Donald Judd was one of the key minimalists living and working in New York in the 1960s. The sense of importance is ever so present when looking at the vast majority of Judd’s body of work. But even more so is the underlying almost spiritual feeling a person stumbles upon when viewing the work in the right context. The elements around the pieces are exactly as important as the perfect and seamless geometric sculptures, without its context they lose a little bit of their brilliance. A photograph can’t even begin to explain the vast sensibility in his work. As groundbreaking as his movement was, he challenged dated conventions. The conventions which stretched all the way back to the ancient Greeks, about how sculptures needed to be put on a pedestal …show more content…
The usage of the one-point perspective composition in all frames is a constant factor in every one of his films. A functional approach that becomes stylistic, recognizable and dynamic within a genre who perhaps doesn’t necessarily grab any interest by its framing, rather from the story being told. Just as Judd created limitations for himself and his art which incorporated the inclusive space, this limitation invites for even more originality and inventions within the restriction of the format and by doing so he is able to utilize the entire space that is being given, scaling down on “the sky is the limit” mentality can open up for a better and higher level of concept and ultimately a pure, immaculate finished project. Although both Judd and Andersson have carefully and beautifully mastered this simplistic treatment, their work can easily be portrayed as borderline dull and plain. Simple tools used by masters of their trade can be misunderstood by the uninitiated, as something that is too easy, when in fact, it is vastly more complicated than what meets the eye. It reminds me of a swan gliding on top of a silvery smooth pond where all you can see is the round back-sweep of water falling behind it as it moves across the water. So perfect, so ideal, so fake. It’s a magic trick for the audience, underneath the surface is two large webbed feet frantically paddling to stay afloat and move that heavy body from one place to
The directors chosen camera technique, a simple two composition that progresses the scene a steady pace, forces the audience to feel a part of the awkward exchange; obviously, a quality of film that could not be as profoundly achieved through the narrative in the novel.
Pollock-Krasner Foundation, Artists Rights Society (ARS). (2017). Collection. Retrieved from MOMA Museum of Modern Art, US: Museum of Modern Art [US]/https://www.moma.org/collection/works/78699
Featured and organized by the Metropolitan Museum of Art, Romare Bearden’s collection is one that appreciates and depicts life for what it really is. Bearden did not like abstract expressionism. Instead, he made many collages depicting life with different perspectives, allowing the viewer to see reality, but also try to figure out the true meaning that Bearden meant to portray in the collage that was not directly seen by just looking at the picture. These collages were made by “Cut and pasted printed, colored and metallic papers, photostats, pencil, ink marker, gouache, watercolor, and pen and ink on Masonite” (MET Museum). Bearden liked telling narratives within these collages involving Harlem life. Whether it was on the streets, inside
Nevertheless, this is not a cautionary tale, indeed Dillard points to pushing the limits of what is possible, that inspiration should seek to do the impossible; to “move back the boundaries of the humanly possible once more” (Dillard, 214). Despite the temporary nature of Rahm’s art, the value of his art is only enhanced by the mere fact that it was so fleeting and transient. Once completed, all trace of his masterpiece was gone from sight. Nonetheless, as Dillard noted, “[a]ny other art may be permanent,” instead “Rahm’s plane shed a ribbon in space, a ribbon whose end unraveled in memory while its beginning unfurled as surprise” (Dillard, 220). Thus, despite his art not being physically permanent, the beauty of his artistry remains forever etched in the mind, and this is what makes Rahm’s artistry extremely
is the most living influential postwar American artist moved beyond Abstract Expressionism toward Minimalism. He believes into shapes possibilities to be able to give you narrative sentence.
Louis Comfort Tiffany, an American artist, and designer, was born in New York City in 1843. Tiffany, the son of Charles, who was the founder of the jewelry firm “Tiffany and Co.,” began his career as a painter and then expanded to design and direct his studios in order to “produce lead-glass windows, mosaics, lighting, glass, pottery, metalwork, enamels, glass, pottery, jewelry, and interiors” (“Louis Comfort Tiffany Stained Glass Art”; Frelinghuysen and Obniski). Beginning in the late 1870’s the decorative arts and interiors caught Tiffany’s eyes and he began exploring and trialing with stained glass (Frelinghuysen and Obniski). As years passed he introduced blown-glass vases and bowls called “Favrile.” The
When I attend the Oklahoma Art Museum this morning, I was completely blown away by the different styles, technique, and artistic abilities that artist have. Art can come in many forms and can involve many different things. From paintings, sculptures, and abstract pieces of the modern world. Along with my visit, I got to experience a new collection of blown glass that was absolute remarkable. As I walked though the museum, it was as I walked though time and got to see how each period’s art changed throughout time. From the different shades of color to the different types of technique that filled the halls of the Oklahoma City Art Museum, each piece was genuine in its own way. I was starstruck as I witnessed Lowell Nesbitt’s Parrot Tulip, Richard Diebenkorn’s Albuquerque, and Dale Chihuly’s blown glass.
The flat perspective, a cinematographic technique that emphasizes symmetry and steadiness of the camera while lessening the perception of depth, is generously employed in the sense that most of the film is shot this way. Aside from a few key scenes, this
For my research paper, I decided to choose Donald Judd as my focus of the essay. Donald Judd is an American artist who was born in Missouri 1928. He was one of the most substantial artist of the 20th century. From what I've seen, all of his pieces are rather simple geometric in concept but are very appealing. During his early career as an artist, he began with painting before moving on to woodcutting. Judd had reject the idea of two-dimensional art and focused purely on three-dimensional art instead. In addition, organic designs were not found in any of his piece. Judd's pieces were abstract and had well-define shapes to it. This became his particular style which many people associated with minimalism.
Hitchcock is known for the “meticulousness of his preproduction, shooting, and editing strategies” (Sterritt 9). An example of this is the filming technique Hitchcock used to illustrate Scottie’s Vertigo; to represent the sensation, the camera would physically move away from the subject while simultaneously zooming in on the subjects. Thus this specific shot was used whenever Scottie went through that experience, creating a specific motif for his reaction. Another strategy of Hitchcock is “his celebrated use of point-of-view shots”, which he employed to unite “physical and psychological identification between spectator and character” (Sterritt 11). This is exemplified in Rear Window, which is seen from almost entirely Jeff’s perspective, thus uniting audiences more with Jeff, and therefore the subjective narrative. This increases solidarity with Jeff, and makes it easier for the audience to adopt Jeff’s discoveries as the truth. Additionally point-of-view shots allow viewers to understand characters more, as seen through Judy’s point of view on her walk in the park with Scottie. Another camera angle favoured is the extreme high-angle shot, which in some cases marks a significant point in the plot; this shot is used to show Madeleine’s fall to her death in Vertigo, the point in the movie that serves as a climax that triggers the narrative
While visiting The Mennello Museum of American Art in Winter Park, FL, I had the opportunity to study and admire the great folk art of Earl Cunningham. At my initial entrance into the gallery, I found the works to be very simple and initially all I could think was “ I can do this”. Cunningham acknowledges himself as a “primitive artist”, meaning an untrained or uneducated (in art), but does not recognize himself as artist. The lack of education regarding spacing and scale between objects displayed an almost childlike painting style that would not have been used if he had been educated. This resulted in what makes his artwork uniquely genius and led to a great amount of attention. As I continued through
An Old Master’s painting provides for the viewer the possibility of being part of the space created as an illusion of depth by the painters, and this in itself characterizes how these painters found their own different way of challenging painting compared to what it previously used to be, by breaking the limits of painting defined by the medium. And on the contrary, Modernist paintings focusing on the flatness of the pictorial plane give the viewer the possibility to travel through the painting “only with the eye” (experienced by Manet and Impressionist painters). But, Greenberg insists that being self-critical doesn't suggest that leading painting into the extreme abstraction is the answer to Modernist painting (he gives the example of Kandinsky and Mondrian).
Visit any major museum of art, at any given time, and one could find an abundance of monumental names listed on tiny plaques hanging next to even more recognizable works of art. The excitement felt by any art enthusiast when walking into these buildings of time and creation, is undeniable and especially unique. Could it be the atmosphere of the building, the presence of artwork, the people, possibly the grandeur of the space, or perhaps, could it be the spirit of the artists themselves, peering through the work they created?
When I went to Museum of Metropolitan of Art, I saw many interesting works of arts. I was so amazed by all of the art-work. It was a tough decision to choose one work to focus on for my art paper, but there was one sculpture that caught my eye; it was Nataraja of Shiva (11th century) from Ancient Southeastern Art located on the 2nd floor of the museum. The main message of this sculpture is focused on the idea of the boundaries of cosmos and the destruction and rebirth of the world. This paper will employ close visual analysis of this sculpture and describe how the visual elements of the work relate to its main theme. In my opinion, this sculpture is very beautiful and I was so surprised to find it in the museum. As I was growing up in