Art critics refer to the work of Bulgarian-born Christo and American Robert Smithson as land art and earthworks (Art Pp). In February 2005, Christo and his wife, Jeanne-Claude, fulfilled a twenty-six-year-old dream art project when 7,500 saffron colored drapes hanging from 16-foot-high steel frames were unfurled as they wound their way through twenty-three miles of footpaths through Central Park (Sanders Pp). During a recent visit to New York City, reporter Bob Ray Sanders made a special stop to the park to witness "The Gates" for himself (Sanders Pp). His describes the contrast of the bright orange colors with the "grayness of stark barren trees and shrubbery did give the appearance of what the artists called a 'visual golden river' with many tributaries meandering through the park' (Sanders Pp). Sanders said that the bursts of color and the sheer size of the project left him awed, however, his Pakistani taxi driver merely uttered, "What is that," to which Sanders replied, "that's art" (Sanders Pp). The taxi driver gasped and said, "And that's art." when Sanders told him that the project cost $21 million (Sanders Pp). "That's not art," said the taxi driver, "That's crazy...$21 million for this...." (Sanders Pp). The taxi driver clearly did not appreciate "The Gates" as art or anything else and believed that...
When Sanders told him that people from all of the world were coming to New York City to see "The Gates," the driver retorted, "From all over the world? I wouldn't come from Queens to see this" (Sanders Pp). Sanders found the project magnificent and definitely art, for "It has a way of evoking emotion - positive or negative - and when it speaks, it can speak to the senses as well as the soul" (Sanders Pp).
The above perception of the insanity of life is not at all apparent in the second painting of Georges Seurat. While it is mystical, it gives too much quiescence that is there with the impressionistic style. This like Picasso's painting above is a happy trip and does not exhibit as much negative energy as Picasso. He also does not seem to be trying to summon any primitive energies. Rather Seurat's
This work of art depicts a struggle between two ancestors, the Bungalung man and a Tingari man, the latter of whom was trespassing on sacred land (No author). The copious quantity of dots, particularly the white ones, evinces the full force of the elements invoked by the Bungalung Man to beat his opponent into submission. The power of the Bungalung man is evinced by the fact that he leaves
Admittedly, these two teams were faced with a daunting challenge in acquiring and interpreting those works of art that were most appropriate for their exhibition goals, and interpretive efforts must use some framework in which to present the resources in a fashion that can be understood and appreciated by the targeted audiences. Nevertheless, there is little or no discussion concerning the fusion of artistic styles in the two catalogs, with
Art PAINTING No. Untitled #14 Artist: John McLaughlin Paragraph: John McLaughlin was not a formally trained artist and started painting relatively late in life. A career in the military and foreign services brought him to Japan, exposing him to different artistic perspectives, forms, and styles. However, Mondrian would influence McLaughlin's artistic influences far more. McLaughlin came to rely on a minimalist color palette consisting often of only solid chunks of black, white, or primary
Art Currently on loan from the Frick Collection in New York, Hans Memling's "Portrait of a Man" is unique among paintings in the Norton Simon Museum, which does not otherwise boast a collection heavy in Flemish art. The Memling portrait is executed in oil on oak panels, and completed in the mid-1470s. It is relatively small in scale, at just over a foot high and nine inches wide. The museum's description of
(Mulcahy and Wyszomirski 139) However, this is not art for art's sake; it is art for our children's sake. If one has to put on the back burner that Picasso was a cubist for the sake of challenging a child to look at a painting and just experience it, than so be it. The very act of simply experiencing the art of an artist can have profound effects on the
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