Friday, January 29, 2010
Thursday, January 28, 2010
Lara Jade Photography is a recent discovery that has caught my attention. Generally speaking, I tend to find myself drawn towards an individual piece or two, rather than an artist's works as a whole, but on a bit of further investigation, I found Lara Jade's work to hold a collection of striking compositions for the fashion and beauty industry. I love fashion photography. But what I found even more intriguing was her collection of conceptual pieces.
The images I found are from her online portfolio, and while I had a bit of difficulty deciding which photo to focus on, I found myself gravitating back to the above image, so this is the one I am featuring. The juxtaposition of an almost overly-feminine figure – in this case portrayed by the excessive ruffles and white lace – within a grungy or somehow darkened setting is a common theme among fashion photographers. But what I like about Lara Jade's interpretation is that the effect is not so overtly drastic. She uses faded lighting, screens, and textures to give her photos a worn down and darkened feel rather than the pitch darkness, chains, blood, and old warehouses that you might find from other photographers. Obviously in the digital age, this involves a bit of photoshopping with the texturing along the top and right side of the image to create the effect of a worn, wrinkled, and torn book page. However, I don't see the use of photoshopping on a photo to be a detriment - provided it is done in appropriate amounts to enhance the overall effect of the photo rather than photoshopping simply for the sake of hashing an image up. The texturing in this piece gives the photo a storybook atmosphere – practically that of an illustration or oil painting - that compliments this idea the feminine fairytale character within a slightly unnatural setting. It also presents the image as something of a narrative focused on a definitive character and a story, which I find to be key to this style of photography.
Wednesday, January 27, 2010
By: Jean-Michel Basquiat
Taken from: http://africanartists.blogspot.com/2008/08/jean-michel-basquiat_11.html
It was sometime in 2007 when I first saw a painting by Jean-Michel Basquiat. It was an instant love and an instant curiosity. The magnetism of his work sucked me in and I had to know more work, more Basquiat. I bought the movie, not entirely knowing what to expect, but hey, it was on sale (thanks, Amazon.com). It was amazing. Not just the fact that Gary Oldman and David Bowie (who made a great Warhol, if you ask me) were in the movie, but the story of Jean-Michel was beautiful. I started to grow a bit of an obsession.
He was just some high-school-dropout-homeless-guy that wrote graffiti around New York City, under the signature SAMO (technically, it was a collaboration between Basquiat and his friend Al Diaz), which meant "same old shit". Then he became huge. First painter of African descent to reach international art star level huge. Basquiat seemed to almost hold that "The American Dream" status for me. Going from nothing to a hugely successful artist. Maybe that's what draws me in. Or, what draws me in more now. I was already intrigued before knowing his background. What about this specific piece though? What draws me in? I could research deeply into his paintings, but I feel like it's not supposed to be researched deeply. All that will end up happening is over thinking, over analyzing, pulling my hair out trying to figure out why this why that why blah blah blah. I have a basic idea of who Basquiat was. Why not just go from there?
So I guess this is when I get to what this painting means to me, not just the entity and idea of Jean-Michel Basquiat. This painting is beauty. It's got this feeling of decay to it. Primitive and simple, but still a powerful image. It's got an eerie vibe, even with the brighter colors used in it. It's this decay, beauty, creation thing I see. It's beautiful with it's simplicity. The decay just adds to the beauty, but it also gives it a primitive feel. With how patchy it looks, it reminds me of creation, in the sense of Frankenstein's monster. It sticks with me. That's why I chose it. I don't have any deep and prophetic theory for the painting. I have some ideas of why I like it. It means something to me.
I love Basquiat. A lot. And here's a fun cameo of him in Blondie's "Rapture" (he was a replacement for DJ Grandmaster Flash since he didn't show up).
By: Deborah Butterfield
One of my favorite artists to follow for new works from them or pieces published about them would have to be Deborah Butterfield. Her medium is sculptural which by far is my favorite to work with and the way that she forms her pieces to me is an intriguing process. I started following her work after I was emailed pictures of her pieces my freshman yeah of high school by a friend who had stumbled upon them and thought nothing more then, ‘Sadie like horses, I should send this to her.’ This piece is my favorite one of hers because it plays onto my love of not only horses but also horses with color pattern, (paints or pintos).
This piece by Deborah Butterfield is known as Untitled (pinto) 1978. The medium of mud and plaster over plaster over wood and steel gives it such interesting dynamic structure and texture. The steel structure of the piece gives it its basic form and its stability but for me it is really the plaster and mud layers that give this piece its life and real likeness to the type of horse it is meant to be portraying. The way that the mud gives definition to certain areas of the sculptures body and gives the audiences eye a nice eye flow to follow is far more then most would think mud would be capable of doing. The texture of the mediums together also brings an element of character to this piece, it could be representing the hair on a horses body as well as portraying some sense of emotional character giving this horse a rougher exterior rather then the smooth lines you see in a lot of Deborah Butterfields work.
I first stumbled across Alex Pardee during my years of teenage angst without even knowing who he was. I remember picking up a CD and staring at the artwork on the cover thinking it was most deranged image I had ever seen. As I grew out of that stage and slowly began getting into the local graffiti scene I came across Alex Pardee again. I had been looking up different artist and seeing how their work made an impact on me. I watched these videos of Alex Pardee on YouTube doing graffiti and I thought the images themselves were so morbid and deranged that I needed to find more of his work. As I looked on his website I found myself having slight déjà vu, lo and behold the album artwork from the CD I bought years ago was his. Over the past few years I have been an avid follower of Alex Pardee and would kill to see his work in person. It was hard for me to narrow down one piece of his since I adore all of his work.
The image I selected is Good Night Lava. This piece shows how well Pardee uses his mediums along with his vibrant use of color. I love how you can feel the texture throughout this piece. The agony in the narwhal-esque creatures face really makes you want to pick up the little guy and make its pain stop, but yet it makes you just want to be the outside spectator and let it happen. The yellow figure is so tranquil and makes the viewer want to know what is going to happen. Pardee makes using ink as a medium to be a very easy task. Alex Pardee is one of very few contemporary artists out there that is actually making work that just isn’t splatter paint on a canvas or rolling around in dirt and putting it on a canvas and calling that “art”. Pardee captures emotion and makes the viewers feel like they are part of his work. I adore this man even if his work may seem macabre to most common folk I find every inch of Pardee’s work irresistible, and I hope you viewers do too. Plus any man who can turn Steve Urkel into a demonic looking creature is good in my book.
Alex Pardee himself
By: Michael Levin
Black and white is by far my favorite aspect of photography. There’s something about the absence of color that intrigues me. I have never seen any of Michael Levin’s work before, but I happened to come across a website featuring galleries of different photographers and fell in love with his work.
What caught my attention the most was the simplicity of his photos. There’s not a ton going on, but still just enough to make you want to take another look.
His use of line and texture is very alluring and striking. As well as the placement of the subjects in his compositions; they pull you through each photo. Which is why I chose this piece titled Steel Pier. This piece is a good example of Levin’s use of line and shape and how your attention is easily drawn from the upper left and right corners, to the center of the image.
Also, in most of his photographs, the foreground or middle ground is rarely visible and tends to fade into the background, making the subject appear to be floating in space. Which can tend to give his work this realism meets surrealism feel to it.
"Tropas Avancando Sob Gas"
by otto dix
taken from: arsrhetorica/wordpress.com
This work by Otto Dix is my favorite "art piece" at the moment. I love the use of line in this illustration. He creates a dark and scary world on paper. The work really gives you the feeling that the world is going to end and your life is over. I think that death or the knowledge of being at death's doorstep is one of the strongest feelings one will ever feel. This feeling however comes along few times in one's life and here Dix has captured it perfectly. when you closely study this work you will see that the perfect attention is given to each character.By attention I do not mean over attention. The characters are mostly rough sketches comparatively to Dix's other work.I think this however helps the overall character of the piece giving it a rough and haggard look helping the overall message as stated above.
This work will also become more meaningful to you if you take into consideration the time period and the state of Germany and central European counties during this era. Right after world war one was a horrible time for Europe, and a great depression plagued Germany(Otto Dix's homeland) after the war. I think this can be clearly seen in this and other works by Dix. a new weapon to our world (mustard gas) was unleashed during this great and horrible conflict.this is refferenced by Dix's use of gas masks on the soldiers seen in the work. I think this even extenuates the figures "scariness" by giving them a sickeningly non human appearance. Other horrors of war are also pictured in this work such as a grenade and barbed wire things relatively new to the modern battlefield.
This work clearly reflects the horrible and painful hardships of Dix's time. I think we can also carry the meaning and feeling of this work to our everyday life in that we are in a war time society,people are dieing and pain is still felt as it was in 1924. We are so cut off from our war over oil that we loose a conscience feeling towards the people sacrificing themselves for our once great nation. We care more about Hollywood and cellphones that we do about real culture and real things that will effect our future. My advice to people of my own generation is to slow down, look at your world, and make steps to make your life not fall into the horrible pattern of youth today. you will learn more from a great novel or a great art work such as this that you could ever learn from TMZ or Ellen(however there is nothing wrong with Ellen, good comedy is good comedy). This piece makes me wonder why our lives have not been skewed by these once unthinkable things. This work is all in all a reflection to me of the past and therefore what our great future should have been. Instead we where immediately sprung into world war two and then into the slums of modern America. I hope I did not lose those who disagree with me because of my very opinionated banter. I only wish to stop and think about society as form and function(like art) and to help others do the same. When you die it wont matter what dig screen you had or what lab top you could buy. It will matter what you spent your time doing, viewing and being. So live it up have fun and always remember to stop and smell the roses even if your roses are German soldiers with grenades at the ready.
Sunday, January 17, 2010
3506 Nicollet Ave., Minneapolis, MN. http://www.artofthis.net/index.html
• Flanders Contemporary Art 3012 Lyndale Av S Minneapolis 612-344-1700 www.flanders-art.com
LINKS n' things; Resources for you! (*Great for research)
• Arts and Culture: www.artandculture.com
• The Design Museum www.designmuseum.org
• Ted Talks (*I love this one!) www.ted.com
• Walker Art Center's resources for images etc firstname.lastname@example.org
• This one is your school's Website. Well, why not? www.cva.edu
• Information about Zines. Now we do blogs, so once I find a great site about that you will have that on this list as well www.girrrlzines.net
• Everyone should get a web site for their own work here: www.mnartists.org
• Walker stuff: www.tech90’s.walkerart.org
• The Walker of Course www.walkerart.org
• Where you go To start your Blog: www.blogspot.com
And of course - your class blog:
Saturday, January 2, 2010
GREAT Descriptive work --> From Bernadette's Blog --> http://cva-oad-sectb-mueller09.blogspot.com/
Friday, September 11, 2009 "Cherry's Jubilee"
From Sam's Blog --> http://cva-oad-sectb-basques09.blogspot.com/
Saturday, September 12, 2009 Sept 15th Assignment "I Love New York"
Created by Milton Glaser, the "I Love New York" symbol has become a renown and iconic symbol of our generation. Not only has it originated and created a wide band of merchandise, it's become the beginning of a new era. Following the "New York" image, comes a long line of successors and look-alike images.
One wonders why the "I Love New York" symbol is so iconic in the first place. Is it the simplicity of the symbol itself, and in being so simple embeds itself in the minds of anyone who sees it? It's a symbol that sticks with you once you see it, and continually recognize throughout the rest of your life. The symbol has grown to worldwide infamy and status. It's no longer available just to New Yorkers, but everywhere around the nation, and from there, the world.
Image taken from Arcadia Gallery Web Site
When I first saw this piece I was hypnotized. It caught my eye while I was rifling through the magazine stand at a Barnes and Noble. She was on the front cover of American Art Collector, which is not a mag I typically indulge in, so I desperately persuaded myself not to buy the issue, and walked out of the store. I exited the mall, and carried on with my daily business. However, much to my dismay the painting haunted me. For hours I felt regret for having not snatched up the publication. Over the next three hours this woman's image and I developed an emotional relationship.
Why was her face burned into my brain? It's simple really. The artist of the piece is Malcolm Liepke. I'd read about him about a year or two earlier, and was intrigued with his style, but now, because of the new direction he was taking, I had grown obsessed. Needless to say I returned to the store, found the most pristine copy (not the copy everyone mistreats on top of the pile with the bend pages and the torn cover, and definitely not the one behind that, which get's second-hand mistreatment, the one in the back...the virgin literary treasure), and purchased it.
I bought the magazine for reasons only a psychologist could explain. What I can convey is how the painting captivates me still as I reflect on it over two months later. To me, that defines great art. Great art can lock in a viewer, no matter if they like the piece or not...the artist wins.
In this case the artist is Liepke. His pieces in the past usually have had narrative atmospheres, and generally contain more than one subject. In his new work Liepke has zoomed in, cropped, and simplified to achieve a collection of portraits that convey not only clear emotions, but a strong cohesiveness as an entire collection. They were exhibited in New York, New York at the Arcadia Gallery, http://www.arcadiafinearts.com , from July 23rd through August 6th.
In his 48'' x 48'' oil painting, Sideways Glance, the artist, in my opinion, strikes gold. The focal point of the painting are the subject's eyes, that sensually gaze back at the viewer. Her pale face is framed by a mop of careless brown hair, as her arm gracefully closes off the left side of the piece. Liepke has stripped the image down to the components that are most essential to captivate a viewer. His new artistic deviation has not only gained him new fans and collectors, but also new buzz... and no press is bad press.
Mining the MIA
Adam's Blog http://cva-oad-sectb-fuchs09.blogspot.com/
Monday, September 21, 2009 MIA- What the heck were you thinking??
Responding to the Midway Art Center:
Mandy's Blog http://cva-oad-sectb-martinson09.blogspot.com/
Tuesday, September 29, 2009 ADD ELEGANCE TO YOUR POVERTY
Monica Bonvicini, ADD ELEGANCE TO YOUR POVERTY (2002) Collection of Kati Lovaas. Image taken from Premier Art Scene. (http://premierartscene.com/uploads/pics/ArtBasel2009_Bonv400.jpg)
Bam. These bold, black words spray-painted on a clean white wall immediately captured all of my attention. Monica Bonvicini, an Italian artist, used this phrase and drew a simple picture of a fence on a large white wall in 2002. The words are all capitalized and are handwritten, looking as if someone quickly, and somewhat unevenly, wrote this message. The phrase is written as such:
TO YOUR POVERTY
Below this phrase, a rough sketch of a simple fence is drawn. The two lines of text and the fence all line up at the left. The lines of the words and drawing slightly vary with thickness and size. The spray-paint also gives a very blurry and diffused look. The phrase and picture of the fence are large, taking up much of the wall. There is no exact size of the piece because the dimensions vary. Since the work is directly spray-painted on the wall, the gallery will use the original drawing and project its image onto the wall it is to be displayed on. Someone then traces the image as accurately as possible.
We live in a time where we often see graffiti in urban areas, on public and private property. This work suggests that people use graffiti to enhance the appearance of run-down or derelict places. Bonvicini probably used the drawing of the fence to show how it is so much cheaper and easier to just spray paint one, than rather build a fence, costing a lot more money and time.
I love the simplicity of both the drawing and text. The phrase reminds me of something Jenny Holzer would write. The statement might imply that you can make anything elegant and that you don't need money to make it that way. Maybe it is saying we live in a culture where we can take something and make it brand new by adding our own flare. Or, maybe the statement is mocking our culture with graffiti and its destruction to public places. Many would argue that graffiti only satisfies the artist who makes it and ruins the space for the rest of the public.
Adam's Blog http://cva-oad-sectb-fuchs09.blogspot.com/
Saturday, September 26, 2009
I recently had the opportunity to visit the Midway Contemporary Art gallery in Minneapolis. I was part of a group that received a guided tour by a founder of the gallery and in depth analysis of many of the piece’s on display. One artwork in particular struck me. In a small room that goes by the description of “Gallery 2”, I was confronted by a massive blue rectangle that measures 94 x 17 x 4 inches leaning up against the wall.
My first impression was that someone had left one of their child’s building blocks in the gallery and that evil aliens had enlarged using cosmic rays to ridicule the foundations of American childhood. It was smooth and sleek, with perfect corners, clean lines, and was the color of the Pacific on a bright 90 degree day in 1965. I am not a fan of the modernist movement at all. The extreme emphasis on form and medium being art is so a little ridiculous to my frame of mind. If that was all that art was, than the people at Sherman Williams who make hundreds of colors of acrylic house paint should be heralded as the new masters. I am more about content, subject matter, feeling, motivation.
After a brief glance and a little shake of my head at how much time must have gone into the construction of a gigantic blue rectangle, my thoughts turned to the next piece. Big blue was gone from my mind in an instant because my uneducated non-modernist viewpoint suggested that it was just that- a big blue rectangle. Who cares about a big blue rectangle? As I went on to the next piece I heard the gallery operator mention that they had to increase their insurance due to the fact that the big blue rectangle was worth $200,000. Are you serious? I could finish my education, travel the world, and feed the homeless for months off $200,000. If someone wanted a rectangle, go to IKEA and buy some storage totes- you’d have enough for a Ferrari left over. I instantly hate big blue, which I found out is named “Sound”, by California artist John McCraken. The fact that an inanimate object that is so plain could excite that amount of interest was ridiculous in my opinion. The gallery owner went on to inform us that “Sound” was handmade fiberglass with high gloss lacquer. Given his southern California background, the artist likes to use the same materials that go into surf board construction. John McCraken also treats color as a material in his art. His decision to lean his objects against the wall rather going for a more conventional instillation was in his own mind the best way to reduce the forms down to their utmost basic abstract concept. (John McCraken Sketchbook: Interview with Neville Wakefield 15)
All of this basic went over mind head. I still could not wrap my mind around a blue rectangle supposedly worth $200,000. A classmate of mine tried to put it into perspective by informing me about the amount of time and meticulous craftsmanship that must have gone into a handmade perfect rectangle of that size. McCraken could have just sent his piece of to the factory to get machined, but instead he loving crafted his art by hand, just as the surfboard masters of old produced individual boards that combined perfection and personality. I was not ready to hear it. My mind still kept shouting $200,000, $200,000, $200,000! This morning, as I was researching the piece to write a very nasty critique, I was listening to my roommates talk about a friend of theirs from college who had moved to Vegas and tried to make a life for herself far away from friends and family in Minnesota. Long story short, she ended up prostituting herself and then got hook on drugs. I instantly felt sorry, not for the girl who I didn’t know, but for “Sound” who I came to know through indifference, fierce hatred, pity, and then finally a bizarre sort of love. It brings to mind an overpriced streetwalker, told by society that her purest essence is to lean against the wall with cold, deep, perfect beauty to wait for the highest bid. Pared down to her barest form, with nothing left but that which the viewer gives, she emanates reflects of our own desires and needs. She is lost, alone, powerful, and abused. She needs love, but has nothing left for love to cling to. Perfection, gloss, sleek beauty…. Nothing.
Image courtesy of midwayart.org
Monday, October 12, 2009 Tour de Walker
The piece I chose that I believe has strong formal qualities is Hippopotamus by Paul Thek. This piece is very interesting to me because of the media he used and the effect it has on the viewer. He used beeswax, plexiglass, metal and rubber in order to create a faux slab of hippopotamus flesh. If his intent was to rear the media into appearing like an actual hippopotamus he comes eerily close. Although you can see drips of wax, you still cannot help but be thinking that you are staring at raw flesh pierced by rods of metal. I highly doubt he was going for beauty in this piece but because of its strong formal qualities it will make just about anyone stop and look and wonder about the hippo in a glass box.
From Chloe's Blog --> http://cva-oad-sectb-chloegoodman09.blogspot.com/
Monday, October 12, 2009
This first piece from the Walker's permanent collection I chose is by Jasper Johns titled "Flags". It is a color lithograph of two American flags. One of the flags has green and black stripes with thin white lines between them. The background for the now black stars is light orange. The other flag that this piece features is very monochromatic, and is varying shades of light gray. The entire piece is on a dark gray background. The strength of this piece is in it's formal elements, because it is all about color theory at work. Everyone is familiar with the rectangles and stars that make up the American flag. This entire piece is technical. If the viewer stares at the black dot in the colored flag for a while and then looks at the gray flag, they will see the American flag the way it normally is, in red, white, and blue. I decided that I like this particular piece even though I really don't know anything about color theory, I can still tell that it works. I would consider it art because it has an aesthetic value, though I would say the concept behind this piece may not be very "deep".
The piece I chose that has a high conceptual value is "Suspense". I do not know the artist's name, but I will post it when I get to the Walker next. The piece has little aesthetic value because it is an empty rectangular room with two black curtained doors that the viewer of the piece walks through. When the viewer opens the first curtain and steps into the room and begins to walk forwards, suspenseful, eerie music starts to play. The music rushes to a climax and stops like the worst cliffhanger ever, and then the viewer realizes that they are next to the exit curtain. The first time I experienced this instillation, I laughed because the way it made me feel was so intense. The conceptual value to this piece is very high because the viewer is so affected by it. We are in the palm of the (unknown) artist's hand. I think it does work in this case to have little aesthetic value because this piece is so intense. It is art though? I would say so, but perhaps my definition of "art" is more broad than others'.
The piece I chose for one with low aesthetic and low conceptual value is "Black Curve" by Ellsworth Kelly. It is an oil painting from 1962. I suppose one (namely Ellsworth Kelly) could say that this piece does have some aesthetic value, because it's "beautiful". However, this doesn't really do it for me. Yes, Ellsworth, it is a black curve. This means absolutely nothing to me, and I get nothing from it aesthetically. Maybe if I chatted with the artist I could get where he is coming from. I can certainly respect it, but I do not like it at all.
The piece I chose that has both conceptual and aesthetic value is "Bust of Diego" by Alberto Giacometti. It is a bronze bust from around 1954. To me, this is a very nice thing to look at which is why I would call it aesthetically pleasing. It is interesting the way the head is so narrow and long, Diego's expression is somewhat blank, but he is clearly looking at something. His body is huge in proportion to his teeny head. The texture of the piece also is nice, being made with bronze, the way the light bounces off all of the different textures made by Giacometti. The reason I would say it is conceptually pleasing to me is why on earth did Giacometti choose to portray someone in this particular way? I wonder if the reason for all of the interesting textures and proportions has something to do with Diego's personality, the vibes one gets from him, or something about the relationship between artist and subject.
The final piece I chose that has an influence on how I look at art altogether was Untitled by Robert Irwin. I've only seen this piece once in person about a month ago when I went to the Walker with a few friends, and I remember I was the only one who seemed to have an interest in the piece. Maybe they had seen it before, but I was so intrigued by how the artist just claimed this huge area in a museum as his own. I guess I'm not as impressed with the actual art piece as I am in how the artist chose to execute his vision. It's just so amazing to me how large his piece is in this huge room where his is the only one. It jsut blows my mind and I love it.
Choosing Your Artists for your Artists Book Blog Entry:
Mandy's Blog http://cva-oad-sectb-martinson09.blogspot.com/
Tuesday, November 24, 2009
Artist's Studio No. 1 (Look Mickey)
oil, Magna, sand on canvas
Walker Art Center
Image taken from the Walker Art Center
This piece has very strong formal qualities that grab your attention right away. Just as the title states, this piece is an interpretation of an artist’s studio. The room consists of a mirror on the left wall with a small table for a phone. In the left corner is a door with a small canvas facing away to the left side. On the right of the door is a potted plant and there is fruit on the striped floor. Three various sizes of paintings hang on the wall with a couch beneath it. On the right side we see a small statue or end of a table. Most all of the forms in this painting are rectilinear except for the potted plant, fruit, and phone. A large portion of this painting is also white. The small table, the pot for the plant, couch, and back wall are white. Each color is very pure and bold. The colors also stay consistent. For examples, all of the yellows used in the painting are the same yellow. This stays true with all of the other colors as well. The only other colors used are red, black, green, and blue. There are not many shadows, but the shadows that you see are solid black. The reflections in the mirrors are either solid black chunks or little specks of black, closely placed together. The outlines of all the forms are very thick and precise. The only shading in this piece is on the ceiling where you see gray turn to white very subtly. Every other part of the painting is distinct and sharp.
Forever, artists have done still life’s or studies of their studios. Lichtenstein wanted to follow this tradition, but pursue the idea in his own style. This piece should be recognized for its precise formal qualities. The painting is visually striking because of its sharp rectilinear forms and bright bold colors. The style should also be recognized for its originality. Lichtenstein appropriated this comic-book style from popular culture and made it into a true fine art.
Monday, November 23, 2009
Here are the sketches for my cover... Kind of.
I'd like one large portrait of Zak with his name going down the left side of the page, with lime green highlights.
The small pixel-looking image that my drawing is on top of is on of his installations at the Walker. I'm using the size and configuration as inspiration for the pages in the book. I'll have possibly 6 or 8 sections per page.
The smaller sketches on this page might do a
better job of explaining how I want my page
Overall, I'm really excited about the project. I've read several interviews, and am currently reading his memoir.
Think: Dirty Punk
EXTRA CREDIT BLOGGING
Tuesday, October 6, 2009
Four Color Lithograph (1968)
21 ½ x 17
Image taken from www.Artstor.org
To be honest, this wasn’t the piece I was going to choose from Robert Rauschenberg. I went searching for a certain piece, but could not find a picture of it. I saw the piece originally at the Walker Art Center when they had an exhibition on his works. As I looked through Artstor.org to find this certain artwork, I kept finding more and more pieces I loved from Rauschenberg. It was so hard to choose even one artwork to focus on for this blog.
Finally, I settled on Storyline I (1968). This 21 ½ x 17’ piece was created using a four-color lithograph using only red, yellow, navy, and green. The individual images are placed in a haphazardly and sloppy way, over-lapping one another. Overall, you can somewhat see a grid. The images’ square shape and color placement gives the piece a grid-like feel. The arrangement of the images tells us a story. At the top are a red square and a green square. In the middle, there are two separate green square shapes. At the bottom, there is a navy and yellow square. The lithographed images are put on the paper in a very messy way, all smudged. In some places, it looks like too much ink was used and in other places not enough ink was used. The images look like they are from a film. In the top left red square, there is a face of a woman looking mischievous or disgusted. In the green square next to it, there is an image of a man hold a woman’s face. The woman is facing the other way so we cannot see her face. The man is looking straight at her very anxiously. It is uncertain what emotion he is conveying to the woman. He could be concerned with her, or angry with her. In the green area below the red woman, is an old (1930s/1940s?) car. Next to the car, there seems to be another image I cannot make out. Below the car, in the navy square is a person dead on the ground. Again, I cannot make out the yellow image.
The subject matter of this piece was to tell the viewer a story. It is not exactly clear what happens in the story or what the relationships are like, however we know some of the order and it’s progression. The placement of the images is displayed in the same type of sequence of a movie or a book. You look at one image at a time, going in order. The messy chaos in the placement of the images suggests to me that the story was complex. The images also overlap, creating layers. This reminds me of peoples’ emotions, and, actions caused by those emotions –like a chain reaction. This piece reminds me of how our lives progress one day at a time, but sometimes with multiple problems and many emotions. Our emotions and actions are so complex, that they overlap and connect, influencing the decisions that make up our lives.
Adam's Blog --> http://cva-oad-sectb-fuchs09.blogspot.com/