Wearing/Disappearing Image And Objects

On a rainy Saturday morning, I decided to go to the San José Museum of Art and view Night Shadows in the Crossroads: American Scene Prints from Thomas Hart Benton to Grant Wood exhibit. When I initially glanced at the artifact online, the simplicity and suspense of it left me wondering as to what the deeper meaning of it was. As I opened the door of the exhibition, my nose instantly absorbed the smell of dog food. The dim lights set a

My perception of The Legacy of Jackson Pollock relates to my practice through the concept of regenerating materials to create artwork, while also regarding how Pollock’s work engages with an audience through his application of medium, showing spatial awareness through his method of creating.

Before entering the exhibition the viewer is introduced to an energetic video montage of all the works with a sound created by Kevin J. Simon. This fast pace hip-hop sounding song at first seems very out of place from the work, but after listening to it for some time you do hear

Rather than a musical composition or visual installation, the work 4’33’’ is a concept in art history. Therefore, I think there is no need to separate music and visual art. To be honest, 4’33’’ is the silence within 4’33’’ that presents ideas to the audience. Cage

After walking into the museum, you see the first exhibit- modern art. Ripping off a band-aid quickly is a great example of how it felt moving through this exhibit “analyzing” this “art”. While walking around, each piece just got more and more complexing but what was more of a conundrum

Uelsmann’s work was not well received in the photography community. His creations were not considered photography; however, he was well received in the art community. John Szarkowski hosted a solo exhibit at the Museum of Modern Art in 1967. Uelsmann was considered “iconoclastic” and “set out to convince critics that photography offered alternatives to the conventional “purist” sensibility…” Uelsmann debated that photos could “evoke elusive states of feeling and thinking triggered by irrational and imaginative juxtaposition” (Kay). Uelsmann has succeeded in finding a following among photographers and artist alike. In the past forty years, Uelsmann’s work has been exhibited in over 100 solo shows throughout the US and overseas. He has permanent instillations in museums worldwide (Taylor). Uelsmann’s photos are now revered for their original technical form as well as their surreal matter (Johnson).

On September 28th, I attend the “Artful Conversation: ‘Bridge and Tugs’” event at the Georgia Museum of Art. At the event, the curator, Carissa DiCindio facilitated an in-depth conversation about Jonas Lee’s painting, “Bridge and Tugs.” We began by looking at the painting and discussing what we saw with the others and then after a while we were instructed to find a new seat. After finding a new seat we received a pencil and a small sheet of paper and Ms. DiCindio asked us to sketch the painting to the best of our abilities. Afterwards, she asked us again what we noticed about the painting. Many people noted they had noticed new details within the painting while sketching, and others stated that simply changing their position in the room had

Art is experienced best on an emotional level rather than just the beauty, pleasure or understanding of it. Artists will use their form of artwork to pass along their views and feelings. Teresa López’s and Wendy Ewald’s “The Phantom” is a piece of art that invokes many emotions. It simulates both the possibility of comfort or fear of the unknown and the anxious waiting of the known through its immaculate composition. This is done through its use of dense distortion and contrasting colors. Through distortion the artists get us to focus on the phantom that is the only source of light and the contrasting colors make us realize how contrasting our perceptions can be.

When we enter the Spencer Museum, we were brought to different locations in museum to review five pieces of art works. After much consideration, I personally chose “Haunted by the Ghost of Our Own Making” by Hollis Sigler as the central theme of my essay. Like many other abstract canvas in the museum, “Haunted by the Ghost of Our Own Making” is not necessary the most powerful in conveying its message to the audience without artwork description provided by the museum or a narrator, as compare to other pieces like Above Ground Movement by the Young Female Activists who captured photographs with meaningful and relatable events.

This was the medium in which the MET used to construct their narrative and to educate the participant. These artifacts spoke in a unique way, each one depicting images that told about the structures of society, trades, religious motifs, as well as the techniques and mysteries around the methods used in creating such masterpieces. As I continued from one display to the next, reading the descriptions and tidbits of history, I easily transitioned from one period to the next. I describe this experience as being engaged with a living

Museums add new context for artwork, since historical items were not made to be in modern museums. A Pair of Sensing Angels by Circle of Bernaert Orley are two ‘one by three foot’ oil painting on wood from 1535-1540 that depicts two angels. Presently it is located in Gallery 117 at the Art Gallery of Ontario. When observing “A Pair of Censing Angels” we can infer the subject, the value the painting held, and how the meaning alters in its present setting. This visual analysis observes the properties in A Pair of Sensing Angels and the response that these properties and the museum display has on the viewer.

One of the reasons I enjoyed this exhibit so much is because several pieces involved the viewer. There were two artworks of similar style that I was immediately drawn to, which I later noticed were by the same artist. Adam Fuss is the creator of these colorless photographs and though they share similar physical characteristics they have different meanings. “Untitled” (2002) was an image of a skull and “Home and the World” (2010) showed an image of a mattress. From a distance, I saw what looked like shiny aluminum surrounded by a picture frame. As I got closer I could see an image almost jumping out towards me, but only when the light was hitting it at a certain angle. I could also see my reflection in this mirror-like creation. This type of art is called a daguerreotype and is one of the earliest forms

It was 3 o’clock on a tuesday. Seeing that it was nearing closing time, all exhibits in the museum were nearly empty. Room after room of artwork had no one in them, except for the few security guards scattered here and there. Wanting to see everything, I left behind my family and rushed through the vast museum.

Eric Parren (1983) is an interdisciplinary artist operating out of Los Angeles. His work lives at the intersection of art, science, and technology and investigates human connections to the ideas and technologies that shape our future. Eric's works are often deeply sensory experiences dealing with modes of perception and the physics of light and sound. Through close study of the histories of media arts, electronic music composition, and abstract film, his work makes links between the past, the present, and what is to come. Eric is a member of the art collective Macular and hosts the experimental music show La Force Sauvage on KCHUNG Radio. He is an instructor at Art Center College of Design where he teaches courses on programming for artists,

The first detail that relays Walker’s message is her choice of medium. By making her sculpture a room, Walker is providing the audience a refreshing way to look at art and engaging the audience to become a piece of the work while exploring the strange and fascinating objects surrounding them. This use of medium while engaging the audience to interact