Self Portrait

1.       Why did you select the inspiration pieces?

I selected Frida Kahlo’s Self-Portrait With Braid (1941), Berthe Morisot’ Self Portrait (1885), and Annie Liebowitz’s Self Portrait (unknown). I wanted to concentrate on the work of women artists. I was looking for portraits of grown women, not young girls or old women, who were looking directly at the viewer. I also wanted different styles represented, including at least 1 photographer, from somewhat different time periods. I knew that Frida Kahlo was especially known for her self-portraits, so I wanted to include one of her works – I think in this one she even has a hint of a smile.

1.       Why did you select the media to create your self-portrait?

I wanted to do the best job I could and pencil and paper are what I feel most comfortable using.

2.       What challenges did you face in creating your self-portrait and how did you overcome them?

I wanted a more naturalistic rendition. I think the biggest challenge I had was trying to get proportions that were realistic enough that the portrait actually looked like me. I feel my attempts at drawing always look like a child’s drawing. Doing multiple attempts helped me to experiment with different values, proportions, etc and improve the quality of the work.

1.       How does this piece represent you?

I noticed that self-portraits often have a very serious facial expression – while I’m a serious person I think I’m also generally a contented person and I wanted that to show in the self-portrait. Two of the self-portraits I chose include the artist with something related to their work/art. Since I teach and have had a life-long love of books, I included a book in my self-portrait.

2.       What elements and principles of art did you apply in this work?

As I noted above, I was trying to get a naturalistic piece, so I was striving for natural proportions in the elements of my face. As a monochromatic piece, I relied on lines and values to create the elements of my face – values for cheekbones, for example, and lines to give some texture to my hair.

3.       Did you enjoy working on this project?

So-so. It’s something I’ve never done before, but I tend to be a perfectionist and I’m very aware of my limitations in trying to create a work of art.

4.       What do you think of your final artwork?

It’s certainly better than my first effort – the biggest thing I notice is that I made my face too long and the proportions of my eyes are off. But I think I did a better job with this effort playing with values to create cheekbones, etc.

Reflection of AED 200

1.       What were you expectations for this course and where they met?

As noted in my original post, my expectations were that I'd have a better appreciation for the work and thought process of the artist as s/he develops a work of art, and be able to look at a work and notice/understand details that I didn't before. These expectations were definitely met.  I think it’s fair to say that I’ll never look at art the same way again, now that I have at least a basic understanding of elements, principles, and methods of interpretation.

2.       Now that you've been through this course, what is art? How would you define it now compared to your initial posting?

In my initial posting I said, “I find art hard to define. I think visual art involves creativity and interpretation, not just copying. It's intended to provoke some kind of emotion.”

I’m not sure I’m any closer to a firm definition of visual art. I think most works of art are designed to evoke an emotion; however, I think others try to appeal more to the critical thinking part of the brain. Still others I think are primarily intended to record or commemorate, like formal portraits.

3.       Who was your favorite artist in your original posting and who is your favorite visual artist now? If there is a difference, why do you think so? If you have the same favorite artist, why do you think so?

I mentioned Van Gogh and Hiroshige in my original post and they are still among my favorites now. The assignments gave me the opportunity to rediscover some artists I’d been introduced to in the past, like Georgia O’Keeffe and Charles Burchfield. I think I still especially like Van Gogh and Hiroshige because now I can appreciate their use of the elements and principles of art. I also have a better understanding as to how their works were influenced by others, and the influences these artists had on other artists.

4.       Now that you've completed this course, how do you feel about taking an online course? Is your answer the same as it was in your first posting? How is it the same or different?

As I noted in my initial posting, I’ve taken a fair number of online courses. I don’t feel much differently after completing this one – I like the flexibility of online, even though it lacks the interaction of face-to-face courses.

Art Curation Project.

I entitled the project “Winter Through Different Lenses” and the theme deals how different artists over the years (and different cultures) have addressed different aspects of winter.

             In viewing the videos on curation, I noticed that several of the curators noted the importance of the exhibit’s theme to the particular place/culture of the exhibition and how the culture of the exhibition place also affected choices regarding the exhibit. I’ve lived in western NY all my life and I thought about what themes tends to define life here. For better or worse, what came to my mind were our winters and sports, but I preferred winter as a theme. I wanted to show how different artists depicted different aspects of winter, including different media and works from different cultures.

            I chose a clean font and ice-blue slide background that I felt would support the theme, be easy to read, provide sufficient contrast, and not be too “busy” to distract from the pieces.

            I wanted to include my favorite artists (Hiroshige, Van gogh, and O’Keeffe), so I googled their names and found a variety of works they had done on this theme, ultimately choosing works that I felt fit the theme well and showed diverse views of winter. I also chose a piece from Burchfield because I wanted at least one piece to have a close connection to the WNY area and thought this one especially captured the fury of a WNY winter.

            For the remaining pieces, I wanted examples of different styles, media and cultures represented. I used the text, provided links, and Google to find additional pieces, but was less successful finding pieces outside of American and European artists (with the exception of the Hiroshige print).

            I ordered the paintings first, in chronological order to show how styles of interpretation changed over time. Then I put the 3-dimentional pieces in to contrast with the paintings. Lastly, I put in the Burchfield piece to tie the project back to the Buffalo area.

Module 11 videos

1.       Explain why you selected each of the TWO videos you choose from the selection listed above.

-          Expressionism – I found the text discussion interesting about artists painting based on their subjective feelings rather than objective reality

-          The Mystical North – I find Goya’s intense emotion interesting and also the Surrealists. I also had an opportunity to see a gallery of Dali’s work in St Petersburg, Florida once on vacation.

2.       For each video list/discuss the key concepts you learned.

-          Expressionism – The text indicates that expressionism existed in the early 20^th century, but the video shows its influence throughout the century. The video shows how very different the styles of various Expressionist artists were. Artists like Munch and Kirchner made different versions of the same work over time (Ashes and Five Women on the Street, respectively), indicating how the artist’s subjective feelings changed over time.

-          The Mystical North – Northern Spain is home to subcultures that speak languages other than Spanish and don’t necessarily identify with mainstream Spanish culture. The evolution of Spanish art was closely associated with historical events like the Napoleonic conquest and the civil war between the communists and the fascists. Many artists changed their styles  radically over their careers. Goya began as a traditional court painter, but created extremely dark and nightmarish “Black Paintings” later in life. Picasso experimented with many styles over the course of his long career.

3.       How do the videos relate to the readings in the text?

-          Expressionism – The video gave much more background to the lives of artists like Munch and Kirchner. As noted above, it gave much more information on the influence of the Expressionists throughout the 20^th century.

-          The Mystical North – As noted above, the video gives much more of the historical context behind the artists presented.

4.       What is your opinion of the films? How do they add depth to understanding of the readings and art concepts?

-          See above

Second Gallery Visit - Burchfield Penney

1: The Exhibition

1. What is the title of the exhibit? Blistering Vision: Charles E. Burchfield’s Sublime American Landscapes

2. What is the theme of the exhibition? The theme involves Burchfield’s love of nature and desire to present it to the public and the tension between nature and our rapidly industrializing society

2: The Gallery

1. What type of lighting is used? In general softer, ceiling track lighting is used throughout and focused on the particular works. In some spaces the room lighting is more subdued and the lighting on the works is brighter, more noticeable.

2. What colors are used on the walls? The large East Gallery is painted off white; the smaller galleries are light gray.

3. What materials are used in the interior architecture of the space? Interior materials are generally painted plaster board, with some light gray stone outlining the entrance to the Burchfield Rotunda. It is sparsely furnished with a few benches. The benches in the rotunda are arranged in a circle to reinforce the circular space.

4. How is the movement of the viewer through the gallery space? The large opening of the Oishei gallery to the left of the entrance gallery draws the viewer in and directs them in a circle: past the replica of Burchfield’s studio to the rotunda, through the rotunda into the East Gallery, out the back of the East gallery where one can choose to go up the staircase to sculpture exhibits or through a series of smaller galleries, and then back to the entrance gallery

 3: The Artwork

1. How are the artworks organized? They are arranged in a variety of different way. Some spaces tend to alternate monochromatic pieces/studies (usually smaller) with more brightly colored pieces (usually larger). Some are arranged around a theme, such as one space dedicated to mines and another dedicated to commissioned work for Fortune magazine. Where available, studies are arranged next to finished works

2. How are the artworks similar? The paintings are almost all watercolors; the studies and monochromatic works are almost all done with conte crayon. None of the works address the human figure; I saw no animals depicted other than birds. All the works either address natural phenomena or man-made/industrial objects.

3. How are the artworks different? Many of the works are dark or monochromatic – a lot of black and shades of gray, browns and tans – and focus on industrial subjects. Others have vibrant colors and deal with nature subjects.

4. How are the artworks framed? I’m assuming you literally mean the frames on the works. Some, especially the smaller, monochromatic and “darker” works, are in plain, black, and wooden. The larger works are in frames that are lighter in color and somewhat more ornate.

5. How are the artworks identified and labeled? Each artwork was labeled with Mr. Burchfield’s name, the name of the work (if any), date(s) created, medium, place that owns it. Some also had a description of the work.

6. What is the proximity of the artwork to each other? Generally 3-4 feet apart.

 4: Art Criticism Exercise

Select three of the artworks from the show and use the Art Criticism worksheet to describe, analyze, bracket and interpret the work using the 5-step Art Criticism Process described. (see the sheet in the module folder)

A.      Still Life: Scrap Iron (1929)

1.       Description: The work looks like a section of a junk yard, with various pieces of scrap iron as the title notes. The pieces are pushed against a decrepit fence, under telephone poles and wires at the right. A few sparse blades of grass poke through at the lower right.

2.       Formal analysis: Various forms are created through values – cylinders, domes, bowls – positioned largely at the center and left of the work. This is balanced by the fence and telephone poles on the right. The viewer’s eyes move from left to right and then upwards up the fence and telephone poles at the right.

3.       Bracketing: This is a play on the still lives more commonly seen in art: ones with flowers and fruit and tableware that have been carefully arranged. Here we see the random arrangement of scrap metal in a junk yard.

4.       Interpretation: I think the artist was trying to show that even these discarded pieces are worthy of examination. Additionally, even in this desolate landscape, nature (in the blades of grass) is still able to survive.

B.      White Violets and Abandoned Coal Mine

1.       Description: In this work, the gaping mouth of the opening of the mine takes up the center of the picture. A scrawny tree limb appears to reach out from the right side of the opening and form a canopy over it. Three white violets line the center and right of the opening.

2.       Formal analysis: The jagged lines of the branch reach out from the mouth of the mine opening and white lines dangle down from the branch, directing your attention towards the mouth of the mine. It gives an ominous appearance to the mine opening, along with the claw-like appearance of the branch. These contrast with the delicate appearance of the white violets.

3.       Bracketing: As noted above, the claw-like branch reaching out of the mine opening  and the gaping mouth of the opening itself remind one of a monster, threatening the delicate violets at the bottom of the opening.

4.       Interpretation: The artist may have been commenting on the destruction of the natural world by the conduct of mining operations, or at least how they threaten to damage nature. The presence of the violets could also symbolize the resilience of nature in the face of destructive side effects of industrialization

C.      Gothic Windows

1.       Description: In this work, tree branches form a canopy over some smaller trees, framing them like window frames in a cathedral.

2.       Formal analysis: Much of the work is a series of thin and thick lines – thick for the large tree trunks and branches, thin lines for the smaller tree trunks and branches. It has an almost child-like appearance. The composition is symmetrical. The floor of the forest is blue instead of green, and dabs of light green at the ends of the smaller tree branches represent leaves.

3.       Bracketing: As the name implies, the composition evokes a cathedral.

4.       Interpretation: Burchfield saw nature as a sacred space. He used this image of trees forming gothic windows in other paintings as well- See below for Untitled (Gothic Window Trees) and the central image in the Four Seasons.

Making Masks

1.       Upload the three (3) inspiration images to your Blog (or link to your Photobucket account). Explain why you selected the inspiration pieces.

                I chose all of these pieces because I found the Yoruba crown mask depicted on p. 421 interesting, so I wanted to see more examples. I liked the references to ancestors and the idea that wearing the piece brings the king closer to his ancestors.

2.       Include the analysis and description (art criticism steps) of the three (3) inspiration pieces.

Mask 1:

                Description: This mask is decorated with a variety of multi-colored beads. Rows of abstracted faces stretch from the bottom to the top. At the very top is a beaded bird. Below the bird is a kind of base made of alternating rows of white, black and gray beads. Strings of beads hand down from the bird, and from the base of the crown/mask.

                Analysis: The piece is balanced by the symmetrical representation of the faces. Repetition is used in the alternating rows of faces. Contrast is used by alternating light and dark colors. Form is seen in its conical shape and the beads provide textures.

                Interpretation: The faces most likely represent the king’s ancestors and the bird is likely one of the Our Mothers. Wearing the crown mask connects the king to his ancestors and the Our Mothers

                Evaluation: The intricate beadwork and vibrant colors are eye-catching. There is little beading to cover the king’s face, however, as seen in the example on p. 421.

Mask 2:

                Description: This mask is also decorated with a variety of multi-colored beads. There are 2 abstracted faces in the middle, one above the other, and slightly different in color. The noses and eyes of the faces project outward. To either side of the faces are a series of interlaced oval shapes. Above the oval shapes are a series of white square/diamond shapes. The bottom is trimmed with a series of alternating triangular shapes (black & white). At the top, again, is a beaded bird with fringe hanging down and, beneath that, what appears to be some abstracted, doll-like figures.

                Analysis: This piece makes much more use of geometric shapes and patterns than Mask 1, and less use of the face motifs. There is also much more diverse use of color – some with vivid contrasts and others that more subtly blend into each other. The protruding eyes, noses, and doll figures also show greater use of texture. Balance can again be seen in the largely symmetric arrangement.

                Interpretation: The faces and doll figures again most likely represent the king’s ancestors and the bird is likely one of the Our Mothers. The interlacing oval shapes may, like a circle, represent infinity – with no end or beginning to the connections between the king and his ancestors. The king and his ancestors are one.

                Evaluation: To me this is a more complex piece than the first, more abstract in its use of the geometric shapes.

Mask 3:

                Description: This piece was described as a full body covering or egungun. At the top is a cap decorated with multi-colored beads, forming a number of triangular shapes. The upper half of the body is again covered with beads forming a variety of triangular shapes over fabric. The lower half of the body is covered in flowing strips of a variety of designed fabrics: many are floral, some have more geometric shapes, some are repeated and some are unique.

                Analysis: This piece makes heavy use of triangular shapes of a wide variety of colors. Some are pointed in a variety of directions, some are combined to form diamond shapes. The textures contrast between the beading and the fabric.

                Interpretation: The egungun would be worn as part of a religious masquerade https://sohe.wisc.edu/research-development/textile-collection/textile-resources-2/featured-textiles-collection/cataloging-mystery-yoruba-egungun/ . The exact meanings of the parts of the piece are often meant to be secret, something the maker would ascertain through a kind of religious experience. The covering is meant to evoke the power that comes with the mystery of the afterlife.

                Evaluation: This piece gave me a different perspective and inspiration in its use of cloth. Though balanced, it doesn’t attempt to be symmetrical either.

3. Upload images of your sketches and finished piece.

4. Explain how you used the Elements and Principles in your finished mask.

                I combined elements and principles from the three inspiration pieces and your suggestion regarding the use of collage. I didn’t have any beads, but I tried to incorporate different textures by using paper and cloth. The piece is fairly symmetrical and balanced through the use of images on both sides of the midline of the piece. I incorporated actual pictures of my ancestors, emphasized through central placement. I also added images of Italy and Germany, where my ancestors came from. I used colored fabric for the background as well as strips (pattern) that would cover the face. I used pink and blue fabrics given the symbolism those colors have regarding gender (male and female ancestors in our society), as well as the more neutral yellow.  I incorporated eye shapes to represent the eyes of the ancestors, as well as the bird motif from the inspiration pieces. My grandmother taught me to recognize the calls of the birds depicted – I emphasized their colors with the use of colored pencils. I emphasized the robin at the very top as a sign of spring/rebirth.

5. Share your opinion of your finished mask and what you thought about creating the mask.

                I had to rush to get it done, given that I was late. I wish I’d have had more time to do a better job with it. Rather than the “power” image that the masks have in the Yoruba culture, I liked the idea that it gave the wearer a connection to the ancestors – that you could literally carry them around with you.

     1.       What was it like using your hand as subject matter for a drawing?

      I never really look at the details of my hands – it forced me to really take notice of them – the             lines, the orientation of the fingers, etc.

     2.       What media did you select - pencil or charcoal? Why?

      I chose pencil. I’m more familiar with using pencil and I thought it would be easier to erase. I             don’t really have much experience drawing and I knew I’d make a lot of mistakes and need to             erase.

     3.       How did it feel to create a drawing with your non-dominant hand?

      I really don’t use my left hand for any detail work – I just use it for carrying and as an assist. It’s a       lot weaker than my right hand – harder for me to apply pressure with the pencil and make                   coordinated movements.

     4.       Compare and contrast your final drawings. Do you think they are successful studies?

     The drawing of my left hand I think is more accurate and detailed. I think I did a better job of              showing the bending of my fingers. It was much harder with my left hand – I just drew the fingers      and without a natural pose.

     5.       Would you consider using your non-dominant hand to create artwork in the future?

     No – I don’t feel I can do as good a job with my left hand, except to use it as an assist