Review Of Nokumura's Painting 'Sunagawa # 5'

Within a painting, the watercolors and each discrete stroke of the brush gives each element a diverse connotation. The Parade By Abraham Rattner, was painted in 1969 to illustrate the protests of the Vietnam war that the United States was involved in.This exceptional piece of art work exhibits the warm colors of the crowd and the fiery blazes colored across the skies, highlighting the widespread conflicts the nation had against this horrendous battle. During this time, individuals were protesting against the government’s actions in order to conserve tranquility. This painting captures the scenery that had taken place during these frightful days of war and the disputes happening internationally.

Julie Mehretu’s paintings are loosely termed history paintings by Douglas Fogle and called psychogeographies by the artist herself. A viewer is supposed to find something in themselves much like exploring a city and figuring things out for one’s own self-interest. Mehretu is quoted as saying “my aim is to have a picture that appears one way from a distance-almost like a cosmology, city, or universe from afar- but then when you approach the work, the overall image shatters into numerous other pictures, stories, and events. Historically drawing is seen as inferior to painting which makes it interesting that Julie Mehretu would employ so much drawing into her canvases because drawing is important to architectural drawings. How does the mapping nature of Julie Mehretu’s paintings convey a sense of identity in a very political nature and how is it a representation of the post colonialist world in which we inhabit? Scholars all seem to agree that Mehretu’s canvases are maps, but what do they seek to accomplish? My analysis of Mehretu’s Stadia III will use a biographical and post colonialist methodology to explore the ways in which Mehretu’s own upbringing and how the very nature of her map making, though very artificial, can be seen as a way of both bringing us together and giving those groups that have previously been neglected throughout history a voice.

The art piece “You Who are Getting Obliterated in the Dancing Swarm of Fireflies,” by Yayoi Kusama at the Phoenix Art museum, is a pitch-black room with mirrors lining the walls and black granite flooring and ceiling. Hanging from the ceiling to the floor are black cords three inches or so apart with multiple LED lights attached to each cord, which change to a new color scheme every two or so minutes and flicker on and off. When I first walked into the room the lights were all red, and by the time I exited they had shifted from red, to green and red, to blue and purple, to blue and green, to blue, and repeated again. The room is small, and is only about a 15 feet by 15 feet square space with one entrance and one exit. Although the room is

The painting hanging on the red wall of Mills Center was something that I had never noticed before. I walk past the Mills Center at least four times each week and not seeing such an incredible piece of art demonstrates how ignorant I can be. This painting is an artwork titled “Arrival in Jerome” by Henry Sugimoto, who is best known for his depictions of the wartime internment experience, many of his paintings executed while he was confined at the Jerome and Rohwer camps. Sugimoto represents Japanese-Americans who loved the United States and worked so hard for the country, but were imprisoned and denied their basic rights during World War II. The painting

This painting tells a sad story about a general who is willing to die for his citizens. This story also tells a hopeful story about unity between two completely different civilizations.

The idea of keeping monuments in public spaces is a challenging choice for us all because for those who don’t like the idea of the monuments being removed they can become really violent much so that in the article “Battle Scars”

Contemporary art is the art created in the present time. Today, artists affected by the social context and personal experiences reproduce pieces of art that question or make a point about controversial issues in our society. A great example is the painting created in 2006 called Great Detonators (“Grandes Detonadores”) by the Mexican artist Acamonchi. The painting is located in the exhibition The Very large Array: San Diego/ Tijuana Artist in the Peter C. Farrell Gallery inside the Museum of Contemporary Art San Diego (MCA). Acamonchi’s piece is a collage painting integrated by posters, stencils, and graffiti, which illustrate an obvious inspiration by the street art style. It is composed of cold colors such as blue, green, and aqua. Its multiple media consist of spray, paper, tape, acrylic, and oil. Moreover, the gallery is presented in big white walls and it has natural and artificial white light. The surface texture of the piece is a combination of corrugated, flat and in some parts smooth. The size is about 8 feet wide and 8 feet long, the condition is excellent, and the frame is made of wood. Furthermore, the painting the Great Detonators conveys ideas about mass produced waste, political awareness and urban chaos. Consequently, the artist Acamonchi uses this piece of art to express his opinion about important issues today during our contemporary times.

The most significant number of outdoor mural art in the United States is just minutes away from downtown San Diego, but if you’ve visited the city, you’ve probably driven over it without even knowing it. San Diego’s Chicano Park is hidden below the San Diego-Coronado Bridge. More than 70 vibrantly colored murals adorn the support pylons of the freeway overpass. The walls pay tribute to the history of the surrounding Mexican-American and immigrant community called Barrio Logan. In the 1960s, the community was further separated by the formation of the 5 Freeway and the high on-ramps of the San Diego-Coronado Bridge. City leaders didn’t include tenants in the preparation of these projects that destroyed more than 5,000 houses and local businesses.

by 90 in, or approximately 5 ½ ft. high by 7 ½ ft. wide. The artwork is imposing and takes up much of the wall, necessitating that the viewer stand in multiple places to view the panting from multiple angles. The painting is in a relatively thin frame, with no glass. The media is oil and acrylic on canvas. The lighting in this gallery space is dim, and the painting is illuminated with two dim spot lights, in such a way that middle of the painting is illuminated more so than the sides. The subject matter of the painting is a view of the San Francisco bay, with San Quentin State Prison visible on the opposite side of the bay. The prison composes the background and is placed in the center right of the painting, the water in the bay and a small sailboat compose the middle ground, and the coastline composes the foreground and is placed on the left side of the painting. The prison is very small in scale compared to the coastline, to create the illusion of distance between the two, and the viewer’s perspective is that of standing on the coastline opposite the prison. The prison and the sailboat are the only two man-made objects in the painting. The coastline depicted is a small and rounded beach. Large tan and brown boulders with sage green and brown plant-life growing on them are placed on the opposite side of the small beach from the viewer’s perspective, and partially obstruct the view of

Political unrest and ethnic pride cover the walls of the Estrada Courts housing complex in Boyle Heights. Murals representing the social unrest of the time are depicted on the eighty plus murals in this community. A random housing complex is not necessarily the place you'd think of finding murals, but these murals carry a much grander meaning. The history they carry is part of the beauty within the art itself. Constructed during the 1940’s during WWII, because of the housing shortage of the new industrial spike, the Bracero program really initiated the artistic move from these murals. Coming in from Mexico, hispanics and Chicanos were of the minority at the time. They were not seen as equal rather as just temporary workers during the war to later be sent back.

“Every good composition is above all a work abstraction. All good painters know this. But the painter cannot dispense with subjects although without his work suffering impoverishment” (Diego Rivera’s Famous Quotes). Diego Rivera, a popular artist in San Francisco, explains why there is a value to his painting; all good works are ambiguous but, one who paints cannot display a message without having experience. Diego Rivera’s latest mural in San Francisco called Pan-American Unity, a valuable treasure to the city reflects with Diego Rivera 's’ quote because he laid out many symbols and figures that highlight his adventure and experiences. Pan-American Unity has five panels in total, and was created for Golden Gate International

When viewing art, an observer often has to delve deeper to understand the hidden meaning. However, the photograph of Tank Man is quite the opposite. With this photograph it is as easy, if not easier, to understand the deeper meaning as it is to understand the presentational aspects. The photograph of the Tank Man was taken in the Tiananmen Square in China. During this time, there was a pro-democracy movement led by student protesters. On June 4, these protests were violently suppressed, leading to hundreds of deaths. A day after, on June 5, 1989, this photograph was taken. While the identity and the fate of the Tank Man remains unknown, he has been given names such as the “Unknown Rebel” and the “Unknown Protester.” The photographer, Jeff Widener, was tasked with documenting the Tiananmen crackdown. He took the photograph from his hotel room a half a mile away from the scene. This iconic photograph was taken by a fluke during a time of much uproar.

The exhibit contained upwards of 20 photographs and at least 60 paintings. One of the most agreeable things about the works of art that I witnessed is that collectively, they assisted in recounting the sentiment that gripped the country during the war that threatened to sunder it. One could almost feel the initial enthusiasm as the war broke out, that was swiftly prolonged by numerous clashes over a period of years. There were works that alluded to an impending war, ones that depicted that war, and numerous ones that hinted at a hoped for ending in which the mightiness of the country would someday be restored.

The artwork, “Number 10,” by Mark Rothko displays two rectangles (top, yellow and the bottom, white) with a baby blue background color. Seeing the painting for the first time was surprising since I didn’t understand how it correlated with the title. It was easy to look at, but it didn’t catch my attention right away! I felt confused and frustrated while observing the piece because I didn’t know how I was going to find the meaning that lay behind the painting. This reminded me of my first-born nephew; I had such a difficult time trying to understand why he would cry so much. However, I was aware that crying was his way of communicating how he felt, just like painting this abstract piece was Rothko's style of communication.

"A picture can paint a thousand words." I found the one picture in my mind that does paint a thousand words and more. It was a couple of weeks ago when I saw this picture in the writing center; the writing center is part of State College. The beautiful colors caught my eye. I was so enchanted by the painting, I lost the group I was with. When I heard about the observation essay, where we have to write about a person or thing in the city that catches your eye. I knew right away that I wanted to write about the painting. I don’t know why, but I felt that the painting was describing the way I felt at that moment.