What we found, what we lost
I thought the pottery was made by a true genius. The detail is great and can be easily understood. The plates each show unique picture; in fact, most of the pottery has its own image on it. The pottery looks professional or made in a factory because there are little or no flaws.
These black and white images are made with great emotion. The pictures are in a cross formation on the wall with different religious pictures on each one. It seems like you in a dark room with lit candles with someone worshipping in the center. Also, I used to go to church a lot in the past, so I can relate and imagine it in my mind.
The walker art center has many galleries. Many of the art pieces are abstract modern art. The building itself is uniquely shaped and offers many things. Inside they have videos that can be watched showing building construction, images of the past, and others. They have pictures of the past and present as well. I noticed that they have pictures of Disney World and Las Vegas. They have architecture pieces of art that are in the Target gallery. My favorite overall would probably be the pictures of Las Vegas and Disney World because they remind me of my past because I have been to those places.
Two Men Guiding One
This painting shows three, lost men. Two of them are holding modern weapons, but most of the rest of the painting is in an ancient time. I see all this as meaning that even though we continue to advance personally and as a society, we still follow old traditions. This painting signifies this belief throughout the classical landscape and attire, but with more modern weaponry. The painting itself shows great detail on the people and landscape which helps emphasis the classical, modern opinion I stated earlier.
Any brief definition of art would oversimplify the matter, but we can say that all the definitions offered over the centuries include some notion of human agency, whether through manual skills (as in the art of sailing or painting or photography), intellectual manipulation (as in the art of politics), or public or personal expression (as in the art of conversation). Recall that the word is etymologically related to artificial -- i.e., produced by human beings. Since this embraces many types of production that are not conventionally deemed to be art, perhaps a better term for them would be visual culture. This would explain why certain preindustrial cultures produce objects which Eurocentric interests characterize as art, even though the producing culture has no linguistic term to differentiate these objects from utilitarian artifacts. Having said that, we are still left with a class of objects, ideas and activities that are held to be separate or special in some way. Even those things which become art even though they are not altered in any material way -- e.g., readymades -- are accorded some special status in a describable way. Because of this complexity, writers have developed a variety of ways to characterize the art impulse. Ellen Dissanayake's What is Art For? lists these as follows (in no particular order):
• the product of conscious intention,
• a self rewarding activity,
• a tendency to unite dissimilar things,
• a concern with change and variety,
• the aesthetic exploitation of familiarity vs. surprise,
• the aesthetic exploitation of tension vs. release,
• the imposition of order on disorder,
• the creation of illusions,
• an indulgence in sensuousness,
• the exhibition of skill,
• a desire to convey meanings,
• an indulgence in fantasy,
• the aggrandizement of self or others,
• the heightening of existence,
• personal adornment or embellishment,
• the giving of meaning to life,
• the generation of unselfconscious experience,
• the provision of paradigms of order and/or disorder,
• training in the perception of reality,
• and so on.
Introductory books and study guides on art history usually give a variation of the following as the basic functions of art:
• to adorn,
• to beautify,
• to express,
• to illustrate,
• to mediate,
• to persuade,
• to record,
• to redefine reality,
• and to redefine art.
1. A school of abstract painting and sculpture that emphasizes extreme simplification of form, as by the use of basic shapes and monochromatic palettes of primary colors, objectivity, and anonymity of style. Also called ABC art, minimal art; Also called reductivism, rejective art.
2. Use of the fewest and barest essentials or elements, as in the arts, literature, or design.
3. Music. A school or mode of contemporary music marked by extreme simplification of rhythms, patterns, and harmonies, prolonged chordal or melodic repetitions, and often a trancelike effect.
1933-1938 At the age of 23 Bacon painted his first truly original work, entitled Crucifixion, 1933. It was a small spectral painting clearly indebted to the biomorphs of Picasso. At this stage, he no longer considered himself a designer (a career he subsequently and unjustly disparaged), but enjoyed some initial success as an artist. In April 1933 he exhibited as part of a group show at the Mayor Gallery, and in the same year Crucifixion, 1933 was reproduced in Herbert Read’s book, Art Now and purchased by the collector, Sir Michael Sadler. Sadler intended commissioning a portrait based on an x-ray of his skull, an idea that was incorporated into another, more colourful treatment of the Crucifixion from the same year.
After such a promising start, Bacon’s career began to falter. His one-man show of seven paintings and some five or six gouaches and drawings at the specially devised Transition Gallery in February 1934 sold poorly and received a condescending notice in The Times. In the summer of 1936 his work was rejected by the International Surrealist Exhibition in London on the grounds that it was insufficiently surreal.
The result was that Bacon’s output declined and he returned to his previous drifting life. In 1936 he moved from Royal Hospital Road to 1 Glebe place where he remained until 1941. Despite his inclusion in an exhibition of ten ‘Young British Painters’, organised by Eric Hall for January 1937, scarcely any work survives from this period. Most of it was destroyed by the artist, a pattern of ruthless self-editing that he pursued for most of his life, but particularly so during his early years.
I see Andy Warhol's paintings as showing things in his time, but with new perspective. When he painted a beautiful woman, he changed the color of that person to show something new. He painted a zebra with every color except black and white to show, by my guess, uniqueness. He seemed to emphasis that in most of his artwork and it seemed he showed that idea well.