Nancy Rourke, the painter of Deaf Culture: Unity of Global Signing, was born deaf and grew up in a world of oralism (Northen, Spindel). Oralism is when someone teaches a deaf person how to read lips and talk instead of teaching them to sign (Oralism). Rourke’s parents did not know she was deaf until she was about six years old but quit in 1986 to become a graphic designer. Twenty years later she was laid off and decided to begin painting again and took a couple of workshops to help prepare for the transition in her life. Her life transition did not begin until 2010 when she became involved in
and The Blue Woman in a Black Chair sculptures have demonstrate the various expressions sculptors can evoke. Through the usage of an approachable, engraved pedestal, the built bronze color and detailed outer aesthetics, Ana Koh-Varilla and Jeffrey Varilla convey the dynamic message of the profound ideas Mr. King presented decades ago and the eternal impact those compelling principles will have for decades to come. Segal, on the other hand strays away from an idealistic approach for exchange of expressing the realistic behaviors of life. Through the placement of the drapery, the tranquil blue color, and ambiguous form of the quiet figure, Segal highlights the relatable sedentary behavior of slouching, inwardly focusing on one’s self and one’s thoughts. In a quiet setting like the Blanton, Segal’s sculpture resonates with many individuals, however his art work was placed in an outside setting, there would be a barrier in embracing and fully connecting with the sculpture at
Pie Counter The name of the painting I choose is Pie Counter. The artist who created the piece of art is Wayne Thiebaud. I chose the painting because it reminds me of when my church would serve food and desserts to the people at my church. When choosing which painting I would write about, I had three choices.
Museum assignment For our museum paper assignment, I chose to do my writing on a piece of American art. It’s a painting by Charles Ethan Porter called Still Life, this painting is up for display at the San Antonio Museum of Art. The painting is oil on canvas with the dimensions of h. 13 in. (33.0 cm); w. 20 in.
The above picture is a digital photo of the Tetons and the “Snake River” by Ansel Adams. The river is shaped in a curved motion streaming of water with a background view of clouds. The experience I am viewing is not very clear in color and the picture is blurry.
ABSTRACT The pain and suffering of Frida Kahlo and Chuck Close gave them the ability to create personal works of art to tell a story. The more suffering each of them encountered, the more artwork was produced, revealing the thoughts in their head, the pain that was endured and what gave them relief. Art really can be a drug, and from this essay, it will outline the development of each of their careers through all of the works of art and progress. INTRODUCTION My essay will address the progressive struggles and pain of two artists Chuck Close and Frida Kahlo, and how they each earned recognition through self-portraiture.
This common interest of postmodern feminists about women’s bodies and how it serves as a “feminine language” to define identity continues to represent explorations, discovery and opinions of the traditional mind and body dualism, the role of sexual analysis in the development of gender and the self as well as the analytical modes of exploration of the body which all in all defines what it means to discuss about postmodern feminist issues in this twenty-first century. For example, in Mislina Mustaffa’s opinion, the female body directly reflects an artistic subjection to what is considered a norm to women in society today. Nevertheless, the artist disagrees with such manner. The entire discovery of what makes a woman a woman in fact lies in the matter other than the body itself. One route of inquiry along these lines concerns reevaluation of the senses and the conservative materials that are fashioned into forms or ideas that define the identities of women today.
When I analyze this painting, my eyes are drawn to the building in the bottom left which seems to resemble a church. It has a white steeple and roof line along with light red brick for the walls. The color, style, size, and position of this particular building sets it apart from the rest of the buildings which all seem to blend together along the composition. The building’s edge meets right with the fence line along the field in the bottom left corner of the piece. It prompts viewers to begin their focus on the left of the painting instead of drawing our eyes directly to the center.
The animals in the paintings include a cat (signifies on being catty), a monkey (substitute for children she could not have), a butterfly (transformation), and her thorn necklace that pierced her flesh (shows suffering). These animals and objects created a spotlight on her emotional and physical pain throughout her life. Such as these events that we are able to discover in Frida Kahlo ’s artwork, metaphors are used to fill semantic gaps when new concepts emerge, just like how it is being used within science. When an image gets produced, it becomes a reference point for other images and the meaning will change according to how the individual will view it.
Kahlo was able to have so much depth in her work with the use of essential art elements, mostly implied lines and repetition. Kahlo had personal strategies both physically and psychologically that allowed her to create such emotionally raw images. Her artistic output was dominated by self-portraits that often show how she
One of Kahlo’s most memorable paintings is the personal 1944 piece “The Broken Column”. Regarded as one of her most meaningful pieces, it features Kahlo standing naked, crying and alone against a barren backdrop, her chest split in two to reveal a cracked column where her spine should be. Kahlo uses earthy red tones to bring her figure forward against the cooler background, accentuating the darkness of her skin as an acknowledgement to her Mexican and Indian heritage. Her bare chest is encased in a hospital corset, winding up her body to her shoulders. Nails pierce her skin and the hospital gown covering her waist, standing out starkly against the flatter surfaces due to their detail.
The divine details in this painting help the viewer understand her true and mixed emotions that are portrayed by the Frida on the left. While the Frida on the right side is her current self who has defeated all the inner turmoil she once had. The purpose of this painting is simple but a complicated all at the same time. Frida’s was conveying a message to her viewers that marriage a journey of beautiful memories, but also comes with tragedy in some cases. It relates to our culture and era of time, from the idea of how easy it is to get a divorce, but how the scars are still within our souls.
This is a critical analysis of the painting Henry Ford Hospital by Frida Kahlo. This artwork consists of oil paint on a tin canvas. It was painted in Detroit, Michigan after she had one of her many miscarriages. Today it can be found in the Collection of Museo Dolores Olmedo in Xochimilco, Mexico (Esaak). This analysis will describe the elements of design, principles of design, and the reason Kahlo created this artwork.
The woman from far away appears to be mostly white – blank even. However, upon further inspection, it can be seen that the woman’s skin is actually a blend of a multitude of colors – pinks, yellows, purples, etc. softly define the woman’s features. This artistic choice is representative of the idea that while in the grand scheme of the universe, the view from “far away”, life is meaningless – it should be bland. However, up close, it can be seen that life is actually full of color as each human being creates their own values and perceptions on life. This concept parallels the metaphor of Sisyphus, found in Albert Camus’ “The Myth of Sisyphus,” in that, if one were to view Sisyphus from a distance, they would only see his efforts to roll his rock as torturous.
giving the painting a cartoon feel by emphasizing the onomatopoeic lettering in a yellow box, showing that the plane has blown up. This painting includes warm colors such as a vibrant red and yellow as well as neutral colors like gray, white, and black. Lichtenstein’s colors and the use of natural colors are very predominant in his work of art. He uses a sense of contrast between dull and vibrant colors to emphasize the importance of what’s going on and where the focal point is.
