Visiting Scholar Lecture Paper 2 – Lindsey Cannon

Lindsey  Cannon

ARTH  3539

Visiting  Scholar Lecture

03/11/12

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Contemporary Art Paper – Boulder, CO – Lindsey Cannon

Lindsey Cannon

Exhibition Paper

ARTH 3539

02/24/12

Viviane  Le  Courtois  is  notoriously  known  for  her  experimental  creations  of  the  every  day  objects  we  use  and  consume  in  our  society.  Her work  portrays  toward  decadence  and  the  relationship  it  has  between  mass  consumer  and  the  negligence  of  an  abused  environment.  This  is  themed  throughout  her  twenty-two  year  career  as  an  artist.  Working  with  food  since  1990  has  been  her  source  of  inspiration  which  is  displayed  through  photographs,  multimedia  installations,  sculptures,  performances,  prints  and  videos.  Le  Courtois  emphasized  our  consumerism  through  our  cultural  association  with  food,  growth,  preparation,  ceremonial  offerings  and  the  provides  the  initial  action  of  eating. Continue reading

Visiting Artist Lecture Review #1

Lindsey Cannon

Visiting Artist Paper

02/12/12

 

Arlene Shechet just honored by Art in America as being one of the finest ceramists known in the twenty-first century. Her ability to alter forms through papermaking, plaster and clay are only definitive’s to original expression. Shechet has recreated the social perspective of what is acceptably valued through rebellious formation by constructing each piece through an intrepid process.

She is mostly known for her earlier works through manipulating plaster as a medium, giving birth to her practice as an artist and the discovery of Buddhism. This Eastern influenced developed as a continuous theme through out her work framing the iconic image of the Buddha, Stupa and the connection to enlightenment. One of her most known works is Mountain Buddha, which was made in 1994. This piece embodies this overlapping process of layering mediums of paper pulp, hydrocal, acrylic paint skins and plaster. This piece exemplifies the process of life. Each individual consists of these “layers” that have ultimately influenced and changed their initial being. Shechet’s explanation for the notorious applicant of paint skins throughout her work is that it allows her to “paint without canvas.” This connects to the whole ideology to the Buddhist religion and Eastern heritage, applying her array of mediums as an expressive act of freedom and practice. The artist identifies her figure prints as a building process of painting, drawing and sculpture.

Another example of her work was influenced from this iconic figure of the Buddha  were Stupa architectural plans. This refined relic also connected to the Mandala plants and a place where one can find a sense of clarity. This theme introduced a method of plaster, which invited a chaotic scene of flooding each piece through a dissolution process. It was a production for the unknown resulting product. The Stupa architectural reliquary containers raise a domestic version of depository and ceremonial objects. Shechet created one hundred paper vessels and their plaster molds mirroring it’s form. This piece evokes commemoration and a silenced memorial for loved ones lost. These vessels were relative toward Japanese porcelain vases, relative to the blue and white arrangement of its original form.

Shechet’s work progressed into ceramics, building complex sculptures out of clay and glass.  Inspired by  the artist Otto Dix,  Shechet’s work took on a distorted disposition through coiling her mediums and creating precarious structures. Her  fascination with the three dimensional object and the embodiment of transforming the environment of the viewer is represented in every form. Glass Blower and Beside Beside both illustrate this empowering relationship of objectification. Glass Blower is a crystal rope instillation that is woven through the walls in an act of commemorating sailors in a retirement home. This blue river holds the room together and exemplifies both fragile and durable purpose of the object. Beside Beside is similar to the glass form because it has created the illusion of instability. Coiled clay is horizontally stacked to an uncomfortable elevation. This piece possesses insecurity, which connects to the artist sporadic process of developing these forms.

The artist’s muse is directed to the conscious and unconscious action of experience continuously growing and learning from each form and centralizing with the object. Her work represents between the secular and sacred recreating abstraction with the unpredictable.

MoCA Web-Feature Conceptual Art — Extra Credit

Conceptual art was a rebellious form in which broke the expectations for avant-garde painting and the historical guideline for “acceptable” art forms. This cultivating form is produced by an idea or an expression of emotion. It grew in the early 20th century, resulting from social and political conflicts that renovated cultural perspective. This art form produced a visual understanding through a process documenting a theme not through the basics of sculpture and painting, but through a media aspect of recorded video, land art and performance. This essentially cultivated the meaning of art through influencing an idea of change.

This movement was traces back to Marcel Duchamp’s simplistic Dada style, taking the usually appliance by altering its meaning to a greater importance, implying a deeper sense of meaning and importance. One example of this post modern expression is his piece “The Fountain”. This is almost an insult based on the fact that it’s a urinal transformed as a piece of art based on the title and the artist signature. Simplistic form like Duchamp’s urinal piece changed the communal interpretation of art itself.  Another artist that exemplifies this movement was John Baldessari with is C-A-L-I-F-O-R-N-I-A piece placing each letter into an environment. This provided his audience with a place within the surroundings he was trying to evoke. This is exactly what conceptual art produces. It creates an emotional installation for the viewer to experience and accept. This physicality of art is produced from the artist and the reaction the viewer is place with throughout each journey with each piece.

The MoCa Museum of Contemporary Art in Los Angeles is celebrating the first thirty years of this movement. It is showing these nontraditional forms of art which express conflict and cultivation through the process of social and political issues, creating a storyline for it’s audience which essentially altered not only the art world but challenge our social awareness of current affairs that tested our internal and external forces.

Clyfford Still Essay

Lindsey  Cannon

ARTH  3539

Clyfford  Still  Essay

January  30th,  2012

Abstract  expressionism  has  renovated  the  social  understanding  of  “acceptable”  art  in  the  twentieth  century.  It  was  an  act   of  urgency  from  the  horrific  results  of  the  postwar  of  World  War  II.  This  technical  style  embodied  surrealism  and  gave  birth  to  the  process  of  gesture  and  the  production  of  a  responsive  product  of  art.  One  iconic  figure  and  artist  known  during  this  time  was  Clyfford  Still. He  amplified  and  recreated  the  productinon of  canvas  and  figurative  ground  within his  workings  of  an  oil  medium.

Heroism  is  a  primitive  example  of  his  work  as  a  desecrate  individual  expressing  realization  of  western  culture  and  redefining  abstract  composition.  Placed  within  the  realm  of  Jackson  Pollock,  Mark  Rothko  and  Barnett  Newman  they  created  a  rebellious  unit  which  altered  the  definition  of  art,  enlightening  society  with  prominent  issues.   This  was  a  definitive  basis   for  our  society  to  reconnect  and  understand  one  another.  Born  within  seclusion  of  a  agricultural  upbringing  in  Grandin,  North  Dakota,  Still’s  ambition  was  to  evoke  a  grotesque  image  of  life.  This  process  was  expressed  through a  layered  timeline  of  agricultural  and  human  form.  The  city  of  Denver  was  fortunate  to  inherit  825  paintings  and  1575  works  on  paper  which  enabled  society  to  visually  acknowledge  his  work  as  a  form  altering  the  persona  of  “respectable”  art.  Still  wasn’t  recognized  for  his  talented  work  until  1947  when  he  began  presenting  his  view  toward  the  human  body  and  our  environment.

The  can  only  be  understood  when  you’re  able  to  actually  soak  within  his  workings,  visually  engaging  between  the  haggard  layers  of  paint  distributed  to  the  canvas  which  provides  a  sublime  acceptance  toward  the  non  objective.  This  museum  features  a  timeline  elaborating  toward  his  progression  as  an  artist.  Each  piece  distributes  a  cultural  understanding  of  a  social  disturbance.  His  central  emphasis  of  the  timeline  is   placed  within  each  one  of  his  paintings  through  compassionate  act  to  express  gestural  technique,  neglecting  a  visual  centerfold  of  background  and  foreground.  This  contingent  moment  revolved  around  his  sporadic  placement  of  oil  paints.  His  1957-D  No.  1  is  a  great  example  of  this  timeline,  through  the  embellishment  of  heavy  blacks,  yellows  and  whites  controlling  the  scenery,  through  a  layered  expanse  which  creates  a  linear  schedule  of  life.  This  traditional  method  is  recurrent  throughout  his  work,  conveying  an  individual  life  process  through  a  vibrant  color  pallet.

There  was  also  an  obsession  with  the  process of  expressing  the  horizontal  and  vertical  form.  This  is  continuously  repeated  with  Still’s  expansive  group  of  paintings,  which  defines  a  non – objective  idea  that  ultimately  cultivated  our  perception  of  the  simplistic  and  the  relative.  Another  example  of  Still’s  works  is  the PH – 929  black  and  white  image  that  was  made  in   1974.  This  painting  is  a  primitive  example  of  the  last  decade  which  this  artist  was  able  to   express  his  medium  as  an  abstract  expressionist.  This  painting recreates  a life  of  it’s  own  having  a  chaotic  environment  of  color  placement.  When  the  viewer  engages  with  each  piece  it  is  an  overwhelming  sense  of  empowerment  through  the  large  scale,  placing  the  figure  into  an  installation  of  havoc.  Still  is  understood  for  his  ability  to  apply  a  color  field  through  non – objective  form.

Still  was  praised  with  his  1979  exhibition  which  showed  a  collection  of  his  works  at  New  York’s  Metropolitan  Museum  of  Art.  This  large  exhibition  displayed  Still’s  best  works  throughout  his  entire  carrier. Known  to  be  negligent  towards  the  world  of  distributing  his  art,  he  was  blessed  with  the  recognition  to  house  his  works  in  the  setting  of  this  competitive  realm  of  abstraction.  The  only  relative  figure  Still  paints  is  is  Self  Portrait  (PH 382)  in  1940.  This  young  composition  is  the  only  representative  image  of  the  artist  that  separates  from  his  other  works.   It  is  a  painting  that  provides  an  relative  environment  to  the  artist  with  the  background  of  a  blank  canvas.  Still’s  intense  expression  and  body  positioning  draws  the  view  into  the  painting  wanting  to  understand  his  motive  of  self  expression  within  this  piece.  This  is  probably  one  of  his  only  paintings  that  doesn’t  produce  an  over  exaggerated  form  of  the  body.  This  realistic  representation  defines  the  artist  and  his  own  expanse  of  canvas  and  medium.

This  artist  helped  contribute  and  reform  the  understanding  of  art  in  America.  He  distributed  his  talent  through  color  placement  and  truthful  recognition  of  prominent  issues  within  that  time  period.  His  painting  are  a  crucial  basis  for  contemporary  works,  defining  the  meaning  of  abstract  expressionism.  This  respected  artist  has  provided  a  line  placement  that  has  interacted  with  society,  providing  a  theme  of  landscape  and  gestural  position.  He  is  a  crucial  figure  that  has  recreated  the  process  of  application  through  source  of  media  and  the  external  appreciation  of  the  paintings  he  has  provided  to  society.

Clyfford Still Paper

Lindsey  Cannon

ARTH  3539

Clyfford  Still  Essay

January  30th,  2012

Abstract  expressionism  has  renovated  the  social  understanding  of  “acceptable”  art  in  the  twentieth  century.  It  was  an  act   of  urgency  from  the  horrific  results  of  the  postwar  of  World  War  II.  This  technical  style  embodied  surrealism  and  gave  birth  to  the  process  of  gesture  and  the  production  of  a  responsive  product  of  art.  One  iconic  figure  and  artist  known  during  this  time  was  Clyfford  Still. He  amplified  and  recreated  the  productinon of  canvas  and  figurative  ground  within his  workings  of  an  oil  medium.

Heroism  is  a  primitive  example  of  his  work  as  a  desecrate  individual  expressing  realization  of  western  culture  and  redefining  abstract  composition.  Placed  within  the  realm  of  Jackson  Pollock,  Mark  Rothko  and  Barnett  Newman  they  created  a  rebellious  unit  which  altered  the  definition  of  art,  enlightening  society  with  prominent  issues.   This  was  a  definitive  basis   for  our  society  to  reconnect  and  understand  one  another.  Born  within  seclusion  of  a  agricultural  upbringing  in  Grandin,  North  Dakota,  Still’s  ambition  was  to  evoke  a  grotesque  image  of  life.  This  process  was  expressed  through a  layered  timeline  of  agricultural  and  human  form.  The  city  of  Denver  was  fortunate  to  inherit  825  paintings  and  1575  works  on  paper  which  enabled  society  to  visually  acknowledge  his  work  as  a  form  altering  the  persona  of  “respectable”  art.  Still  wasn’t  recognized  for  his  talented  work  until  1947  when  he  began  presenting  his  view  toward  the  human  body  and  our  environment.

The  can  only  be  understood  when  you’re  able  to  actually  soak  within  his  workings,  visually  engaging  between  the  haggard  layers  of  paint  distributed  to  the  canvas  which  provides  a  sublime  acceptance  toward  the  non  objective.  This  museum  features  a  timeline  elaborating  toward  his  progression  as  an  artist.  Each  piece  distributes  a  cultural  understanding  of  a  social  disturbance.  His  central  emphasis  of  the  timeline  is   placed  within  each  one  of  his  paintings  through  compassionate  act  to  express  gestural  technique,  neglecting  a  visual  centerfold  of  background  and  foreground.  This  contingent  moment  revolved  around  his  sporadic  placement  of  oil  paints.  His  1957-D  No.  1  is  a  great  example  of  this  timeline,  through  the  embellishment  of  heavy  blacks,  yellows  and  whites  controlling  the  scenery,  through  a  layered  expanse  which  creates  a  linear  schedule  of  life.  This  traditional  method  is  recurrent  throughout  his  work,  conveying  an  individual  life  process  through  a  vibrant  color  pallet.

There  was  also  an  obsession  with  the  process of  expressing  the  horizontal  and  vertical  form.  This  is  continuously  repeated  with  Still’s  expansive  group  of  paintings,  which  defines  a  non – objective  idea  that  ultimately  cultivated  our  perception  of  the  simplistic  and  the  relative.  Another  example  of  Still’s  works  is  the PH – 929  black  and  white  image  that  was  made  in   1974.  This  painting  is  a  primitive  example  of  the  last  decade  which  this  artist  was  able  to   express  his  medium  as  an  abstract  expressionist.  This  painting recreates  a life  of  it’s  own  having  a  chaotic  environment  of  color  placement.  When  the  viewer  engages  with  each  piece  it  is  an  overwhelming  sense  of  empowerment  through  the  large  scale,  placing  the  figure  into  an  installation  of  havoc.  Still  is  understood  for  his  ability  to  apply  a  color  field  through  non – objective  form.

Still  was  praised  with  his  1979  exhibition  which  showed  a  collection  of  his  works  at  New  York’s  Metropolitan  Museum  of  Art.  This  large  exhibition  displayed  Still’s  best  works  throughout  his  entire  carrier. Known  to  be  negligent  towards  the  world  of  distributing  his  art,  he  was  blessed  with  the  recognition  to  house  his  works  in  the  setting  of  this  competitive  realm  of  abstraction.  The  only  relative  figure  Still  paints  is  is  Self  Portrait  (PH 382)  in  1940.  This  young  composition  is  the  only  representative  image  of  the  artist  that  separates  from  his  other  works.   It  is  a  painting  that  provides  an  relative  environment  to  the  artist  with  the  background  of  a  blank  canvas.  Still’s  intense  expression  and  body  positioning  draws  the  view  into  the  painting  wanting  to  understand  his  motive  of  self  expression  within  this  piece.  This  is  probably  one  of  his  only  paintings  that  doesn’t  produce  an  over  exaggerated  form  of  the  body.  This  realistic  representation  defines  the  artist  and  his  own  expanse  of  canvas  and  medium.

This  artist  helped  contribute  and  reform  the  understanding  of  art  in  America.  He  distributed  his  talent  through  color  placement  and  truthful  recognition  of  prominent  issues  within  that  time  period.  His  painting  are  a  crucial  basis  for  contemporary  works,  defining  the  meaning  of  abstract  expressionism.  This  respected  artist  has  provided  a  line  placement  that  has  interacted  with  society,  providing  a  theme  of  landscape  and  gestural  position.  He  is  a  crucial  figure  that  has  recreated  the  process  of  application  through  source  of  media  and  the  external  appreciation  of  the  paintings  he  has  provided  to  society.

Lindsey Cannon

Lindsey Cannon

Talked to Kira and Nicole. I’ve done the assignment on time!!

1. Give some basic information about your studies and fields of interest.

I have always been fascinated with art and the affect it has on our culture. Whether it has resulted from current issues or the internal/external influence, it enables individuals to produce an expressionistic visual to society. That is why I chose to become an Art History major. The outdoors has always been my sscape. Growing up in Colorado has blessed me with so many experiences, especially in the Juan Mountains. I define myself from my childhood surroundings of Telluride, Colorado. I live for skiing and the unexplainable feeling of being exposed on those cragged peaks. Continue reading