Saturday, February 28, 2009
Friday, February 27, 2009
Thursday, February 26, 2009
In this piece Duchamp uses several techinques to imply motion. Of course, there is use of the multiple images. The figure of the "Sad Young Man" is repeated many times across the piece, each one a snapshot of a slightly different time. We perceive this as one motion much like a video or flip book. He also makes use of blurred edges to further communicate the movement.
I like this piece a lot. There are 3 separate patterns at work here, those of the pink, blue, and yellow flowers, respectively. They combine to form a larger conglomerate patterns. Although the patterns are not strictly repeating, for example the pink flowers get less dense toward the bottom of the piece, there is a clear evidence that there was planning involved with the location of each flower and there is a pattern present.
Wednesday, February 25, 2009
Elijah Gowin utilizes several techniques to create the illusion of movement in his 2006 work “Falling in Trees12.” There is little question about the fact that the viewer gets the sense that the boy represented is actively falling in this image. The artist conveys this idea by using anticipated motion. Much of the motion we seen in art comes from our own memory and experiences. Therefore we have a good idea of what should happen next in this image or what further movement is to follow. Gowin’s work also exhibits blurred outlines and fuzzy details, which is frequently used to suggest fast movement. (We know that when photographing a subject in fast motion the resulting image is often blurred.) Lastly, the plant’s stalk on the right serves as a line of force. Its verticality shows the pathway of movement and seems to pull the boy towards the bottom of the page.
In Maya Lin’s 1998 sculptural installation “Avalanche,” the artist creates both pattern and texture by playing with the viewer’s perception and the materials. She utilizes abstract forms to make a connection between the man-made materials and patterns seen in nature. What makes this work particularly interesting is the ability of the viewer to approach it from afar. In this particular image, the blue shape in the corner appears to be one smooth, shiny piece. Yet this shape is in fact a pile of blue-green sea glass, which acquires an entirely new texture as one comes in closer proximity to it. The pile of glass shards is so colorful, glittery and alluring that one might want to touch it. The smooth, gentle texture of the waves in the center of the room contrasts starkly to that of the pile of sea glass. I find it very exciting how drastically the work changes depending on the viewer’s perspective and how the artist plays with pattern and texture to make the work visually interesting .
eadweard muybridge was one of the earliest practitioners of motion photography. he utilized the camera's unique ability to freeze motion to capture events that had never before been observed by the human eye. although it is widely believed that his studies of motion are always sequentially true, in her book picturing ime, art historian marta braun argues that muybridge actually inserted images that were not from the orginal sequences to enhance the feeling of percieved motion in the images. one reason he got away with this is due to the blind faith people had in photography to transcribe transparent truths.
jennifer steinkamp is well known for her three-dimensional installations that utilize aspects of computer animation, painting, film, architectural space, and motion. her works walk the line between virtual and real. Oftentimes, her work destroys the gap between viewer and the works of art themselves by incorporating the viewer's shadow.
While this piece is notoriously abstract, I think Duchamp has done an excellent job of evoking a sense of movement and energy in this piece without implying any discernible objective forms. The cracks in the glass provide the viewer with lines which seems to travel diagonally from right to left across the top of the first frame and vice versa in the bottom, implying both a sense of motion as well as potentially the passage of time. This is reinforced by the varied repetition of the cones in the bottom panel, which like multiple-exposure photographs evoke the sense of a figure rotating through space and time.
I think this piece's extremely creative use of pattern and texture provides a very interesting contrast both between the elements of the piece itself and the piece within the gallery space. While it's hard to tell from this photograph, it seems as if in front of the glass pyramid the floorboards have either been modified or wood has been laid on top of them to create the illusion of wavy bands swirling around it. This provides a nice counterpoint to the angular form of the pyramid, but the soft and delicate texture of the glass as well as its luminosity lends a quiet and stillness to the whole piece.
This is Mark Bradford’s painting “Kryptonite,” composed in 2006. The picture uses a loose grid structure and rectilinear, non-objective shapes to create what appears to be a map of a city as viewed from above. Bradford overlaps these shapes to create a larger, more organic pattern. The focus of the painting is from the black center, then the red square pattern to the left, and then looping clockwise back around. The scratches across the page accentuate the central focus. I really enjoy looking at this painting; it feels like organized chaos, with all the pieces coming together to create a logical whole, similar to the structure of a metropolis in reality.
This photo is part of Elijah Gowin’s series “Of Falling and Floating.” The focus of the photo is on the man, who is falling from an undetermined point to the water below. Everything about this photo conveys motion. The man is in mid-fall, and the fact that the viewer cannot see where he fell from implies that the motion occurred before the picture was taken. The effects of gravity ensure that the motion continues after the snapshot. His stretched arms and spread legs imply air resistance. The water below the man is choppy, implying the motion of waves moving up and down. Even the lines running through the photograph and the blurred edges imply fluidity that is associated with motion.
This piece, entitled "Rapunzel 3" by Jennifer Steinkamp is a prime example of using pattern in art. Her use of repeating colors, lines, and shape creates a sense of unity in the piece and a tranquil feeling. This is emphasized by the organic and natural subject matter of the work. In addition, her use of pattern in the direction of the piece, bringing the eye gradually and gently towards the bottom left of the work, adds to its calming nature.
This photograph by Elijah Gowin from his series “Of Falling and Floating” demonstrates motion beautifully. The diagonal lines of her legs and arms give us the sensation of motion, along with the fact that the outline of her legs and arms is rather nondescript – it fades into the background of the clouds and the sky. The outline on her body is rather blurry, also indicative of speed. Furthermore, even when I just glance at this picture, the way her head is lower than the rest of her body makes me feel like she is about to tumble over and plummet, head first. This anticipated motion makes me edgy and nervous, which is a powerful invocation of kinesthetic empathy.
In this magnificent photo “Allegiance with Wakefulness” by Shrin Neshat, the flowing written Arabic looks just like patterns ingrained onto the feet of the woman. Everything in the picture is so natural and organic, including the writing, except for the tip of the gun peeking out from between her feet, which mars the pattern of the writing with its stark, metallic surface. While the picture is unsettling because of the seeming innocence of the woman contrasted with the weapon, the image is gripping at first glance because of the calligraphy. The beauty and evenness of the script was what first captured my eye, which then was shocked by the subtle appearance of the gun.
Cai Gou-Qiang is a Chinese artist who created the work of art named "Head On". The piece includes 99 wolves flying through the air and then hitting a glass wall. Though the wolves look real, they are sculptures created from painted sheep skin stuffed with materials like hay. I think this work brilliantly portrays the motion of the animal in a realistic way that audiences rarely see.
This photo uses anticipated motion to get the viewer to sense that the man is falling. Also, his body's outline is a bit blurred, helping to create a sense of downward motion as well.
I really like the red wash/streaks over the photograph, giving it an old feel.
I find it ironic how the title of this piece is "Speechless," yet there are words written all over her face, suggesting that even though she might not be saying anything, her facial expressions give away her emotions
I also like how the proximity of the cursive letters gives her face a grainy look.