Putting Life To Work Analysis

Works of art have molded my personality by creating scenarios and eliciting emotions that may have otherwise never been felt in such form as can be presented by an artist, his vision exacting and considerate of his audience’s developmental needs. As a children’s author would write of basic experiences, the artist sympathizing with a young adult such as myself would analyze the complex emotions that the reader must come to terms with as an adult; therefore, my exploration of books, movies, video games, and musical works has taught me how to live and sometimes what it means to live. They have been at times my counselor and at others my guide to living.

Over the years, I have flirted with visual art. It started with pencil drawing, continued as an affair with marker illustration, then a dalliance with lettering, and I now have a relationship with photography. However, my favorite art will never be displayed in museums or galleries. It is not static and immutable. Rather, my chosen medium is fluid, living, volatile. No matter how well rehearsed, it will never be the same again. That’s the beauty of performance art.

Since the beginning of time, artists have labored extensively to find innovative ways to convey sentiment, passion, and feeling. Telling stories and trying to unlock the minds of people through different avenues of artistic labors. Art touches and affects people in unique ways; it can have special or unusual meaning on the person depending on how one views it. Artists’ rendering of their art is interpreted in numerous ways by others who view it unless it is explained by the artist on its meaning giving a clear example of what they are portraying. Two people looking at the same painting, sculpture, portrait, or photo may come to different views on the arts meaning even though they are looking

As a graphic art design major I am often faced with the challenge of expressing my thoughts using art as a language. This is not an easy thing to do since art can mean many things to different people. Art is a form of symbolic speech. With the freedom to manipulate my thoughts by

Thomas Merton once said "Art enables us to find ourselves and lose ourselves at the same time". This is completely true. Throughout the semester we have gone through almost as many as 300 pictures we view, learn, decompose into the criteria it meets and talk about the controversial things it has, while we do this we don't recognize that we also identify the form, content, iconography, and context. All four areas are what the paint, picture or sculptures identity is. I was lucky enough to visit my buddy out at WIU. There are many works in the art gallery, around the union and even outside walking around, but one that did catch my attention and had me thinking about it for quite some time. It was a painting called Memorialized by Tyanna Buie, was made in 2011 and measures 38’’x50’’. The content it has is beautiful, the form is wicked, context is superb and iconography is permanent. It reminds me of artwork we've gone through the semester. The painting was being showed at the art gallery in end of March. It’s now May and I can still picture it in my head so detailed, without even looking at a picture of it. It’s a piece of work I have connected to, yet lost myself in.

Professor Mondloch first briefly discussed the concept of interface in the context of art. She argues that the way we see and experience art works “is as important as what we see.” To illustrate her argument, Professor Mondloch used Bruce Nauman’s Live-Taped Video Corridor as an example of how our experiences of an art work can become its meaning.

The second portion of this assignment is to create and artwork that is inspired by the theme of style of the chosen artist. This should go beyond a master student

The recognition of expressive qualities within an art piece – whether it be features of a face in a painting, gestures of a thespian during a theatrical performance, or the timbre of a guitar at a concert – are able to be used by the audience member for their own purposes. Barwell argues that the audience seeks a particular emotion from within themselves while engaging in an esthetic experience. For example, she says, “If I want to express a feeling…which is somber, serene, and mystical, I might find that Mark Rothko’s huge abstracts in the

Martin Seligman defines the meaningful life as knowing what your highest strengths are and “using your

By using the works of Kahlo and Duchamp, it will be argued that art is the purest form of expression as a result from the multitudes of induced meanings and emotions that present themselves in art.

The audience is inclined to take in Green͛s practice at large rather than gaining a deeper insight into each piece͛s individual context (George, 2015, p. 39). Both curators convey their intentions through the connections linking artist, content and context. This revised insight into the artists͛ practice is transformed due to the associations drawn by the curator and presented to the viewer through the exhibition rationale. The correlation between both showcases͛ intended premise combined with the curators͛selected pieces, assist the viewer in engaging with the artworks in a reinterpreted manner from their original context. Due to the extensive assortment of practices incorporated in Less Than: Art and Reductionism, the artists͛ intended meaning is adapted to fulfil the premise of the exhibition. This is evident in Daniel McKewen͛s Kafka On the Shore (2014) which explores capitalism through the use of a financial algorithm depicted in the form of three over-sized gypsum and acrylic polymer letter-forms mounted to the wall (QUT 2016). The conceptual premise of the work is hidden from the viewer once placed within the context of the rationale, reductionism. At first the viewer can visually relate this work to the premise of the exhibition due to its

Peter Goldie states Conceptual artist are authors of meaning rather than a skilled craftsman, since it is the idea, the notion, the concept and not the outcome or art object that is at the heart of this artistic experience.

For example, one of the sculptures that were designed was based off a child “Jane Addams Founder Hull House” and the concept or meaning per say behind the sculpture itself is that everyone is together, that one takes care of the other. The hands on the sculpture are black stone and towards Louise black is wanted and needed to make her art beautiful. The artifact currently resides at “Jane Addams Memorial park Chicago” where the hands play a purpose to the park itself of peace and unity. Louise really seemed to have cared about her art when it came to constructing her work. For instance, when it came to designing those hands she wanted to make sure she put every detail even up to the wrinkles in the wrist in the hand. It expresses the emotion and concept of what the art really means toward the audience when the final product is finished. As an artist you want your audience to actually feel what you are creating, which could sometimes just be remarkable and optimistic at times. But an artist work to Louise served no true explanation toward the audience; it could be whatever the audience perceived the art as. Therefore, the concept behind Louise art is the fact when it comes to creating her sculptures she is in twine with them and wants the audience to know her art serves a purpose through there eyes.

The labour process under a capitalist society has become distorted over time. James Rinehart explores this in his book “The Tyranny of Work,” where he ponders the recent evolution of labour in relation to the human condition. (Rinehart, 2006) An action which should look to promote personal and communal development now leaves employees alienated in several forms. We’re given a visual representation of this through the short movie “The Necktie,” and real-life examples of experiments conducted in Dan Ariely’s Ted Talk, “What makes us feel good about our work?” (Canada, 2017) (Ariely, 2017)

Conceptualism can be said to be a creative and critical strategy establishing a firm link between contemporary and classical African art where the concept or function of/behind the artwork is of primary importance, with the aesthetical qualities being secondary. A said by Sol Lewitt (1967) “ In conceptual art the idea or concept is the most important aspect of the work…The idea becomes a machine that makes the art…Conceptual art is not necessarily logical. … The ideas need not be complex. Most ideas that are successful are ludicrously simple." ( Salah M. Hassan and Olu Oguibe) Conceptual art highlights the idea of concept versus idea. The concept becomes a visual representation as the idea takes precedence over form. Hence one can say it establishes a relationship between word, idea and representation and the artwork. The conceptual element of the artwork are used to create meaning along with being seen as a ‘framework for