Liz Collins, Worst Year Ever

Liz Collins, 2011, Worst Year Ever, New York City, dimensions (N/A) Knit–Wool and Silk.

Worst Year Ever by Liz Collins is a knitted piece that is shown at the New Museum. The exhibit was called Trigger: Gender as a Tool and Weapon which shows many different LGBT artist and bringing many different controversial ideas in society today, and how we as people view gender. With her piece specifically we as the viewer focus on the form, shape, and different colors in the piece. We see the red knitted wool hang from the white silk background, and the shape that the wool makes when hung. Color is also very important in the piece as well, when we see the color white we think of purity and when we see the color red we think of anger death, and in a sense she is putting the red wool over the white silk, and silk is also supposed to be very pure as well. Her work in specifically connects to the formalism perspective. “Formalist, however want the form and the form alone, to be attended by the maker and the perceiver: nothing else matters. Such as expressionism of emotion, narratives contained within works, functions of what work is designed to perform or references to the world a work may depict. (Barrett, 115). We as a society focus on knitting as a feminine quality, and Collins is trying to show us that there are no specific qualities for a specific gender. society believes that knitting is very fragile and delicate, and her piece is going against that idea and norm.

 

 

Piss Christ, Andres Serrano

Andres Serrano,1987, Piss Christ, Location (N/A),  5′ 0″ x 3′ 4″, Photograph

Piss Christ by Andres Serrano depicts a plastic Jesus submerged into urine. When viewing the image, we see only two colors yellow and orange, and we can also observe the cracks in the image as well. The image brings up many different questions, but it relates the most to the realism principle. It connects in that way because photography is the most realistic form of art, because in the moment it was very real. Barrett notes, “What do we mean when we call a work of art realistic? Photographs and other camera-based images are commonly accepted as the most Realistic of the arts, exploring the idea regarding realism and the representation using photographs.” (50). In connecting the theory behind it, we see realism also in the sense of thinking it is something different than what it is. When viewing the image at first we would never think it was someone’s urine, and that is what also makes it more real. The photograph creates an illusion and that is something else that is super important. We in society today always pass judgements, and try to conclusion and we need to see art in a more realistic and creative way.

 

Untitled, (Rooftops)

Martin Wong, Untitled (Rooftops), 1995, (dimensions n/a), Acrylic on Canvas

Untitled (Rooftops), observes the Lower East Side in 1982. The layout of the painting is very prominent, in that being that the top of the image is a sky filled with constellations and stars and then when your eyes observes the middle of the image it is cloudy and dark. The building look like they are falling apart so the contrast is very interesting. The colors also add description to the image because the building make it look very monotone. The image was painted during a time of Crisis, when many gay men and New York City in general were battling the HIV/AIDS epidemic and many people of low socioeconomic status were affected by this issue, especially in the Lower East Side. Wong’s image connects to the expressionism principle. Barrett writes, “expressionist assert that artist are people inspired by emotional experiences, who use their skill with words, paint, music, marble, movement and so on to embody their emotions in a work of art” (65). Wong connects in that specific way because he is telling us his story through his art, and representing more than just himself, he is representing people of the LGBTQ community during this time, and even today.

 

 

 

Funeral Sermon

Funeral Sermon, Jacob Lawrence, 1946, Brooklyn Museum, 48.24, watercolor and graphite with some varnish on heavy textured wove paper.

Funeral Sermon, 1946 depicts a deceased woman wearing a white dress, with grey skin and dark hair. The picture portrays her lying on a red coffin with swirls on the edges of the coffin. A heart shaped funeral arrangement in white and red flowers sits on top of the coffin, and there are little details in the heart, and they have different designs inside of them. The women are in the center of the picture, but in the back of the painting there are three different men that are conducting the funeral. When observing this image, the painting shows the real connection that the artist has to the painting, for example Lawrence is commenting on the importance of spirituality in the African American community. The painting connects to the realism principle. Barrett states, “in simple terms, a theory of Realism would have one believe that a work of visual art should look like what it is meant to show. ‘realism in art as the quality of a depiction which allows the viewer quickly and easily to recognize what it is a picture of:  that quality of a literary text which relates it closely to everyday life” ( 21). This connects to the realism principle because we are focusing on real events that happened in history, and then when going to this exhibit you saw how African American people were treated, and how we as a society cannot erase the past. The painting also shows the real connection that the Artist has to the painting, for example Lawrence is making a commentary in the African American community.