Gallery Viewing

The exhibition was done by a photography grad student. This fact informed the viewing and organization of the work. Originally when I walked into the gallery space, it seemed unorganized, but through deepened observation, the placement made more sense. Each element made you view it separately, making you consider the organization of that piece, out of context with the others. The line of black objects placed as you just walked in that was created through everyday  objects such as grapes and records were placed in a fashion where they seemed to degrade down the line. It introduced the black and white color scheme of the ehibit, this piece concentrating mostly on black. It demanded you look directly down at the floor, eliminating the other pieces from  the field of vision. The photograph of white marble was placed on a wall singularly by its self. The other pieces within the first room were viewed similarly, demanding all attention and through looking at all the pieces a unity and understanding of the organization could be understood. A contrast literal and figurative of the black from white could be  identified. The second room was mostly bare but continued the process of discussion of black and white. The white marble referenced the white marble photo on the first wall. A black flag offered contrast to the marble structure. The video was shown in a room of its own, utilizing a slowed down sound track and video. There were three characters, a white woman, a black woman, and a black man. This room clarified the theme, and referenced a picture of black and white woman in the first room. The ehibit was somehow discussing two women lovers. The pieces were not happy or joyful, they were often dark in color expressing a more somber mood, possibly an unresolved conflict.

Lioness and Cub Revisited

Initial Reaction to the Piece:  This piece has a wow factor in its large size and the fact that there are two flanking the doorway. It also reminds me of the character Stich from Lelo and Stich the Disney movie.  I also was intrigued by its foreign style. In art history we only study western art, so eastern art is really interesting.

Color: The piece is mainly a shade of teal. It is not a consistent teal, as the enamel varies in hue within the piece. It also has accents of red, white, yellow, gold lief, darker blue, and brown.

Color Attraction: Yes , I think that the colors attracted me to this piece. I enjoyed the fact that the lion was unnaturally blue. Western culture tries to represent creatures roughly with their natural color, but this figure embraces an unnatural blue tone as a “flesh” tone.

Time: It reminds me of spending time with my family watching Lelo and Stich. In this sense the intimidating sculpture of a lion and her cub becomes endearing, funny, and cute.  It also reminds me of a metal chinese fish that my grandmother gave me when I was little. I fell in love with her Chinese fish  and she ended up giving me one for my birthday because I was so infatuated.

Smell: The area does not smell like anything in particular. My experience of the piece is not affected by the smell.

Conversations: It was really interesting to eavesdrop on the people viewing the piece. Some talked about me drawing it, but most people commented on the sign in front of the statue that said “Adopt me.” It was amazing how the conversation and experience of this piece for these people was not the experience of the piece itself, but of what was in close proximity to the piece. This piece was not behind glass, and the one child had made it his duty to touch everything that was not in a case, and he informed me of his decision and then touched the statue. It seemed as if many of the people did not appreciate the art, they spent maybe five seconds and then moved on to the next piece.

Spatial Relation:  These figures flank a doorway, so they appear important and draw attention towards them.  They are in the path of travel to another room, so people always see them as they walk into the  next room.

Scale: Pieces in this room range from two by three by two foot sculptures to tapestry’s that are approximately 50 by 30 feet, so the range of size is very broad, and the size of the sculpture is around a media size.

Color within Lioness and Cub

For this assignment I went to the Penn Museum. Their focus is on historical works, so some of the collections lacked color from the cultures lack of the use of pigments or from the fading or degradation of the piece. The African and Chinese art held the most vibrant color pallet.  African art consisted mainly of prismatic, neon colors, where Chinese art contained contrast in moodier hues contrasted next to metallic gold. The specific collections are not from the same time period, so they cannot be compared to which geographical areas developed what colors first, but the brief sampling of art within the museum does give a brief idea to what colors different cultures utilized and how they utilized them. African art dealt more with fabric dying and the creation of useful goods where Indian dealt more with religious and Greek more with government. The color pallets of the varying areas are the colors found within the areas in which these people live. The bolder colors make sense within the equatorial location of parts of Africa. India has yearly monsoons, which would provide explanation for the moody colors found in the work.

            The specific piece that I chose was The Lioness and Cub done in the seventeenth century during the Quing dynasty. The color was created through a process of cloisonné in which metal wires are soldered onto the figure, enclosing a space. Then enameling is melted into these individual enclosures. Different colors are created through different colors of enameling. This process demonstrates color being extremely pre-planned. Like in frescos, there was no redoing or recoloring of the sculpture. Most of the piece was covered with blue enameling, but some areas, such as the collar and the base, which is not pictured well above, have high detailing in bold, prismatic colors. The piece’s main focus is on shape and texture. Color is utilized to block out large sections of color within the framework of the cloisonné, like color blocking. In works to create a base for the sculptural details in which the drama of the cloisonné and the textural elements such as in the main of the lion. The eyes are not pure white and give the sense that the color has faded or is dirty. If it is true that the whole statue is deepened in tone from its original coloration, it would give a different interpretation of Chinese use of color than what this piece portrays.

            Within the Penn Museum, the Lioness and Cub statue is displayed inside a room with large Chinese wall paintings and other Eastern art.  It flanks a doorway along with a similar statue of a male lion. These statues would have normally stood in the door way of an Indian temple. It is a grey stone room in which the curators have placed backdrops behind sculptural pieces that enhance the piece. The Lioness and Cub sculpture has a prismatic blue background which emphasizes the tones and shades present within the sculpture. The white of the door frame, which was not placed there on purpose, still adds to the piece by providing a contrast to the faded white of the eyes. The stone wall to the left of the statue does not accentuate any aspect of the piece and the texture of the brick work may detract attention from the cloisonné enameling because of the thicker line of relief in the mortar.

             I chose this piece because of the use of enameling on such a large sculptural object. During my last semester of art history most enameling was very small scale because of its intensive process. It also reminded me of the intimidating but awkwardly cute Stich from Lelo and Stich.  

Response to Quote

"The point is, that every piece of art changes your whole perception of the rest of the world for the rest of your life. And it's not a joke! And if it doesn't, then it's not art, it's a commodity."

- LawrenceWeiner responding to a question from Liam Gillick in "Between Artists"

pg20

Everyone perceives reality differently. That being said, it is nearly impossible for one piece of art to change the lives of all of its viewers.  Each viewer sees the work of art from their own eyes which have their own individual experiences behind them. Those experiences, memories, associations, cultural norms, and innate understandings determines how someone sees a work of art, if it affects them or not. A piece of art that changes one person's life could draw a completely neutral response from another viewer. Take, for example, this Rothco piece:

Mark Rothco Orange and Yellow - 1956

Some people look at this piece and just question its integrity as a piece of art. They either do not or cannot see past their own skepticism. Other viewers can be engulfed within the colors and be completely changed. They may understand the artist's intent, or, more likely, they are able to put their own meaning behind it, pulling from either their subconscious or their experience. These viewers are more open and less skeptical. 

Every piece of art cannot affect everyone's perception. People are too different for something to be entirely universal. I think that art in the typical sense, drawing, painting, and sculpture, is art if it changes one person. 

This is all said under a more classical sense of art. A different definition of art changes the answer to this prompt. The MOMA has objects that wouldn't fall under this classical definition of art. 

 Tupperware definitely does not fit into the classical definition, but definitely has "changed the world." But tupperware is a commodity... so where does this leave LawrenceWeiner's quote?