Blog #8

 

Versatility, 2006, by El Anatsui, on display at Fowler Museum UCLA

 

The main reason I selected this work is because I thought it was very unique, and at first I didn’t know exactly what it was. The fact that it wasn’t as easily decipherable as most art helped pique my interest even more. So, I decided to read about it a little and found that it was made from metal cloth, which was actually made out of labels of alcoholic beverages. That in itself was pretty amazing–it seemed so tedious and had a different type of creativity which in the end interested me enough to choose it for my blog.

The artist, El Anatsui, is a native of Ghana but has spent a lot of time in Nigeria. Many of his works are based on traditional Ghanian beliefs. In the work Versatility, he again highlights these beliefs. As said before, the metal cloths used to make the piece were made out of pliable aluminum labels from local Nigerian brands of whiskey. Anatsui says these metal cloths “encapsulate the essence of the alcoholic drinks which were brought to Africa by Europeans as trade items at the time of the earliest contact between the two peoples.” A motif that appears in the pattern of the work suggests the notion of adaptability and the twists and turns in human existence; this notion is referenced by the title Versatility.

These cloths contain kente and adinkra patterns. Kente is a strip-woven cloth that is traditionally made by the Asante people of Ghana and the Ewe peoples of Ghana Togo. It is traditionally a festive dress used for special occasions. Adinkra contains a system of graphic symbols that can appear as either two-dimensional designs on dyed and stamped textiles, or as three-dimensional motifs on carved and cast objects. Kente and adinkra patterns connote cultural and philosophical meanings, social codes, religious beliefs, political thought, or even aesthetic principles. Despite all of the different available meanings, the largest one associated with kente is “African-ness.”

Overall, the piece seems to have some historical reference to the Africans meeting with white people for the first time. The interweaving of the aluminum strips shows how the two cultures were woven together. The introduction of alcohol to the African people surely had to have an affect on them, which the motif that Anatsui suggests signifies adaptability could be suggestive of the changes brought about by this introduction. It is interesting that he chose this type of representation for the interweaving of the two culture.

 

http://www.washingtonpost.com/wp-dyn/content/article/2008/03/21/AR2008032100975.html

http://africa.si.edu/exhibits/gawu/artworks.html

http://en.wikipedia.org/wiki/El_Anatsui

 

Blog #7

“Unión de la Expresión Artistica del Norte y Sur de este Continente” (The Marriage of the Artistic Expression of the North and of the South on this Continent,) also called the Pan American Unity Mural, Diego Rivera, 1940, City College of San Francisco

“My mural will picture the fusion between the great past of the Latin American lands, as it is deeply rooted in the soil, and the high mechanical developments of the United States.” – Diego Rivera

The Mexican Mural Movement began in the early 1920’s after a long civil war and people’s revolution. It represents one of the biggest achievements of public art during the 20th century. It was during this time that a new government invited artists to create a new cultural consciousness through their art, and as a result, a program of commissions were introduced for murals. The idea was that art would be more accessible to all the artists were held to the idea that they must glorify people’s strengths and show a more egalitarian view of the future.   The artists found ways to incorporate the demands of the commissions program with their own style of art. By using a political tone and mixing classic and modernist influences with their own heritage, Mexican muralists produced very influential works that garnered even the attention of the United States.

Diego Riviera painted Pan American Unity Mural as part of the 1940 Golden Gate International Exposition in the San Francisco Bay. It was commissioned by Timothy Pflueger to paint it during the run of the fair. It became the centerpiece of Art in Action, an exhibit where people could watch artists create their works. About 30,000 people came to see the finished mural before it was taken apart and stored until it finally found a home 21 years later at the City College of San Francisco.

The mural is constructed in five panels, each with a different message. The themes come from the ideology of the Mexican Mural Movement, as well as happenings from Rivera’s own life. Events such as the end of Porfiro Diaz’s reign in Mexico as well the coming destruction of World War II. There are two things that seem to intertwine in Diego’s mural: politics and love.The changing politics of the world as well as his stormy relationship with his wife were able to be captured in his mural.

I chose this mural because the Mexican Mural Movement was interesting to me first, and then I was attracted to this mural in particular. I found it interesting to look at the different things going on in the mural and trying to decipher their meaning. I think it is full of symbolism in a political realm, which I find to be compelling as I look at the political changes going on in the world at that time.

http://www.affinityonline.org/Features/NationalTreasure/tabid/100/Default.aspx

http://www.ccsf.edu/NEW/en/about-city-college/diego-rivera-mural.html

https://classes.uaf.edu/webapps/blackboard/content/contentWrapper.jsp?content_id=_1612753_1&displayName=Mexico%2C+Latin+America%2C+and+the+Carribean&course_id=_120117_1&navItem=content&href=http%3A%2F%2Famtf200.community.uaf.edu%2F2009%2F04%2F24%2Fmexico-latin-america-and-the-carribean%2F

http://www.ccsf.edu/NEW/en/about-city-college/diego-rivera-mural/overview.html

https://docs.google.com/a/alaska.edu/viewer?a=v&q=cache:cRFGH5dGdSAJ:userwww.sfsu.edu/epf/journal_archive/volume_X,_2001/casler_e.pdf+&hl=en&gl=us&pid=bl&srcid=ADGEEShU7bf3_VN-vTSfYUbvbHhfbGr86RBIPqLgX7RmpnTaNK8LRDo3g79TPXeCyhtRWjhttgtzfrsenCAPzANHTmi6-t3uDVKZO0hvAultA39GaDhnSrk4WWyilOo2smlPMLkyxhmc&sig=AHIEtbSZEENkdM8Vu7VphtrDHLQBa4pzCQ

Blog # 6–A Contemporary Virtual Exhibit

Concepts of Human Nature Installation Exhibit

The main idea of this blog is human nature conceptual installation art. I found installation art to be very unique and somewhat shocking–particularly the two artists I chose. Also, human nature interests me and I enjoy anything that has a conceptual meaning behind it that causes reflection on human nature. Installation art must contain some aspect of three-dimensionality. Many contain manufactured objects or objects made by the artist. The artists I chose use both manufactured and self-made objects–for example Sandy Skoglund makes ceramic goldfish and bubblegum “germs”  and Holzer often uses LED lights on public buildings to create her art. Both Holzer and Skoglund create installation art that is conceptual in nature–although in very different ways but I was still able to select works from both artists that contained a reflection of human nature or an expression of a human need. To me, both of these artists create work that causes reflection on ones own human nature and the flaws or needs that we have. While Skoglund uses elaborate unnatural sets to achieve this, Holzer uses more simplistic, natural settings such as a theater sign or a sign on the side of a building.

Sandy Skoglund is a photographer and installation artists who was born in Massachusetts on September 11, 1946. She creates a set using either monochromatic or contrasting colored furniture and other objects and actors. After she completes it, a process that can take months, she then photographs her creation. Skoglund first began working as a conceptual artist in 1972 and then became interested in photography so she could document her artwork. In interviews, Skoglund has said that she has been fascinated with interiors and invading them with problems or interruptions, alot of the time by using animals. She has also said that in her opinion animals are a link between people and an alternative, more natural consciousness.

Fox Games, 1989, Paris

As before stated, Skoglund believes animals to be a link to a more natural consciousness for humans. Her artwork is intended to make a statement, and we can see that here in Fox Games. The foxes are running over tables all throughout the restaurant while a well dressed couple continue being served as if nothing unnatural is happening. While this is clearly an unnatural setting, it can represent that what people see is not what actually is and that people are oblivious to their surroundings and need something (the foxes) to bring them to reality.

Germs Are Everywhere, 1984, location unknown

This work by Skoglund to me, seems to represent a materialization of a fear. The bubblegum “germs” that are everywhere are representative of a fear or paranoia of a person. I also thought it could go the other way and be similar in meaning to Fox Games instead–the germs being everywhere show that people are often oblivious to what really is there. Which one do you think is the meaning Skoglund intended? Or do you have a completely different idea?

Walking on Eggshells, 1977, location unknown

This work seems to be illustrating the dirt and filth people have in their home lives– represented by the snakes and rabbits placed throughout the scene. A tense atmosphere that is often present in many homes is represented by the walking on eggshells. In fact, this tense atmosphere that people create in their home from whatever it may be–anger, alcoholism, etc. often leads to “dirt” or fear which the snakes could also be representing in the home and their relationships.

Jenny Holzer was born in 1950 in Ohio. She is a conceptual/installation artist. Over the past thirty years the main focus of her work has been the implementation of words or ideas into a public space. She has used many different mediums and ways of doing so, but she has began to increasingly use LED signs or light projections. While Skoglund created elaborate scenes to get across a message, Holzer uses simple words and a background such as a plaque, building, or stone table. She is able to convey messages through her art that reflect on human nature, just as Skoglund does, although hers do have a very different feel.

Protect Me From What I Want, part of the iteration of the BMW Art Car Project, couldn’t find a specific location

                                                              Wow, what a simple and powerful statement. Don’t we as humans always want what is bad for us? Unhealthy food, to be lazy, and for the religious to sin. This is an expression of that nature and the fact that humans often need   protection from their own selves.

Part of the Survival Series texts, Manhattan, couldn’t find a date

To me, this causes reflection on human nature especially in marriages. If we are to have a good marriage that will in the end benefit us, in our own self interest, then we need to be tender. Tender in our words and actions less we produce strife and end up eradicating all productiveness or love from relationships.

From the texts Laments, 1989, Projection is in Berlin, 2001

This projection of Jenny Holzer’s is pretty much a weird way to summarize human nature–the need for closeness that (almost) all humans have. Everyone needs to feel loved or comforted by someone and people naturally long for intimacy and the saying “I need to lie back to front with someone who adores me” is a perfect way to express that.

http://www.robinurton.com/history/postmodern.htm

http://4charlesliss.blogspot.com/2011/10/artist-presentation-1112011-sandy.html

http://en.wikipedia.org/wiki/Sandy_Skoglund

http://gallagherseniorcp.blogspot.com/2008/05/sandy-skoglund-physical-reality-and.html

http://www.pbs.org/art21/artists/jenny-holzer

http://en.wikipedia.org/wiki/Jenny_Holzer

http://www.urbanvideoproject.com/?p=168

Blog #5–Early Modern

Rene Magritte, La Clef des champs, 1936, Madrid

 I chose the work La Clef des champs (The Key of the Field)by Rene Magritte. He painted it in 1936, and it is currently Museo Thyssen-Bornemisza, Madrid.

I was initially drawn to this work because I found it interesting and different.  It seems to be a play on perspective and what we can see versus what we don’t see or what we see is what we want to see. Magritte wrote in 1934, “The essential thing was to eliminate the difference between what can be seen from outside the window and what can be seen from inside. I find it to be a very creative and insightful piece of art, and it is hard to pinpoint exactly what its meaning is which makes it thought provoking and therefore even more interesting. I tend to like art with a conceptual meaning behind, and of course this does have that.

After World War I, art changed dramatically. The destruction of traditional values in World War I inspired artists to try something new. Also, some people cited tradition as being the cause of the war. As a result, the art style Dada was formed. It rejected tradition completely and sought to change the existing style of art. Dada then led to the creation of surrealism, which also rejected the traditions that had been destroyed by World War I. The rejection of traditional artistic expression in surrealism is in itself symbolic of the destruction of traditional values in World War I.  Rene Magritte successfully creates a surreal painting with La Clef des champs using a unique juxtaposition.

http://robinurton.com/history/surrealism.htm

http://www.museothyssen.org/en/thyssen/ficha_obra/3

http://amtf200.community.uaf.edu/2009/04/24/03-visual-art-2/

Blog #4–Impressionism

The impressionism style is not necessarily my favorite. It’s not that I think it’s ugly, I just don’t find it that captivating per se. The sketchy, loose lines are not that appealing to me.  I personally prefer clearer details. Also, I prefer a clear representation of a story or meaning with obvious emotion.  Yes, impressionism holds it own sort of emotion, but its more subjective and less obvious, and to me, that’s not as compelling as say, a painting from the Baroque era that uses dramatic lighting and chiaroscuro.  An example of this is the painting The Raising of Lazarus, 1630-1632, by Rembrandt which is Las Angeles County Museum of Art. The painting is realistic in detail, which I like, and displays plenty of emotion. The colors are dramatic and the contrast of light and dark (chiaroscuro) is evident. Also, the story is evident, another aspect I prefer over Impressionism’s loose details.

I also like art that has clear pictures, but is full of symbolism that is representative of something. I find it interesting, although I do only like it if it has clear lines, which once again impressionism does not. One example I can think of is The Garden of Earthly Delights, 1503 or 1504, by Hieronymus Bosch during the Northern Renaissance. This style is full of clear, intricate details and obviously holds great meaning, both of which I like.

These two paintings are different, but both have clear details, albeit in a different way that allow me to decipher the meaning. The loose brushstrokes and muted, blended colors of Impressionism paintings are greatly exemplified in the painting Vetheuil in the Fog by Monet, 1879 which is located Paris, France. All of which don’t appeal to me…I would much rather the details be clearly presented so I could draw a meaning from it.

 

http://www.wikipaintings.org/en/rembrandt/the-raising-of-lazarus-1630

http://robinurton.com/history/Renaissance/northrenaiss.htm

http://www.drloriv.com/lectures/impressionism.htm

http://www.wikipaintings.org/en/claude-monet/vetheuil-in-the-fog-1879

Blog # 3–Classical

Beethoven, Symphony No. 5, 1804-1808, Vienna, Austria

I chose Beethoven’s Symphony No. 5 because it was appealing to me upon first listening to it. The sound is dramatic, and it seems to be building towards something. It also, to me, has a sort of mysterious air to it which makes it have a deeper layer that further captivates my interest. The piece is meticulously crafted and I have to think that Beethoven was some sort of music god back in his time.

Beethoven was born not more than two decades before the American Revolution or the French. During this time, the aristocratic government was being replaced by a rising middle class (Piano). This seemed to have an affect on his writing, as during this time the audience since consisting of more of the middle class, and they wanted music that was  accessible while being serious. They also wanted predictable repetitions in music so that they could understand it. It was during this time that symphonies were created–and they brought many of these aspects to the table (AMTF 200). Symphony No. 5 contains a four note rhythmic motif that is repeated throughout the symphony which unifies it–an aspect that the middle class as mentioned before would appreciate (Wiki). The profound effect that the symphony had on its listeners was desribed by Hoffman as the following: “How this wonderful composition, in a climax that climbs on and on, leads the listener imperiously forward into the spirit world of the infinite!… No doubt the whole rushes like an ingenious rhapsody past many a man, but the soul of each thoughtful listener is assuredly stirred, deeply and intimately, by a feeling that is none other than that unutterable portentous longing, and until the final chord—indeed, even in the moments that follow it—he will be powerless to step out of that wondrous spirit realm where grief and joy embrace him in the form of sound.…” (Wiki). It seems that if this is true, then the middle class would be particularly fond of it. Symphony No. 5 also consists of four movements–typical of symphonies in the classical era.

http://www.pianonoise.com/Composer.Beethoven.htm

http://en.wikipedia.org/wiki/Symphony_No._5_%28Beethoven%29

http://amtf200.community.uaf.edu/2009/04/24/04-music-3/

Blog #2 Baroque

 

Rembrandt, The Raising of Lazarus, 1630-1632, Las Angeles County Museum of Art

         This painting is very interesting to me, especially since the raising of Lazarus has always intrigued me when reading the Bible. I like the simple way that such an event is shown; it looks very realistic. I also like the lighting, it makes the scene even more enigmatic. Overall, the subject matter itself is what attracts me the most, plain and simple.

The Raising of Lazarus is a very characteristic Baroque painting. Tenebrism and chiaroscuro are evident in it, this is evident in the single source of light that illuminates part of the picture. The subject matter is also dramatic–someone being raised from the dead is a pretty dramatic event, I would say. The influences for this painting stretch past just the visual effects, however. The subject matter is also very characteristic of the Baroque era.

The Council of Trent set forth many guidelines for art in an attempt to counteract the Protestant Reformation. It promoted the use of stories, often with Biblical or moral meanings that were dramatic and emotional to provide guidance away from the Mannerist style, as well as to counter the Protestant threat. They also wanted art to be easily understood. Rembrandt portrays all of these things in his painting. The emotion is evident in the sister’s faces, and the drama of course of the event itself. The Biblical story is painted in a way that it is easily understood–almost as if it is happening in real life and leaving no guessing as to what is going on. From these things, it is clear that the painting was influenced by the Council of Trent.

http://en.wikipedia.org/wiki/File:The_Raising_of_Lazarus,1630-1632.jpg

http://www.artlex.com/ArtLex/t/tenebrism.html

http://amtf200.community.uaf.edu/2009/04/24/02-influences-2/

Blog #1

Albrecht Durer, The Knight, Death, and the Devil, 1513, location unknown

 

I really liked this piece by Albert Durer. I thought the style was interesting and different—especially during this time period. The fact that it was an engraving made it especially unique to me. I feel like it would take a lot of time to create something like that and therefore I hold more appreciation for it. The subject matter was also interesting–the way he portrayed darkness through the dreary horse, skulls, and other eerie type of things. I personally find it more lively and meaningful than other works from that time due to the creativity Durer used in creating it.

The Protestant Reformation influenced art during the Northern Renaissance. The Protestant Reformation was started by Martin Luther as a rebellion against the Catholic Church practices. His goal was to reform the church back to more Christian like practices. The reform eventually resulted in the creation of the Protestant religion.

The Knight, Death, and the Devil shows the influence of the Protestant Reformation. The symbolism is The creepy forest represents the darkness that Christians must travel through to reach light (Robin Urton, n.d.) The Christian is represented by the knight, who is seemingly protected by his armor from the devilish creatures that surround him. This draws from Pslam 23 “Though I walk through the valley of the shadow of death, I will fear no evil, for Thou art with me (Wiki, n.d.).  This further highlights the Protestant influence on the painting.

 

 

http://robinurton.com/history/Renaissance/northrenaiss.htm

http://en.wikipedia.org/wiki/Knight,_Death_and_the_Devil

http://amtf200.community.uaf.edu/2009/04/30/02-influences-on-the-northern-renaissance/

 

Blog #1

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