Anish Kapoor

1. Research Kapoor's work in order to discuss whether it is conceptual art or not. Explain your answer, using a definition of conceptual art.
Sol LeWitt stated: “In conceptual art the idea or concept is the most important aspect of the work. When an artist uses a conceptual form of art, it means that all of the planning and decisions are made beforehand and the execution is a perfunctory affair. The idea becomes a machine that makes the art.” From this understanding I believe his work is loosely conceptual. He aimed to draw in his audience and include him in the piece but in order to do so Kapoor had to explore different materials and architecture in order to achieve what she intended. Her concept was developed along with the exploration of form and mediums.

2. Research 3 quite different works by Kapoor from countries outside New Zealand to discuss the ideas behind the work. Include images of each work on your blog.


'The Sky Upside-down' mirrors (one in Chicago and one in New York) express interesting ideas by trying to take the viewer away from there surroundings and focus on the sky creating a sense of sublime and tranqulity in a busy urban area. I like how rather then creating and imitating the scenery her works simply reflect what is already there. It makes the audience think beauty is all around me, i just have to look.



"Yellow" is a largely scaled yellow square which consumes the audiences attention. It uses fiberglass and 12 coats of paint to create an illusion of on first appearance having a predictable rounded form, but on closer inspection it is actually a concave shape. This illusion questions the audience whether "what we perceive is reality or imagination, a misunderstanding between the eye and the mind as one is overcome by a sea of colour"

http://jfkwalks.wordpress.com/2009/11/29/anish-kapoor-perception-and-deception/



"Inside Levitation" is a recent installation where she has created a giant spherical shape of colour. With this he attempted to bring the audience into "a space within a space" which also similarly to "Yellow" more forcibly consumes the audiences attention by completely surrounding them and containing them with the artwork physically. His aim to do this was to provide a space where people can contemplate and reflect in a poetic experience.

http://www.dailymail.co.uk/news/article-1385590/Anish-Kapoor-Leviathan-sculpture-unveiled-Grand-Palais-Paris.html

3. Discuss the large scale 'site specific' work that has been installed on a private site in New Zealand.

For "The Farm" to compete with the vast mountains and landscape it was required for him to create such a large scale work for people to take notice.

4. Where is the Kapoor's work in New Zealand? What are its form and materials? What are the ideas behind the work?

"The Farm" is located in Kaipara Bay and is a 85 meter long, 27 meters across. It consists of two elliptical steel rings connected by 32 cables covered in deep red PVC-coated polyester fabric made by Ferrari Textiles. It also weighs at 7,2000 kegs. Kappor often tries to use his works to compliment the surroundings and highlight different aspects. This work is an example of this and references to the surroundings by channeling wind from the harbor into the land. I would believe this would create a surreal effect if you were to stand inside of the work making you feel like you are wind itself.

5. Comment on which work by Kapoor is your favourite, and explain why. Are you personally attracted more by the ideas or the aesthetics of the work?

I really like how Kapoor tries to creates atmosphere with his works and not necessarily make a statement. His works take on a form of function rather then aesthetics to allow audiences to reflect and contemplate. I feel as if Kapoor understands that art in itself should have a function of reflecting rather then aesthetically pleasing. Another aspect Kapoor approaches which i like is he enhances the area then opposing to transform the area. It seems very humble and admirable that he works like this.

Pluralism and the Treaty of Waitangi

1. Define the term 'pluralism' using APA referencing.

"First, pluralism is not diversity alone, but the energetic engagement with diversity. Diversity can and has meant the creation of religious ghettoes with little traffic between or among them. Today, religious diversity is a given, but pluralism is not a given; it is an achievement. Mere diversity without real encounter and relationship will yield increasing tensions in our societies.

Second, pluralism is not just tolerance, but the active seeking of understanding across lines of difference. Tolerance is a necessary public virtue, but it does not require Christians and Muslims, Hindus, Jews, and ardent secularists to know anything about one another. Tolerance is too thin a foundation for a world of religious difference and proximity. It does nothing to remove our ignorance of one another, and leaves in place the stereotype, the half-truth, the fears that underlie old patterns of division and violence. In the world in which we live today, our ignorance of one another will be increasingly costly.

Third, pluralism is not relativism, but the encounter of commitments. The new paradigm of pluralism does not require us to leave our identities and our commitments behind, for pluralism is the encounter of commitments. It means holding our deepest differences, even our religious differences, not in isolation, but in relationship to one another.

Fourth, pluralism is based on dialogue. The language of pluralism is that of dialogue and encounter, give and take, criticism and self-criticism. Dialogue means both speaking and listening, and that process reveals both common understandings and real differences. Dialogue does not mean everyone at the “table” will agree with one another. Pluralism involves the commitment to being at the table -- with one’s commitments."

What Is Pluralism? (retrieved 29 August 2011). http://pluralism.org/pages/pluralism/what_is_pluralism

2. How would you describe New Zealand's current dominant culture?

From my perspective European/Pakeha are the dominant culture, although in saying that New Zealand has become such a divers country having the indeginous Maori and immigrants. European/Pakeha culture however is the most influencing culture which we follow.

3. Before 1840, what was New Zealand's dominant culture?

Maoris out populated european settlers by 100,000 to 200 people, so consequently Maori was the dominate culture in New Zealand. This however rapidly changed with the introduction of European ways and technologies which were taken advantaged of by Maori for territorial purposes.

4. How does the Treaty of Waitangi relate to us all as artists and designers working in New Zealand?

I have difficulty finding a direct influence in all New Zealand artists and designers working in New Zealand however i can make the connection of how the treaty has influenced our modern culture. In what we see as 'kiwi' could not be possible without the history we've experienced. In saying that, culture is determined by its history.

I think its important that all New Zealanders, artists and designers or not, should understand the Treaty of Waitangi as it gives perspective to our country. It allows us to see the changes to our country and not forget the way of life that examples valuable morals which is lost in our conventional western culture.

5. How can globalization be seen as having a negative effect on regional diversity in New Zealand in particular?

Globalization is mainly associated with the economy, so from that aspect the development of an increasingly integrated global economy can alter the need and want for regional diversity. In a recent campaign efforts were made to try convince New Zealanders to buy 'NZ Made' products. This was to combat the globalization which has occurred in New Zealand. Companies have been moving factories overseas where it is cheaper labour and materials. The negative effect of this is the loss of jobs in New Zealand.

In a aspect from artists and designers the art world has become much smaller, so artists and designers tend to aim at subjects which appeal to a global audience rather then specifying to a New Zealand culture. It has become more accessible for people to access and understand a global trend/matter rather then addressing/appealing to a local audience.

6. Shane Cotton's paintings are said to examine the cultural landscape. Research Cotton's work 'Welcome'(2004) and 'Forked Tongue' (2011) to analyze what he is saying about colonialization and the Treaty of Waitangi.

To find a clear image to see his works was hard to find but from what i could see in 'Welcome' has a face of jesus with the throned crown which suggests he is about to get crucified. Imedietly i start to think this work deals with icons and intertexutality. The fan birds are sometimes represented as a messenger of death. In Maori culture it is commonly believed that if fan tail enters and exits out the same entrance someone dear to you will die soon. With this he could directly be indicating that the treaty of Waitangi was a message of death, not to the maori people, but as to the maori culture. This idea is complimented by conventional european pictorial processes. The left and bottom objects of the message seem as if they are inversions of the other objects which could relate to the diversity in the two cultures.

In 'Forked Tongue' he discusses Maori and Pakeha characteristics being overlapped upon each other. With this imagery he talks about "landownership and two cultures living in one land." He has done this by having the maori influenced wild patterns with a indigenous maori bird overlain a photographic image of land. The photographic image references the technologic advancement of the europeans. The balance between these two layers are not harmonious and seemed forced which directly references the past of the cultures trying to reach pluralism.

7. Tony Albert's installation 'Sorry' (2008) reflects the effects of colonization on the aboriginal people of Australia. Research the work and comment on what Albert is communicating through his work, and what he is referring to. Describe the materials that Albert uses on this installation and say what he hopes his work can achieve. Define the term 'kitsch'.

Albert is trying to communicate through his work how the aborigines were treated by the european. He made this work following the apology made by former Prime Minister of Australia, Kevin Rudd on 13th of February. The word 'Sorry' is a direct reference to Kevin Rudd's apology and it is made up of faces of people affected by the europeans. They had there family, land and culture taken from them. The faces are contained within the word Sorry which could suggest that they were forced to fit within the european society. I feel as if Albert made the work seem as if an apology was inadequate for all the mistreatment that occurred, which i think the same.

The contemporary definition of kitsch is considered derogatory, denoting works executed to pander to popular demand alone and purely for commercial purposes rather than works created as self-expression by an artist.

Terms and Materials (retrieved 29 August 2011). http://netdwellers.com/1001/hosting/users/AT/IslandArts/paTerms%20and%20materials.html

8. Explain how the work of both artists relates to pluralism.

Both artists try to achieve two cultural references within one work. This mix of two styles rely on references to the two cultures history to understand the statements the artist is trying to discuss. The effort made to talk about two cultures working in on society directly talks about the ideas behind pluralism and progresss that has been made.

Kehinde Wiley and Intertextuality

1. Find a clear definition of Intertextuality and quote it accurately on your blog using the APA referencing system. Use your own words to explain the definition more thoroughly.

Kristeva defining 'intertextuality' in literacy: the interdependence of all literary texts. Her argument is that no text comes into being solely on its own. Any text is “the absorption and transformation of another”

Kristeva. (1969). Word, Dialogue, Novel. Chapter 4: Semeiotike. Paris: France.
Sourced from: Chandler, Daniel (1994): Semiotics for Beginners [http://www.aber.ac.uk/media/Documents/S4B/sem09.html] URL http://www.aber.ac.uk/media/Documents/S4B/

Intertextuality is the idea of everything being referenced to something beforehand which has been now suggested that it is impossible to come up with an original source. Intially being stated by Roland Barthes who wrote a book of the matter titled: The Death Of The Author.

http://smile.solent.ac.uk/digidocs/live/Furby/Text/Barthes.pdf

2. Research Wiley's work and write a paragraph that analyzes how we might make sense of his work. Identify intertextuality in Wiley's work.

Essentially Kehinde Wiley creates elaborate rococo themed portraits with homeboys replacing the pose and stance of powerful european conquerers. He has mixed two distinctively different styles which is almost comical, having a fancy european setting with a straight thug being the focal point.
Intertextuality is aesthetically evident by having these european patterns being referenced with african-american hip hop style. Therefore there is nothing actually conceptually conceived but just a merge of two styles.
These references however highlight the similarities in the different cultures where both the european conquerer share the same characteristics of his gangster counterparts.

3. Wiley's work relates to next weeks Postmodern theme "PLURALISM" . Read page 46 and discuss how the work relates to this theme.

Wiley's work discusses the two distinct cultures co-existing in one society. Pluralism has been fought for in America and has come to a point where racism is not a major issue. Where as beforehand african-americans were looked upon as lower class from the Americans. However they both now co-exist in society and both understand and accept each others differences.
This is referenced in Wiley's work by having modern African-American youth surrounded in eurpopean styling. They look harmonious and look as if we didn't know they reference to two distinct backgrounds they could relate.


http://pluralism.org/pages/pluralism/what_is_pluralism

4. Comment on how Wiley's work raises questions around social/cultural hierarchies , colonisation, globalisation, stereotypes and the politics which govern a western worldview.

As i was writing the answer above all these things crossed my mind. Looking at the history of the African-American suppression by the Americans (initially european) the idea of hierarchies was crossed with the references made by the imagery. Then what i thought after that was how the European colonized numerous foreign cultures. For example Maori, Red Indians and Aborigines which can be suggested by the references made to powerful conquerers and how normally these type of portraits were to show power in the conquerer. Then developing from colonization was globalization which has happened in our recent society. Stereotyping is displayed how every in the subject which is represented in clothing which is very popular and common in African-American youth.

5. Add some reflective comments of your own, which may add more information that you have read during your research.

I like Wiley's approach to his work. He docent make his statement blatent but makes the audience have to think of the refereces that he's making and the story behind each representation to a in depth look at his work. While researching his work I started to question icons and in thought in Wileys use of stereotypes and intertextuality. I admired the ability for the work to say more then what is initially visible. Each icon has its own meaning and purpose in the painting.

Hussein Chalayan

1. Chalayan’s works in clothing, like Afterwords (2000) and Burka (1996) , are often challenging to both the viewer and the wearer. What are your personal responses to these works? Are Afterwords and Burka fashion, or are they art? What is the difference?
Not all clothing is fashion, so what makes fashion fashion?

The ideas expressed behind Chalayans's is almost a mock and protest against the meaning of the burka. That being covering up a womens body to stop men from lusting over them. From what i understand of the culture in the middle east, women are badly mistreated and are submissive to men. Coming from a western society where equality has been fought for over the years its really disheartening to hear the stories. One example which has been in the recent news is how one man through acid on a women because she refused to marry him. His work 'Burka' is a bold reminder visually having naked women wear his garments, defying the point of a burka.

In Chalayans's work 'Afterwards' he pushes the boundary of making fashion into what we consider art. I think in fashion we aim to make garments in which are soley aesthetically appealing, following trends and what not. Where as for art, especially in a post-modern society, the aim is to make a statement and make the viewer think. So for me to think about Chalyans work as Art or Fashion i would say his works tend more towards Art, but there is no definite answer as they could apply to both categories. Espically in this work he has tried to merge architecture and fashion to represent the “concept of portable architecture, and was inspired by the necessity for people displaced by war and invasion to carry their homes when fleeing a country and becoming nomadic.” This concept was interesting to look into and made me thankful for the country and community i live in.

Fogg, M. (2007).Couture interiors living with fashion. Laurence King. London: UK


2. Chalayan has strong links to industry. Pieces like The Level Tunnel (2006) and Repose (2006) are made in collaboration with, and paid for by, commercial business; in these cases, a vodka company and a crystal manufacturer. How does this impact on the nature of Chalayan’s work? Does the meaning of art change when it is used to sell products? Is it still art?

The use of art to sell commercial products could be put into different scenarios. In music bands have recently been putting commercial products in there music videos and even in there lyrics for financial profit. For example Nokia mobile phones have been product placed in numerous music videos and Jack Daniels has been used in Kei$ha's songs. The meaning of the songs remain the same but include these companies, therefore i think the meaning doesn't change but the meaning however might be based around the product. So i think when an artist does this in Art or Music, the artist loses some of the conceptual ownership behind the work and has had to take on the companies presentation.

3. Chalayan’s film Absent Presence screened at the 2005 Venice Biennale. It features the process of caring for worn clothes, and retrieving and analysing the traces of the wearer, in the form of DNA. This work has been influenced by many different art movements; can you think of some, and in what ways they might have inspired Chalayan’s approach?

Hussein Chalayan's 'Absent Presence' is about "the neurosis and paranoia around the issue of terrorism, the consequential suspicion of foreign individuals." This was made at a time when Britain was undergoing new immigration policies which made it very hard for asylum seekers to enter Britain. With this statement being made it makes a post-modernistic approach while all the same taking from other movements. With the use of science and technology, various movements are touched upon. For example the enlightenment with the concept of science over reason. I did find it hard to research about Absent Presence because there was no copy online therefore i couldn't look upon more in-depth. Although i did find that a summary saying: "A video installation telling a story based on identity, geography, genetics, biology and anthropology. The film questions whether the extent to which identities can adapt to new environments."

http://www.imdb.com/title/tt0768786/

http://www.husseinchalayan.com/#/art_projects.absent_presence.overview/

4. Many of Chalayan’s pieces are physically designed and constructed by someone else; for example, sculptor Lone Sigurdsson made some works from Chalayan’s Echoform (1999) and Before Minus Now (2000) fashion ranges. In fashion design this is standard practice, but in art it remains unexpected. Work by artists such as Jackson Pollock hold their value in the fact that he personally made the painting. Contrastingly, Andy Warhol’s pop art was largely produced in a New York collective called The Factory, and many of his silk-screened works were produced by assistants. Contemporarily, Damien Hirst doesn’t personally build his vitrines or preserve the sharks himself. So when and why is it important that the artist personally made the piece?

Drawing paintings had been of a lone persons skill. For example The Mona Lisa is admired for its amazing life-likeness in the painting which gives credit to the painter Leonardo Da Vinci. This had been the case for art throughout history, where people would put value in paintings, or any form of art, by its display of skill. Its not until recent and becoming a post-modern society the idea behind the work is valued more then the display itself. However the aesthetics are still a major role in the work they are used to compliment the idea rather then be the focal point. Saying that why is it important the artist personally made the piece, i believe for it to be a true expression of the artist it must be conceptually thought up and completed by the artist alone.

Post-Modernism, Ai Weiwei and Banksy

1. Define Post-Modernism using 8-10 bullet points that include short quotes.

Postmodernism is a philosophical movement away from the viewpoint of modernism.

a style and concept in the arts characterized by distrust of theories and ideologies and by the drawing of attention to conventions.

The development of architecture taking on the idea. “Form before Function”
Therefore architecture began to take the aesthetics of the old world and make the building tall and narrow, being space efficient.

A late 20th-century style and concept in the arts, architecture, and criticism that represents a departure from modernism and has at its heart a general distrust of grand theories and ideologies as well as a problematical relationship with any notion of “art.”

The postmodernist critique removes that central concept, it "decenters" the system of meaning. Postmodernism points out that all systems of meaning are in constant negotiation and flux, therefore claims of transcendent morality are suspect.

" The label 'postmodern' applies in many different contexts, and it cannot be abstracted into only one meaning or definition, for that defies the very essence of 'postmodern', which of course is a non-essence. "

Postmodernism rejects the ideas of 'subjectivity' and 'objectivity'

The Origins of Postmodernity', explains these apparent contradictions, and demonstrates the importance of "Postmodernism" as a category and a phenomenon in the analysis of contemporary culture. (Perry Anderson, 1998)

http://www.essortment.com/definition-postmodernism-20903.htmlhop

2. Use a quote by Witcombe (2000) to define the Post-Modern artist.

"The post–modern artist is ‘reflexive’ in that he or she is self–aware and consciously involved in a process of thinking about his or her cultural self in history, in de-masking his or her own pretensions, and promoting processes of self–consciousness."
-Witcombe, C (2000)

4. Use this summary to answer the next two questions.

Postmodernism summarizes a group of thoughts which have progressed from different aspects of modernism. Through a process of rejecting and reacting due to major historical events a realization was made that 'subjectivity' and 'objectivity' was not sustainable. This resulted in artists expressing there own view point upon society in bold statements through their works.

5. Research Chinese artist Ai Weiwei's 'Han Dynasty Urn with Coca-Cola logo'(1994)
in order to say what features of the work are Post-Modern.

Features which make Ai Weiwei’s work considered Post-Modern is as he’s done 'Han Dynasty Urn with Coca-Cola logo' put a very common logo such as Coca-Cola onto a historical, timeless artifact. His efforts to make a bold statement using a ironic contradiction of having something current on historical urn points out he is a post modern artists. By this statement he is making a social commentary about dominance of pop- culture over high culture.

6. Research British artist Banksy's street art, and analyze the following two works by the artist
to discuss how each work can be defined at Post-Modern.(Use your list from point 6.)

Banksy also is very well know to make social comments with his street art. Almost always in a subtle form of protest about war, politics, big businesses, government oppression and the environment. Banksy's 'Flower Riot' we can see how he’s made a statement by taking a famous picture and altered it changing the conventional connotations which go with the image.
'Los Angeles' is a statement about consumerism in society and he has rejected the conventional medium of borders and takes his works to the street which compliments his style in his works.

These works demonstrate exactly the approach of a post-modern artist to express there viewpoints and they don’t actually try say they are necessarily correct but try make the viewer to question and think. this also falls under a post-modern approach.


http://en.wikipedia.org/wiki/Postmodern_art

Nathalie Djurberg's 'Claymations'

1. What do you understand by the word 'claymation'?

From what i understand from the word 'claymation' it is a series of pictures to make a motion film, using clay as the main resource for making up the characters and landscapes. Clay is a good choice because its easily mouldable to fit any shape, therefore changing characters pose for each pictures is easily done. Most common stop claymation movie that comes to mind is 'Wallace and Gromit'.

2. What is meant by the term 'surrealistic Garden of Eden'? and 'all that is natural goes awry'?

Following from the term 'Surrealistic', Djurberg's work has been described to take something such as nature and put a altered view on it. Therefore its not an exact representation of nature but a alternative view upon it. Giving a slight definition of nature being peaceful and elegant but characterized in a irrational, fantastic arrangement of material making it seem terrifying all the same. In this work she has used clay. With the term 'all that is natural goes awry', it is takling about how nature becomes askewed as if whatever we see that is natural is not what it seems.

http://www.yourdictionary.com/surrealism

http://www.trendhunter.com/trends/nathalie-djurberg

http://dictionary.reference.com/browse/awry

3. What are the 'complexity of emotions' that Djurberg confronts us with?

With her dream-like works she opens up the audiences mind to all the emotions she displays in her works. In her claymation 'Garden Of Eden' she gives us a terrifying, distressing approach yet still it is sweet and pleasing to the eye. This tears the audience in a variety of different emotions that is almost confusing yet understandable, hence describing the term 'complexity of emotions'.

4. How does Djurberg play with the ideas of children's stories, and innocence in some of her work?

Djurberg uses children stories as a basis to take from, making usually innocent characters and themes and skews them to make them into these disturbing x-rated claymation's. In a sense you can tell she is merely trying to show her idea of reality within the dark imagination of the human mind and uses them in the complete opposite output such as a children's story. This really confuses the audiences, challenging whether to keep looking although knowing its only an imitation of the real (surreal) being only clay and a series of images.

http://artnews.org/artist.php?i=1211

5. There is a current fascination by some designers with turning the innocent and sweet into something disturbing. Why do you think this has come about?

I think among designers it has become desired to challenge the audience and make them think. Therefore by taking something that is already relative to the audience and making it into something sinister and disturbing confuses the audiences sense of normality, therefore challenging the audience. It has come about through the idea of individualism and designers wanting to stand out from the normal and give the audience a new concept or idea. I have also found myself in my studio work doing the same and i think i do this for the same reason; trying to come up with something new or hasn't been done.

6. In your opinion, why do you think Djurberg's work is so interesting that it was chosen for the Venice Biennale?

Her work is definitely interesting, because it pushes the audiences boundaries and challenges them with a aesthetically beautiful representation of the garden of eden but making it all the same disturbing and unethical. The audience is left wondering how to react or respond to her works however still engaged and intrigued.

7. Add some of your own personal comments on her work.

I particularly liked the musical score in her works by Hans Berg. It supplemented this psychotic yet happy undertone throughout the her works indicating theres more going on then whats going on. It communicated a sense of anticipation and captivated the audience into her world she had created. I think looking at her actual exhibition it would almost hypnotise you into her crazy dream world, opening up to a surreal sense of reality.

Modernism And Post Modernism

Monet's intention was to break from classical and traditional forms of painting and pursue new techniques and approaches. Monet had done this by limiting himself to a certain amount of colours and eventually stop using earth colours and black in his colour palette. He would also use light colored canvases and use straight colours on the canvas or mixed colours on the canvas itself which was very unconventional at his time (1886). Another technique he used was 'scumble' which was used to soften the outlines and dull the colours by applying a thin layer of a transparent colour. These techniques are evident in his "Water Lilies" works. Monet once said about his Water Lilies series "It took me time to understand my waterlilies. I had planted them for the pleasure of it; I grew them without ever thinking of painting them." (Monet, 1906) Also the French poet Paul Claudel said: "Thanks to water, [Monet] has become the painter of what we cannot see. He addresses that invisible spiritual surface that separates light from reflection. (Pichon, 1989)

Claude Monet 'Water Lilies' (1920)

Close coming from a mechanical approach to his work, initially intended for his work to be a photographic reference and show clarity of detail. You can see this by his use of grids which he used to sometimes reference and up scale images, hence a lot of his works were portraits of himself and his family and friends. He further developed these traditional techniques and played by building up colour by only using cyan, magenta and yellow which is the same coloring process of a modern printer. He also applied various medias to his work such as in 'Linda' (1975) he uses acrylic, ink and water colour. Close mentions "Inspiration is for amateurs. I just get to work."(Chandler, 2006) He also says “What difference does it make whether you're looking at a photograph or looking at a still life in front of you? You still have to look.” (Singh, 1998)

Chuck Close 'A Self Portrait' (2007)

Both painters played around with techniques and explored with colour extensively. They both limited themselves by restricting the use of different colours and built up there desired colours using set dynamic colours. They also shared a attraction to vibrant colours which is especially evident in the Monet's Water Lilies series and Close's Close Up. they both also appealed to try capture some element of society, but expressed in different subject matters. Monet painted his perception of everyday living with landscapes and still life where as Close painted portraits which depict that subjects personality. Their styles and approaches are however completely different. Monet tends to express his perception he feels is necessary at the moment he paints, as Close work is well thought out and pre-planned making his work very methodical.

While researching Monet I found him very interesting and respectable in regards of his key role in the impressionism movement. I also especially liked his fascination with the play of light on objects which led him to produce series of single subjects painted at different times of day and under different weather conditions, such as the Haystacks series (1890–91) and Rouen Cathedral (1892–95). I can appreciate Close's work in regards of the amount of detail emphasized in his coloring but i find his subjects not very in depth and interesting. His work seems like they are for him or specific people rather then a audience.


References:

Chandler, O. Y. (2006). Chuck Close. Retrieved from Good Reads: http://www.goodreads.com/author/quotes/166434.Chuck_Close

Monet. (1906). Water Lillies. Retrieved from Art Quotes: http://www.artquotes.net/masters/monet/water-lilies.htm

Pichon, J.-L. F. (1989). Art of Our Century. New York: Simon & Schuster.

Singh. (1998). Chuck Close Quotes. Retrieved from Think Exist: http://thinkexist.com/quotes/chuck_close/