Image Essay #15

This is an illustration by Nathan Fox a talented commercial and comic book artist. This image depicts a strongly triadic color scheme. It consists of a basis of the primary colors (red, yellow, and blue) and is accompanied by earth tones. The use of this color scheme is done subtly and in a natural fashion, that is excluding the voyeuristic man’s blue hair. The colors seem to differentiate each figure or element from the next very effectively. The two main figures differ in skin tone assisting in the connection of which hand is whose. Their vibrant and more saturate elements of clothing bring them forward in space, as does the high contrast of the contour lines establishing their forms. In addition, the aggressive folds of clothing which double as contour create a lot of movement throughout each figure.

The contrast of the yellow window frames against the dull neutrals of the less defined outside make the scene behind the glass recede; thus some depth is created to this distinctly two dimensional image. Depth also presents itself in the way the table is at a diagonal and overlaps the figures. The diagonals of the surrounding booth have the same effect, while the head overlaps the background further establishing its placement.

Image Essay #14

This image is a prime example of tension. Displaying a soldier with a smile slapped on his mouth, the image is then placed in an elegant picture frame. These images are undoubtedly conflicting and much can be read into the meaning of this piece.

The first clear opposition in this image is the contrast of mood. The artist depicts the image of a soldier in its bleak, dirty, and depressing mood then places a happy and vibrant smile over his mouth. As one could gather from watching any war film, war is ugly and not a happy-go-lucky fun time as implied by the overzealous smile.

Secondly there is a strong conflict in color choice. Though both elements are monochromatic, their saturation varies distinctly. The soldier bears a dull sepia tone while the smile is the most chromatic red. This stark contrast feeds the observed meaning. It seems to be a satirical attempt to glorify war. It appears that the artist intends to bring forth the reality that you cannot just place a happy facade over a gripping reality. To further exam the fact that a frame of some importance surrounds the image denotes perhaps the ownership of a relative. Thus we can infer that the relative is either given a false view of the soldier’s condition or that they are perhaps being overly optimistic about the situation to avoid depression or worry.

Image Essay #13

This is a work entitled “Leaves with Hole” by Andy Goldsworthy a true artistic “natural”. Goldsworthy uses natural objects found in the area where he makes the piece to compose his sculptural works and then photographs them. Often these works are temporary such as the one above. Each piece is completely natural and lacks a man made aesthetic. This piece displays a careful arrangement of fall leaves in an analogous color scheme, appearing next to each other on the color wheel.

Goldsworthy’s design uses radial symmetry, at least to the greatest extent nature will allow. The radial pattern is a great example of gradation. The colors gradually shift from red to yellow. The gradation extends further as the red becomes darker and blends into the ground. With the addition of the yellow leaves overlapping the black center circle the design takes on some depth. The gradation adds to the illusion of a tunnel.

Though the arrangement is centered and the focal point as well, the composition is not entirely static. The overlapping leaves draw the eye out in a spiral or circular movement around the image. It is a great example of repetition through the leaves and unity through the use of gradation and analogous colors.

Image Essay #11

To exemplify figure ground reversal I chose a woodcut and printed piece called “Day and Night” by M. C. Escher a Dutch graphic artist. Escher’s use of this principle to differentiate between the interlaced birds is fascinating. His use of mathematics as well as the principles of art makes for elaborate and well-structured pieces.

Escher’s use of the figure ground reversal operates on two levels. It both affects the foreground and the background; separating the black birds from the white birds and separating the dark landscape from thee light landscape. The elements push and pull for foreground dominance or positive dominance. Each of the bird shapes fight to be birds or landscape between birds.

The image also sets up a near symmetrical balance structure thus leaving it to be lightly described as asymmetrical balance.

Escher seems to toy with the principle of making an object both recede and come forward almost simultaneously. He did many works comparable to the one above, including long morphing chains that would continue the pattern like the birds in this piece but change objects. Beyond his works similar to that of the above, his architectural drawings have the same effect. Escher uses the rules of perspective and alters reality to create an effect similar to figure ground reversal.

Image Essay #8

The above painting “Supper at Emmaus” is one of many works by the artist Michelangelo Merisi da Caravaggio. Caravaggio depicts a passage from the bible (Luke 24: 30-31) in which a resurrected Jesus blesses bread for his disciples and reveals to them that he is Christ for they did not recognize him.

Caravaggio’s treatment of this is quite dramatic and made so through use of lighting; such a depiction is just to achieve the feeling of shock and revelation of the event. He places great contrast on the face of Jesus creating an immediate focal point on the most important figure. The figures gestures and expression react to their discovery and are also treated with dramatic lighting but not as highly as the face of Jesus; thus this sets up a dominance structure of contrast among the people. The figures with their implied movement toward the center seem to contrast the still life on the table.

In addition, Caravaggio seems to adhere to the color scheme of compliments, red and green, amongst earth tones and other neutrals. He also allows the viewer to be included in the story, offering openness in the foreground giving the viewer the illusion of participation.

Image Essay #10

1) How do you interpret color?

I have always thought of color as an embellishment to black and white value. The information of the form (value) lies underneath and the color offers variation to each tone or shade. Color itself essentially nothing without other elements to interpret it.

2) Who taught you that meaning?

I believe I taught it to myself. By means of observation and drawing my own conclusions I believe I established my own interpretations of the world around me. Essentially I have determined, at least in my opinion, what color is and is not capable of.

3) Can color have more than just one meaning to you?

Color is very objective; one color can have multiple meanings but is ultimately determined by its context. To state that a color has one meaning and only one is very closed minded. The color Blue could mean both sad and depressed or delightful and refreshing like water.

4) How was that meaning influenced by your culture?

Well, in this culture we are overwhelmed with color daily. As with anything, such a universality of color usage and meaning seems to eliminate association of a specific color with a specific subject.

5) How is it different than other cultures?

Other cultures often have specific meaning and attach a symbolic identity to colors. For example the identity of funeral colors differs greatly between cultures.

6) What feelings or emotions can a color evoke?

Color can evoke many feelings and emotions through their associations with common uses of that color. A greenish golden yellow could easily evoke disgust due to its association with mold and gross toenails. Also from a psychological standpoint, colors also have subliminal predispositions: evoking anxiousness, hunger, and more.

Image Essay #12

I found this photograph to be a definite above average example of texture. The elements are covered and weaved forming a high level of intricacy. This dynamic image both contrasts with texture and color simultaneously. The smooth textures of the stacked and twisted straps contrast the rough grain of the oxidized metal. They also oppose each other n the color wheel as complimentary colors, orange and blue.

Variety is a key factor in this image as well. The unity is established through color while variety finds its use in form and value. One key variance is the high value contrast blue area and a lower contrast area of orange. The variances in each texture make the composition very interesting; no area is exactly the same. Though the color areas seem to be pretty evenly divided, they interlace and have subdivisions of value. Subtle hints and reflections of color create small areas of interest and variety.

Essentially we are just presented with illusions of texture, but the use of value establishes the harshness or smoothness of each surface. The concentration of contrast in the upper textures creates a focal point. That area also seems to generate the majority of movement throughout the image.

Image Essay #9

This charcoal drawing is entitled “Night Work” and drawn by combat artist Kerr Eby. Eby had an excellent eye for value and dynamic composition. In this drawing he captures the entire idea experience of an explosion. It is high contrast, striking, and creates an explosive radial movement. The image even contains a triangular hierarchy of elements, leading up to the canon as the canon tip as the most important. Beyond a system of hierarchy, another division is established, a division of value pattern: The upper half and left side of this drawing exhibit a high key value pattern, consisting of a limited range of lighter tones. As compared to the center and right bottom quarter of the drawing that is distinctly low key, composed of darker shades. Even with this variety in key the image maintains unity with its consistent high contrast lighting.

Kerr Eby’s drawings and etchings never cease to create some for of movement often through the subtle line work that makes up each element. I found it interesting that after being refused status as a combat artist in World War II that Kerr enlisted anyway and continued to draw throughout his tour. Furthermore, he returned to war in when in his fifties, this time sponsored as a combat artist, and lived through intense fighting.

Blog Assignment #4 - Stories

1. What are the important stories that are told in our society today — in books, movies, pictures, music, the news, or by friends and family? Consider — if you could personally guarantee a single story to be passed down to future generations — what would that story be, what form would it take, and why?

Perhaps it is not the most important or traditional of stories, but it is one that has captivated me for years, the story of Spider-man. But in the future I believe it should take on more of the form of a legend, a questionable historical event. As a legend perhaps the elements that compose its complex mesh of themes may be taken to heart.

2. Why are some stories told, as opposed to others? Why do some stories continue to be told over time while others are lost?

Stories are often told for the lessons they teach, morals and themes. Some stories offer the reader or viewer immersion into the world they describe or into the minds they encounter. Others just intrigue the mind with mystery, fantasy, and truths of reality.

3. How do the artists featured in Stories use journals or sketchbooks in their artistic processes? Is a journal or sketchbook a work of art? Why or why not?

These artists use their sketchbooks and journals to express ideas preemptively before they use them to create large scale works. But I though these images and ideas can be considered art they are not often the finished result but rather the creative process.

4. Each artist in this hour describes an event or element in his or her childhood that resonates in current work. Do you remember a time when you were 5, 10, or 15 years younger. Please record, in a present-tense voice, the experiences that were important at that time. How did you spend your days? What did you dream about? What emotions did you feel? Write a self-description in your childhood voice, followed by a second description of yourself at that age from the point of view you have now.

Throughout my childhood I often spent time with friends, exercising imagination and playing video games. I often was religious watcher of cartoons. I dreamed little, at least none that I can remember. Commonly, I was optimistic, but of my memories I often remember occasional acute embarrassment and shame. As a child I was very social and funny, the weird intriguing personality, and I was also emotionally fragile with authority figures.

Blog Assignment #4 - Place

1. Do we define a place or does a place define us?

We define a place. Places have very different meanings to different people. They are defined by the experiences and emotions we associate with them.

2. How is each of the featured artists influenced by particular places? How is this influence reflected in the artist's work?

Richard Serra is mostly influenced by ships/boats. He draws from his childhood experiences of watching ships launching; such an experience is reflected in the resemblance of his works to the steel hulls of those ships.
Sally Mann finds her influence in and around her home. She often picks ordinary (top her) things or people and photographs them. As could be expected her children appear in many of the images.
Barry McGee and Margaret Kilgallen are inspired by the street, by the city around them. They often do their artwork in public as graffiti and seem to draw essentially from others graffiti.
Pepon Osorio's place seems to encompass the urban Latino community. He does his installations in places he associated with his Latino childhood. The inspiration is evident in the races of all the people portrayed in his works.

3. How has the program altered your notion of how art expresses place?

The program has broadened the horizons as to the interpretation of a place. It is not perhaps the true space you’re looking at but what you associate with the images and elements.

4. Which artist do you feel most connected to and why?

I feel most connected to Sally Mann. I am intrigued by her ability to draw out the beauty and brilliance of the everyday. I feel connected in that I also like to turn a new understanding or perception of everyday.

5. Compare the media used by each artist and discuss how it affects the scale, composition and accessibility of his or her work.

Richard Serra's large scale steel sculptures seem to make one disassociate their understanding of sculpture and to feel embraced by it. The fact that you must move amongst it to see all it entails gives it the illusion of a place or structure. In addition, the composition seems to add elasticity to the steel.
Sally Mann use of photography separates you as an observer of the image. The composition of the images is clearly defined. Due to her subject matter, the accessibility of the work is vast; most can relate to the "everyday" elements she uses.
Barry McGee and Margaret Kilgallen's paintings on structural objects (walls, trains, etc.) often take on the attributes of those surfaces affecting the scale, composition, and accessibility.
Pepon Osorio use of entire rooms, fully enclosed, allows for 360 degrees of accessibility, the observer is once again encompassed by the artwork similar to Serra's work. Scale is only restricted by norms reality.

6. When you were young, was there a place that interested you? A place that scared you? List five places from your childhood. Use one word to describe each of them.

Tree fort, Bedroom, Basement, Toy Store, Mom's car.

7. Pick one of those places. Try and remember it as well as you can. Answer these questions about it: What objects occupy that place? What are the textures and sizes of those objects? What was the lighting like? Was it a dark dreary place? Or a bright happy one?

Tree fort. The place was constantly over-run by wasp's nests, there was a small ball peen hammer and red toolbox, and a stashed tin of Band-Aid bubble gum. The wasp's nest is ruff but tennis ball sized; the tin was wallet sized and smooth; The hammer had a sporadically ruff wood grain and was about a foot in length; the toolbox had a granulated texture and was the size of a small shoe box.

Image Essay #7

In this image are several principals of gestalt: continuity, repetition, proximity, and containment. The female figure lying there in the image owes the recognition of her form mainly to the principle of containment. Her form would be mostly unintelligible if it were not for the thin outline and value applied to the edges, unifying that shape. This element perhaps also lends to the principle of proximity in its fusion of surface and figure.

Further unity is accomplished by the combined use of Continuity and Repetition. The repetition of stripes that is carried throughout the entire composition creates, except for the break in repetition which is the hair, an overwhelming sense of unity. In addition, the flowing lines are exemplary of continuity as they create the movement in the piece. Each of the elements is connected, even in the hair which is different but still exhibits a stripe-like pattern. It can now be fully understood that the hair seems to be the focal point of the composition as it breaks from the norm of the image.

The composition offers unity with the repetition of curvilinear lines and the use of those lines for contour. The contour lines establish the form as three-dimensional. They follow the form of the body creating an illusion of volume.

Image Essay #6

The image is a strong example of three principles of gestalt: repetition, grouping and continuity. Grouping and continuity define the movement of this piece: The eye's jump from one similar shape to the next establishes a route for one to follow around the piece. The best example of the three principles working together in this piece is in the repetition of the lightning bugs or fire flies. In addition the reflected glow from the bugs adds to the repetition of similar values extending the path throughout the image. The bugs set you on a deliberate visual pathway, looping the viewer around toward a golden object of some intrigue. Repetition and grouping also lend to the association of the three faces and sets of eyes; their eyes all reflect the glow of the lightening bugs except for the boy’s eyes which seem to be generally clear.

Furthermore, the image exhibits an obvious dominance structure. The most dominant being the golden structure which is implied to be as big if not bigger than the cat’s head which is also considered dominant. Subordinate to those objects is the two children which are similar in size. Finally the accentuals consist of the fir flies and the squirrel atop the cat’s head.

Image Essay #5

In this image is a modern day adaptation of the crucifixion of Jesus Christ. Definition is is the key technique used to adorn this drawing. Definition is used to establish a relationship of dominance. A battered Jesus-like figure is heavily defined: From the intricate details that establish his mess of hair as a crown of thorns, to his crippled outstretched hand. The Jesus figure is dominant in definition; as objects move further away from his body they become less and less defined. Near the edges the image becomes nothing more than an simple array of shapes and lines. The subordinate figures surrounding him seem somewhat transparent while his figure retains unobstructed solidity.

Image Essay #4

This image exhibits strong example of depth. It uses diagonals, overlapping and an accurate depiction of perspective to achieve the illusion of a three dimensional space. Overlapping is used most effectively to illustrate foreground, middle ground, and background.
Firstly, one must dissect the result of this deep image. The foreground consists of the blooming plants and the partially nude woman. The flowers on the bottom right are seen as the extreme foreground, as they overlap the foremost elements of the composition. The second layer, overlapped by the foreground, is the middle ground which consists only of the building and its adornments. Depth is created here by the use of perspective and essentially diagonals. The building recedes and overlaps the clouds, and there lies the background.
Other elements that seem to read to the illusion of depth include: The posture of the woman as she seems to point her hip down the corridor. Her body creates two diagonals meeting at her hip like an arrow. The plants seem to point inward as well, reading to the vanishing point. As the portrait recedes elements seem to exhibit less detail and definition. Thus the more intricate definition the foremost the image appears. Such an effect mimics ones own vision giving one a more realistic understanding of depth.

Image Essay #3

This image is an exceptional example of meaning. The topic of death has been tackled by artist for innumerable years. Attempts to capture the essence of death visually have often become cliché and left the circuit of meaning very much closed. But such an image as this blatantly tells you “This is death” but intrigues you with a question: Is he dieing? Why is he dieing, what is killing him? Or perhaps, is he watching someone die?

As one analyzes this image for clues they are often left with unanswerable questions, unless maybe they ask the artist. The man is obviously wearing a helmet, which one assumes is to mean the person is a soldier. The helmet is inscribed with some proverbial statement but is incomplete, “DEATH BE NOT…. (what?).” Perhaps this is how anything trite is avoided. We move on to the style of the lower section, it seems to be deteriorating in an upward motion. Is a bomb blowing up beneath him? Is he perhaps in utter shock as he watches someone blown up in front of him? The overwhelming look of horror, shock and distress is striking. Eyes wide and mouth agape he seems overcome with disbelief and fear.

If anything the meaning that can be derived from this image is fear, shock and pain, more exactly perhaps….the price of war.

Image Essay #2

This image is a strong example of dominance, and to be more specific implied dominance. This image though seeming very simplistic entails much more than the confines of the picture plane. Such an image holds the weight of the entire sky as well as the earth. Though both are aesthetically endless we are told by the artist that the Earth (land) is bigger. The sky is then presented as the subordinate element and the lonely horse back rider is accentual. But this only applies in size; this image shows dominance in other ways as well.

One such way is its dominance in definition. In such an interpretation the land seems to split in two- the textured green area and the block of red; thus creating three nearly equal sized segments. The intricate texture that appears in the green section of land places it as the dominant element of definition. The horseback rider and sky fall subordinate. The sky seems to remain more dominant though with its variety of subtle changes and cloud formations. Finally, the red section of the land is devoutly accentual; it exhibits no texture or interior form and is essentially flat. None the less the Horseback rider holds presence as the area of focus as it exhibits a congregated group of accentuals and its obstruction of this paintings generally linear movement.

Image Essay #1

I chose this image as an above average example of hierarchy mainly due to one aspect; that it is not your usual or cliché portrayal. This example is unique to the concept but perhaps everyday to the viewer. The men are on a subway, all grasping the pole to remain steady during their trips. But what makes this image stand out as hierarchy? Can anything be divulged from this subtly dynamic image? Indeed, presented with little, there is much to interpret.

Elements of this image exhibit both subtle and obvious signs of hierarchy. First and foremost is the apparent placement and order of hands on the pole. Hierarchy is essentially a system of ranking, placing the top as the dominant and each level below subordinate to its predecessor. The hand at the top exerts the highest contrast, making it stand out as the most important. Its wrist is adorned with a watch unlike any of the others; this alludes to luxury or wealth as often a Rolex is used as a status symbol. The faces that can be seen seem to avert their eyes from the highest hand, a worship tradition in some cultures. The highlight on the pole further stresses the descent in the rankings as it is brightest on the top and dissipates as it goes down.

Blog Entry Assignment #3

1.Before this Blog Assignment, had you ever kept a journal, diary, or blog?
No

2.Before this Blog Assignment, had you ever written about art before?
Often

3.Have you ever written for fun (poetry, fiction or non, journalistic, or research)?
Once

4.When writing, do you use a dictionary or thesaurus?
Both

5.If given a chance, would you rather discuss art verbally or through written means?
Verbally

6.How would you rate your overall vocabulary?
Above Average

7.How would you rate your vocabulary of art terminology?
Average

8.How would you rate your writing abilities?
Average

9.How would you rate your writing abilities when writing about art?
Confident

10.How would you rate your ability to use specific vocabulary when writing?
Above Average