Barthes

Barthes piece was very interesting to a read. Particularly, from an amature photographer's point of view, it was interesting to understand his view on why observers enjoy certain photographs. I never stopped to think about particular reasons why I loved a picture, other than the over-all scene was pleasing to my eye. I had never taken the time to actually analyze a photo so deeply before. When you really look at a composite photograph such as that we analyzed in class by Peter Sekar, you can begin to truly understand what the photographer was trying to portray.

I was very intrigued throughout our conversation about what people would point out, only because I would never stop and look at those points. The one thing I did notice was the obvious direction of a spot light, because of the shaows behind the two young boys. However, I failed to notice the directions of the gazes of all of the people, and the hat pulled down below the old man's eyes. In the future, it will definitely provide much more insight should I be able to look at a picture for more than immediate asthetic appeal.

perks from our paper

For the paper that we are currently working on, I chose a portrait of Marilyn Monroe, 'Marilyn', by Andy Warhol. At the exact time that I decided to use this piece, I had countless thoughts running through my head as to how I could interpret the work and argue different points. However, when I actually needed body to write about for a five or six page paper, I began to worry.
Anybody who is familiar with the works of Andy Warhol is aware of the shocking simplicity of them. I became worried that I had chosen something that presented no argument. Then, my mind began to drift more. Warhol had to have some reasoning in his isolationist patterns; this was all related to his pop art genre.
So I began researching and reading all about Andy Warhol and pop art, which I discovered was very interesting and enjoyable rather than just a homework assignment. Like all artists, Warhol went through a grand journey before he was internationally known and recognized. But what I found the most interesting about his works and those of other pop artists was the desire for their art to appear to be mass produced. It seems that most every form of art that I have heard of up until this point aspired towards uniqueness. Did people not pay thousands of dollars for original and unique works of art? What about this mass produced effect was so appealing? I'm not really positive why this particular characteristic of the pop art trend existed, but it definitely exists still today.

The Baptism of Christ

We looked closely at the painting The Baptism of Christ by painter Piero della Francesca in class. While observing the painting, we were asked to begin writing things that we noticed in the painting. Immediately, my eyes were directed towards the Christ figure being baptised in the central region of the piece. Obviously this is the main focus of the painting based on both the location and the coloration. Further, I noticed the hovering dove, stripping man in the background, and the three angels looking onto the occurring baptism.
After class, I was still curious about this painting and it's hidden meaning. Through some web browsing, I came upon this website: http://www.independent.co.uk/arts. Reading their critique, the writers pointed of most of what we did in class. However, the one thing nobody thought about was the largely dominant tree in the upper part of the painting. The tree is very large and arches with the arch in the frame of the picture. Further, critics have identified the tree as a walnut tree, which is said to be a symbol of Christ's crucifixion. The walnut tree is also described as having guardian power in the scene.
Had I not further searched about this painting, I would definitely not have even paid any attention to the tree (which is normal according to the article). This is only one more detail of the painting that contributes to our understanding of its meaning.

Las Meninas

Foucault's 'Las Meninas' was a very entertaining piece to read. Beginning, I was completely unsure as to what the author was describing, as he began "The painter is standing a little back from his canvas..." which no further introduction as to the setting. The descriptive language and amazing imagery that he uses really allows the reader to visualize in their head the scene that he is describing. After reading the passage and interpreting it as one may, the painting itself is presented for visual interpretation. Just as Bal and Bryson's piece described, there are infinite amounts of ways that one may look at Las Meninas. Who or what is the painter's gaze directed at? Why is the mirror so illuminated in the background, and what is the roll of the insignificant man standing in the doorway? The whole picture and its mysteries fully support the idea that society may never know the true meaning of a work of art, and that in the end, it is a creation of an artist.

Semiotics and Art History (What?)

When I initially sat down to read 'Semiotics and Art History' by Bal and Bryson, I was completely dumbfounded. It immediately became a passage that I read as just words and am unable to consume what is actually being said. Obviously, it was largely about semiotics, so I did  take it upon myself to look up the definition of that word (which, again, I was unable to comprehend). It did, however, largely help that the passage was divided in the way that it was. Knowing the title of each section and the general theme really helped in trying to understand what the authors were attempting to convey. I did really enjoy the repeated idea that art is unlimited and there are infinite amounts of interpretations and expansions. If there is one thing that I believe strongly related to art, it is that it may be interpreted in countless different ways based on who is looking at it or what they know, and from what I understood from the passage, I thoroughly agreed with.

The High Museum of Art

Today held many new experiences as I traveled to the High Museum of Art for the very first time. Besides actually exploring the museum, I had several other new ventures on my journey there. Although I am quite familiar with Atlanta, living very close, it was my first time using the MARTA. Fortunately for myself, there were many very friendly men that so kindly guided me along my way as I wandered very insecurely through the station. After I finally arrived, I was taken aback by a stunning old home that was to be sold in an auction. As a student of the College of Architecture, I had to spend a few minutes marveling at beauty of this home.

Home near the High Museum

Upon entering the museum, I was immediately struck by the sheer white starkness of the area. It amazed me how this plain scene was almost beautiful to look at as I progressed up the ramps to the second and third floors of the museum. Firstly, I explored the main areas of the museum. I was particularly interested in a beautiful piece of furniture that served as a desk or a secretary.

It's most likely that I was so interested in this piece because my grandmother has always kept a very similar piece of furniture in her den. This was the first time besides in her home that I have seen something so like it. The detail and beauty of this makes it very obvious how much craftsmanship had gone into it - a beautiful piece of art. Other than the fine furniture, I was most interested in a stunning Self-Portrait by Chuck Close. The portrait was very large and the coloration was a gorgeous impressive combination of smaller pieces of abstract art.

artinfo.com

This piece truly expresses how there is an infinite amount of ways to illustrate and create art. My first visit to the museum made me truly eager to experience what else they will have to offer throughout the winter.

SEEING COMES BEFORE WORDS

"SEEING COMES BEFORE WORDS, THE CHILD LOOKS AND RECONIZES BEFORE IT CAN SPEAK."

Unlike many required reading assignments, I thoroughly enjoyed the minutes I spent reading 'Ways of Seeing' by John Berger. The main idea that was taken out of this excerpt was the use of reproductions of works of art and the ongoing debate of a reproduction's worth. Through media such as cameras and television, the amount of people that have been able to experience art has multiplied more than imaginable. Although we are able to view these works of art, is it the same as seeing the real thing? That, I believe, is personal opinion. Berger presents the argument that "one might argue that all reproductions more or less distort" the original work (Berger 628). In opposition, he balances the argument that one may put aside the minute differences of the works and respect the fact that the work was desired for reproduction. In my opinion, a reproduction is as good as the original in that it allows me to view, often in detail, the general presentation of the piece of art. Although the original may present more finite details than an original, it can be even further respected for the details which proved less easy to reproduce.

For those, such as I, who do not mind appreciating the overall work of art through a reproduction, websites such as http://www.reproductionsart.com/ offers a wide variety of oil painting reproductions of 'famous world masterpieces'.