Paintings: Emotional Intensity of Modern Art Report (Assessment)

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More Interesting than War

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Name: Hong Seung-Hye

Title: “More Interesting than War”

Year: 2008

Gallery: Kukje Hallery

Exhibition: Debris

Materials: Polyurethane on acrylic

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Method of construction and dimensions: 14 x 18 x 27 cm, 14 x 20 x 7 cm, 10 x 24 x 5 cm, 14 x 40 x 7 cm, 24 x 14 x 10 cm, 10 x 10 x 5 cm, 12 x 18 x 4 cm

Ideas: loneliness, and rebirth

Context: the lack of interpersonal communication in the 21st century

Background: The artwork was inspired by and designed based on the artist’s previous creation, “Organic Geometry.”1

Philosophies: Philosophy of technology2

Critique

The fragmented shape of the artwork is supposed to represent the fractured 21st-century reality. By expanding her previous work, the artist managed to provide a witty commentary on the present-day lack of awareness concerning the imbalance between giving back to nature and taking from it.

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Subjective response

Seung-Hye’s art catches the eye immediately and leaves a rather unsettling feeling.

The Bride Stripped Bare By Her Energy's Evil

Name: Mona Marzouk

Title: “The Bride Stripped Bare By Her Energy’s Evil”

Year: 2008

Gallery: Gypsum Gallery

Exhibition: The Bride Stripped Bare By Her Energy’s Evil

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Materials: acrylic colors

Method of construction and dimensions: pictures, audio elements, and a projected 3-D animated film.

Ideas: return to nature, the passion within

Context: loss of touch with nature

Background: the theory of hybridized future, as the author herself defines it.3

Philosophies: nature vs. nurture conflict

Critique

Marzouk’s approach towards parodying the conflict between people and nature has a controversial edge.4,5

Subjective response

The satire that Marzouk chooses allows driving attention to the issue without being too preachy. However, the impressions concerning the art are still rather mixed. On the one hand, the reconciliation with nature that the artist offers is rather gratifying; on the other hand, the shapes of the animals, nearly unrealistic, often painted upside down, do not invite the audience to reconcile with nature.

The Snail

Name: Henri Matisse

Title: “The Snail”

Year: 1953

Gallery: Tate

Exhibition: The Cut-Outs

Materials: painted paper

Method of construction and dimensions: cut-outs

Ideas: the disintegration of the world

Context: World War II

Background: Matisse’s torturous experience of abdominal cancer; consequently, the artist envisioned the world as collapsing and helpless.6

Philosophies: existentialism

Critique

The outstanding use of color and bizarre shapes allows the artworks to attract an audience even decades later.

Subjective response

The seeming simplicity of the elements of artworks creates the impression of chaotic puzzle pieces falling together.

A Subtlety

Name: Kara Walker

Title: “A Subtlety”

Year: 2014

Gallery: Domino

Exhibition: A Subtlety

Materials: Styrofoam and sugar

Method of construction and dimensions: perspective transformation

Ideas: racial segregation; an homage to the factory workers

Context: The racial stereotype of a “Mammy”

Background: The exhibit was created in the Domino Sugar Factory

Philosophies: philosophy of race; political philosophy

Critique

Walker uses the “Mamma” trope7 from Gone with the Wind, which some people may find racially insensitive according to Loichot.8

Subjective response

The use of a well-known image does make the main message somewhat contrived due to the rich context and an aggressive, defiant shape.

Concrete Cabin West Side

Name: Peter Doig

Title: “Concrete Cabin West Side”

Year: 1998

Gallery: Tate

Exhibition: Echo Lake

Materials: oil paint on canvas

Method of construction and dimensions: 2305 x 3605 x 50 mm

Ideas: solitude, nature vs. nurture, environmentalism

Context: the increased pace of urbanization

Background: Doig’s move to industrial London from the Canadian countryside

Philosophies: natural philosophy

Critique

Emotionally fuelled and rich in metaphors, the painting represents the dual nature of a human being, as Manchester claims in her article.9

Subjective response

Doig’s painting is shot through with existentialism. It addresses the significance of an individual, making a powerful statement about the role of people in society.

Nude Woman in a Red Armchair

Name: Pablo Picasso

Title: “Nude Woman in a Red Armchair”

Year: 1932

Gallery: Tate

Exhibition: Members’ private views: Picasso & Modern British Art

Materials: oil on canvas

Method of construction and dimensions: Support: 1299 x 972 mm frame: 1414 x 1081 x 83 mm

Ideas: sensuousness as a refuge for people during the demise of the humankind

Context: World War II

Background: Picasso and Marie-Thérèse Walter were involved in long and emotional relationships.

Philosophies: hedonism

Critique

The exaggerated sensuousness of the model’s body and the soft curves of the chair are opposed to the duality of the model’s personality represented in the model’s face, which Picasso set off by stressing the line between figure and field, therefore, making the message of the artwork more poignant.10

Subjective response

The unique use of color and shape help convey the concept of love as the saving grace for the desperate humankind in a very convincing manner.

Tick Tock

Name: Karin Mamma Andersson

Title: “Tick Tock”

Year: 2012

Gallery: Karin Mamma Andersson

Exhibition: Dog Days

Materials: mixed media on panel

Method of construction and dimensions: 99×184,5 cm

Ideas: social isolation, family issues, loneliness

Context:

Background: Andersson draws the ideas for her paintings from her personal experience, according to Haapala’s interpretation of the artist’s vision11.

Philosophies: existentialism

Critique

The blurred lines, which Andersson uses to make the figures merge into the field, allow the viewers to envision mundane things in an entirely new manner, therefore, performing a specific semantic function12.

Subjective response

The images that Andersson creates seem to be carved out of ordinary life. However, the way, in which these images are arranged, creates an emotional tension.

Dig Days

Name: Honore Daumier

Title: Dig Days

Year: 2014

Gallery: Visions of Paris

Exhibition: Royal Academy of Arts Exhibition

Materials: Mixed media on panel

Method of construction and dimensions: 99×184,5 cm

Ideas: a history of Paris

Context: old French newspapers and other types of media

Background: the tragedy and drama that lurks behind the seemingly reputable camouflage of the city

Philosophies: sketchiness as a means to represent the uniqueness of the city

Critique

Brief and sketchy, the style of the artist restores the Paris of the bygone era, making the epoch revive and relive its days of glory.13

Subjective response

The dark, though not quite saturated, tones used by the artist create a surreal illusion, making the characters look almost ghostly.

Carla Klein

Name: Carla Klein

Title: no title

Year: 2014

Gallery: Tanya Bondakdar Gallery

Exhibition: Solo Exhibition

Materials: oil on canvas

Method of construction and dimensions: 60 ft.

Ideas:

Context:

Background: an exploration of the links between photography and painting as the medium with equal potential.14

Philosophies: philosophy of photography; philosophy of painting

Critique

The tone as a unique combination of light elements beyond the horizon and a darker, gloomier foreground that is richer in tone allows for an elegant metaphor.

Subjective response

The approach chosen by Klein invites the audience into the blend between reality and the world of art that she creates.

Head of Christ

Name: Rembrandt

Title: Head of Christ

Year: 2011

Gallery: John G. Johnson Collection

Exhibition: Rembrandt and the Face of Jesus

Materials: oil on oak panel

Method of construction and dimensions: 35.8 x 31.2 cm

Ideas: redemption, forgiveness

Context: the Christian Church in the 17th century

Background: Rembrandt’s search for the meditative ideal and its characteristic features based on the medieval iconography.15

Philosophies: philosophy of Christianity

Critique

The use of tone in Head of Christ, particularly, the shadowy background and a clear light spot with a focus on the face creates an entirely different image of Jesus.

Subjective response

The evident lack of traditional omnipotence in the image of Christ allows the audience to view the character from a new perspective and, thus, rethink the concepts of Christianity.

Bibliography

“A Subtlety.” Creative Time. 2014. Web.

Andersson, Karin Mamma. “” Aspen Art Museum. 2010. Web.

Cotter, Holland. “” New York Times. 2014. Web.

“” Korean Times. 2014. Web.

Cumming, Laura. “” The Guardian. 2013. Web.

Gyton, Geogri. “” Culture 24. 2008. Web.

Haapala, Leevi. “Karin Mamma Andersson.” Art Foundation. n. d.. 2014. Web.

Hofman, Stephanie. “Carla Klein’s solo exhibition at Tanya Bonakdar Gallery.” Dutch Culture USA. 2014. Web.

Kaplan, David M. Readings in the Philosophy of Technology. New York, NY: Rowman & Littlefield, 2009.

Loichot, Valerie. “” Southern Spaces. 2014. Web.

Manchester, Elizabeth. “” Tate Britain. 2002. Web.

Marzouk, Mona. “The Bride Stripped Bare By Her Energy’s Evil.” Baltic. 2008. Web.

Mikdali, Salwa. “” Metropolitan Museum of Art. 2014. Web.

“” Tate Britain. 2014. Web.

“Rembrandt and the Face of Jesus.” Philadelphia Museum. 2011. Web.

Footnotes

  1. “Culture,” Korean Times. 2014. Web.
  2. David M. Kaplan, Readings in the Philosophy of Technology (New York, NY: Rowman & Littlefield, 2009), p. 11.
  3. Mona Marzouk, “The Bride Stripped Bare By Her Energy’s Evil,” Baltic, 2008. Web.
  4. Salwa Mikdali, “Egyptian Modern Art,” Metropolitan Museum of Art, 2014. Web.
  5. Georgi Gyton, “BALTIC Hosts First UK Exhibition By Egyptian Artist Mona Marzouk,” Culture 24. 2008. Web.
  6. Holland Cotter, “Wisps From an Old Man’s Dreams,” New York Times. 2014. Web.
  7. “A Subtlety,” Creative Time, 2014. Web.
  8. Valerie Loichot, “Kara Walker’s Blood Sugar: A Subtlety or the Marvelous Sugar Baby,” Southern Spaces. 2014. Web.
  9. Elizabeth Manchester, “Echo Lake,” Tate Britain, 2002. Web.
  10. “Nude Woman in a Red Armchair 1932,” Tate Britain, 2014. Web.
  11. Leevi Haapala, “Karin Mamma Andersson,” Art Foundation, n. d. Web.
  12. Karin Mamma Andersson, “Teachers’ Guide for School Tours and Classroom Presentations,” Aspen Art Museum. 2010. Web.
  13. Laura Cumming, “Daumier (1808-79): Visions of Paris – Review,” The Guardian. 2013. Web.
  14. Stephanie Hofman, “Carla Klein’s solo exhibition at Tanya Bonakdar Gallery,” Dutch Culture USA. 2014. Web.
  15. “Rembrandt and the Face of Jesus,” Philadelphia Museum, 2011. Web.
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