Week 11 Video Review

The first video I chose was Greenberg on Art Criticism : An Interview by T.J. Clark. I had no idea who either Greenberg or T.J. Clark were prior to the video, but I figured it might give some sense as to what art critics are thinking about when they critique a work, and how there own personal tastes or prejudices may interfere with an objective judgement or critique. I think one of the main issues discussed by Greenberg is his belief that art is more difficult to write about than literature or music in the sense that art cannot be pinned down by the "score". I think this belief is based on the increasing intellectual and philosophical development of art, and in particular from artists like Picasso, Miro, or Jackson Pollock who push the envelope into new realms of visual presentation. I found it interesting when Greenberg compared himself to other art critics of the past, and concluded that these were "better minds" that just happended to be limited from the resources available to them at the time. I liked how Greenberg described good art as created from the "whole being", and the taste of the viewer as being directly related to world experience and the ability to assimilate everything around us. I think this is part of the problem presented to art critics - the world and access to information is constantly changing, and as Greenberg states in his interview about the work of Jackson Pollock, even the critics can be wrong from time to time.

I chose Greenberg on Pollock because I never understood the work of Jackson Pollock, and was hoping to maybe discover something that I was missing, either intellectually or visually. I think even Greenberg has a hard time describing the work of Pollock, as he at one point rather assuredly referred to Pollock as Daenycean, while later admitting that he may have in fact been Appolinean ( and I'm not sure what either means, really. I'll have to look it up later ). Greenberg seems to appreciate Pollock's style, a procedure of paint application which didn't "cut", or break the plane. He also credits Pollock as a visionary in his attempt to show us the future of painting in murals, while still embodying the eisel style. However, I personally have an issue with labeling Pollock's work as visionary or even "relevant" as Greenberg himself would say. While the procedure of Pollock's style may have been unique, I think there is almost an inevitable outcome to be reached from a limited pallette of colors being repeatedly splashed or dripped across a canvas. The seemingly orderly finish, a feature which Greenberg states is essential to a good piece of art, I think can be easily manipulated through various layers of paint. Honestly, I tend to think that Pollock's "orderly" outcomes from a unique style can be achieved by anyone, even those among us with little or no artistic talent, who is willing to get a big messy. I am almost tempted to clean out my garage, lay down some plastic and a large canvas, and prove my point. I am sure I will try this at some point, just as I am sure that I will one day have a clean garage...

I chose the video of Michael Fried and T.J. Clark conversing about Pollock's Lavender Mist because I still wanted to make sure that I wasn't missing something. This video focused mainly on the agreements and differences between the two critics concerning the work of Pollock, yet the conversation was to be based on the mutual understanding of Jackson Pollock as a major modern master of art. Fried and Clarke reach the ultimate conclusion that Jackson Pollock represented a new breakthrough for the intensification of the painting surface; that he was a pioneer in pushing the realm of abstraction to the unknown point beyond even the non-representational. While I admire this quality, and think that my own art can benefit from constantly pushing myself beyond the limits of my imagination, I tend to think that the energy created in Pollock's work is overrated, and tend to agree with Greenberg when he ends one of his interviews by saying that Pollock "was full of shit just like everybody else."

Art Curator Exhibit

The art curator project was a good experience and opportunity to review some works I had seen or studied previously, but have not seen in a while. It was also exciting to come across some works that I was not at all familiar with, especially works from Alexandre Cabanel. My theme for the project was Artist Rivalries throughout history, so in doing some research I came across some more interesting facts that I was not previously aware of, such as the close working and personal relationship between Matisse and Picasso. This project definitely gave me a new appreciation for the job of curator, which seems like it could be a bit overwhelming, yet rewarding in the end.

Video Reviews: Week 10

In  many ways, each video helps us to gain a better understanding of the issues surrounding the art world, and in particular the curators of museum who decide what to display. The video Lowdown on Lowbrow highlights this point, as certain artistic movements may be stimulated from the seemingly arrogant or "highbrow" nature of the intellectuals in the art world, or those, like the curators, who decide what artworks should be widely viewed by a particular audience. In this case the lowbrow form of art, also dubbed pop-surrealism, was influenced by the returning veterans of WWII and the artwork painted on their planes or seen with the development of hotrods and motorbikes. The leaders of this movement, including Big Daddy Roth, Robert Williams, and Robert Crumb, would inspire a new generation of comic book and album cover artists continuing to enjoy their free-thinking, anti conceptualist rebellion against the intellectuals of the art world. The growth of the internet would eventually help to liberate these liberators from obscurity, and give this "uncultured" movement a valid appreciation and respect among the highbrows.

The video that most directly related to the current project is Display of Modern Art: The Tate Approach, which discusses in some detail the ideas behind the arragement or organization of exhibits within the museum. The thematic approach of Tate, where works were organized into four sections of landscape, history, still life, and nudes, differed from the chronological approach of the MOMA. Grouping together numerous works of varying styles helped to give those viewers who were not educated in the history of art a better undersatanding of what they were looking at. In this sense the Tate Museum, like the lowbrows, were helping to break down that intellectual barrier that turns many people away from appreciating works of art. The simple, thematic approach of the Tate may be why the museum has attracted huge crowds since its opening and has become the most popular modern art museum in the world.

George Eastman House: Picture Perfect celebrates the history of art, technology, photography, and motion pictures. The house is the mansion of George Eastman, developer of the Kodak camera, and today serves as the oldest photography museum in the world. The innovative and forward looking spirit of Eastman led to the creation of a portable and easily accessable camera that transformed photography, and which would eventually lead to the development of film at the heart of motion pictures. The museum is a collection of 14,000 photographs which show an evolution from the camera used as a means of documentation to its limitless uses of the imagination. The video relates to this project in that it joins together an appreciation of a specific medium as art with a respect for the visionaries like George Eastman and the technological advancements throughout history which helped to make these works possible.

This sense of history to be considered by the curator is seen in the video Bones of Contention: Native American Archeology. This powerful video discusses the ongoing battle between Native Americans and scientists over the display and research of the bones of Indian descendants. Tribal leaders see this act of recovering Indian skulls and bones as a form of desecration and disrespect, while the scientists argue that the subsequent research may help to understand medical problems of the past and more effectively treat the diseases of the future. The curators of museums which exhibit these bones as artifacts of history are caught in the middle of a revival of Native American cultural identity and affiliation. As history shows the racial overtones and usage in collecting skulls from tribal terrirtory, I found it easy to be swayed by the argument against the collection of such remains, especially when there still exists tribal factions and organizations throughout the country which are willing and able by custom to accept these remains and bury them with the respect they deserve. It reminded me a bit of the Parthenon debate we had discussed earlier, and I think this relates to our current project as we need to be mindful of these issues of cultural identity and history in our presentations.

African Mask

There were many inspirations to choose from for this project, as each mask seems to have some unique element that I am attracted to. For this project I was looking to represent something similar to the Nkondi figure in our text; somethig that would represent the darker world of African art. The first source of inspiration was from a mask made of wood, cloth, brass belts, human teeth, and black raffia. It was titled Dan "Deangle", yet I am not sure exactly where it originated or what specific purpose it served, if any.

I think this mask captures many of the common elements of African culture discussed in our text, from the intense spiritual nature of the people to the incorporation of the magical and representation of evil sometimes depicted in their masks. I like the darkness of this piece, which is emphasized by the lifelike quality evoked from the use of real human teeth and the visual representation of real hair, these elements contrasting with the general simplicity of the facial features seen in the nose and eyes, as well as the general shape of the face. The brass bells attached to the lower half of the face provides a strong spiritual relation, and may signal the use of this mask in some form of ceremonial ritual.

This Mbala mask originates from the Pende people, and while using mixed media like the last piece, the features are more stylized or abstracted into simple geometric shapes. I chose this mask because of these simplistic forms, especially the use of curved line to depict the eyebrow, eyes, and mouth, a similar feature of Brancusi's Mademoiselle Pogany II at the Albright Knox. Like the Mademoiselle, these features are strong and the carving precise to create a symmetrical balance to the features. The use of the straw material serves to contrast the smoothness of the face and represents the use of varying texture which is seen in many African masks.

These two masks are similar in their simplistic geometric forms to represent the facial features and oval shape of the head. We see the same sense of symmetry as in the other pieces, yet both of these also incorporate a stronger sense of design depicted in the pattern of the raised bumps down the middle of the forehead and cheeks on the mask on the left, and the similar use of such texture and design depicted on the headress and cheeks to the mask on the right. I chose these for their stylized form, which I felt was a bit more pronounced than the last piece.

I constructed my own piece of wax. I really didn't sketch anything, and instead had a general idea to use simple, geometric form and highlight the contrasting use of texture seen in many of these masks. I also wanted to give off that same sense of the darker, evil side of spirituality as seen in the Nkondi figure. While I am satisfied with the result of my mask, I will go back and spend more time to refine it to the point I want it. I found this project interesting and inspiring, as the possibilities for different masks are seemingly endless. I was not happy with the flash reflecting off the wax, but these are some of the better pictures to present.

Art Exhibition Critique

For this project I visited the Albright Knox and critiqued the exhibit Artists in Depth: Arp, Miro, Calder. I had this exhibit already in mind since the work in many ways was somewhat different than I was used to or attracted to, and I felt this would give me a real challenge. While the artists each have unique styles and preferences for materials, the work is similar in that they are all abstract or surrealist works which combine visual representations of the conscience and subconscious. I was especially drawn to the work of Jean ( Hans ) Arp, whose marble piece Classical Sculpture I had chosen for the previous gallery assignment. However, by the time I left I had a stronger appreciation for all three artists.

The exhibit is located in a long corridor on the south side of the museum. You have to go down a few steps to enter the ehibit, and the dim lighting coming from either side of the ceiling gives the impression of being underground, a fitting reference perhaps given that this kind of abstracted and surreal work was not considered the mainstream when it was being produced. The walls were painted an off white with a black base trim; the only deviation from this were a couple of the recessed viewing areas ( behind the Classical Sculpture when you first walk in, for example ) and one wall in the middle of the exhibit painted gray. I found it interesting that there was an introduction of the exhibit seemingly painted on the wall as you entered, and throughout the exhibit there were either biographies or quotes of the artists placed on the walls in the same fashion. The biographies were especially informative, yet each piece was also provided a plastic plaque giving the usual title, date, and medium, and included a short explanation or meaning of the work. There was an orderly arrangement to the work, as each wall contained similar sized paintings hung mostly in a vertical manner with roughly a painting-size space between each one. The sculptures presented were either in the middle of each corridor or seemingly placed to alternate from either side at various points. The work was also organized by artist, and this orderly and planned arrangement also seemed to include the various quotations from the artists, which seemed to become noticeable after already viewing a portion of the work, and which served to either enlighten or strengthen the viewers interpretation of the work.

 View from entering the exhibit

 View from middle section turning to other corridor

View taken from the opposite end of the exhibit looking back

" The forms arrive pleasant, or strange, hostile, inexplicable, mute, or drowsy. They are born from themselves. It seems to me as if all I do is move my hands."  - Jean ( Hans ) Arp

The first piece I critiqued was Jean Arp's L'Etoile ( Star ), a polished bronze sculpture completed in 1956. I recalled seeing this image I believe in the Buffalo News as the associative image of the exhibit. Viewing it again in person, the form reminded me of a dancer with it's delicate balance and fluidity. The main form stands vertically from one side of a cylindrical base, delicately balanced as if standing on one leg. The form projects up from the base, seemingly converging at various blunted points - like that of a star -as it begins to move horizontally across space. The large , circular negative form in the middle serves to lighten the mass while also guiding our eye around the piece. The mass is further reduced by the softness of the form and the flawlessly polished and highly reflective surface. As you circle the piece, you notice that each blunted point gestures off into a different plane in space, creating a subtle sense of movement, or the potential for movement, from this otherwise fairly stoic form which appears to be captured in a certain pose. The meticulous attention to the surface of the piece reminded me of the work of Brancusi, and, not surprisingly, other pieces did as well...

I immediately associated Jean Arp's Somersault, another polished bronze piece completed in 1947, with the work of Brancusi, who intended the bases of his pieces to be part of the whole sculpture. I felt this was the case with Somersault, as the form was resting on a Brancusi-like base of stone and wood in simple geometric and stacked shapes. The base in this case serves to contrast the fluidity and surface of the form it is supporting, yet unlike Brancusi, this base was actually never intended by the artist to be part of the work, and is actually an entirely different sculpture called Socle-Colonne ( 1964, wood and marble ). It was actually the donor who paired these two pieces together, although it seems like a perfect fit. The term somersault is an accurate depiction of the main bronze form - a highly abstract figurative representation that gestures out into two different planes along the base with a torso- like vertical gesture from the middle. The form ends in a rounded, bulbous shape on top which is also leaning slightly forward. The forward gesture gives the feeling of movement, as if the form is either about to somersault or has just came out of one. The highly polished and reflective surface, and the soft curvature of the planes gives the form that same fluid-like quality and lightness that is constant in Arp's other works as well. The base adds an interesting contrast in the form of solid, geometric shapes, while also introducing different texture and color to the piece.

"I consider surrealism an extremely interesting intellectual phenomenon, a positive thing, but I don't want to subject myself to its severe discipline." -  Joan Miro

Joan Miro also delved into the realm of abstract art, and seemed especially influenced by the visual interpretation of the subconscious. His painting Le Carnaval d' Arlequin is a surreal representation of the harlequin figure which was portrayed in Italian theatre as being foolish. The painting is a chaotic, seemingly playful scene of various figures and objects interacting with one another in a room setting which is completely flat, adding to the imaginary feel of the painting. The surreal imagery, and especially the white, drooping drapery on the right, reminded me of Salvador Dali and his melted clocks. There is a strong sense of symbolism to Miro's painting, as the scene may also allude to the festive atmosphere beginning before the fasting of Lent. This festivity is shown through the playful interaction of the figures, the use of vivid color, the depiction of the harlequin figure, and even the references to musical notes in the upper middle section of the painting. The use of swirling forms, curving lines, vertical and horizontal shapes, and repetitive forms highlight an improbable balance of the composition amidst such seemingly childish chaos. 

  

Hand Drawing

So I have to admit that I am not in my best frame of mind to be completing this project right now, but I wanted to focus on something different than I was used to in these drawings. I chose charcoal because I have not used that medium in a while and felt it may be better suited for the drawing done in my opposite hand. For my good hand I wanted to emphasize the use of light and dark, and focused primarily on the shadows that defined the three dimensionality of my hand. I was surprised to find that my drawing done in my opposite hand was not that bad, as I think I was more focused and observational in this contour representation. I have done drawings in the past of my hands, but this was interesting given the use of my opposite hand to depict one of the drawings.

Week 7 Video Review

In a general sense I tried to view the videos of the artists I was not too familiar with, and this was especially the case of Albrecht Durer, a German master of woodcuts and portraits during the time of the Renaissance. There are some interesting dynamics in the work of Durer, from his work ethic and refinement to his unmatchable level of observation and seemingly different styles with the use of various media. I was especially impressed with Durer's non-idealized representation of the figure in his portrait work, and the level of realism achieved with his charcoal drawings and paintings. His self portrait painting, the same one which is in our text, is also a great example of Durer's ingenuity and narcissism, as he seems to have used the portrait of himself to showcase his complex, almost divine, system of proportion through the use of the triangle, circle, and square. Durer's woodcuts, however, seem to represent a different style, perhaps one more closely connected with the history and tradition of his German culture. While there is obviously a great level of detail and influence on the use of light and shadow obtained from his travels and exposure to Italian Renaissance artists, there seems to me to be a more stylized, almost cartoon-like representation of the figure in his woodcuts and prints. The video's display of Durer's work has given me a new appreciation for the incredible talents of this artist.

I had seen some of the work of Caravaggio, yet this is an example of how the story of the artist can make his work more intriguing. While the incredible realism depicted by Caravaggio through the use of intense light and dark and expression is by itself enough to make his paintings remarkable, the story of this troubled artist reveals the darkness to his work while explaining his devotion to making his work real and truthful. The original, dark, and seemingly rebellious nature of his paintings is a direct characterization of Caravaggio himself, who was a product of the "dark" underbelly of Rome. He had a tremendous ability to depict religious narratives in such a way as to make them real, as if the viewer was actually witnessing a live event or was actually a part of the painting. Caravaggio was violent, unpredictable, and in the end seeking redemption for murder. This dynamic and conflict of religious themes to his work and personal guilt manifested itself in his paintings, especially in his version of David's beheading of Goliath, where the head of Goliath is actually a self portrait of Caravaggio. I credit Caravaggio for letting his inner turmoil manifest itself in his work, and think that this element of honesty is one of the reasons why he is such a fascinating and masterful artist.

The video of La Primavera was interesting, and reveals the tremendous impact a single work of art can have upon society even centuries after it's creation. The debate over the meaning of the work takes center stage in the video, and it is truly fascinating how deeply intellectual, and seemingly intentionally ambiguous, artists like Botticelli were. This is also an example of a painting evoking different responses from people, as the interpretations of the work have included symbolism related to marriage, eroticism, the depiction of primitive, human, and divine love, and even homo-eroticism through the figure of Mercury. The video covers this debate, yet also highlights some of the technical genius of Botticelli in his use of egg tempera to create the translucent garments of the three graces, and the incredible detail in the representation of hundreds of flowers throughout the painting. The video accurately describes the allegory of La Primivera as a work of aesthetic and intellectual beauty.

Peer Review

http://danielle-aed200.blogspot.com/2011/06/creative-process-of-creating-element.html?showComment=1310346437831#c1961696295631052004


http://russeldl02.blogspot.com/2011/06/project-1-elements-and-principles.html#comments

I remember viewing many of the slide shows relating to the elements and principles of art as they were due. For the most part I thought many of them were very accurate and creative in their photographs. As I mentioned in my comment of Danielle's work, I think she did an excellent job on most of them, and I was especially surprised by the professional quality of her "emphasis" photograph. I thought it was a very unique representation to contrast the clarity of form against a blurred background, but the photograph also holds the viewer's attention by the inverse reflection of the surrounding landscape in the glass. The only one I really questioned was her depiction of pattern. While I think I understand what she was attempting to show, I think that particular photograph may have been better suited for another element. Like I have seen in my own work, I think there are a number of photographs in every one's work which incorporate many other elements or principles, and I think sometimes there may be more than one visual element which is so pronounced that it makes it difficult to decide in which category it should be placed.

Danielle visited a different gallery than I did, so our pieces that we selected were not the same. However, I got the feeling from viewing the pieces she selected that we may just have different tastes, and that our pieces may not have been similar even if we had gone to the same gallery. I think this is good in a way, since the whole exercise of reviewing other peoples work and comments as to why they selected the pieces they did helps me to see the work in a new light and broaden my appreciation for different styles of art. This was especially true in Joanne Limpert's selection of Giacometti's The Void, a piece I had also selected. Her reason was entirely personal though, and it just goes to show that some works of art can mean different things to people based on their own personal experiences in life. Of the artists that Danielle selected in her review, I would be interested in the work of John Tracey. While I can appreciate the intricacy of Carolyn Panzica's work, I just think there is nothing either inspirational or remarkable about her work.

It seemed like The Marvelous Sauce was a popular choice for the gallery visit. I found this piece interesting also, and had written a paper on it a few semesters ago. I also found that many people selected the canoe sculpture in front of the gallery, a piece I was especially interested in after reading about it's installation in the Buffalo News. For the most part, though, not too many people selected the works I did. I was especially shocked that nobody else chose Brancusi's Mademoiselle Pogany II, a work I feel really sticks out against the others. However, I think someone did select a work from the upstairs which was done by a high school students. This was not surprising, as the work in this section of the gallery is truly amazing, making me ask myself what the hell I'm doing with my own art, while making me realize at the same time that I just need to work a bit harder to get to where I want to be.

Week 6 Video Review

I have always been fascinated by the art and architecture of the Ancient Greeks and Egyptians, and although I always thought there styles were very different, it was very interesting to see the influence of the Egyptian statues on early Greek art. I chose the video of the Cairo Museum because of my personal attachment to the artistic expression of the Egyptians, but also because these artifacts, like I have seen at the Metropolitan Museum of Art, each seem very powerful in relating a story to the viewer. The video explains not only the importance of these artifacts, and the incredible amount of items still to be viewed, but also gives credit to the extraordinary efforts of archaeologists to piece together their findings in a way that recreates each piece as it was originally intended to be viewed. I think the video highlights the fact that for Egyptians, art was not just a hobby but a way of life. Everything, from the use of everyday items to the elaborate funerary chambers, seems to have been crafted with a sense of artistic pride and a simplistic style which has influenced other cultures. In this sense, the work of the archaeologists and the preservation of the museum has given a true sense of the afterlife as we continue to view and be inspired by each artifact.

The video The Measure of All Things: Greek Art and the Human Figure discussed the passion and search of the ideal representation of the human figure that fascinated the Greeks. However, while the Greeks were attempting to portray an ideal figure on the outside, one true to proportion and modeled in a sense of naturalism or realism, they were just as focused on relaying the inner thoughts, emotions, and feelings of their subjects. They also developed ways to create a sense of balance and movement, as seen in the flowing garments of Nike, or the controposto stances of many other works. This idea of movement was taken to new levels with the work of artists like Michelangelo, who represented figures in such a way to give the viewer the anticipation of movement, as seen with David, which added to the incredible lifeness of the art created. I chose this video because I have always been fascinated by the ability of an ancient people to create such masterful works and depictions of such realistic human figures carved from stone.

The Greek Awakening: Art from the 5th Century B.C., discusses the period of revolution in Greece during the 5th century, one which saw incredible and rapid advancements in art, architecture, philosophy and intellectual thought. I think the important aspect of this video is not just the admiration of the art and architecture themselves that were created during this period, but the actual reason why they were created in the first place. There had to be something that inspired the Greeks to stimulate this "great awakening", and I think it makes sense that they were reflecting a change in their culture, a change which focused the center of the universe on themselves rather than their gods. This video in particular gives some background to the discussion of the Parthenon, and moreso than the text goes into detail about the incredible thought behind the construction of the building.

I think the video More Human than Human was interesting in a number of ways, especially the idea of exaggerated form and features, such as the Venus of Willendorf, having a global impact and connection. It makes sense, as proposed by the work of Ramachandran, that as humans we are stimulated and interested more by what appears to be exaggerated rather than what we see in the sense of realism on a daily basis. I agree with his analysis that the representation of perfection after a while is boring, and I think the video stresses this point with the spread of exaggeration even afflicting the Greeks, who were seen by many to be dedicated to nothing less than the pursuit of perfect proportion, harmony, movement, and balance to give life to their work.

Architecture

In the first group, I chose the video Classical Architecture because I have always been amazed by the abilities of former civilizations to create enormous and incredibly decorated structures, whether exemplified by the Great Pyramids of Egypt or the beauty and power of Ancient Greece. Like a work of art, the video stresses the point that architecture is a representation of symmetry, balance, and harmony. The buildings rely on an aesthetic quality of proportion and even the use of light and dark. I have always been drawn to the combination of sculpture and architecture in these classical constructions, and find it not at all surprising that this style, which symbolizes order and pride, has been a tremendous influence on other cultures and has survived the ages. 

In the second grouping, I chose the video of Frank Gehry's work, specifically because I wanted to compare the styles of the classical with the innovation of the future. I think Frank Gehry's work represents a shift from the mundane and uniform to a more sculptural construction which emphasizes gesture and  movement through the use of curved line, color, and geometric and organic shape. Much like sculpture, or painting, Gehry's development has been a direct result of experimentation inspired by the arts and fellow artists around him. While I like the classical and monumental feel of classical architecture, as a society we still need the innovators like Frank Gehry  to experiment with new ideas, materials, and ways to enliven a space to move us into the future.

Sculpture, Ceramics, and Glass Videos

The video Through the Eyes of a Sculptor was one of the best I have seen that gives a detailed account of the process of making a stone sculpture, from the original sketch or model and the precise selection of the stone to the process of casting and finishing the final piece. I found it interesting to learn just how many skilled artists, or "craftsmen", have a hand in creating a single piece, and I think the video even expands on this idea by devoting some time to the important and dangerous role of the quarrymen in the whole process. I think this video obviously relates to the text in that it deals with the creation of sculpture and the use of different techniques, yet it is able to give the viewer a sense of the entire process and the different stages of a sculpture's development. I think when you actually see the whole process from the very beginning, and witness what the artist went through in the selection of the material and the technicality of the work, it really adds to the viewer's appreciation and respect of the artist and the final piece itself.

I guess I am a bit biased in my own preference of style and materials, since I found the video on stone sculpture much more interesting and informative than the others. I was interested to learn, however, of the various applications of ceramics in modern science and technology, including the potential use in automobile engines which would drastically increase our fuel efficiency while lowering pollution. I thought it was also interesting how they make the various types of glass, and how in general each medium discussed is a very time consuming and exact process. The video on installation art also helped to give me some background before I began my own project. I think all of the videos were informative and served to expand a bit on the readings in the text, while emphasizing the idea of process and the importance of technique. 

Albright Knox

For the works at the Albright Knox that made an impact on me, I chose the following:
Lynn Chadwick, Two Dancing Figures, 1954
Iron and Composition Stone, approximately 6' x 3' x 1'
- This piece had an impact on me because I thought it resembled a combination of different areas of study into a real, three-dimensional form. It seemed as though there is an influence of primitivism or cave art and Egyptian style, while I also felt the combination of materials was interesting and worth exploring in my own work
 Fred Sandblack, Untitled ( Sculptural Study, Four Part Vertical Construction ) 1982 / 2004
Red Acrylic Yarn
- The simplicity in the use of line to create the optical illusion of three-dimensional form was very interesting and has a definite impact on me every time I see it.
Ernst Ludwig Kirchner, Portrait of a Woman, 1911
Oil on Canvas, approx 3' x 5'
- This had an impact on me because I can't recall any other paintings representing a figure of apparent African descent.

I felt a connection with the following pieces:
Max Weber, Figure Study, 1911
Oil on Canvas, appox 2' x 3'
- I connected with piece immediately because it reminds me of many works and artists that I have been recently studying, including Matisse, Gauguin, and Picasso.
Erwin Wurm, Jakob / Big Psycho VIII, 2010
Aluminum, paint
- This piece, which depicts a form apparently trying to free themselves from an article of clothing, reminded me of getting my kids dressed for bedtime and how they sometimes get their clothes stuck over their heads.
Henry Moore, Reclining Figure, 1935-36
Elm Wood
- I have studied Henry Moore's work quite a bit, so I felt like I really understood this piece and connected with it when I saw it.
Constantin Brancusi, Mademoiselle Pogany II, 1920
Polished Bronze
- I connect with this piece more than any other every time I see it. I think it has basically everything that I admire in a work, from the use and dedication to working the materials to the simplicity of form and shape to exude beauty and spirituality.

Pieces I would like to know more about:
Nancy Rubins, Untitled, 2011
Installation of 66 Aluminum Canoes at the Albright Knox
- I read about this piece in the Buffalo News about a week or so ago and wanted to go and check it out. I found it interesting that the artist was not really talking about the work itself, and came to understand why as she explained that she want the viewer to decide what the piece is about. I was just curious about the canoe and if that had any significance.
John Storrs, Abstract Figure, 1932
Bronze, approx 3' x 1' x 8"
- This is an abstracted piece that I found interesting and wanted to know more about some of the features I found ambiguous, such as the trunk or snake-like form flowing from each side of the piece, or if there was a connection to cubism since the actual image of the figure is almost unrecognizable.
Jean Arp, Sculpture Classique, 1964
Marble
- I wanted to know more about the work of Arp because of my interest in working with stone, and because I admire the simplicity in his work which reminded me of Brancusi.
Alberto Giacometti, Invisible Object, 1934
Bronze
- Like Jean Arp, I felt like I wanted to know more about Giacometti's work and his exploration of the mystical or spiritual that seems to be the focus of the invisible object.

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Logo Design

Creating the Logo was more interesting than I thought it was going to be, since it really made me think about how I would characterize myself. The challenge was creating a unified, simple design which I felt incorporated as many of these personal elements as possible. I began the process by basically brainstorming ideas and trying to think of elements that would define both my interests and work. I thought of using the materials I work with, such as a stone cutting blade, and combining that with my initials. I felt my initials together were not easy to work with and would detract from the overall simplicity I was after, so I began to do some sketches with just my first initial. From the beginning I had some ideas that I wanted to explore, such as the use of simple, oval shapes and different types of line. After some more sketches, I liked the idea of using my first initial inside an oval form, and thought it was fitting as it reminded me a bit of Constantin Brancusi's Mademoiselle Pogany II at the Albright Knox, as well as a top view of my balding head. When adding color, I was influenced by Franz Marc's use of blue and my own blue eyes, and I contrasted with yellow so the colors appear more vibrant. Since we were currently discussing the use of the computer as a medium for artistic expression, I decided to do my final logo on my Paint application. I've never used this before, so I think I might have gotten a bit carried away and off target of my original intent of simplicity. I used the airbrush feature and reflected some of the background colors onto the logo to give it more of a sense of three-dimensionality. I think the most important aspect of this project was the preparation and brainstorming before the final piece, something I think I need to personally work on in future works.

I thought the videos were interesting and really showed how complex it is to develop a successful logo, and how things that we as consumers take for granted - like a valve in a squeeze bottle - could have such a major impact on the overall product. I also found it interesting that the heads of these companies, such as DAG, have a really good eye for art and know exactly what they want.

Value Scale and Color Wheel

I was looking forward to this project just to start getting in the habit of working with some form of medium again, although these specific projects were pretty much a basic introduction to the medium and a bit redundant to me. I think because of this I ended up procrastinating on the work and found myself rushing to get this done. In waiting to the last minute, I ended up using my oil paints for the color wheel as the stores all closed earlier than I expected to get some acrylic paints.

For this particular project I enjoyed working with the paints more than the graphite. I think the mixing of the paints and applying the color just didn't seem as tedious as the value scale. I do enjoy drawing, however, and would just prefer to actually apply that scale in my work.

For me the most important discovery was really just a recognition of how I tend to work and the way I tend to rush things through at the last minute. I think my work suffers in the end, as I become complacent with just getting things done, even if they are not completely finished in the way I really want.

The color wheel video was interesting because I basically discovered that I had the wrong colors in my wheel.  What a waste, but I updated my wheel anyway...

Color Theory

 Color is established through the refraction of light rays, and through the development of color theory may be classified as either primary, secondary, or tertiary. Each color that we perceive contains the three basic properties of hue, value, and intensity, and the harmonization of a color, or various colors, used by the artist may invoke an optical, emotional, or even physical response from the viewer. The emotional response from color varies greatly, and may depend on our individual experiences, cultural associations, and also the way colors are presented by the artist. Franz Marc, a German expressionist painter and one of the founders of The Blue Riders, used the color blue in his work as a symbol of spirituality. Perhaps one of his most famous works, The Fate of the Animals, depicts this sense of spirituality through the blue deer looking towards the heavens in the center of the painting; the deer seeming to provide a sense of calm amidst the surrounding chaos. However, the effects of the color blue, or any color for that matter, depends greatly on the way it is given to us by the artist; its hue, value, and intensity, along with the other visual elements of the painting, serve to illicit a different response from the viewer. For example, a brighter, pure representation of the color red may have a more pleasant reaction than a deeper, crimson red which may be associated with blood, anger, or death. In our culture, color is often used to describe emotion or behavior, as we can either be "red with anger", "feeling blue",  "green with envy", or a cowardly "yellow-belly". Perhaps Picasso summed it up when he said," Colors, like features, follow the changes of the emotions." 

The theoretical aspect of color that I find most interesting is the optical effects of color and the way our brain processes the information presented to us. Before I painted my living room, I remembered either reading or seeing something about a way to make the room look larger by painting the opposite walls a different and darker color. This is similar to the idea of a red chair placed in the middle of a room and appearing larger in scale and closer to us. This illusion of intense, warmer colors seeming to advance closer to us, and the lighter, cooler colors receding plays an interesting role in art, as well as our daily lives.

The video Color provided a useful background as to the evolution and use of color, particularly in the way impressionist artists were able to begin their "plein-air" painting with the invention of the metal tube to store the paints. As for the emotional aspect of color, I think the artist in the video shows how difficult it can be to relay a specific emotion through color. While we may process the final work and have an immediate response or feeling to it, the artist spent a great deal of time trying to use different elements and combinations of color to illicit that response. Perhaps this is what Monet meant when he said " Color is my day-long obsession, joy, and torment."

Franz Marc The Fate of the Animals , 1913 oil on canvas

Slideshow Reflections

Photography is one medium of art which I have never worked with before, so this process of creating a photobucket slide show was new and exciting. I chose to photograph some of the elements as they appear directly in nature, and some others by photographs of sculptures that I have done and have placed throughout my yard. Here is a reflection on each element and why I decided to choose that particular photograph to represent it:
Line - About a year or so ago I was using a chainsaw to carve logs of wood. I've had this piece laying in my yard for some time now and just haven't figured out exactly what I want to do with it. The piece itself looks interesting, and I chose this piece for line because the natural grain has an interesting movement and emphasizes some of the features which make this piece look like an animal, either a bear or maybe a pig.
Shape - This is a sculpture I did where I combined a found object of wood and cement. The log caught my eye because it already resembled the lower half, or torso, of a human figure. I used cement to extend the torso up in a way that provides subtle movement and feminine form.
Negative Shape - This is a sculpture I did last semester out of a slab of granite. I wanted to use the relatively flat slab ( about 4 or 5 inches think ) to create simple shapes that would appear more three-dimensional. I used the negative shown here as a way to emphasize the larger, circular shape. Cutting a hole in granite is tougher than it looks.
Color - I thought the dresses of these young girls dancing at the Memorial Day parade provided a good example of pure color. I think the green dress in the front works well to contrast the other blues and mostly bright yellows.
Intensity - This photograph reminded me of the expressionists use of pure color in such a way as to flatten the picture plane. The intense, pure color of the flower bulbs seem like blobs of color and seem to push their way to the foreground
Light - This is a clock I made of wood combining some of the works of Brancusi. The natural lighting entering near the window causes the negative shape resembling Bird in Space to really show through and dominate our focus.
Value - I chose two pieces here because I liked the effect of both. The first is a black and white photograph of a marble sculpture I carved, and which gives a sense of the contrasting value between the rough exterior and smooth interior of the piece. The other photo is of a skull I made of clay, the relatively dark photo showing just enough value change to make the skull recognizable.
Scale - This is actually a small scale model in clay of the human anatomy, which I photographed to make it seem as though this skeletal model with the beginnings of muscle applications had a sense of life, and also a feeling that he appears life size in the room.
Texture - I wanted to show the contrast between the bark of a tree in my backyard and the smoother, wax-like surface of the viny leaves growing around it.
Symmetry - The clarity of the color and shape show the symmetrical balance of this flower growing in my front yard
Pattern - This is the lattice on top of the screen room in my backyard. I think the photo is interesting in that the pattern produced by the lattice provides a barrier to the space beyond
Proportion - I used the clay skull again, which was created to scale of an actual human skull.
Space - The marble sculpture, shown also to represent value in black and white, also has a sense of movement, as the viewer can imagine the piece stepping out into the surrounding space.
Balance - I got this shot of a young girl during the parade who seemed to spend more time walking on her hands than she did on her feet.
Rhythm - The sense of rhythm here is shown by the same gestures and movements of the girls
Motion - This is my youngest son, Caiden, playing in the sprinkler the other day. I was trying to capture a playful motion and interaction between him and the water.
Unity - This is a closeup of a wood log my neighbor gave me to use in a sculpture. I haven't done anything yet, and I don't really think I even want to given the beauty of the piece already. Here I was attempting to show the use of line, color, texture, and shape creating a harmonious, unified composition.

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Video Review

The video Aesthetics : Philosophy of the Arts discusses the development of aesthetic thought and ideas and gives us a historical framework by which the relationship between art and beauty has been analyzed. Original theory begins with Plato, whose discussion of beauty in relation to theatre would set the stage for philosophical thought on this idea of defining beauty, as well as the role of art and artists in society. While Plato actually thought that artists did not serve any useful purpose in society, his work would inspire Aristotle to create his influential book The Poetics. Aristotle claimed that art, in its depiction of heroism, was good for society, and he established a set of priciples neccessary in the creation of beauty - order, symmetry, and definiteness. These elements, along with proportion and harmony, would become a theme which would dominate the works of NeoClassical masters during the renaissance and continue to be relevant to some degree as art evolved. The modern theory of art, which began in 18th century England, would see other philosophers, such as Kant, Hutheson, Friedrich von Schiller, Nietzsche, and Wittgenstein develop our understanding of beauty as being subjective, and closely connected to our sense of emotions and connection to nature. While the video presents many philosophers of aesthetics who have made great contributions to the study of art, I was particularly interested in the ideas of Friedrich von Schiller who, near the end of the 18th century, promoted the importance of an aesthetic education with the intent of developing an appreciation and understanding of the arts to strengthen the moral capacity of a free society. His idea that  "art makes us more human", and his passion to impress upon society an appreciation of the arts can have important implications in modern society, especially as we increasingly look to better our antiquated and failing education system.

The video Carta: Neurobiology, Neurology and Art and Aesthetics takes a more scientific approach to understanding the creation and effect of art. Jean-Pierre Changeux discusses the rules of art creation, by which he describes as being the restrictions of potential representations in the artists' brain and consisting of novelty or surprise, the universal search for harmony, symmetry, concept, and schematization. Changeux is also primarily concerned with the creation and evolution of art by means of genetically encoded symbolic forms and the nonverbal communication of emotion, knowledge, and experience. Ramachandran also discusses this "science" of art, focusing his attention to the way the human brain reacts to imagery. Ramachandran argues for the liberation of realism, suggesting that the deliberate distortion of imagery has a pleasing effect on the brain. He also developed his eight laws of aesthetics, by which he claims are universal rules for a work of art to achieve that pleasing effect on the brain. While I found much of what both speakers discussed very interesting and helpful to my own development, I cannot help but think back to the opening remarks of Ramachandran when he stated that art and science found a middle ground in the brain. It seems to me, considering some of the fundamental and common principles put forth by the philosophers of aesthetic thought, that science has only confirmed to some degree what artists have been doing for centuries.

The readings in our text relate to the videos in the attempt to understand the definition of art, to understand the motivating factors or the need to create works of art, and to help us understand how we relate to works of art both emotional and intellectually.

Week I Blog

The process of creating a GMail account and setting up a blog was a new experience for me, but I was able to manage it correctly. I hope to achieve from this course a greater understanding and exposure to contemporary art, and in the process I hope to further my own development as a sculptor. I have taken online classes before, but this one is a new experience for me. This class seems like it may require a bit more computer knowledge than I am used to with online classes, but I think that will ultimately be a positive experience.