In Hitlers Torah, Ginny Womack creates a collage with various images of Hitler and the Nazi regime, bodies, and other images from the holocaust, all over torn pieces of the torah that are collaged in the background. The piece is somewhat separated into a central, smaller rectangle of collaged images framed by a large photo of Auschwitz, and then the rest of the piece which includes the photo of Auschwitz and more torn pieces of torah that expand to the edge of the artwork. Inside the central rectangle, there is great movement and good use of different types of lines. The bodies, limbs, and images use implied lines very well to keep the viewer exploring the space, and see each image used in it. There is also a very interesting negative space in this inner rectangle that is created by the various protruding arms and bodies on the background of torn torah. Because the negative space is so interesting, it draws the viewer in, and makes more visible the text from the torah that creates the negative space in the piece. The use of the torah as a background in the central part also helps to unify that portion of the piece with the outer portion. This is good, because the movement that is present in the central portion is cut off by the closed rectangle of the outer “frame” photo of Auschwitz, so the torah background is what connects the central and outer portions. There is an obvious contrast between the images of the holocaust and the torah verses, and the color used in the piece reinforces that. While the whole piece is unified by the use of tints and shades of brown and red, the collaged images of the Nazi regime and buildings are all darker brown and red-brown while the torah passages are all on off-white beige. This creates a separation while viewing the piece, and allows the juxtaposition of the two concepts to be more easily realized. This violent contrast between Hitler and images of the holocaust does a great job of showing the idea of transgression that Ginny worked off of. The holocaust was such a terrible transgression of human rights and life, and the photos have a very dark and aggressive tone. The transgression is intensified by the use of the torah text, which is used very repetitively and the text itself is powerful in showing the innocence of a religion that was so violently attacked. Overall, the piece is definitely a success; it is well crafted and well designed, and presents the idea of transgression very well.
This blog has been created as a space to post and critique project examples from our class. ART 111 "Introduction to the Studio" is a beginning level studio course designed to introduce and ground students in core principles of art making in a rigorous, hands on studio. These principles will be taught through a series of practical exercises using traditional and digital tools. Emphasis will be placed on developing skills, knowledge of materials, methods of observation and translation, collaboration, discussion, and creative discipline.
In Hitlers Torah, Ginny Womack creates a collage with various images of Hitler and the Nazi regime, bodies, and other images from the holocaust, all over torn pieces of the torah that are collaged in the background. The piece is somewhat separated into a central, smaller rectangle of collaged images framed by a large photo of Auschwitz, and then the rest of the piece which includes the photo of Auschwitz and more torn pieces of torah that expand to the edge of the artwork. Inside the central rectangle, there is great movement and good use of different types of lines. The bodies, limbs, and images use implied lines very well to keep the viewer exploring the space, and see each image used in it. There is also a very interesting negative space in this inner rectangle that is created by the various protruding arms and bodies on the background of torn torah. Because the negative space is so interesting, it draws the viewer in, and makes more visible the text from the torah that creates the negative space in the piece. The use of the torah as a background in the central part also helps to unify that portion of the piece with the outer portion. This is good, because the movement that is present in the central portion is cut off by the closed rectangle of the outer “frame” photo of Auschwitz, so the torah background is what connects the central and outer portions.
ReplyDeleteThere is an obvious contrast between the images of the holocaust and the torah verses, and the color used in the piece reinforces that. While the whole piece is unified by the use of tints and shades of brown and red, the collaged images of the Nazi regime and buildings are all darker brown and red-brown while the torah passages are all on off-white beige. This creates a separation while viewing the piece, and allows the juxtaposition of the two concepts to be more easily realized. This violent contrast between Hitler and images of the holocaust does a great job of showing the idea of transgression that Ginny worked off of. The holocaust was such a terrible transgression of human rights and life, and the photos have a very dark and aggressive tone. The transgression is intensified by the use of the torah text, which is used very repetitively and the text itself is powerful in showing the innocence of a religion that was so violently attacked. Overall, the piece is definitely a success; it is well crafted and well designed, and presents the idea of transgression very well.