Of Vincent Lamouroux's Essay 'Notes On Site Specificity'

In Frank Romero's mural, he shows us some aspects on what to see in LA. He shows us how many of the people in LA use cars in their everyday life. This is a part of them if they like it or not. This gives us an image on what we see and do in LA.

In the city of Las Vegas, people go through the daily trails and tribulations that the city has to offer. People constantly on the go, worried about the collection of money, pollution filling our lungs and tackled with the constant worries of reality. Being in the city, it seems as there is no escape from the madness that is being offered. Surrounded by the man made building and artificial light that illuminates the struggle of these streets. Although, there is a place that offers freedom about fifteen minutes away from the cities madness. A place where the air is fresh, a place where gargantuan rocks act as buildings, a place where the sun, moon and stars are the source of light and a place that provides freedom from the worries of the city. This center of nature providing freedom from the busy city life is Red Rock Canyon. Red Rock Canyon as a space has a rhetorical significance as a location of freedom from city life with the multitude of space it provides. Red Rock Canyon serves as an example of space and place in rhetoric and also creates ties to visual rhetoric with the unique scenery and imagery being offered. In addition aspects of memory such as cultural memory and public memory can be connected to Red Rock.

Columbus, Indiana is known for its stunning modern designs and Kogonada ensures that we are given a wonderful tour with many highlights which results in some of the most beautiful imagery in a film this year. Every building, from the public library where Casey works to a tall-spired church to bridges and archways and walls made of glass, inspire the conversation. They are as much a part of the narrative as they are a backdrop. The detailed nature of discussions is at times informative and points to a filmmaker who understands the artistry of these unique

Julie Mehretu’s paintings are loosely termed history paintings by Douglas Fogle and called psychogeographies by the artist herself. A viewer is supposed to find something in themselves much like exploring a city and figuring things out for one’s own self-interest. Mehretu is quoted as saying “my aim is to have a picture that appears one way from a distance-almost like a cosmology, city, or universe from afar- but then when you approach the work, the overall image shatters into numerous other pictures, stories, and events. Historically drawing is seen as inferior to painting which makes it interesting that Julie Mehretu would employ so much drawing into her canvases because drawing is important to architectural drawings. How does the mapping nature of Julie Mehretu’s paintings convey a sense of identity in a very political nature and how is it a representation of the post colonialist world in which we inhabit? Scholars all seem to agree that Mehretu’s canvases are maps, but what do they seek to accomplish? My analysis of Mehretu’s Stadia III will use a biographical and post colonialist methodology to explore the ways in which Mehretu’s own upbringing and how the very nature of her map making, though very artificial, can be seen as a way of both bringing us together and giving those groups that have previously been neglected throughout history a voice.

“Hotel California” tells the story of a man driving along a super highway. On his way, the man gets tired and decides to stop at a hotel which ends up being a pleasure palace with a sinister. While listening, a casual listener would tend to think how “lovely place” California might be. The listener might wish to crash California probably for a weekend, or order for a room service just to enjoy the lovely place, Hoskyns, B. (2006). . But when someone listens this song keenly, he or she might start wondering if the hotel is as good as Guantanamo or Palm Springs simply because it says, “you can check any time you like but you can never leave!” As a matter of fact this song has its dark side.

For many, abandoned buildings hold keys to the past. They are places frozen in time- authentic, eerie, and intriguing all in the same. Photographer and mixed media artist Samuel Quinn is one willing to break laws and trespass property in order to explore and capture these deserted wonders. In 2008, while in the South Shore driving his friend home, Quinn passed an eye-catching abandoned white house that stood lifeless in between two simple suburban homes. Two years later, in need of a new project, he traveled back to the house and began taking photographs for his portfolio A Houses Echo, which, as he describes, holds “portraits of a family who once lived in a house. A house

Individuals are pushed to reach for their ambitions and dreams, and Zammit tried to capture this concept. His quest to understand what “what was going on up there in the sky and down here on [his] palette,” really demonstrates this idea that we often get caught up in the commotion that transpires around us (Zammitt). Because of this, we sometimes forget the more important parts of life and tend to miss out on the beauty around us. In some ways, this painting gives the same sentiment as the image of our course reader of the sunset behind the Hollywood sign. It’s undeniable that Hollywood is one of the centers for news and gossip in California. But in the midst of all of this, we tend to forget the natural beauty and peacefulness that California has. Zammitt’s creation mirrors the same theme, and he strived to showcase what people in this state sometimes miss out on because they are so captured by what is happening around them. In my opinion, I feel Zammitt wants us always to remember that sometimes we need to take a step back and admire the simple things in life such as a sunset. California is a destination for opposing thoughts, innovation, and new ideologies. But, California is also a location where you can find beauty

Sculptor Nancy Holt defined three forms of collaboration, that artist who work on site specific location must consider. These three form of collaboration between architecture and art which include,”… ‘conceptual’ …working autonomously, to create complementary works… ‘correlative,’…greater interaction … two professionals inform the works of each other… ‘cooperative’…a working team of architects, sculptors, landscape architects, fabricators, engineers, and community workers…” (Marter, 315). Many artists have recently accepted the challenges of blighted urban areas by creating "situations" rather than monolithic abstractions. Such artists as Mary Miss…[and]…Nancy Holt, … and others were determined to raise the social consciousness of architects and to forge a new relationship between public site and viewer (Marter, 315). A perfect example of Holt’s third form of collaboration is her work Dark Star Park. This site specific piece sits on, “two-thirds of an acre, consists of five spheres, two pools, four steel poles, a stairway, a large tunnel (for passage), and a smaller tunnel for viewing only” ( Mater, 316). This work is a stark contrast to Holt’s piece, Sun Tunnels, which was set in the Utah desert. “These consist of for big concrete tubes, each almost six meters long and three meters wide, positioned to form two

house on the top of the motel gives a gothic image and the fact that

The 1960’s hotel’s monogram is neatly centered and colored to contrast with its entry, the large almost looming letters “GB”, which immediately draws the eyes toward the center. The platform immediately to the front of the entry, serves to draws our eyes down the steps and subsequently, to the three arches and (apparently) steep drop-off, emphasizing its

The most significant number of outdoor mural art in the United States is just minutes away from downtown San Diego, but if you’ve visited the city, you’ve probably driven over it without even knowing it. San Diego’s Chicano Park is hidden below the San Diego-Coronado Bridge. More than 70 vibrantly colored murals adorn the support pylons of the freeway overpass. The walls pay tribute to the history of the surrounding Mexican-American and immigrant community called Barrio Logan. In the 1960s, the community was further separated by the formation of the 5 Freeway and the high on-ramps of the San Diego-Coronado Bridge. City leaders didn’t include tenants in the preparation of these projects that destroyed more than 5,000 houses and local businesses.

My chosen work, Willem de Kooning’s Montauk Highway was developing his own version of a greatly charged style alternating powerful iconic image on his canvas. New vanguard showed up in the early 1940s in New York where the artists known as abstract expressionists created a diverse body of work that introduced new directions in art. Escaping from traditional conventions in technique and subject matter, these artists made their works as reflections of their individual soul. Montauk Highway shows viewers an emphasis on dynamic gesture with an energetic use of color, which in this painting’s case is yellow.

As an artist, Stephanie Cardon seeks to stimulate the viewer to create their own understanding of the connections among objects and the intermediary space between them. Beacon, Cardon's first large-scale, outdoor sculpture, articulates this artistic vision. A new commission for the deCordova Sculpture Park and Museum, the sculpture consists of two 11-foot concrete towers connected by a canopy of two layers of thin, yellow vinyl-coated steel cables. The overlapping lines formed by the cables produce shifting visual effects.

The art of Michael Merrill has always been seeking to subvert the established system of art. Merrill’s recent Apartment complex paintings count among his most sophisticated and daring works to date. He chose the subjects to be not the artwork themselves, but rather their situational contexts and architectural details in which they were exhibited. He wanted to paint from experience, rather than from his own experiments in the surreal. As a result, he was inclined towards subjects that were immediately available to him. Merrill convinces the viewers that the artwork depicted is his to interpret. As a part of his Apartment series, Apartment 1, Apartment 2, and Apartment 3 are oil on canvas, finished in 2016. To add, he has related inks on paper

Positioned alongside Central Park within the heart of New York City, The Metropolitan Museum of Art is one of the largest and most influential art museums in the world. The Met houses an extensive collection of curated works that spans throughout various time periods and different cultures. The context of museums, especially one as influential as the Met, inherently predisposes its visitors to a set of understandings that subtly influence how they interpret and ultimately construct meanings about each individual object within a museum. By analyzing two separate works on exhibit at the Met, I will pose the argument that museums offer a unique expression of a world view that is dictated through every element of its construction.