Artist Influences

Summer Assessment

tumblr_mphhee1wlS1qct9kxo1_1280

EL88.087_428H

Felix Gonzalez-Torres – inspiration for display. idea of viewers removing part of the exhibition, symbol of death.

testuser5_oct2008_11_psaville_jp281008_eVGAlu_W0ioBx

testuser5_oct2008_13_psaville_jp281008_u7vwg0_HDeAi6

testuser5_oct2008_14_psaville_jp281008_Oze0xT_HkFYtf

testuser5_oct2008_15_psaville_jp281008_TL4faK_FhbshC

Peter Saville’s exhibition – objects on plinths

Aug13NYC_Wallspace

Jiří Kovanda – mundane objects on plinths

Sara Barker – wire sculptures

Incommunicado 1993 by Mona Hatoum born 1952

Untitled (Wheelchair) 1998 by Mona Hatoum born 1952

Mona Hatoum – turning the everyday object sinister

joseph-cornell-a-parrot-for-juan-gris-1953-54-web

Joseph Cornell – found objects archived in a box.

Cold Dark Matter: An Exploded View 1991 Cornelia Parker born 1956 Presented by the Patrons of New Art (Special Purchase Fund) through the Tate Gallery Foundation 1995 http://www.tate.org.uk/art/work/T06949

Cornelia parker – use of everyday objects in art.

Fountain 1917, replica 1964 by Marcel Duchamp 1887-1968

Marcel Duchamp – Fountain. Found objects in art.

Die-Harder-by-David-Mach-detail-of-head-coat-hanger-sculpture.-Credit-Richard-Riddick-thedpc.com-smaller

david_mach_coathanger_sculptures_collabcubed

David mach – sculptures made from wire coat hangers.

0401_quantumcloud_ix_1999_001-460x593-400x515

Antony Gormly – wire sculptures

Autumn Assessment

Vincent van Gogh Dutch, 1853-1890 The Starry Night, Saint Rémy, June 1889 Oil on canvas, 29 x 36 1/4" (73.7 x 92.1 cm). Acquired through the Lillie P. Bliss Bequest Gallery label text: "This morning I saw the country from my window a long time before sunrise," the artist wrote to his brother Theo, "with nothing but the morning star, which looked very big." Rooted in imagination and memory, The Starry Night embodies an inner, subjective expression of van Gogh’s response to nature. In thick sweeping brushstrokes, a flamelike cypress unites the churning sky and the quiet village below. The village was partly invented, and the church spire evokes van Gogh’s native land, the Netherlands. Publication excerpt from The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999, p. 35: Van Gogh’s night sky is a field of roiling energy. Below the exploding stars, the village is a place of quiet order. Connecting earth and sky is the flamelike cypress, a tree traditionally associated with graveyards and mourning. But death was not ominous for van Gogh. "Looking at the stars always makes me dream," he said, "Why, I ask myself, shouldn’t the shining dots of the sky be as accessible as the black dots on the map of France? Just as we take the train to get to Tarascon or Rouen, we take death to reach a star." The artist wrote of his experience to his brother Theo: "This morning I saw the country from my window a long time before sunrise, with nothing but the morning star, which looked very big." This morning star, or Venus, may be the large white star just left of center in The Starry Night. The hamlet, on the other hand, is invented, and the church spire evokes van Gogh’s native land, the Netherlands. The painting, like its daytime companion, The Olive Trees, is rooted in imagination and memory. Leaving behind the Impressionist doctrine of truth to nature in favor of restless feeling and intense color, as in this highly charged picture, van Gogh made his work a touchstone for all subsequent Expressionist painting.