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

Video - Late Gothic Art and Architecture: England


 1. I selected Late Gothic Art and Architecture: England, 1400-1547. I’ve been to England before and I’ve visited some of the major cathedrals and castles there, so I thought I might learn some more about places I’ve visited. They’re so incredibly beautiful and we have nothing like them in the US.

2. The key concepts in this video were:                              

   - This period was a very politically turbulent time.                               

   - The role of the Church was a uniting factor across the different classes and factions, and even the different countries in Europe                                                                                                     

   - Members of the nobility and wealthy commoners would compete with one another, and towns would compete with one another, in terms of the artistic beauty of the houses of worship. It was considered a way to glorify God and help reduce the amount of time they’d spend in purgatory. Wealthy patrons would commission works that would include images of the patrons in them.                                                                                                                                               

   - Many artists were foreigners and many works of art were imported from other countries 

   - Members of the nobility and wealthy commoners would also compete in terms of the grandness of their houses – their architecture, sculptures, tapestries, etc.                                                          

   -  Much of the religious art that was created during this time was destroyed when Henry VIII broke with the Catholic Church.

3. How do the videos relate to the readings in the text? – The text gave much more information on what differentiated different kinds of architecture; for example, the differences between Romanesque and Gothic architecture weren’t discussed in the video. The video games more information on the social context of art during this time, at least in England.

4. What is your opinion of the films? How do they add depth to understanding of the readings and art concepts? I liked this video. It was interesting to see how the politics and economics of the day led to competition which drove much of the creation of art during this time. It was also interesting to see the connections between the religious and political powers of the day in terms of patronage of the arts

Module 7 – Architecture

I watched the videos Prairie Style and Architecture: The Science of Design

1. a) Prairie Style – The video focused on the work of Frank Lloyd Wright and his influence on current architects, particularly residential architects. It described the key ideas in Wright’s style: interiors with a lot of open spaces (instead of separated rooms), emphasis on the horizontal (band of brick/stone, band of windows, band of flattish roof), and design that connects the house to its surroundings (ex: view from the house, way the sunlight hits the house, etc).                                         b) Architecture: The Science of Design – This video discusses some of the various scientific principles involved in architecture. With skyscrapers, the effects of wind must be anticipated and prepared for as much as dealing with the weight of the structure. Computer technology can be integrated into the running of homes and businesses. Development of better forms of concrete has led to architectural innovations.

2. a) Prairie Style – The video gives more detail on Wright’s style than the text does. But the text gives a better example in Fallingwater. Fallingwater really shows how Wright incorporated the surroundings into the structure, and the house really looks like it just “grew” out of the landscape, even quarrying stone for it out of the surroundings.                                                                               b) Architecture: The Science of Design – The video dovetails with the discussion of reinforced concrete in the texts. Beyond that they didn’t have a lot in common

3. a) Prairie Style – I liked how the video showed the ongoing influence of Wright’s style, which wasn’t addressed in the text.                                                                                                                      b) Architecture: The Science of Design – I really didn’t care too much for this video. The segments didn’t seem to fit together and it was 25 years old. The text had so much more on current concepts/materials in architecture.

4. a) Prairie Style – I chose this one because I’ve been to the Wright houses in Buffalo and also visited Fallingwater on a family vacation, so I thought it would be interesting to see more about Wright.                                                                                                                                                    b) Architecture: The Science of Design – I just picked the next one on the list.

Module 6 Peer Review

1.       I looked at blogs from Nick Kraatz (Photos and Albright Knox visit) http://blog4aed200.blogspot.com , Zack Matsulavage (Albright Knox visit) http://aed200artinquiry.blogspot.com and Rachel Stewart (Photos) https://plus.google.com/u/0/104326387972192867786/about.

2.       By and large I agreed with the elements and principles each artist associated with each photo. In Rachel’s photos I could often see other elements and principles; for example, in #8 with the stop sign, there was the contrast of the square right behind the stop sign and the repetition of red with the stop sign, the red awning, the car and the fire hydrant. For number 14, she could have also used pattern/rhythm or unity with the repeating bicycle shapes. In Nick’s, the circular shape made of bricks could be used to depict shape, pattern/rhythm (with the repeating bicks shapes and concentric circles), or line.

3.       Surprisingly, Nick, Zach and I all chose Niagara, by Frank Moore for similar reasons. Nick and I also both picked Rene Magritte’s The Voice of Space; Nick was interested in the colors, I noted the colors and the mood.

4.       There were a couple of images that also caught my eye but I didn’t end up using them. Zach picked Elliot’s Shelocta, PA – even though the images in the painting are intensely bright there’s something depressing about the scene. The man is alone, with no other living things around, looking sternly at his newspaper while walking. I’d be curious to know what the artist’s connection was – why this place? Why this man?

5.       I actually had a fair amount of trouble finding where people had the information on their blogs – finding the right links. Others may have had the information but I just couldn’t find it. It was somewhat useful to read the reflections, especially where we’d picked the same picture, and I did like looking at other’s photos.

6.       No one has posted any comments on my blog yet. I usually don’t find this sort of thing helpful because classmates generally don’t want to write anything critical of each other.

Module 6

1.       Videos

-          Through the Eyes of a Sculptor – One of the key things I learned was that sculpting, at least as depicted here, was a team effort. A number of people in a given workshop will work on a single piece. The sculptor will conceive of the piece and make the original model, but others may be involved in making the life-sized model, roughing out the stone, etc. I hadn’t realized how many steps were involved – from sketch, to clay model, to silicone mold, to plaster model, at a minimum, before moving on to the stone itself. The ability to find the right stone to work with, and how difficult that may be, was also key.

-          Glass and Ceramics – The video showed how versatile glass and ceramics are – both in art and in industrial/commercial uses. Glass can replace other materials in the building process (especially “green” buildings for temperature and noise control) and some ceramics can be made to be as strong as steel. And yet, both materials can be used to make delicate works of art. I’ve been to the Corning Glass Museum to see glassblowers at work and the wide variety of objects they can make.

2.       Relation of videos to text – For both videos, it was helpful to actually see the steps in making a sculpture and to actually see how glass was made. The descriptions and pictures in the text are helpful but the videos provided much more information. I also think the video did a better job of showing the team effort involved in sculpture.

3.       Opinion of videos – As noted in number 2, both videos were helpful in showing the process of making these materials and the creative process. While it was interesting to see the work involved in getting the marble out of the mountain (and the potential danger involved) I felt the Through the Eyes of a Sculptor video spent too much time on the history of the community where the marble was quarried.