graffiti

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Above are results from a little field trip I took on Thursday, September 29. Graffiti. Good? Or bad? Artistic expression? Or vandalism? Graffiti comes from the word graffito meaning to expose lower layers by means of scratching or carving. Nowadays it's typically meant to refer to painting on property. Free-hand spray painting, stencils, stickers, wheat pasting, and etching are just some of the methods employed in today's street art movement, a movement that is taking place world wide. Graffiti is even moving into the gallery scene.

From little rascals scribbling on a wall with a can they managed to get their hands on to middle aged, working citizens who'd like to share their skills with the world, just about anyone can partake in this global phenomenon. And people from every continent are indeed doing just that. Whether it be for the thrill and excitement of doing something illegal, saying to the world "I'm here", making a political or social statement, sharing free art for all to see, or just messing around, people seems to enjoy creating graffiti. Some enjoy it so much that they are willing to serve jail time and even die to have their work out there. Some travel around the world to have their works surround the globe.

And then there are people who hate it. It's vandalism. It's destruction of property, personal or public. It's "ugly." It's offensive. It leads to crime. One even said, "It's a gateway crime." Ironically enough one of the groups against graffiti is known as T.A.G., Totally Against Graffiti. I don't have much to say against graffiti, so I'll stop there.

I love graffiti in all it's various forms. The aesthetically pleasing murals are easy to enjoy, but I also find a particular beauty in the "ugliest", illegible, crudely executed tag. The background picture to this blog is of my arms covered in sharpie. I did this about 4 years ago. I gave people a arsenal of sharpies and told them to do as they pleased with them on my arms. One guy even drew a penis on my bicep, but it's not visible in this picture. =P And I had this all over my arms during winter break. Sometimes you just have to go with it. What I do not enjoy is when people paint over graffiti with the most ill fitting colors that make it so obvious that they are covering graffiti. What makes a block of paint better than the work that was there before it?

"the unexamined life is not worth living"

The Razor's Edge, a 1984 post-war film, concerns the search for enlightenment. Marina Abramovic, a New York based Serbian performance artist, explores limits, fears and identity. Yves Klein, the artist responsible for A Zone of Immaterial Sensibility, draws on "The Void." And Dadaism throws logic and reason out the window. Only love can be heaven and hell. So...... what does it all mean? What is the point? And how are we supposed to live our life?
Any influential artist doesn't just paint a pretty picture. For an artist to have any real impact, they must cause the viewers to think, puzzle and mull things over. Usually the viewer asks questions applicable to the art work as well as the artist and perhaps methods used and methods intended, however the desired application is toward the viewer themselves. The wanting comes in waves. Ask yourself questions. You might not know the answer now. You might not ever know the answer. There isn't one right answer. The goal is simply to ask.
Why do you do what you do? 'Cause you've always done it? 'Cause people before you did it? 'Cause you're supposed to? 'Cause everyone else does it? I don't have the answer. Does anyone? Maybe so, maybe not. Hope that they follow. Just stop, think, and ask yourself a question, esoteric or mundane. Just ask. Just do. Just because.

tension rises

First off, I love, love, love this painting and have for quite some time.

Edvard Munch. The Scream. 1893. Tempura and casein on cardboard, 36 X 29". Munch-Museet, Nasjonalgalleriest, Oslo.

From the subject matter to the brush strokes to the colors, The Scream, quite simply, screams. The bloody red sky evokes horror, anguish and pain. Here a very open palette is used, but the complementary color harmonies that are very near to each other, the reds touch greens and the oranges lie adjacent to blues, intensify each other. The swarming lines of the landscape background nearly obliterate a horizon line. The diagonal bridge creates even more unsteady tension. The harsh brushstrokes of bleeding colors magnify the tension to an even greater level. And finally the focal point, with such shock upon its face, screams in sheer terror. 

Theodore Gericault. The Raft of the Medusa. 1818-19. Oil on canvas, 16' 1 3/4" X 23' 9". Musee du Louvre, Paris. 

Diagonals are also heavily prevalent in The Raft of Medusa. Nearly all the lines of the distressed bodies  are diagonal in orientation. The ropes and sail, too, are at diagonals. The steadying line of the horizon is nearly entirely obstructed from view. The stormy clouds, thrashing sea, and withering bodies all depict agony and torture, which is only to continue for the wind is carrying the raft away from any and all hope of survival the men may have when sighting a rescue ship in the distance. 

moving along

Giacomo Balla. Dynamism of a Dog on a Leash. 1912. Oil on canvas, 35 3/8 X 43 1/4". Albright-Knox Art Gallery, Buffalo, N.Y.

Movement is the first thing to come to mind when viewing this painting. The subject walking a dog on a leash is not actually moving, but the sense of motion is certainly portrayed. This effect is achieved by painting different frames on one canvas. The concept is similar to a flip book, but here it's condensed to one page. The  diagonals of the background further emphasis the dynamism of the speed and energy of the subjects in the foreground. Balla was an artist that encapsulated the idea of the art movement referred to as Futurism. Futurism is meant to revere motion, speed, energy, and daring. The shapes are not particularly defined, but rather vague. In junction with the paws and feet, they work marvels for the emphasis of the piece. Much like shape, the muted texture in the foreground helps enhance the background. The blurred paws and feet  give the idea of hurried motion and pressed time. The daschund's  tail whips through the air excitedly. Even the leash moves like double dutch jump ropes. The colors aid in the creation of the energy perceived. Had this painting been completed in more vibrant colors, it would sorely distract. This is a simple painting with amazing energy.     

Judy Pfaff. Cirque, Cirque. 1992-95. Construction of handblown glass orbs, and other materials. Permanently installed at Pennsylvania Convention Center, Philadelphia.

Movement also comes to mind with this piece, but not in the same manner. This installation draws greatly on the power of lines. Instinctively we wish to follow lines, perhaps in search of an origin or end. Through loops and twists and turns our eye follow lines and create the movement in the piece. The sheer size also adds to the overall excitement the piece intends to invoke. The soft curves and many circular shapes encourage the eyes to continue in movement. Like the Dynamism of a Dog on a Leash the piece is not moving, but it possesses great energy.

a rippling surface

 Robert Smithson. Spiral Jetty. 1970. Rock, salt crystals, earth, algae; coil length 1500'. Great Salt Lake, Utah.

















Bridget Riley. Song of Orpheus 5. 1978. Acrylic on canvas, 6'5" X
8'6 1/4". Museum of Fine Arts, Boston.













The works are completely different in color, size, medium, and execution but they share many subtle qualities. Spiral Jetty is an earthwork. It's made from earth, rock, salt crystals and algae. It's displayed in nature. It's meant to evolve with nature. It's organic in nature. The spiral is a symbol of life. It comes in two's, positive and negative. Visually it continues on, but we do know there is a halt, an end, a disruption. This work disrupted the lake to an extent but it is meant to live with it now, changing over time.  The water outside ripples and that inside is calm and level. It draws on the balance we must find in life. External turmoil and inner peace, water and earth, beginning and end, we must balance it all. The work is monumental in size, but the subtle details are what breathe life into it. The glistening shimmers show in violets, pinks, and reds.
Pink, blue, lavender, and golden ocher are the colors that flow through Riley's Song of Orpheus. Here the details are what make the piece monumental. Each line of color alone has an effect that is nearly nonexistent in comparison to the piece as a whole. The movements of the ribbons of color ripple like the water outside of the spiral in the Spiral Jetty but it also soothes and calms like the water inside. It's optically appealing with deceptive simplicity. The size of the piece contrasts its quiet design. It consumes and consoles. The music the movement exudes is sensuous and alluring even.

dead shortly and long dead

Horace Pippin. John Brown Going to His Hanging. 42. Oil on canvas, 24 1/8" X 30 1/4". The Pennsylvania Academy of Fine Arts, Philadelphia.

Meta Warrick Fuller. Talking Skull. 1937. Bronze, 28 X 40 X 15". Museum of Afro American History, Boston.

John Brown Going to His Hanging and Talking Skull both speak of death, but in rather different manners. Both works were created by artists of African descent and during similar time periods, but that's where the similarities stop. 

Pippin's painting holds great agony. The subject will be dead shortly. The dormant trees hold few brown leaves that will soon lose the connection to their own life source. The is day is bitter and cold. Guns and whips procure emotions of violence and hatred. The white jail house with black barred windows symbolize the power and control the white had over the imprisoned and confined blacks during the time period. The white horses draw John to his demise. The white men casually smoke pipes as "justice is served." The lone black woman seems to turn away in disgust. The many vertical lines remind the viewer of what is to come. The white crowd goers are already dressed for the funeral before the death occurs. John is bound and will soon be hanging. This is a grave painting of a grave event for a man that is being sent to the grave.

Fuller's sculpture is also sorrowful. The boy kneels naked and vulnerable before the skull of one long gone and gone forever. He pleads and longs for something he will never have. The barren earth beneath him offers no hope either. But in the magic of the moment that is the sculpture he can have this conversation with the talking skull. His questions can be answered. His concerns can be consoled. His comments can be appreciated. His nostalgia can be eased. Only in that moment. 

what is art? who am i?

What is reality?

"What is reality?" that is the question. I find reality to be one's conception of that to be truth. So by default, each person's definition varies from one another. I took a survey comprised of two questions, one: "What is reality?" and two: "Who are you?" Here are some of the answers I received. 
"Reality is a shitty life." - a 21 year old business student


"Reality is our perception of the world we experience through our eyes & through our senses." - an english major


"Reality is what you want it to be." - a middle school student


"Reality has to do with awareness and perception" - a female being of 32 years


"Reality is the opposite of fantasy." from an individual who described him/herself as "The person I perceive myself to be."


"Reality is common perception." from one who answered "Who are you?" with "Just another person; the only person I know to be real."


"What you believe in; what you can touch; time and space." from "I am alive."


"Reality is scary." according to "I am someone who makes movies."


"Reality is everything, especially unicorns.", said "I is muffin."


"Reality is when you open your eyes." claims someone who states "I am a friend."


And then those who decided to go on a rant about who, or rather what, he/she is.


1) "Your perception, everyone's own personal perception."
2) "[I am a] rapist, sadistic, father complex, abomination, violent, selfdestructive, pack leader, loving, respectable and protective."


1)"What we're bound to."
2) "Many things... An individual, an artist, fragile, life, death, heart and soul, music friendship, odd, unique, dimensional."


Sadly no one gave me an answer that was all to definitive and would challenge anyone's views directly. Instead we all seem to believe that reality is dependent on the individual save "Just another person; the only person I know to be real." This individual admits we must conform to the norms of society when defining what is real. "Just another person...." even went on to explain if you think something that most others don't, you are the one seen to be wrong. 
So what does any of this have to do with art? Art is similar to reality. Art is dependent on the individual. Art is also susceptible to "common perception". Art is perceive differently from individual to individual even when looking at the same artwork. Each person brings his/her own experiences and emotions to a piece of art. 
Watching Matrix and Inception numerous questions arise but the common thread is reality and how to "free you mind." These questions and ideas are not new by any means. People even question if those who created the Lascaux Cave asked themselves these very questions. What am I studying?... art? philosophy? life? I think I'm learning about all of it.

"Hathor and Sety" vs. "Hairdressing"

Hathor and Sety, detail of a pillar from the tomb of Sety I. Egypt, c. 1300 B.C.E. Painted plaster on limestone, height 7'5". Musee du Louvre, Paris.

Kitagawa Utamaro. Hairdressing, from Twelve Types of Women's Handicrafts. c. 1798-99. Polychrome woodblock print, 12 1/2 X 10 1/2". Art Gallery of South Australia, Adelaide.

Art can come in many different forms, such as: sculptures, paintings, music, architecture, and photographs. It also comes in many styles. Styles are usually particular to a certain culture, sometimes even to an individual artist. Hathor and Sety is very recognizably Egyptian, just like Hairdressing is very recognizably Japanese. This is due to their stylized nature. Both paintings also keep the color palettes true to the styles. 

Hathor and Sety is a narrative piece located in the tomb of Sety. It is not intended to deviate from social norms like Picasso. Nor does it attempt to serve the purpose of evoking pleasure. It is meant to tell a story and was most likely worked on by numerous individuals. However they were instructed to draw certain things a certain way and the resulting product is the Egyptian hieroglyphs and portraits we are accustomed to. Certain colors fill certain shapes. Certain lines point in certain directions. Everything follows a pattern. Everything is done as it has always been done in that culture.

Similarly Hairdressing is uniquely accustomed to the culture. Japan being a series of islands was a bit isolated and as a result is rather traditional. The methods Utamaro used to draw the hair and the manner in which the facial features are applied are all part of the style. The colors, clothing type, and combs are all reminiscent of the Japanese culture. 

Francisco de Goya's "Chronos Devouring One of His Children" vs. Pablo Picasso's "Seated Woman Holding a Fan"

Francisco de Goya. Chronos Devouring One of His Children.c. 1820-22. Wall painting in oil on plaster (since detached and transferred to canvas), 57 7/8 X 32 5/8". Museo del Prado, Madrid.

Pablo Picasso. Seated Woman Holding a Fan. 1908. Oil on canvas, 59 X 39 3/8". State Hermitage Museum, St. Petersburg.

What is art? This question does not have a definitive answer. Some gauge art on beauty. Some measure it by skill. Some insist it's form must outweigh function. The debate will continue and critiques will vary. People will not always agree on what is good art, or even art at all. Goya and Picasso challenged notions of what art should be during their time. Neither of the works depict "beauty" per say. Some even argue Picasso's show little skill involved. Nonetheless both Chronos Devouring One of His Children and Seated Woman Holding a Fan are both recognizable works of art.

Francisco de Goya's pessimistic nature is prevalent in his painting titled Chronos Devouring One of His Children. There is a very raw power exuded from this painting. From the body language and facial expression to the sharp red against the predominantly neutral color palette, one senses vexation in the work. Even the simple black background works with the piece to set emphasis on the disturbing subject matter.

There is no doubt Picasso had skills. By the age of fifteen he had completed startlingly life-like images. But that is not what he is most famous for. He is much better known for his abstract works such as Seated Woman Holding a Fan. In this painting, sharp angles and geometric curves are repeated throughout the work, continuing from the main subject to the background. Even the color palette is has a more primitive feel. But this style was very new and different and not so readily accepted. 

Stonehenge vs Vietnam Veterans Memorial

Stonehenge. c. 2000-1500 B. C. E. Height of stones, 13' 6". Salisbury Plain, England.

Maya Lin. Vietnam Veterans Memorial, Washington D. C. 1982. Black granite, length 492'.

Stonehenge and the Vietnam Veterans Memorial are both places created for some human purpose. They both are important pieces of history, one literally and the other symbolically. They were and are places of gathering. Both are done on momentous scale.
Stonehenge is an amazing marvel of the Stone Age located in the south of England. It consists of circles of megaliths, which are very large stones, and ditches. It is unknown as to how such a work was created so many years ago. The megaliths, weighing around 50 tons, were transported and carved into what you see today, save weather erosion and vandalism. Many theories exist as to why it was created. Some believe it is a calendar of sorts, while others seem to agree it was a place of public gathering for rituals and ceremonies.  However created and whatever the purpose, it is one of the places where art begins.
Maya Lin's Vietnam Veterans Memorial is an obtuse angle of black granite with the names of thousands of Vietnam War Veterans inscribed upon it. The  two walls cut into the earth and point in the directions on the Washington monument and the Lincoln Memorial. It too is a place of gathering, but much more is understood about its purpose and construction. Details from the gradual assent and descent of the pathway to the reflective surface of the granite all have meaning and further contribute to the overall effect of the memorial.

Ernst Haas vs Jim Hodges. Peeling Paint on Iron Bench vs Every Touch.

Ernst Haas. Peeling Paint on Iron Bench, Kyoto, 1981. 1981. Kodachrome print.

Jim Hodges. Every Touch. 1997. Silk flowers, thread, 18 X 16' Philadelphia Museum of Art.

Artists are said to do five things; "create places for some human purpose," "create extra-ordinary versions of ordinary objects," "give tangible form to the unknown," "give tangible form to feelings and ideas," and "refresh our vision and help us see the world in new ways." The main purpose of both of these works of art above is definitely to "refresh our vision and help us see the world in new ways." Both artist took everyday objects in put them in new light.
Haas took a photograph of the paint peeling off an iron bench just after it had rained and leaves had fallen.This work shows a sharp contrast between the colors of black and red as well as textures of the hard iron bench and the supple, fallen maple leaves. There is a certain calming effect of the glimmering water as well as the idea of destruction from the aged paint wearing away.
Hodges took silk flowers and deconstructed them into individual pieces, then sewed them together to create a veil or curtain of sorts. The piece seems to evoke a sense of beauty and youth and the fragile and fleeting nature of them both. Every Touch is also an extra-ordinary example of an ordinary object and would make some very interesting window treatments.

"3 Million Years of Art in 150 Minutes"

"3 Million Years of Art in 150 Minutes" covered art from the Makapansgat pebble to the pioneer plaques. The Makapansgat Pebble is a jasperite cobble with the rendition of a human face on it.

 However it is not man-made. It was created by the process of water erosion. This posed the question of "What is art?" and "Is this pebble art even though it is not man-made?" My definition of art happens to be the product of man's creativity. How involved Australopithecus Africanus were with the production of this pebble is uncertain, therefore my opinion on whether or not it is art is as well.
The pioneer plaques were placed on Pioneer 10 and Pioneer 11 space crafts as a pictorial message from earth.

There is no doubt that this is art. It's not the most aesthetically appealling art, but art nonetheless. And in between the Makapansgat Pebble and the Pioneer plaques ranged art from the Roman architecture to the Gothic cathedrals, Rococo paintings to Bernini sculptures, Egypitian poetry to Shakespeare plays.
Over the years art has taken on so many different forms in so many different styles. This calls for the question of "What is your favorite kind of art?" This is an incredibly difficult question for me to answer. My taste is rather eclectic. I enjoy many things including graffiti writing, pop art, Japanese pop music, fashion design, theatrical plays, literature, abstract expressionism an much, much more.
What about you, what kinds of art do you enjoy?