Intermediate Photography 2

Post your comments, reviews and critiques below. As stated in the course syllabus, reviews should be at least one paragraph in length (approx 250 words) and follow the general guidelines presented in course handouts, including: Talking and Writing about Art.

Again, this format is informal and the comments should be brief and concise. This is not a space for lengthy discourse or academic writing. I expect you to write as you would speak in class and elaborate beyond “I like…” or “, (the work) is awesome”. Be descriptive and specific in response to both the formal and conceptual elements of the work(s).

Keith

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8 Responses to Intermediate Photography 2

  1. Kayla Moncrief says:

    The first show I would like to discuss is Tom Nussbaum. I enjoyed how he took simple interests and worked with it. I enjoyed looking at all of his sculptures that he built. They were very bright and colorful and interesting. He used simple lines for his drawings and very abstract. I enjoyed his very large sculpture that was made of something that looked similar to the plastic connect toys that we all played with as children.

    The next show I want to talk about is Effigy. I thought her show was very unique and interesting. How would someone come about having a senior show that showcased pigs. I enjoyed how raw and life like that they were. Having it in the black room was a very good idea. It really heightened the experience I feel like she was trying to convey.

    The next show I would like to discuss was Ice breakers. This show was going on at the same time as effigy and it was a totally different experience. This show was very light hearted and seemed very pretty and showcased a lot of metal work. It was very pretty and definitely different then effigy.

    The last show I would like to discuss would be my senior show. I feel like it was different then what other senior shows have done before. We set up the show so that people that would come to look at it had to view everyone’s work before finding yours. It was definitely a different experience when setting up the show and then viewing it when it was finished. It was a sense of accomplishment and was something that you could be proud of. It is different then having just your classmates view your work. Your work is up for a week or two and other art students and people just touring the school get to view your artwork. I feel like for stressing out and worrying about the outcome, I think our senior show did pretty darn good.

  2. kovnat77 says:

    My Racial Ignorance
    Oil paintings By Bonnie Mettler at The Muse Gallery in Philadelphia.

    My Racial Ignorance, an eye-opening gallery exhibit at The Muse Gallery in Philadelphia opened on Friday to large crowds. The paintings on display were powerful images of racial ignorance and discrimination throughout history. Bonnie Mettler, a white middle aged artist from Virginia, displayed works exploring the Racial ignorance she began discovering she, and most other white people, have in relation to historic slayings, and racial discrimination throughout history.

    When entering The Muse Gallery you had to view the show in a specific order, beginning with a portrait of Emmett Till (a young black boy violently slain wrongfully by white men in 1955), and ending on a canvas with a couple tenderly interacting with one another entitled Lovings vs. Virginia. By each painting the artist included 2 to 5 small square canvases upon which she told that individual’s story, scraping the words into the surface of wet oil paint. Mettler handles serious and upsetting subject matter with an incredibly expressive hand, in terms of brushstroke and color choices. In her painting of Trayvon Martin she utilizes text onto the canvas, immersing it into the portrait, intensifying the message, reemphasizing the racial ignorance that has not changed since the 58 years that Emmett Till was slain “for acting like a white man.” The canvas reads “he was a beautiful teenage boy…he was minding his own business…a white man murdered him with impunity. 58 yrs. No change” a statement that leaves the viewers feeling dirty, reminded that their present is not so far off from the sad, racist, bloody past.
    My favorite piece in the entire Gallery was one entitled Lovings vs. Virginia that depicted an interracial couples struggle with the court after being ruled as having an illegal marriage (1967), sentenced to a year in prison or forced to leave Virginia. They chose to leave, and then took it to court later because it made their life impossible, they fought in court and won. The painting is 95% pinks with a touch of white and blues for highlights; it makes the viewer pay less attention to skin color and more attention to the moment of pure genuine intimacy the couple shares.
    Bonnie Mettler takes you on a journey of awareness, beginning with the painful reminder of where our racist roots began, how they have evolved over time, and how love can bring change if you fight for it.

  3. Brent Galen Adkins says:

    During my recent visit to the Pennsylvania Academy of Fine Arts’s gallery, I was captivated by a singular work and found myself for one of the rare times in my life unable to look away, much like a buffoon behind the lens of an iPhone witnessing a car crash. This impressionistic piece was titled “Noa Asleep” and Philip Geiger created it in 2012. In my life, I can remember only one other piece that I have seen that casted such a spell on me so that I could not move nor even think 100% clearly, but was forced to race the corridors of my mind opening every door only to be whisked away immediately to the next one, an experience much like that of a trip on LSD, so quite powerful for a simple image to concoct. When I first laid eyes upon the painting, I felt drawn to the neck of the woman portrayed, as she lie sleeping in an uncovered bed, slumbering beautifully in the mid morning, waiting to be shaken awake by the sunlight and the smell of the breakfast you have been busy preparing between surreptitious moments of visual embrace where you simply gaze at the tiny hairs of her nape and arms glowing in the warm glow of a new day, a new beginning. After you regain awareness of yourself, you notice the light coming through two doorways away, the door to the kitchen you left open so the culinary cloud may drift into the bedroom to gently embrace your lover in the quiet morning. You notice the closet doors you left open from the night before when you were getting ready to go out, but you forget why and where you went, only that it was to exist within a stretched moment of life with this fallen angel that rests from her descent in your bed, and you cannot remember if you’ve been with her for a month or a lifetime, because time has ended, died from uselessness, once her presence was injected into your existence. Her soft breathing flutters the few strands of hairs that mask millimeters of her face, dangling like feathers drifting in the lake’s breeze, and the pink of her nightgown and the blanket that became tangled in the heat of sleep kiss the altar of bliss she exists both on and in. You stand and pour all of your essence into this moment so that everything within you will taste, touch, smell, hear, and see what heaven is, if only for a moment, so that at least you may know what death’s prize shall be, an eternity of loving embrace from the form of all that is good and possible, a moment that can never fog nor be forgotten because it is now part of you and it is what you shall live for to die for. Perfection is not real, even the word is absurd, but whatever this is, this moment, this feeling, this existence, it’s something better than the notion of perfection, it’s the swallowing white warmth of life, death, and all the rest; it is love.

  4. Christina Berkett says:

    In this critique, I wanted to talk about Joyce Kozloff’s work that we saw in the gallery this past month. Personally, her collection wasn’t something I’d be interested in. After hearing her talk about her pieces, I started to become more interested in it. I even went back the following week on my own just to look at the pieces in more detail. My favorite piece would have to be “Targets”. I love it because it allows you to walk in and be surrounded by it. It’s not just something you frame and put on a wall. Another favorite would be “Revolver”. Both of these pieces are interactive which is why they stand out to me above all the rest. Her work tells a story but allows the viewer to be a part of the story as well. After hearing her talk about her collection, it’s almost as if she wanted to combine reality with fiction much like in her collages. Overall, I thought her collection was definitely unique and opened my eyes to different art works that I normally would oversee.

  5. Nicole Tintle says:

    Joyce Kozloff’s work at Rowan- When you first walked in the gallery, there was this huge globe-type piece of work, with maps inside, detailing countries around the world that the United States had bombed. I loved the vibrant colors that she used inside, and how every piece was painted with a different color. I thought the story behind how it was constructed was very unique, especially because the pieces were custom made for her by a husband and wife in Italy. Once I actually stepped inside the artwork, which in itself, is something you can’t say everyday, I was amazed at the detail in the work. Because of the shape and lack of openness, the sounds were enhanced; every little step I made, every sound I was making was almost amplified. When looking at the pieces that were hanging on the walls, I like how she used different frames for the different collections, and that she explained why. Majority of her work was very colorful, and the ones that didn’t involve much color had more neutral tones. I enjoyed looking at all the different collections and artwork because even though they were all different, they all had the same general idea. It was cool to see how she interpreted these maps and made them her own masterpieces. It was interesting how she had included little star stickers (and other misc. stickers) within some pieces, it gave it the affect of a child found their grandparents old maps and started coloring / being creative on them. Her work is very original and I had a great appreciation for what she did because I had never seen something like what she does.

  6. SammyKov says:

    Joyce Kosloff; Cradles to Conquests: Mapping American Military History.

    A gallery sparsely filled with layers, lines, geometric forms, and war. A cradle rocking for the middle east. A globe, entrancing viewers with the overwhelming contrast of playful color, and the harsh reality of violence, setting the mood.

    The gallery show of Joyce Kosloff’s work was an overwhelming, yet underwhelming exhibition of the Artists collective work regarding the cartographic mapping of wartime. On one hand, she had pieces that drew you in, entrancing you to want to enter the gallery space (such as her large inverted globe, and painting that is on a lazy suzan attached to the wall) and on the other she had many collaged pieces covering the walls that all emitted the same energy, and had a real uniformity to their depth that was an overall “Eh.” Those pieces gave you the “ok” to simply walk by without a second glance. That was my initial reaction to her work, the layering of tiny-collaged elements, the complex maps painted all over, the chaotic imagery within her framed collages and painted canvases, overwhelmed me.
    And then Joyce began to talk.
    When Joyce Kosloff Discussed her work Series by Series, it helped me to understand her thought process and the context of most of her creations, which truly gave them all more depth. At first glance I thought that the large globe in the center of the Gallery space was fascinating, simply by its form, and the idea of an inverted globe of sorts with all of the vibrant colors; but once she explained what all of the maps were of, it felt a bit perverse, as though she had tricked you into looking at something beautiful only to reveal that a breathtaking cloud formation was actually the outline of an atomic bomb off in the distance bee-lining for where you stood. Kosloff stated that she was a feminist and that for her, the form of a globe and the inversion of the mapped images being on the inside, were almost an ode to the female genitalia. I interpreted it as though the viewer stands in the center of the globe, in a womb-like “safe-zone” that shows them all of the destruction they are shielded from, recreating the 9 months of sheer sanctuary each individual has in their lifetime, a period in which all of the scary things outside of ones amniotic fluid are seemingly non existent background noise, just pretty colors in the distance.

  7. Brent Galen Adkins says:

    Joyce Kazlov’s collection in the Rowan Gallery struck me as both interesting and disappointing. It was interesting in that her mediums varied to a greater degree than most artists’ exhibits tend to, and the range of military/warrior types she used was impressive, blending real soldiers as well as imaginary ones. The wheel, cradle, and globe were such brilliant forms in which to create her art, bringing a new element of interaction and perception into the beholder’s experience that helped convey her concepts with a greater ease. In particular, the cradle and globe were her most successful pieces in showing the intensity of war, even if her concepts were not fully fleshed out or refined as she admitted during her explanation of those pieces. But, where the show seemed to lack was the repetition of themes and portrayals within three of her series. These three were the three, framed series that used maps with soldier drawings superimposed upon them, and while their specific meanings were different, both their concepts and executions felt quite monotonous. There was also a sense of horror vacui in some of her work, specifically those same pieces, leaving the viewer with a feeling of unease and anxiousness, seeking a balance of positive and negative within the surrounding walls. However, the color schemes she chose for her works were very well done, often emitting the mood contained within the piece. But overall, her show was well put together in its cohesiveness through the theme of war while still providing a sense of variation and change through which wars the works were portraying and the forms they assumed in portraying the work.

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