Thursday, May 15, 2014
Anders Krisar’s photographic work, Flesh Cloud #1 (2003), is a C print under glass mounted on MDE located outside Faulconer Gallery at Grinnell College. The photograph is a large format work. Formally, the setting can be described as an old factory building built during the 1800s. In the piece there is only one horizontal axis that splits the piece into halves, the top half is dominated with red and dark brown brick, while the bottom half, sidewalk, is cobblestone. However the most intriquet part of the photo is a flesh tone blur, when dividing the photo in to a 3x3 grid the blur is located in the middle square. The blur seems like a naked human walking over a period of time. Within the cloud there are 5 distinct horizontal axis. A naked human describes the blur because on how the these axes is distributed. The top portion of the blur seems like a women with black hair walking back at forth over a period of time. Under the hair portion of seems like a woman breast due the fact that she seems like she has a tan and most woman do not sun bathe naked. Below this depicts a woman stomach who has been sunbathing this can be seen by the contrast shade between the breast area and pubic area to the stomach area. The last portion seems the blur is a leg portion. The result of the long exposure and the movement of a naked woman produces a cloud like object.
I believe the artist created this piece to make a statement the hectic life that we live in today’s world. Before a photo took a few minutes to set and in today’s world we do not have the time to stand still, he makes it seem that we are invisible in a visible world. The piece is a haunting and powerful portrait of the lives that we live in the modern world.
Tuesday, May 6, 2014
Formal Analysis of Scenic
Scenic by Signe Stuart is a piece that hangs in the central hallway of the Buxbaum center for the arts. It hangs in a narrow hallway in a central location, forcing the viewer to observe the piece from many angles as he or she walks by Looking at it straight on at any distance is impossible. The reason for this choice is apparent as the piece’s raised form creates different visual effects depending on the angle from which it is viewed. The piece is composed of two major sections – a blue and a green section – that are balanced by repeated patterns, color intensity, texture, and height. The forest green section lays flat against the wall, evoking firmness not found in the blue section. The left half of the green portion is a bare steel framework, reinforcing themes of heavy, solid material. The colors and textures chosen by the artists evoke a natural or landscape palette – perhaps of earth and sky, or earth and water. The lower green section is smooth and bright, evocative of healthy grass in the springtime to this observer. The upper portion is a darker shade of forest green incorporating a rough texture like bark. The blue portion has significantly more motion than the green, but follows the same basic color patterns and texture, which gives the piece a sense of wholeness & continuity. Though both parts are mounted at an angle on the wall, the blue section appears to raise itself off of the wall on the left side again supported by a bare steel frame. This elevation creates a highly visible set of shadows so crisp that they appear to interact with the piece. The lower portion is again a smoother blue like calm water and the upper a deep, sky blue. The boundaries of the pieces meet in a jagged clash conveying movement and energy. Overall the piece evokes a nature scene through use of tones and textures commonly associated with nature The most puzzling aspect of this piece is the central presence of the metal frame of the piece which seems at odds with the tone of the rest of the piece. Ultimately this piece is visually interesting, energetic, and just enigmatic enough to capture the interest and imagination of the viewer.