Category Archives: Museum Visit

Andre Jones – Museum Visit

Edward Hopper, “Nighthawks”,  Oil On Canvas, 1942

(courtesy Google Arts & Culture, Art Institute of Chicago)

Obvious and Ambiguous.

Through use of shadow, Hopper creates clear foreground/background relationships in a deliberately simplified space. The presence of shadows always means there’s light. This light isn’t created – it’s implied

Texture and Pattern. 

While this may sound repetitious, Hopper’s brilliant use of shadow is what gives this piece it’s deep sense of dark nostalgia and introspect, so it’s hard not to talk about it. Not only does his use of shadow create clear figure/ground relationships, but also helps create textures that tell us that it’s nighttime, that there’s a corner, that there’s glass in the windows.

Motion and Emotion.

The focal point is obviously the diner, characterized by the stark contrast in colors suggesting electric light in an establishment. Grayscale (along with line), has it’s part in this piece, as it gives us the shadows that create the mood and establish clear figure/ground relationships.

Color. 

What I really wanted to talk about concerning “Nighthawks” is the brilliant – yet subtle – use of color to convey mood. Color is what really this piece is all about. Color creates the obvious foreground relationships we see. Color is used to imply texture (I say “imply” because even as a modernist piece, it still nods at impressionism in terms of technique).

Look at how Hopper cleverly used color to also imply light and source. There are TWO lights in the piece – one inside the establishment and one outside the establishment. Though no light is actually depicted in the piece, we know where the lights are based on Hopper’s use of black mixed with color to create a sort of dampening of light in places where the unseen light source is actually directed.  You see it on the curb, in the shop doorway and window. You see it on the first man’s back. We know that at least one of those lights is off scene – perhaps across the street.  We know that shadows can always be traced to their source and Hopper shrewdly suggests a world outside of the scene.

Hopper uses a warm, analagous color scheme (yellows, oranges, and reds) to soften and humanize the interior and to lend personality to one of the figures, while using a darker analagous scheme for the exterior (contrast) and the other two characters. This reminds me of my analagous composition, which uses color to convey a dark, icey mood without actually using black.

 

Ulrike Müller and Amy Zion

The Conference of the Animals and 120 Years of Children Drawing New York City

I chose this Piece because it embodies the majority of what we have done this semester and the projects that I personally enjoyed. this piece is by Ulrike Müller and Amy Zion  named “The Conference of the Animals”The full-scale exhibition organized by Amy Zion will close August 16, 2020, while the wall painting by Müller remains on view through February 21, 2021.she foregrounds the painted wall with giant animal-like shapes. Their muted palette and monumental scale is similar to the gray scale of we did in the beginning of the semester .we can definitely see the texture between the two dogs with the direction of the lines.just by looking at exhibit I can feel the texture and the sediments of the wallI think it is similar to this project being that both use texture and grayscale even though Ulrike Müller and Amy Zion used dogs I still think these two art pieces are similar

Ecquase Onaghise Brooklyn Museum “Basquiat: The Unknown Notebooks”

I chose Basquiat: The Unknown Notebook because it went well with our selfiemotion project. Great deal of contrast , a focal point , and  Digital imaging. Tho it lacks motion like the use of gray scale and and compositional flow makes up for it.

For this work Basquiat produced twenty-eight original drawings and mounted them on canvas in a gridlike arrangement. Layering text and image in a manner reminiscent of graffiti and the free association of his encyclopedic notebook subjects, he created the effect of book pages laid out in sequence. Visible through an abstractly rendered head of an African American male, these language-rich drawings combine scientific diagrams, pictographic notations, bits of world history, and enigmatic references such as THE OBSERVATORY FROM THE JAMES DEAN MOVIE and GORILLA TELEPATHY.

Museum Visit

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Julie Mehretu – Myriads, Only By Dark, 2003

I am comparing to this Myraids, Only By Dark, because the feel that it gives off and the way the lines are obstructed to make the art pop and come out. With my work with the tree the lines very close giving that dark feeling and the same in the art above. Its almost like a uneasy feeling looking at both of the pieces.