Mike Parrr Exhibition Review

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.

Artists interact with the events and issues of their time and place and this is shown with Australian artist Brett Whiteley’s artwork series called “the Christie series”. Some of Whiteley’s artworks include “Head of Christie”, “Christie and Hectoria McLennan”, “10 Rillington Place” and “Christie and Kathleen Maloney”.

Jan Groover’s work was put up in the Museum of Modern Art in 1987 and has also been the subject of one-person exhibitions

Margaret Lazzari (Author),. "Exploring Art: A Global, Thematic Approach 5th Edition." Exploring Art: A Global, Thematic Approach: Margaret Lazzari, Dona Schlesier: 9781285858166: Amazon.com: Books. N.p., n.d. Web. 29 June

Contemporary artist, Ah Kee, has created a work, “Unwritten #9”, references past racial murders and the way they resonate in the present context and explore Australian Indigenous and non-Indigenous culture in the contemporary society. Ah Kee created this series of artworks in response to the apparent police cover up of the death of a young man in their custody and protection of their own lead to accusations of racism, riots by the Islanders and their further oppression by the police. The faces are also non-specific and have no identity, this refers to the devastating history of racism and violence against indigenous peoples in Australia. This symbolism also suggests the often unspoken motivations for actions and interactions between Australians

The fourth lesson will be analyse the content of the picture book “Why I love Australia” by Bronwyn Bancroft. The lesson involves: discovering the visual art element and principals of the illustration (VAES1.3); introduce the artist Bronwyn Bancroft (VAES1.3); explore the traditional Indigenous feature and art technique used in the illustration (VAES1.3); reading the book to class, and guiding student to discover the relation between the words and pictures (ENe-1A).

The five movements of the suite cover the period of the famous Paris museum’s development during the Renaissance. Each of the themes utilized by Dello Joio are by composers and compositions of the time period. The composer invites the audience to place themselves in the ambiance of the museum’s transformation, and experience the splendor of each setting of what is known as The Louvre.

This work examines the past and also imagines the future by using references of past racial murders and the way they coincide with the present context and explore Australian Indigenous and non-Indigenous culture in the present-day. Ah Kee created this series of artworks in response to the apparent police cover up of the death of a young man in their custody, for protection of their own lead to claims of racism. The faces are also non-specific and have no identity, this refers back to the devastating history of racial discrimination and violence against indigenous people in

The identity of Australia as a place comes from both its physical features and the atmosphere, which is often created by its physical appearance. Three artists who have depicted the Australian landscape in different styles are Arthur Streeton, John Olsen and Sally Morgan. Streeton’s works are in a realistic but lively style typical of the Heidelberg school. He was intent on recreating the light and warmth of the land. Olsen and Morgan’s works, on the other hand, offer more abstract interpretations of the land. During the 1960s and 1970s, Olsen captured the essence and the energy of the landscape with his bold and bright brushwork whilst Morgan’s work from the 1980s portrays Australia from an indigenous perspective, which she achieves through her use of Aboriginal symbolism and cultural imagery.

Aboriginal art in Australia is both beautiful and meaningful. According to Perkins, Hetti and West (2007) Aboriginal art allows for reconciliation of the events of the past two centuries’ that is used as inspiration for their work. Whilst researching the Indigenous cultural heritage of Mount Barker, Western Australia I came across a well know Noongar artist from the region, Charlie Colbung. Colbung was born in Mount Barker in 1970 and still resides in the South West region where he is an Indigenous health worker as well as an Indigenous programs officer for the Great Southern TAFE (Design and Art Australia, n.d.). There are two prominent themes in Aboriginal art consisting of both country such as the land and kinship, the people (Perkins, Hetti

When we look at this piece, we tend to see the differences in ways a subject can be organized and displayed. This assemblage by Betye Saar shows us how using different pieces of medium can bring about the wholeness of the point of view in which the artist is trying to portray. So in part, this piece speaks about stereotyping and how it is seen through the eyes of an artist.

The artist’s job is to be a witness to their time and location in history. They record and reflect on events and themes that have occurred in their personal life and society around them. Gordon Bennett creates artworks exploring Australian colonialism and the impact it has had on Aboriginal History. Bennett’s work bares witness to the disregard for Aboriginal people in history, in his time and today. Bennet grew up unaware of his indigenous heritage.

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

On September 4, 2016, I visited the Matisse in His Time exhibit at the Oklahoma City Museum of Art. This exhibit is home to a plethora of pieces by many different European artists from the 19th and 20th centuries. While it is focused on Matisse and his extensive works, containing more than 50 of his pieces, there are many portraits and sculptures by other influential artists from that time period including Renoir, Picasso, and Georges Braque. Three of the most appealing works that I encountered in this exhibit are Maurice de Vlaminck’s Portrait of Père Bouju, Pablo Picasso’s Reclining Woman on a Blue Divan, and Henri Matisse’s sculpture series Henriette I, Henriette II, and Henriette III.

Secondary to architectural sculpture, Parr’s staple occupation, figure making was a much-loved activity. This book sets out to explore Parr’s professional and personal relationship with Vyse. Their friendship blossomed when they were art students. Parr studied at Burslem School of Art. Vyse studied at Hanley School of Art. They were often in contention for the major prizes at Inter-Art School and National Art Competitions. When aged 25 and a student at the Royal College of Art, he met Parr again. In 1908, Parr gained a Travelling Scholarship to tour Italy. After returning to London from the continent, he graduated from the RCA, with the ambition of becoming a fine art sculptor. When Vyse gained a Travelling Scholarship in 1910, he profited from Parr’s Italian experiences. He graduated from the RCA in 1911, determined on a career in sculpture. Around this time, both Vyse and Parr were in receipt of modelling commissions from Doulton & Co,