Pleasant Sounds Impede Health: A Cognitive Approach

In art, there are qualities that speak louder than words. It expresses many different messages and emotions and each person has an experience different from the next. In this paper, I will be discussing two artworks I encountered. The piece is a good example of how people can encounter different experiences in one piece. I attended the Orlando Museum of Art a while back with family and overall enjoyed my experience. On my visit, I found the museum quite impressive and felt a deep connection with specific pieces.

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

In Affect - A basic Summary of approaches, Andrew Murphie puts forth thought on the concept of affect and how it directly correlates with the language. Affect is described as what occurs right before one becomes aware of how they are feeling, and thus turning that feeling into an emotion. That being true, affect is moment to moment and is constantly changing, for emotion is continually being altered in order for one to be fully present in every point in time. Affect comes and goes instantaneously, for at the instant when it comes, one makes an effort to put affect into words, turning the affect into a feeling or emotion and it is gone. Affect cannot be put into language, but it is always something that will be with one. That being said, one cannot describe one’s affect to another. Though, by trying to talk about one’s affect, one must speak about the instant that created said affect, and by expressing one’s thoughts about their moment to moment experience, one can try to evoke a similar experience in another’s mind.

Perceptual view of emotions is also also called appraisal theory and asserts that subjective perceptions shape what external phenomena mean to us.  These events have no meaning and they only gain meaning if we attribute significance to them.

Upon entering the museum I was bombarded by this 12 x 45 ft. architectural painting. Almost resembling the museum building itself. With sharp horizontal and verticals lines, this multi colored piece reminded me of our last piece from project 8. Using a variety of colors with no obvious correlation, the clash of colors instantly made me reflect on how I could improve future and previous projects alike. The amount of straight lines in different lengths and widths, also reminded me of our piece from project 1. With no curves and lines going every which way, its amazing how a piece made entirely of lines with no figures could be so captivating.

When I attend the Oklahoma Art Museum this morning, I was completely blown away by the different styles, technique, and artistic abilities that artist have. Art can come in many forms and can involve many different things. From paintings, sculptures, and abstract pieces of the modern world. Along with my visit, I got to experience a new collection of blown glass that was absolute remarkable. As I walked though the museum, it was as I walked though time and got to see how each period’s art changed throughout time. From the different shades of color to the different types of technique that filled the halls of the Oklahoma City Art Museum, each piece was genuine in its own way. I was starstruck as I witnessed Lowell Nesbitt’s Parrot Tulip, Richard Diebenkorn’s Albuquerque, and Dale Chihuly’s blown glass.

The successful exhibit of H.2.N.Y engages in a spirited interplay of framed geometries, counterbalanced by the unrestricted, free-form illustrations which spiral around the walls of the John Kaldor Family Collection gallery space. The collection is renowned for its in-depth portrayal of some of the most influential artists of the twentieth and twenty-first century, including Michael Landy.[7] Conceived as an assembly of solo shows, each individual exhibit contributes to a perpetuating dialogue between a diverse range of expressive forms in a cross-section of contemporary attitudes towards artmaking. For this particular installation, Landy digitally tore apart his charcoal drawing Machine to Destroy the Tinguely Museum 2 (2010), a process he described as “cannibalizing [his] own work”.[9] Consequently, he enlarged it to create the fragmented constituents of a large-scale drawing which envelopes and pirouettes throughout the exhibition space, linking together a selection of his own works in the immediate area. Counterbalancing the composition of interior architecture is H.2.N.Y, a drawing seated compliantly within a set frame. This spatial dichotomy plays a fundamental role in the audience’s experience of the artwork, catering to both ends of the heuristic spectrum and pays homage to the intrinsic correlation

I have always been intrigued with the Mona Lisa, I don’t know why but there is something about her smile and her eyes that captivates me. The realness of the painting and how ordinary the Mona Lisa is the reason why I can look at this painting with great joy, it doesn’t make me think too much, it doesn’t confuse me, the simplicity and the normalcy of this painting is what I enjoy so much. However, after an analysis you can see that the painting isn’t so ordinary.

Intrinsically intriguing as the artworks and themes are for many viewers, what lies with greater uniqueness is the visual context of art, as emphasized by Helena. Artworks, despite the era or time period, are always initially distinguished based on the surface; for example, what’s present and what’s going on. As I tour the Grohmann Museum with Helena, I was taught to look at the furthest distance in the portrait rather than the surface.

Fayard, J. V., Roberts, B. W., Robins, R. W., & Watson, D. (2012). Uncovering the Affective

A key term used when describing the exhibition space is ‘mise-en scène’. ‘Mise-en-scène’ is an expression used to describe the design aspects of a theatre or film production, which means ‘visual theme’ or perhaps more pertinently ‘telling a story’—both in visually artful ways through storyboarding, cinematography and stage design, and in poetically artful ways through direction. It is also commonly used to refer to multiple single scenes within the film to represent the film. This is particularly the case in this show as each room has a different look and feel like one would experience in a theatre; for example the Main Stage has a very different look and feel that the Backstage area. The Main Stage is particularly evocative of the shows aims and provides a centre point for the show – especially the main stage itself which has been constructed especially for this show and painted green. Emily Young’s ‘Archangel I’ 2004 (see figure 1) made from Monteone onyx stone is situated on the edge of the stage and can be seen straight away as one enters from the bar. This sculpture, which weighs one tonne , had clearly exercised difficulties due to its weight and size. The polished stone resembles a woman’s head who appears to be singing on the stage. The polished stone is sensuous and smooth with a strong sense of past and time. This is the antithesis of the blunt, cumbersome and

Allowing her viewers to a part of her pieces has always made her stand out as a performance artist, whether they knew they were a part of the piece or not. The House with the Ocean view (Fig.3) was performed at the Sean Kelly Gallery for 12 continuous days. It was considering a “living installation” because the gallery became her living quarters. The audience becomes the ocean for The House with the Ocean view. The living quarters consisted of three units, a bedroom, a living room, and a bathroom. She interrupts her fasting and meditation only to use the bathroom. To be a part of the performance, Marina expects the audience to respect her by remaining silent, creating a connection through energy, and to use the telescope that was provided.

An object placed on display behind a glass case inside a museum would hold a vastly different meaning if it were for sale by a street vendor, such as the individuals who set up their tables only a few feet away from the Met. Brent Plate in Religion, Art, and Visual Culture argues that “objects obtain different meanings in different locations and historical settings.” The different meanings that objects are able to obtain is attributed to the relationships that are established between the object itself and the environment that it is located in. These relationships often involve the kind of audience that a museum attracts, where the work is exhibited, and how the exhibit is laid out. Museums subsequently have the ability

Esther Stewart’s paintings and sculptural work elope in the worlds (and endless possibilities) of domestication, architectural facades and imagined utopias. Coupling strange, bold and kitschy ‘interiors’ with provocative titles and a strong tradition of minimalism, Esther offsets the flat Escher-esque infinity and grounds her paintings back in the Euclidean world of angles, forms and empty space. Intuitively appealing axioms, deductions and propositions play out against each other, like the energetic designs of Sonia Delaunay, while deft and challenging colour palettes, reminiscent of David Hockney, co-mingle as instances of imagined space interweave.

Sight, sound ,touch, taste, and smell can affect a person's mood. Each of them have their own affects