Tony Cragg Collection

In the second half of the twentieth century, artistic movements made pushes in order to move beyond the traditional gallery space, changing the terrain of displaying and making art. An artist’s body of work no longer needed to reside inside of a gallery or art collection, and artists became free to explore other ways of creating and displaying work. In this vein, Andy Goldsworthy works sculpturally with natural media, and leaves the sculptures within a particular environment, often expecting his work to decay quickly. Many times, the only evidence of any art he makes is the photographs taken during the process. By more traditional standards, art of this nature is entirely contradictory. What is the point of pieces of visual art that cannot

Humans struggle their entire lives to find affection that satisfies them. We assign this affection to objects that we obtain throughout our lives. An engagement ring, for example, is a large meaning attached to a small object. While it still has quite a high expense, women care more about the man who it’s from than the store, well, hopefully. In Akiko Busch’s story The Uncommon Life of Common Objects, she explores the objects her two sons, and people in general, become attached to over time. There’s a certain box she brings up and says “Sometimes the little box had value, sometimes it had none, and its worth seemed to come and go, by pure chance” (1). She discusses why certain things are worth more than others and why certain things have more

This paper is an analysis of the single cultural artifact that best represents the culture in which I live in today. The paper will provide a detailed analysis of the artifact and how it relates to the values and beliefs of the culture. Additionally, it will address the deep cultural roots of the artifact, the historical roots of the artifact, what allowed it to come into being and who was affected by its development. This information will come as someone trained from the humanities.

People hold on to pieces of jewelry, furniture, and other symbolic collectables that is passed through generations. These things can remind a person of a loved one that is seen as being priceless.

Michelle Lougee is a very famous environmental artist, sculptor, and ceramist. She is a member of the Boston Sculptors Gallery, and her artwork has been shown in many New England museum exhibits. She also teaches sculpture, ceramics, pottery, and drawing to adults and children at various local museums. She holds an M.F.A and a B.F.A. from Boston University and lives in Cambridge, Massachusetts. Her work focuses on the delicate balance between nature versus human society and technology. The contrast of this relationship is explored in both materials and subject matter. The combination of the two factions produce mysterious yet familiar forms. Michelle Lougee strives to replicate the animated quality that all living things possess. She believes that her job as an environmental artist is “to capture that beauty in my work while instilling a message into it.” Michelle Lougee uses a wide variety of naturally found materials from the environment. These materials are very banal. They include clay, papyrus, paper, cloth, plastic, post-consumer grocery bags, and plastic bags. Michelle Lougee’s signature material is the plastic bags as they are symbolic of the harmfulness brought to our environment. You can see her thorough incorporation of plastic bags in her Gyre

This comparative essay will thoroughly examine two extremely interesting conceptual sculptures. Gemma Smiths Radiant and Ron Robertson–Swanns Vault will serve as focus and stimulus for the description, analysis, interpretation and evaluation.

Robert Smithson’s, “Spiral Jetty,” is an example of earthwork art. In Smithson’s 1972 essay, “The Spiral Jetty,” he explains his first impression of the area where he created one of his best earthwork projects. Throughout this essay, Smithson recounts how his work was built and explains some of his artistic intentions behind the piece. Earthwork art is a type of process art that is also related to minimalism due to its nature of the aggressive character and makeup of bold, “unitary” forms. His essay placed a strong emphasis on how the integration of literature and visual art can develop the perception, interpretation, understanding, and sensory experience for viewers.

Since the beginning of time, art historians and archeologists have had the daunting task of endlessly solving a universal puzzle. Naturally, placing every misplaced artifact within a timeline is crucial in understanding past civilizations. As a reminder of fallen empires and mythical stories told throughout time, these long-lost pieces discovered provide insight of their fundamental its usage. The intention is to provide proof of its function and the similar objects through regional

This accumulation of different objects, is an altar honoring Anita Marchini, my grandma. She is an optimistic and joyful person, always ready to make other people laugh. She taught me to always be cheerful and to always be brave. Like Sandra Cisnero, this altar is dedicated to a very loving and strong women in my life. In the back of the altar is a red dress that I wore for my first Christmas, it reminds me of her because she bought it and has been in love with it ever since. Then on the right, is a tribal statue from Africa, which signifies how much she loves to travel and all the knowledge she has gained from seeing the world. On the bottom left and right corner there is some plants, signifying her love for gardening and nature all together.

Humans hold on. As emotional creatures, we struggle to separate the function of an object from its sentimental value — we see a ragged ribbon from years ago as the sole representation of our sixth grade dance, the poetry project we did in fourth grade as a gateway back to our childhood innocence, and the strip of photos from a trip to the movies just last week already embodies a sense of otherness and warrants preservation. This phenomenon occurs on the societal scale as well, driven from a carnal fear that forgotten history repeats, and communities then strive to create memorials that accurately reflect the lessons learnt, sacrifices made, and complexity of history. As a result, the process of monument-building requires painstaking attention

It is the occasional fate of artists and potters that after decades of celebration, modern tastes should eclipse their once eminent reputations. Charles Vyse, sculptor and potter, was such an artist. In the new world following The Great War, Charles Vyse was at the vanguard of English studio pottery making. He is a poignant example of a celebrated artist overtaken by the shadow of derision in the post WWII era. His renown as a sculptor and potter during the 1920s and 1930s contrasts to the complete indifference to his art in the 1950s and 1960s. Whereas his status of master potter is indisputable, his aesthetic influence on other potters is insignificant. His figurative work and his stoneware vessels have few disciples among today’s potters. Conversely, for the collector, there has been a resurgence of interest in his figures and stoneware vessels. The acquisition of a Vyse figure is a prerequisite of the modern connoisseur.

The painting, Alice Meeting Humpty Dealer, by Hilary White, is an intriguing piece of artwork. Right off the bat, the viewer begins forming questions about the meaning and purpose off the top of his or her head. The meaning of this art piece is very apparent and quite easy to understand. By taking a closer look at the elements of design, White’s purpose for creating this piece will be exposed. The elements of design are all of the components of the piece of art that work together to make the image whole. Examples of elements of design are focal point, value, stereotypes, size, and many more which will be introduced in the following text.

Artist- intentions (slide 1): Anthony’s artwork (habitat) deals with the idea of building your self through experiences and overall shaping who you are. This is shown through the blocks that he has used to create the sculpture. These blocks are almost like individual experiences and memories that make up a person.

His early, stacked works provide a different view of the world as he sees manmade objects as ‘having a balloon of information around it’. Any change in the form/materials will also change its meaning and significance which affect and form our ideas and emotions. Cragg has stated that ‘the material finds itself in a new form and the artist to find himself with new content and a new meaning.’ In my artworks, I have changed the ‘balloon of information’ which surrounds each of my objects through colour, line and various lyrics/quotes which will have allowed me to convey meaning and has allowed the viewer to make their own meaning of each of the

Mattingly transformed personal belongings into sculptural forms that she later incorporates into photographs and performative actions. The sculpture is being pulled on the side walk by a woman who is facing down towards the sphere, while the people in the background is facing away from her, could suggest a lack of interest in her possessions being tugged across the floor, her face expression is relaxed yet her body expression shows she is struggling to move the sculpture. Mattingly is trying to show another path to having an ecologically sustainable future. She believes that humanity will survive only if we reduce our footprint on Earth. determined to live with just the essentials, she recording every object she owns and looking back as to why she had the objects from the beginning. Mattingly work is trying to show one’s obsession of a good life. How we exclude the human’s dependency. Showing that we had a responsibility that we don’t think highly of. we do not know that something is wrong until it had been