What is
The white shoes are juxtaposed with a silver platter. It is an actual pair of
shoes, a left shoe and aright shoe whose position is inverted making the
display upside-down. Its heels are topped with meat décor that you might
find on fancy chicken drumsticks. Oppenheim’s “Nursemaid My
Nursemaid” symbolizes feminine containment and shows the elimination
the females’ ability to be a hero by referring her to a cow. First, the title
“Nursemaid/ My Nurse,” demotes, play-cates and undermines the female’s
intellectual freedoms into being cornered position of male property. By
dismantling her orientation and flipping her around is one way her freedom
is stripped. Showing the underside of the shoe in some cultures is
considered rude because it is the dirty party that touches the filth of the
ground. In the artwork it’s evident that the dirt is on the ball of the shoe in a
black tar hue against the light brown material. The pair of shoes cannot
function upside-down, also handicapping her symbolically and undermining
her ability to be in her place and in command. Its almost as if she is being
subject to some one else’s control and being acted upon without say.
Being wrapped up in string feels like she female is in punishment or is at
risk from being lost from itself, like tying her together can keep herself
under control. “Nursemaid/ My Nurse,” symbolizes female as a product to
be consumed like milk as the female is automatically identified as a
servant or slave who milks by the white color. There is no evidence of the
female being asked if it is her intention to be a milkmaid. There is evidence
of binding, tying, enslavement as the shoes are tied up together nearly five
times around. The real offense and degradation is the ironic play of serving
the upside-down pair of shoes on a silver platter. Think to yourself and ask
yourself, do ladies ever serve each other symbols of slavery and accept?
Afraid not. Are females objects or should females be objectified especially
if some females become great world leaders. To this day you might ask
yourself how does art influence great leadership in growing up female?
Does putting her down or punishing the symbols of feminism become
effective or hurtful? There were days when females were worshipped as
the Madonna and the pelvic bone had sacred meaning and its triangular
shape became a shape to represent female worship. However, males
have sold females into white slavery before and it could happen again as
the Nursemaid/ My Nursemaid clearly represents. Nonsensical to put it
mildly, unbeautiful to put it gently.
William De Kooning’s “Woman I” is a colorful painting of an adult female
sitting on a chair. The painting is very child-like in its idea of painting that
freedom to express painting with strokes of judgment free action. Meaning,
De Kooning doesn’t follow rules of Renoir, Rembrandt or Da Vinci. De
Kooning is what are punk rock and rebellion and the Grateful Dead at The
Roosevelt Hotel in Hollywood to what are Mozart and Chopin playing at
Buckingham Palace. It’s an animated work. The action lines and strokes of
color are representational of the artist’s mood and the experience of
making the painting is evident in the finished work. The symbol of feminists
is the central focus. She is centrally composed and takes up 75% of the
canvas and as a soloist appears isolated from company. Her body is
foreshortened, being in the sitting position of the chair and her arms are
folded across her lap. Her skin is white, blue, pinks, lavenders, and
garishly outlined in blacks and browns. The frame of her build is strong, as
if De Kooning painting her with the concept of an understructure, her
skeletal frame is solid especially with broad shoulders and primitive. She is
topless however, also appearing like a milkmaid. Luckily her bottom half is
robed in bright red and orange dress against a sloppily made background
of rejected wisdom and organization. The colors are blotchy and fatigued
not meticulous. Because the female is topless she is exposed either for her
maturity, her symbols of motherhood and making milk, or is sexually made
into a temptress. The similarity to Oppenheim’s “Nursemaid My
Nursemaid” and De Kooning is the representation of female servitude and
the action lines of crisscrossing over herself. Oppenheim worked with
string to crisscross and De Kooning created wispy lines or string x-ing
effects over the surface and through out the composition. One is sculpture
and the other painting yet both utilize angles of perspective and perception
to achieved space, depth, unity and yet are on the verge of being taken
down. The Woman I is nearly violent in facial expression with dinosaur
teeth huge eyes filled with white and black paint and doesn’t express
subservience but domineering power. Neither of the artworks appears
fairytale like, but is threatening to feminine charms and beauty.
Jackson Pollock’s “Number One” is a stylized abstraction in a rectangle. Pollock came
like an artist into a space and produced imagery that suits that time during the
1950s. His abstractions in painting are on the wall as a form of protection remaining
staticly dynamic. Static because he action strokes reveal changes in culture,
displacement of direct representation to painting as mobility and the movement of
the artist to be meaningful. Static as in atmospheric electricity. Equilibrium is also
enclosed in the painting as there is balance made by color, arrangement of drippy
lines and cosmic circulation. The work protects artists from the innocent levels of
finger-painting through mastery level because it makes a statement about freedom
of expression and movement as an artist. This stylized work makes meaningful
cultural direction, as a painter does not need to paint in straight lines. Pollock’s
painting in the row of history gives the illusion of moving but is trapped in cyclical
patterns. His wrist and arm and back might be exaggerated in action compared to
Watteau but he is coordinating hand eye coordination in method with the artists
who came before his time as well. It is okay to be messy and problematic if
problematic means to create newness and offer a new taste to an old world. Pollock
in a way is a refreshing compliment to painting. Barnett Newman’s “Onement I,” is
about straightness and refinement with hazy accuracy. There is not a circle, nor a
figure, yet an inline of uber simplicity. It is a playful attempt to warm the palette of
humanity by painting love in rich hues of brown melting texture and wealth to
pacify the visual reception into a careful thought. Instead of excess line like Pollock,
Newman goes for minimal abstraction. I see the warmth of animal or primitive love
by taking painting to a baseline of red on brown. The way a cardiologist traces or
graphs a heartbeat is what I see in Newman. Newman strides vertically as if there is
an elevator to the heartbeat that ascends vertically up to the utmost feeling of love.
Pollock and Newmen both attempt to illuminate the canvas with abstract lines that
are not easily translatable but offer an opening for your imagination to interpret
their emotional context. In that case both painters represent art as freedom and
subvert the expectation of perfection.
Miro and Dali isolate objects in their magical realism and surreal paintings. Each of
the objects in view is painted by itself within the composition. Meaning, each object
has its own atmosphere, space, and separate vortex to itself in relation to the other
objects in the work. That would mean a multitude of verisimilitudes or multiple
truths occurring simultaneously like the figure with a white circle head to the
balloon to the triangle to the environment. Yet the order or directionality of the
movement within the piece is free. Is the triangle influencing the figure or is the
figure controlling the balloon that then might warp afterward into the triangle or
occupy the same horizon as the triangle eventually? There is a harmonious flow
between the objects in the Dali and the Miro. Without columns or force, the gentle
easy allows the viewer an invitation to seek meaning within the relatability of the
multiple purposes of the objects. In Dali you wonder does a clock melt on a tree limb
and is it because of an emotion or question what kind of character would place
clocks in a desert, and what temperature would it take to melt a clock along the edge
of a table. The painting of Dali is complex because it’s painted with a cool color
palette yet temperature wise, it indicates high heat. The air seems arid and dry, but
then hypocritically something like the metal clock suggests melting and wetness.
Dali is ironic. Mire plays with cools and hot colors with compliments of green and
red and somehow creates a neutral temperature because they don’t compete with
each other. While Dali creates space with a horizon line, Mire doesn’t use one, Miro
emphasizes invisible ground and light without shadow. Each of the works is
whimsical, has room to breathe, and invites you to look all the way around the
volumes of objects in the invented imaginative world inside the frame of the canvas.
3. According to Clement Greenberg, the history of modern art was essentially a
history of painting’s drive toward self-referentiality or self-reflexiveness. What
did he mean by painting as a self-reflexive enterprise, how did he explain that
drive towards self-referentiality or self-reflexiveness, and what are the strengths
and weaknesses of his account?
To me, Greenberg meant self-referentiality and self-reflexiveness meant to keep in
touch with yourself and design a piece of yourself through art. The danger of not
creating self-portraits and ideas from within is losing you to the outside. Your
thoughts are just thoughts until your communicating them. In art the methods of
straight color, motion through brush stroke, rules of composition, arrangement of
gallery installation, appropriation in da-da-ism etc. are functional ways to utilize a
new technique that is not anchored to a time capsule. In other words the artists
update the materials and techniques to be current with the present or even the
future. It would be unrealistic to continuously create with a single process like oil
painting on canvas. Thereby stencils and graffiti, stickers and pixels or toilets are
mediums of courage that artists feel are necessary to represent modern ideas.
Frederick Douglas wrote an autobiography to free him. He thought to gain wisdom
by cleverly convincing a white to teach him how to read and write would not only
give himself the rights to his life but to be education would yield a creative and
righteous freedom. Art and learning self-referentiality or self-actualization is also
freedom, like Free Speech. With knowledge he wrote himself to freedom. In Modern
Art from fauvism surrealism to abstraction, the artists are pushing through
imaginative or cognitive and cerebral experiences to make a statement or raise a
question or propose solutions to society. The ideas of artists are being expressed
through the laws and rules or creative breakthroughs of art. Color, composition and
the translation of feeling and experiences are conveyed through the mediums.
Therefore the isolation of object in magical realism is a mirror to the feeling of says
separate identities and multiple senses occurring in a single reality. Dali shared a
dream unrealistic dream space to comment about subconscious and his ideas of a
secret, beautiful world within almost a pre-cognition to autism.
The white shoes are juxtaposed with a silver platter. It is an actual pair of
shoes, a left shoe and aright shoe whose position is inverted making the
display upside-down. Its heels are topped with meat décor that you might
find on fancy chicken drumsticks. Oppenheim’s “Nursemaid My
Nursemaid” symbolizes feminine containment and shows the elimination
the females’ ability to be a hero by referring her to a cow. First, the title
“Nursemaid/ My Nurse,” demotes, play-cates and undermines the female’s
intellectual freedoms into being cornered position of male property. By
dismantling her orientation and flipping her around is one way her freedom
is stripped. Showing the underside of the shoe in some cultures is
considered rude because it is the dirty party that touches the filth of the
ground. In the artwork it’s evident that the dirt is on the ball of the shoe in a
black tar hue against the light brown material. The pair of shoes cannot
function upside-down, also handicapping her symbolically and undermining
her ability to be in her place and in command. Its almost as if she is being
subject to some one else’s control and being acted upon without say.
Being wrapped up in string feels like she female is in punishment or is at
risk from being lost from itself, like tying her together can keep herself
under control. “Nursemaid/ My Nurse,” symbolizes female as a product to
be consumed like milk as the female is automatically identified as a
servant or slave who milks by the white color. There is no evidence of the
female being asked if it is her intention to be a milkmaid. There is evidence
of binding, tying, enslavement as the shoes are tied up together nearly five
times around. The real offense and degradation is the ironic play of serving
the upside-down pair of shoes on a silver platter. Think to yourself and ask
yourself, do ladies ever serve each other symbols of slavery and accept?
Afraid not. Are females objects or should females be objectified especially
if some females become great world leaders. To this day you might ask
yourself how does art influence great leadership in growing up female?
Does putting her down or punishing the symbols of feminism become
effective or hurtful? There were days when females were worshipped as
the Madonna and the pelvic bone had sacred meaning and its triangular
shape became a shape to represent female worship. However, males
have sold females into white slavery before and it could happen again as
the Nursemaid/ My Nursemaid clearly represents. Nonsensical to put it
mildly, unbeautiful to put it gently.
William De Kooning’s “Woman I” is a colorful painting of an adult female
sitting on a chair. The painting is very child-like in its idea of painting that
freedom to express painting with strokes of judgment free action. Meaning,
De Kooning doesn’t follow rules of Renoir, Rembrandt or Da Vinci. De
Kooning is what are punk rock and rebellion and the Grateful Dead at The
Roosevelt Hotel in Hollywood to what are Mozart and Chopin playing at
Buckingham Palace. It’s an animated work. The action lines and strokes of
color are representational of the artist’s mood and the experience of
making the painting is evident in the finished work. The symbol of feminists
is the central focus. She is centrally composed and takes up 75% of the
canvas and as a soloist appears isolated from company. Her body is
foreshortened, being in the sitting position of the chair and her arms are
folded across her lap. Her skin is white, blue, pinks, lavenders, and
garishly outlined in blacks and browns. The frame of her build is strong, as
if De Kooning painting her with the concept of an understructure, her
skeletal frame is solid especially with broad shoulders and primitive. She is
topless however, also appearing like a milkmaid. Luckily her bottom half is
robed in bright red and orange dress against a sloppily made background
of rejected wisdom and organization. The colors are blotchy and fatigued
not meticulous. Because the female is topless she is exposed either for her
maturity, her symbols of motherhood and making milk, or is sexually made
into a temptress. The similarity to Oppenheim’s “Nursemaid My
Nursemaid” and De Kooning is the representation of female servitude and
the action lines of crisscrossing over herself. Oppenheim worked with
string to crisscross and De Kooning created wispy lines or string x-ing
effects over the surface and through out the composition. One is sculpture
and the other painting yet both utilize angles of perspective and perception
to achieved space, depth, unity and yet are on the verge of being taken
down. The Woman I is nearly violent in facial expression with dinosaur
teeth huge eyes filled with white and black paint and doesn’t express
subservience but domineering power. Neither of the artworks appears
fairytale like, but is threatening to feminine charms and beauty.
Jackson Pollock’s “Number One” is a stylized abstraction in a rectangle. Pollock came
like an artist into a space and produced imagery that suits that time during the
1950s. His abstractions in painting are on the wall as a form of protection remaining
staticly dynamic. Static because he action strokes reveal changes in culture,
displacement of direct representation to painting as mobility and the movement of
the artist to be meaningful. Static as in atmospheric electricity. Equilibrium is also
enclosed in the painting as there is balance made by color, arrangement of drippy
lines and cosmic circulation. The work protects artists from the innocent levels of
finger-painting through mastery level because it makes a statement about freedom
of expression and movement as an artist. This stylized work makes meaningful
cultural direction, as a painter does not need to paint in straight lines. Pollock’s
painting in the row of history gives the illusion of moving but is trapped in cyclical
patterns. His wrist and arm and back might be exaggerated in action compared to
Watteau but he is coordinating hand eye coordination in method with the artists
who came before his time as well. It is okay to be messy and problematic if
problematic means to create newness and offer a new taste to an old world. Pollock
in a way is a refreshing compliment to painting. Barnett Newman’s “Onement I,” is
about straightness and refinement with hazy accuracy. There is not a circle, nor a
figure, yet an inline of uber simplicity. It is a playful attempt to warm the palette of
humanity by painting love in rich hues of brown melting texture and wealth to
pacify the visual reception into a careful thought. Instead of excess line like Pollock,
Newman goes for minimal abstraction. I see the warmth of animal or primitive love
by taking painting to a baseline of red on brown. The way a cardiologist traces or
graphs a heartbeat is what I see in Newman. Newman strides vertically as if there is
an elevator to the heartbeat that ascends vertically up to the utmost feeling of love.
Pollock and Newmen both attempt to illuminate the canvas with abstract lines that
are not easily translatable but offer an opening for your imagination to interpret
their emotional context. In that case both painters represent art as freedom and
subvert the expectation of perfection.
Miro and Dali isolate objects in their magical realism and surreal paintings. Each of
the objects in view is painted by itself within the composition. Meaning, each object
has its own atmosphere, space, and separate vortex to itself in relation to the other
objects in the work. That would mean a multitude of verisimilitudes or multiple
truths occurring simultaneously like the figure with a white circle head to the
balloon to the triangle to the environment. Yet the order or directionality of the
movement within the piece is free. Is the triangle influencing the figure or is the
figure controlling the balloon that then might warp afterward into the triangle or
occupy the same horizon as the triangle eventually? There is a harmonious flow
between the objects in the Dali and the Miro. Without columns or force, the gentle
easy allows the viewer an invitation to seek meaning within the relatability of the
multiple purposes of the objects. In Dali you wonder does a clock melt on a tree limb
and is it because of an emotion or question what kind of character would place
clocks in a desert, and what temperature would it take to melt a clock along the edge
of a table. The painting of Dali is complex because it’s painted with a cool color
palette yet temperature wise, it indicates high heat. The air seems arid and dry, but
then hypocritically something like the metal clock suggests melting and wetness.
Dali is ironic. Mire plays with cools and hot colors with compliments of green and
red and somehow creates a neutral temperature because they don’t compete with
each other. While Dali creates space with a horizon line, Mire doesn’t use one, Miro
emphasizes invisible ground and light without shadow. Each of the works is
whimsical, has room to breathe, and invites you to look all the way around the
volumes of objects in the invented imaginative world inside the frame of the canvas.
3. According to Clement Greenberg, the history of modern art was essentially a
history of painting’s drive toward self-referentiality or self-reflexiveness. What
did he mean by painting as a self-reflexive enterprise, how did he explain that
drive towards self-referentiality or self-reflexiveness, and what are the strengths
and weaknesses of his account?
To me, Greenberg meant self-referentiality and self-reflexiveness meant to keep in
touch with yourself and design a piece of yourself through art. The danger of not
creating self-portraits and ideas from within is losing you to the outside. Your
thoughts are just thoughts until your communicating them. In art the methods of
straight color, motion through brush stroke, rules of composition, arrangement of
gallery installation, appropriation in da-da-ism etc. are functional ways to utilize a
new technique that is not anchored to a time capsule. In other words the artists
update the materials and techniques to be current with the present or even the
future. It would be unrealistic to continuously create with a single process like oil
painting on canvas. Thereby stencils and graffiti, stickers and pixels or toilets are
mediums of courage that artists feel are necessary to represent modern ideas.
Frederick Douglas wrote an autobiography to free him. He thought to gain wisdom
by cleverly convincing a white to teach him how to read and write would not only
give himself the rights to his life but to be education would yield a creative and
righteous freedom. Art and learning self-referentiality or self-actualization is also
freedom, like Free Speech. With knowledge he wrote himself to freedom. In Modern
Art from fauvism surrealism to abstraction, the artists are pushing through
imaginative or cognitive and cerebral experiences to make a statement or raise a
question or propose solutions to society. The ideas of artists are being expressed
through the laws and rules or creative breakthroughs of art. Color, composition and
the translation of feeling and experiences are conveyed through the mediums.
Therefore the isolation of object in magical realism is a mirror to the feeling of says
separate identities and multiple senses occurring in a single reality. Dali shared a
dream unrealistic dream space to comment about subconscious and his ideas of a
secret, beautiful world within almost a pre-cognition to autism.
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