Elizabeth Gower's Art Analysis

In the second half of the twentieth century, artistic movements made pushes in order to move beyond the traditional gallery space, changing the terrain of displaying and making art. An artist’s body of work no longer needed to reside inside of a gallery or art collection, and artists became free to explore other ways of creating and displaying work. In this vein, Andy Goldsworthy works sculpturally with natural media, and leaves the sculptures within a particular environment, often expecting his work to decay quickly. Many times, the only evidence of any art he makes is the photographs taken during the process. By more traditional standards, art of this nature is entirely contradictory. What is the point of pieces of visual art that cannot

In a world focused on material possession, the routine of an everyday lifestyle becomes dependent on the haves owning more than the have nots. The United States culture tends to make trends and popularity an everyday necessity to fit in. Through playful sarcasm, Jennifer Price illustrates the way the American culture thrives off of acceptance and being bolder to not suffice but ultimately prosper. Price characterizes the culture using a plastic pink flamingo to reveal the foolish, carefree, and materialistic mindset the Americans possess.

In this particular Artwork of Ann Hamilton, I notice that she constructs a fabricated environment that was labor intensive and it consist of humans with animals. Most of the Materials used drew my attention. According to Ann Hamilton's website, Hamilton and assistants laid 750,000 copper pennies on a honey-coated floor. Behind the pennies sat an isolated figure in plain clothes, wringing its hands over a honey filled felt hat. And behind the figure was an enclosure of grazing sheep. The pennies looked like the scales of a gigantic fish. Hamilton used a lot of materials in this installation that gives the viewer clues to the meaning of the work. For example, She used pennies; the pennies were laid by hand, by laying out the pennies it looks

These clear, slick, and streamlined creations emphasize the parallel of natural beauty—industrial beauty, the magnificence of efficient, high functioning modernist art. Its element lies in prosperous mass production in the ageless advancing industry focused on efficiency, emphasizing and harmonizing with the repetitive drive for achievement displayed by Douglas. The combination of his juxtaposition with Gorges du Loup provides conceptual progression from the imagery of nature to the artistic appeal of mass production, adding sense in subtle connections in an exhibit riddled with countless different

I developed a meaning and visual aesthetic that I pursued with creativity and individuality by deciding to use water colours on calico which were consistent with my theme and intentions. I made connections between objects from the past and today’s modern items, this lead me to question why so many wish to reclaim the past. As a result, my art work answers this question, with its sentimental use in modern times. This collection of artworks express how the aesthetic of ‘vintage’ can be refabricated and re-used in the form of ordinary articles used in everyday

In summary, the author points to many ways that the art of the tailor overlaps with the art of the artist to back up her argument that making clothes by hand is similar to creating an

Powell received her Bachelor of Applied Arts at Ryerson University, studying image arts in photography. She then went on to Queen’s University to receive her Bachelor of Education in Technological Education. Her artwork has mainly consisted of photography, although she has also dabbled in film. She works in the modern digital age as well as exploring historical processes of photography. These include, polaroids, hand colouring, using the dark rooms to develop film, and many other alternatives. Powell has a particular interest in the abandoned, places or things that may appear ugly on the outside but have their own weird hidden treasures. She explains that it’s neat to see how nature takes back these places. She also photographs small towns and the more rural lifestyle. “My art isn’t ‘deep’,” she says, “but it’s about finding beauty in everything, beauty in every form”. Powell spent her early years taking portraitures in the wedding industry. Now, she has her own business alongside teaching and having a family. With this busy lifestyle it is amazing that Powell’s perspective on beauty is unchanged. Her perspective is something unique and important— something that everyone should see more of.

In a chapter called The Evocative Power of Things in his book Culture and Consumption, anthropologist Grant McCracken is concerned with the social ‘cultivation of hopes and ideals’ and the ‘bridging goods’ we use to cultivate what is otherwise unattainable. The author suggests that we use these goods to recover what he calls ‘displaced meanings’ of our culture. We look to buy what is missing from our lives and that enough will never be enough. He looks at what inanimate objects do for us and how our desire to consume can become the foundation

For our exhibition review, our class visited the Ruth Funk Center for Textile Arts on Wednesday September 21st. This semester the exhibition being presented is Transformers: re-contextualizing our material culture, the exhibition is curated by China Marx. The artists shown in the exhibit are: Garry Noland, Gerry Trilling, and Julie Peppito. I have never truly analyzed art before, and a textile museum was the last place I pictured myself at Florida Tech. As soon as I walked in I felt like I was in a whole different world. There were beautiful pieces of handmade jewelry, and scarves for sale all over the walls and shelves. The walls were pure white, and looked very modern. Banners hung from the second floor ceiling down to the ground behind the desk. The banners read “Ruth Funk Center for Textile Arts.” I knew this exhibition was going to be beautiful as soon as I walked in, and I was right. The exhibition beautifully showed how one can view different aspects of life and demonstrated the necessity of reusing waste and finding beauty and detail in everything around us.

Since the beginning of art, typical mediums have consisted of oil paints, marble, pastels, and charcoals. As time has progressed, and aesthetics have changed, so has the extensive list of mediums found in art. One medium in particular, known as the use of “found objects” has become increasingly more popular since the days of the Renaissance. Found object art can be as straightforward as Marcel Duchamp’s “Fountain,” which is a urinal fountain that is simply orientated sideways and signed; this, bordering the line between art and an object from everyday life, brings forth many questions and lots of public controversy. Art has always caused this same controversy, but one main argument frequently surrounding found objects is the extent unto which the piece must be abstracted or reincorporated in order to be considered “art.”

I am so glad to have had a chance to research such brilliant artists who have taken recycled artforms to a level so acceptable and easy to recreate for mainstream art

Inner self is the main theme of the next and final artist in this exhibition. Using paper molds

This essay will be addressing ideologies of consumer fetishism and pseudo-individuality through examining the commodity signs found in the mass marketing and advertising of designer cosmetics, particularly Chanel.

In this summative essay I would like to explore and analyse the influence that Graphic design has had on popular culture and consumerism. Graphic design can be defined as “the art and practice of planning and projecting ideas and experiences with visual and textual content. The form of the communication can be physical or virtual, and may include images, words, or graphic forms.” (aiga.org) Designers are problem solvers and it is their job to come up with a suitable solution to a problem. They have to find the best suitable means to communicate a particular message. Graphic Designers are at the forefront of advertising and the battle of selling giving the designer even greater responsibility, because of this graphic designers play a big role in consumerism. Consumerism, “as a social and economic order and ideology encourages the acquisition of goods and services in ever-greater amounts.” (wikipedia.org) Society have been gradually made to believe that they can increase their happiness through buying and spending. Consumerism is an international problem, but has existed for many years, people purchasing goods that exceeded those of their basic needs dates way back to the first civilisations, in the eras of ancient Egypt and Rome. A turn in consumerism arrived just before the industrial revolution, people worked long hours and earned low wages, so they didn 't have the time or the disposable income for excess spending. The industrial revolution welcomed the use of assembly

When one considers the term “Art Nouveau,” what comes to mind most immediately is “images of a European-wide invasion [characterized] by the restless dynamism of organic form”(Silverman 1). For me it is usually the work of Alphonse Mucha– his mysterious women surrounded by the beauties of nature. Often my Art Nouveau fantasies take shape in the odd fungal-shaped stained-glass lamps of Tiffany. Or sometimes they surface as the romantic Parisian posters I’ve seen at Pier One, advertising champagne or cats noir or bicycles or the like. But no matter what ones notion may be of what Art Nouveau looks like, there is a feeling that accompanies it that is at the heart of the style’s appeal. It is difficult to define or describe what