Monday, March 18, 2013
Thursday, March 14, 2013
Friday, March 8, 2013
Artwork review- Above the Water, Yucatan
Above the Water, Yucatan
1989
Laurence Homolka
Oil on canvas
The painting might be an abstract interpretation of both the
physical landscape of the Yucatán peninsula, with its emerald jungles and
stunning coastlines, and the cultural landscape of that area. The alarming
variety of pictorial elements seem to bear few similarities besides being on
the same canvas, much like the many peoples of the Yucatan share that space.
Native Americans, impoverished Latinos, and wealthy tourists inhabit the
peninsula much like bright green, magenta, and muted brown co inhabit the
painting. But like the history of the Yucatan, the composition is violent and
jarring, with sharp vertical lines slice through the dazzling areas of pure
color much like the Yucatan itself has been ceaselessly haunted by violence and
intrusion. Above the Water, Yucatan presents a clash of colors and
forms that truly forces the audience to observe beauty among great chaos.
Artwork Review
Artwork
Review
Robert
Polidori, Courtyard (1997). Photograph
Polidori’s photograph depicts a polychromatic
scene of a residence area in Havana, Cuba. A large proportion of the background
consists of the outer look of the residence buildings, such as white-bluish
wall with mass areas of rust, semitransparent windows, and exposed bricks. At
the top of the photograph, a small portion of high key bluish sky is presented
in the middle and above the wall of the buildings. Attached to the wall at the
top center of the photo are two parallel metal water pipes (maybe?), with a
segment at the end of the left pipe sloping down towards the roof above the
stairs. The dark wooden (or tile?) roof slopes down from the left to the right
and under the roof is an area of low key greenish water-stained wall. The greenish
color of the wall continues to the middle part of left side wall, connected by
a cluster of green leaves of a plant. Besides, the darkness of the color of the
wall increases gradually as does the darkness of the color of the roof. The two
progressions of colors create a visual consistency in the photograph. On both
sides, the wall of the buildings seems sloping upwards due to the effect of
linear perspective. On the left side, there is a vertical stripe of low-value
colored water stain, in contrast to the light color of the wall. Likewise, on
the right, the low value and high intensity of the color of the eroded wooden
structure contrasts against the light color of the wall. However, the two
complementary colors—a dark orange and brownish color and a light bluish color—generate
a harmonious visual effect. In general, there are three major colors presented
in the background: a high-valued bluish white, a high-valued orange and a
relatively high-valued green. The use of complementary and analogous colors
creates a polychromatic scene in harmony.
Regarding the line composition, the majority of
the lines in the background are geometric, and within these straight lines are
vertical, horizontal and diagonal (the roof and a segment of the left water
pipe). A rope hanging from the top of the left wall to the right, two ropes (or
electric wires?) hanging down from the wooden structure, and the fan-shaped
windows are three compositions of organic lines. Furthermore, by arranging the buildings,
the roof, the stairs the wooden structure, and the little balcony on the left
side wall at different levels of vertical location, Polidori creates a
three-dimensional spatial visual effect. Also, in the middle area at the top of
the piece, the photographer extends the space even further by including a view
of the buildings behind the scene through a linear perspective.
What makes this piece more interesting is the
bottom half of the photograph, which depicts the major characters, the two
boys, and living plants. The value of the color presented in this half of the
photo is relatively low and the intensity of the color is high; that is, the
color is darker and more saturated as opposed to the light color at the top
level of the piece. In this way, Polidori achieves a spatial composition by
shifting the values of the colors through an atmospheric perspective because
the closer the object is, the darker it is.
Polidori expresses the concept of this photograph
by leaving certain objects or parts of objects vague. For example, there is a
blurry contour of a lady in a white dress (maybe?) on the stairs, and she is
going down the stairs with her head turning back. Also, if look closer, we can
see that the contour of the two boys’ hands and arms is vague and thus we could
assume that the photo was taken at the moment they were doing the poses. At
this point, although these people are static, the vagueness suggests a
potential of movement and makes the entire scene more active. The trees, all
bending towards the left, are another factor that contributes to the movement and
the liveliness of the photograph; besides, the various shapes of the leaves add
more diversity to the composition of lines. In contrast, the contour of the
fountain is relatively clear and there is no water flowing; therefore, it
suggests a sense of calmness and stagnation.
Art Evaluation/Critique
Unknown location on the 800 block of North Robertson Street. New Orleans, Louisiana, USA 2005-06 - Robert Polidori |
The first thing one will notice about the photograph/printing is that it is a 3-dimensional view of a room in a rathe chaotic state. The roof is either unfinished or has fallen in. The wallpaper has begun to unravel and fall down as well. In addition there are a numerous chairs and other broken items all on around the floor. Even the pictures that remain on the wall appear to be damaged, crooked and defaced.
Given the time the photograph was taken and the chaotic state of the room, one can draw the conclusion that this was taken post Hurricane Katrina. Hurricane Katrina hit New Orleans at the end of August. Polidori then moved to New Orleans to shoot photographs of the devastation for The New Yorker. He stayed longer than first planned, then went back and forth for weeks, taking hundreds of pictures with a large-format camera that produced wide detailed color photographs.
This particular photograph depicts the devastation that nature caused on the people of New Orleans. While there are no people in the photograph, it is quite clear that this room was lived in at one point in time and are now abandoned. I feel that this painting shows that sometimes life is not fair and that nature can be both beautiful but also destructive. All artists, make sense of a world that is often senseless. They derive beauty from destruction, art from meaningless objects, and can even turn victims of pain into objects of tribute.
Artwork Critique
Larry
Joseph Homolka, Above the Water, Yucatan (1989). Oil on Canvas (46”
x52”)
Homolka's
large oil on canvas, portrays a variety of linear forms. These linear
forms represent a spectrum of structure ranging from steadfast, heavy
lines to linear shapes whose forms are created by the parameters
defined by other figures. It appears as if some lines are more
deliberately placed than others.Brush stroke aids in this idea by
interacting with linear formations. Some line formations are
unmistakably structured and defined; whereas some lines are solely
dependent on the created illusion by the varying tints that the
artist's varying brush strokes establish. Homolka utilizes a medley
of varying hues which, combined with the array of linear formations,
which create an interesting depth to the piece. Spatial boundaries
are explored through the fluid movement of colors and linear size.
For example, the prominent vertical black rectangle (a focal point of
the piece) creates a window into another dimension. Its slanted
portrayal allows the viewer to shift from a flat perspective into an
additive illusion of a third dimension. Spatial contrast is also
created through hues. Homolka juxtaposes varying blue values in the
bottom right of the piece. This color contrast creates a boundary
which adds another layer of depth as the values play off one another.
The use of tint also creates almost three dimensional-like areas
where a slightly organic depth is hinted at.
The
use of perspective in color in this abstracted form could potentially
overwhelm the viewer, given the scale of the piece. However, the work
is located in a wide, open hallway on the first floor of Bucksbaum.
The opposite wall is paneled with windows which increases the
luminosity of the piece. The eye harmoniously follows the piece, in
part due to the continuity of the lines merging into one another.
When staring at the focal point (horizontal, central), I begin to see
depths within depths which is an interesting effect that mimics what
I feel when I looking down from a high vantage point. I see
dimensions lose distinctness, merge amongst themselves, and
additionally new dimensions materialize.
Without
a title the viewer would have a difficult time deciphering the image.
Thus, the title is an important element of the piece. It elucidates
what is actually being displayed by giving the abstraction a
contextual location and perspective. The colors emulate a sense of
water (perhaps the sea?), sand, cliffs, and perhaps a variety of
common flora and fauna. After reading the title and then looking at
the piece, I can relate the metaphysical elements into recognizable
scenery. When I examine the piece I see a landscape containing a body
of water in the distance with perhaps cliffs or maybe street scene
with alleyways in the forefront. Of course, with this style of
artwork, much room is left for various interpretations.
Art Review
artist name William Hogarth
title of work O, the Roast Beef of Old England
date created 1749
size 14"x10"
medium engraving
O, the Roast Beef of Old England is an engraving by the
incredible William Hogarth (we just picked up a lifetime print and it is
awesome.) It was originally a painting, and then translated into an engraving
shortly after. The print is a scene that takes place in England, as the name
suggests. The print makes use of a range of artistic elements to draw the
viewer in to the subject matter, and leave them pondering the potential content
of the piece. On the surface, the print depicts an aproned man carrying a large
knuckle of roast beef on a spike presumably towards some kind of dining
establishment. This is most definitely the focal point of the piece, though
through the use of perspective the artist creates an equally interesting
foreground and background. In the foreground a number of demonic looking women
stare at the face of a manta ray. Their faces seem to be morphing into one
homologous form mirroring that of the creature. Hogarth uses faces throughout
the piece both create implied lines focusing on the giant piece of meet thus
leading the viewer to the focal point. Hogarth also displays a wide range of
facial expressions ranging from perversion (on the friar) to utter desolation
(the man in the foreground on the right side of the piece). This sets an
atmosphere of wonder, though with slightly disconcerting undertones since the
majority of the faces are intensely unpleasant to look at.
Concretely
suggesting the content of the piece is a bit difficult given how much is going
on at once in the picture. It seems as if the piece of meat is the main point
of contention given that the soldiers look at it being carried away from them
with protest as they drink their presumably undesirable soup. If a famished
soldier is wantonly pouring some out onto the ground it surely cannot be of
that good. Passively in the background some religious elements are brought into
the piece. Perhaps Hogarth is making the statement that religion was less
important than the worldly needs of hunger and poverty, if the location is
taken literally when determining possible meaning.
One Point Perspectives
Hannah Kelley's Review
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Any Act Red – Bruce E. Smith
Acrylic on canvas
This is an acrylic painting done by
Bruce E. Smith, titled Any Act Red and, if you so choose, you can find it on
the western side of Bucksbaum. There’s a lot going on here. The most
identifiable part of this painting is the girl in the left hand corner. She is
holding some kind of cup/can in her left hand and painting the headboard of a
bed with her right. This is no ordinary bed, however. Alas, it lacks a
mattress. The frame is partially painted with white, red, yellow and pink.
There is a break in the foot of the bed, as well. The girl is wearing a blue
dress with a white collar, belt and stockings. Her skin is also white and she
pales in comparison to her wavy black hair and black shoes.
The rest of the image is composed
of a variety of shapes, paint smudges, numerals and letters. Directly above the
girl, the word “NAME” is printed and he number 10 has been partially painted
over with white paint that is dripping on her head. There are many red
splotches of paint, including one below the bed. Behind the girl and continuing
into the right corner of the painting, there is some kind of structure behind
her. Thinking logically, I’m going to say they are two pieces of furniture,
because I think she’s in a bedroom. What appears to be a dresser also has a red
splotch on the front where the drawers are would be located. Scattered on these
structures and throughout the rest of the painting are lots “B”s and “BB”s.
There are also the words “OR”, “OVER”, “HER”, “RED”, and “ACT”. “ABC” is
painted in large letters on the far right side and in smaller letters, “ANY ACT
RED BY HER TEN OR EPERGNE” is painted at the bottom.
So that’s what it looks like. Now
I’ll tell you what I think the hidden meanings and secrets are. What comes to
mind immediately when I look at this is Color by Numbers. The numbers and
letters seem to be instructing someone (the viewer/the girl/both simultaneously). The red splotches
indicate to me that those areas will be painted entirely in red at a later
point, because in Color by Numbers, you often mark a spot with a dab of color
so you’ll remember to do it later. The word “NAME” and the “ABC” remind me school,
because we learn the alphabet in school and we have to put our name of every
single damn activity paper.
There is one red splotch beneath
the bed and for some reason it appears to be blood to me. I don’t find the rest
of this painting daunting, so that seems unfitting. But I see what I see - and
that’s a little pool of blood.
The girl isn’t wearing clothes that
are worn nowadays. I’d say it’s more Victorian era. I’m unsure why the artist
chose to depict her in historical attire. Maybe Color by Numbers is an activity
more closely associated with their time period rather than present times. She’s
also completely oblivious to the paint dripping on her head.
When considering the entire piece,
I get the impression that this is a work-in-progress and that it has to do with
childhood. I like it because the Color by Numbers thing engages the viewer.
It’s like a puzzle that we have to finish. The only thing that bothers me is
the unexplained use of “RED”. It’s in the title and on the painting, but I
can’t figure out its importance. – Hannah Kelley
Grid, Organic Grid, Closed Comp, Open Comp
Grid in 5 values with illusion of flatness
Organic Grid in 5 values with illusion of flatness
Circle composition in 2 values- closed comp
Circle composition in 2 values- open comp
Organic Grid in 5 values with illusion of flatness
Circle composition in 2 values- closed comp
Circle composition in 2 values- open comp
Art Review
Polidori
depicts a very ornate white door with a security camera and a bright
red box, which I am assuming is some type of fire alarm in his
photograph “Security Camera and Boiserie
Detail, Grand Cabinet de Madame Victoire, (54)”.
It is unclear what that red box actually is, since the writing is not
big enough to see. But that red box does matches red wire coming out
of the security camera, with a black wire next to it. The camera is a
light gray with a darker gray lenses, it points at a 45, give or take
a few degrees, angle out from the all white walls. It juts out of the
wall, on a white pedestal, next to what appears to be a thin piece of
wood right in the corner. The only other color in the picture is that
of the golden hinges, and the golden, what I think is a lock. Both of
which are perpendicular. Everything else is backed by floral design,
which constants with the very strict lines of the doors and walls.
But the most action show up right near the camera. Where a cherub is
encased in a floral pattern with fruits looking objects. The last
object that saw was the oval door handle and keyhole that is not
quite as bright as the hinges and lock. The wall and hinges and lock
looks worn and of a style that is I find to be old fashion.
The
focal points seems to be the camera and red box. The picture seems
very still and private in a way. It doses not seem that the door will
open anytime soon and that the camera is actually looking at
something of extreme interesting, to that point that the camera is
personified. I find that he gets that personified effect by the
juxtaposition of the parallel lines, either horizontally or
vertically and faded out design of background, and the 45 degree
angle of a dark camera. But we know it not private since there is
name tag like object near the door frame, which leads me to believe
that this is public domain. The camera also juxtaposes, as a modern
piece of technology, against the old fashion design of the walls.
Then the two red objects, the wire and box, gives a boldness to the
picture. I feel that it would be boring without that red box and
wire. The door handle shows that what ever is happening in this room
is happening by choice, since they are there by choice. Also since
that door handle is oval, while very small and vaguely dull, gives an
interest to that part of the picture.
For
me the bright white box under the camera is distracting since it
doesn't just fade into the background or stand out like the red box
does. It is just seems to be there not really adding anything. In fact, I feel that it detracts from the sstringency of piece.
Art Review
Robert
Polidori, Salles d’Afrique, Portrait of
Louis XVI by Callet #2, Chateau de Versailles (2007). Color Photograph.
This
photograph shows a painted portrait of Louis XVI propped up against a wheeled
trolley. This painting is placed in a wooden frame, and interestingly enough,
the painting is laid horizontally in a clockwise manner on the trolley. In the
background, there is an intersection between two walls – the paint on each wall
seems to be decaying. There is another painting of what seems like either
desert oasis/camp or Native American scenery, but this painting is displayed
hung up on the right wall. The portrait of Louis XVI is positioned in front of
this painting, however, and hides a large part of it from view within the
photograph. The floor of the room seems to have a wooden finish, with
rectangular panels arranged in an angular pattern. There is also what seems
like rolled up paper lying horizontally on the ground towards the bottom left
hand side of the photograph. It has to be said that there are almost no organic
lines within this photograph. The photographer uses the overlap between the two
paintings to create an illusion of depth. The intersection between the two
walls in the background also contributes to this effect. The light in this
photograph seems to be coming from the top left hand corner – this can be seen
through the position of the shadows cast by the portrait. This seems to be a
good position, as the photographed area as a whole seems decently lit. The use
of color around the photograph is also interesting, as the room seems to
consist of mostly cool colors. However, there is an object (probably a pillow)
within the portrait, which seems to be the most warmly colored spot in the
entire photograph, and jumps out towards the eye. The decay on the walls, as
well as the rolled up paper on the ground (which could be another painting)
suggests to me that the subject here is a room, which is being emptied,
probably for renovation. Also, the horizontal placement of the portrait on the
wheeled trolley suggests that it is about to be moved from its original
position (its placement seems to be the most efficient way of placing it on the
trolley). The positioning of the trolley and portrait at the forefront of the
photograph suggests to me a potential for movement/action, which further
supports my view that the painting is about to be moved out of the subject
area, and that area is about to be cleared.
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