Nick And Nicole Fischer

In comparing The Tibetan Mandala and the Navajo Sand painting the sand drawings are from different cultures, yet their purpose is the same. A better understanding and appreciation comes with looking at these works.

Another main focal point in this canvas was subject matter. This is where the objects or events are described. The artist gives us different objects such as the old couple seems displayed as depressing. Or you can observe it as normal couple, walking across the river, enjoying the night. He also gives us a boat which could possibly be giving us a correlation because the boat looks like it’s broken or about to sink. There is also another interpretation with the object that Van Gogh displays which is, the stars. Depending upon which way you want to take it, they look like flowers or fireworks. Also, there is a sense of false appearance with the houses. If you stare at just the bank you will notice that it is just a bunch of bright lights but if you pay attention to the water close to the bank, you will acknowledge the darkness or shadow of the houses.

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

As a learning artist, I always search for others who share the idea that art is more than what lies on a picture plane. One artist, in particular, has drawn my attention since I was young and he is a self-taught artist named Guy Dennings. While taking the hearts of thousands of others with his various media that range from pastel on newsprint to Conte crayon on paper; he has also captured my imagination with these emotional creations.

We have created a home here and built a studio nestled in the woods where I make drawings, paintings, and sculptures inspired by my experiences and the surrounding nature. In the last couple of years, I have been invited as a guest artist to critique final presentations of the BFA and MFA students at SUNY New Paltz. My ongoing dialog with the students and faculty have sparked the desire to dig deeper into my artistic and cultural lineages in a stimulating setting where my ideas are challenged and debated. I have decided to pursue a Master’s degree in Fine

This is a Book that entails Kiki Smith’s never-seen images. The artist (Kiki Smith) gives insight to how her work was processed. And how she was moved in the direction, as far as scheme of colors and so forth. Allowing viewers to have a vivid eye on how and why she did the things she did when taking her

Cubism ignited a new way to think and look at art. In Picasso’s 1910 Portrait of Art Dealer Ambroise Vollard, he really pushed the boundaries of abstract painting in this analytic cubist composition. Analytic cubism is in which the object is broken down and dissolves into underlying geometric figures. Therefore, to examine the Portrait of Art Dealer Ambroise Vollard, the viewer cannot stand too close because all of what will be seen is geometric facets. However, if the viewer steps backwards, then they will see that Ambroise Vollard is in the center of the composition. He has dissolved into the background, yet the details of his face are evident with his balding head, closed eyes, beard, and mustache. Picasso used monochrome colors of browns and gray tones throughout this painting, which was indispensable to the underlying geometric elements of the Ambroise Vollard’s form and the background merged into each other (Soltes, L38,

Two art shows opened up at the North Dakota Museum of Art this past sunday. On the East side hangs “In Your Own Words: Native Impressions” which is comprised of twenty-six prints done by three artists; Daniel Heyman, Lucy Ganje, and Kim Fink. The show on the opposing West side is called “Stalking the Snow Leopard” and is done by Justin Sorensen, who hired me as a performers.

The painting’s pull is so great that no one can be brought to notice anything else. Even the people working at the museum are aware of nothing other than the painting when in its presence. It makes for the perfect cover for the owners who, never watched, can stand in the far corner, facing the wall: a boy and an old man standing side by side. They stare into the wall, as if they could see the world there, except their eyes are completely blank; and yet, somewhere, in the depth of their darkness, hides a terrible consciousness. Looking into such eyes, you would learn one thing: that you would not be of this World for

Alexa Lawrence describes in both descriptive and interpretative critique of Patricia Perez Eustaquio’s Black Dust series. It is descriptive as she draws our attention to discover that the artist’s “drawings are actually of the dried flowers and hardened lumps of paint that lie around the artist’s studio” (Lawrence, 2016). She further explains that Eustaquio often uses commonplace materials that are readily available. Viewing the piece would not allow the individual easy identification. She transfers into interpretative as she explains that the art “memorialize the smallest scraps, even champion them, making mountains of them” (Lawrence, 2016).

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

Kelly’s key collection is the Post-Partum Document, 1973. The collection was built up of the artist’s experience of motherhood. It gave the view of the female in conceptual art. The pieces analysed the mother-child relationship. Kelly wanted to show the relationship of the woman’s desire to have a child. Kelly states she “wanted to underline the possibility of female fetishism.” Kelly uses the Post-Partum Document to show the relationship between herself and her son over six years. Kelly used the feminine psychology of the mother to link up the acts, words and thoughts of herself and her son, to analyse their relationship. Kelly stated she wanted to document “my lived experience as a mother and my analysis of that experience.” To do this, Kelly collected conversations with her son and documented day-to-day life as a family. She wanted to show the psychology theories behind their lives and connections through art. Kelly stated that women turn motherhood into an unconscious fetish, collecting tokens of the child such as drawings, pictures and gifts. Mothers feed, clothe and care for the child even when they are old enough to do this themselves. This is the need to keep the child and stay as the child’s main caregiver. Kelly mentions the fear of losing the child, through them growing up and moving away, reject the mother and in some cases die before the mother. This

Marcel Duchamp is easily considered one of the most important artist of his era as well as the father of conceptual art. His journey toward these titles is well documented and the artworks that allowed for these major transitions have been widely appreciated. Because of this knowledge of his life and artworks, it’s easy to see just how instrumental women have been in his artistic journey.

When I saw the painting for the first time it grabbed my attention. At first I thought it was the beautiful colors that attracted me to the painting, but it was more. In the picture the shadowy men look scared. They looked as though they were trying to run away from something and this lake that forms into this river that is surrounded by tall grass is the way out, or at least a place to hide until the coast is clear. During that time in my life I felt