He is a local artist from California, and went to the University of Santa Cruz California. Living in California was going to shape his perspective on the world forever, specifically on how he depicted his work. In a work of art of his itled, Monterey Bay from Santa Cruz Pogonip. The work of arts creation came to be in 2002. The process in creating this piece was intricate, it was created from a wooden stamp press, the presses used are hand carved into wood and linoleum blocks. For each of the colors used in the piece, a new block has to be created to ensure that the colors doesn’t blend in ways the
The work of Frank Stella presents itself as a catalyst. It is equipped with a three-dimensional energy that goes beyond the limits of the canvas and spreads itself onto real space. His creations invite us in to interact. He is one of the pioneers of Minimalism, with his famous black paintings (1958-60) ,for which he received early and overnight recognition and acclaim . Those “Black Paintings” consisted of, basically , ‘stripes of black house paint laid out in stark repetitive, patterns separated by thin lines of unpainted canvas’.(Fig 1)
Under AASB 8 para.5 an operating segment is a component of entity that generates revenues and incurs expenses throughout business activities. It would be able to provide a discrete financial information and regular monitoring by chief operating decision maker is required.
“Give honest and sincere appreciation.” The lesson from Chapter 2 of Book 1 was one that stood out a lot to me, and is a piece of advice I’ve tried to adhere to my daily life. It’s such an important thing, and yet, as Carnegie states outright, not enough people do it day to day. There’s a specific quote that stuck out to me, and I’ve actually had quite a bit of experience with it:
Often times misunderstood and, at times, even complex to understand, Abstract is a category of artwork that challenges the viewer’s intellect through its array of bold color schemes, extracted ideas, and conceptual viewpoints. Expressionism is a sub-category of Abstract artwork, which encapsulates the philosophical, intellectual, and emotional stimulation it hopes to create in the observer, which frequently, is the objective of the artist who created the conceptual piece. Three artists who embody the abstract principles are Joan Mitchell, who was one of the first women expressionist painters who focused on landscape-type portraits, and a successive artist to similar abstract painters such as Mark Tobey, and also preceded by modern sculptor Lynda Benglis who literally “cements” abstract painting concepts into unique dimensional sculptures. Yet, Mitchell’s artwork is “special” to me
When reading Chapter 14 on page 264, the authors indulged in a discussion on marital adjustments. Marriage is influenced by many factors that take effective of marital adjustments. As stated in the text, there are influences at three different levels. Individuals, family, and social. One of the most important factors influencing martial adjustments over the cycle of life is, addition. At the individual level, the developmental trajectory of both spouses; their level of self-management, emotional, financial, educational and interpersonal competence, the values and beliefs they have about marriage, about the acceptable role of men and women, and the equity in relationships. The family level, marital adjustments are influenced by the relationships
Looking through the windows one sees the individual, vivid colors that are characteristic of Matisse’s art. As one steps back, however, the colors become identifiable figures and coalesce to become real, tangible images. The yellow and blue accentuate each other as our sensation is the most intense when two extremes are juxtaposed. Matisse uses color brightness, balance and contrast between colors to improve visual aesthetics. This combination of the dynamic and the static really makes the space come alive.
After reading chapters 2 and 3 and watching the video on the advantages and disadvantages of the newest DSM, I feel very overwhelmed with information but also intrigued.
With a career spanning over 50 years, James Turrell has created a vast body of work that explores the properties of light, perception, architecture and space. His unique use of light installations and projections as a medium creates a psychological experience for the viewer, forcing one to bring their exclusive perspective onto the work. Subsequently, this creates a stimulating heightened sensory awareness in the receptive viewer. James Turrell’s work as a minimalist with a background in perceptual psychology has shaped his captivating artwork by exploring how light and color are perceived by the human eye, how space is manipulated to create an all encompassing sensory occurrence and how his style of visual communication is based on the audience’s individualized experience
(MoMa). This painting not also depicts Matisse’s studio but I believe it to also represent this subconscious mind. Artists must classify themselves in their minds by a certain set of tendencies, which develop into our aesthetic. Matisse’s aesthetic can be characterized as high chroma, sensual, and emotional abstractions.
Jackson Pollock’s stunning 2D oil canvas called the Convergence was visually intriguing. Its name is perfect description of the visually abstract artwork. It is difficult to distinguish any figures on the canvas. The splatters are created with black, blue, red, yellow, and white colors of paint. Its diversity of colors in a web-like array creates movement and rhythm. Shuttlecocks, a 3D aluminum and fiberglass-reinforced plastic structure was a fascinating piece created by Claes Oldenburg and Coosje van Bruggen. This work of art was a magnification of a common manmade object located in Kansas City, Missouri and serves as a contrast to the classical design of the building. Mark Rothko’s White and Greens in Blue is a very plain 2D oil canvas.
My favorite piece however, was a contemporary oil on canvas, titled “Recycle Yard” by Kim Reasor, 2013. When I first saw it, I believed I had come across a collection of photographed snapshots of San Diego. Every painting seemed so familiar -- there was a painting of a watchtower on the Mexican-American border, as well as a painting of a freeway exit jampacked in rush-hour traffic. Each piece in this collection, appropriately titled “Urbanbanality,” seemed so ordinary -- when I saw the “Recycle Yard” I quite honestly thought it was a painted view of National City from the 5 freeway. What drew me most to the piece was the seeming serenity of the subject. As someone who has seen the commotion of a recycling yard, the