"How a little praise in prison can go a long way"

Duet by John Banks
http://www.guardian.co.uk/society/2010/aug/24/arts-prison-koestler-awards-praise 

The Koestler Trust is an arts charity that provides opportunities for inmates and detained psychiatric patients in the UK to express themselves creatively.  Arts by Offenders is an exhibition put on by the Trust and includes, this year, entries from 14 Scottish prisons, a children's secure unit, and a mental hospital. The article I chose, "How a little praise in prison can go a long way" was written by former-inmate Erwin James whose positive experience with Koestler's investment in offenders' lives and creative expression changed his entire perspective about his own life and worth to society.  This article is incredibly interesting to me for two reasons.  On the one hand, it takes a conventional perspective of what we, as a culture of primarily Western-influenced art observers, art snobs, if you will, perceive to be real "art" or "artists" and throws it out the window.  On the other hand, however, it is an incredibly intimate illustration of what art in the purest sense can achieve.  These are not pieces commissioned by lofty dignitaries or wealthy patrons for themselves, but precious, personal reflections and journeys made masterpiece in some sort of visual form.  When you think about it, these artists are not actually so different from many whom we today consider masterful ringleaders in their own movements.  (Van Gogh, for example.)  As a representative of the Koestler Trust states in the article, these opportunities of expression can "'give people a sense of value that they might not have had before'".  I personally think this idea, as well as this organization, is awesome and agree with the writer that, obviously, "'a little praise goes a long way'".

The Palette of Narmer

The Palette of Narmer

Hierakonpolis.  Early Dynastic period, c. 2950 BCE.

The Narmer Palette is a fascinating piece.  Although it was, in all technicality, a ground for mixing eye-shadows, this particular palette would have been purely ceremonial, and remains an excellent example of the artistic conventions that began during the Early Dynastic period in Egypt.  In this period,  following the unification of Upper and Lower Egypt, Egyptian kings were depicted as having god-like status.  This is evident in the Narmer Palette in several ways.  Firstly, Narmer, capable ruler of Upper Egypt, is considerably larger than everyone else in the scene.  This, by convention, is a mark of his importance.  There was no Western conception of linear or atmospheric perspective in Ancient Egypt, simply a hieratic scale of persons and figures--the larger they were, the more important and vice versa.  Therefore the ruler is obviously the focus in this scene.  There is also an element of subordination that makes the here-seen merciless leader the emphasis in the composition.  

Another extremely relevant element of the Early Dynastic artistic convention seen here is the way in which the figures are represented.  There is no attempt to recreate these persons in a lifelike or realistic fashion.  Rather, each body is idealistically posed in such a way as to be seen from its most aesthetic angle.  For example, you will notice that Narmer's head is at a full profile while his torso remains facing forward.  You will also notice that the smaller figures, those of lesser social importance or rank, do not adhere to this convention as strongly as their fierce leader.  This is yet another way in which the king is distinguished from his surroundings in this scene; the strong composite pose was reserved for dignitaries.

The symbolic elements presented in the Palette of Narmer, while significant in their own light, cannot fully be disconnected from the formal composition.  Their placement in the image has very much to do with the way in which this scene is interpreted.  This sort of iconography, using meaningful images to tell a story, is consistently used in Ancient Egyptian art.  In this particular image, Narmer is identified first and foremost by inscribed hieroglyphs located at the top of the palette--symbols representing sounds that when said together would sound like "Narmer".  He also wears the traditional kilt and beard of a king, as well as the white crown, signifying his control of Upper Egypt.  Clasped in Narmer's hand and in line of his next blow, is a figure whose size is most closely comparable to the king's.  This figure can thus be interpreted as someone of importance, though obviously not so important as Narmer himself.  On the right hand side of the panel, papyrus reeds, symbolic of Lower Egypt, identify this obvious foe as the ruler of Lower Egypt, here being dominated by the Upper Egyptian king.  The god Horus (depicted as a falcon and in whose temple this palette was found) observes this scene from above, his hook in the nose of the man from whose head sprouts the papyrus.  Clearly, Horus approves.  All of these symbols, taken together, enable viewers to interpret the story being told here--Narmer, ruler of Upper Egypt, is conquering his Lower Egyptian counterpart, thus signifying the very important unification of Upper and Lower Egypt and the beginning of Egypt's growth as a powerful and kingly nation.

My Collage

A Fine Madness by Laura Jenkins

Decisions (and Subject Matter):  Each element that I incorporated into my collage speaks, in some way, about me personally.  There are many stages in and of my life represented on this piece of poster-board.  Most of the photographs of people (all but one, actually) are of my family.  This is because my family is the single most important thing in my life and deserves to be highly recognized in this collaboration of myself.  I also included a lot of images from my hometown as it too has played a large role in the person I turned out to be.  The rest of the pictures, mostly architecture, show some of the greatest art I have encountered first-hand up to this point in my life.  So, by all means, my collage is an extension of me—my values, my tastes, my family, and my favorites.  Even my country and the world that I live in today (there are 8 nations represented here, many more if you include each bear’s nationality) find their way into this historical, artistic expression that is moi.

Color:  The majority of the colors I used in this composition are warm and earthy tones.  I find these colors both familiar and comforting, much like the majority of the elements I incorporated into my collage.

Light:  The placement of images in specific areas has a lot to do with the overall lighting effect in the collage.  In the mid- to lower right corner, for example, the lamps and chandeliers seem to emit a very luminous light, reflecting off of the reds and gold.  The lower left-hand corner, on the other hand, is much darker due to a lack of sufficient “light source”.  The upper right area of the collage is seemingly very naturally lit with much open sky in the background.

Texture:  Obviously this is a very flat, sleek surface.  However, texture and pattern can be found within the composition, especially in the ornate detail of the Baroque and Rococo architecture.

Volume:  The darker images near the bottom of my collage—the looming Czech clock tower, the emboldened text, and the very dimly lit photos of my friends and family—all create a nice weighted base in the composition.  The light, airy images near the top counterbalance that with a refreshing and breathable openness.

Line:  The composition of the collage is arranged around a vertical axis.  From the bottom, viewers are able to follow the arms of the bear representing China upward, through the cavernous hall of paintings and along the distinct line between photographs, continuing all the way to apex of the stained glass window.  The implied lines created by the gazes of the bears on either side of the collage direct the viewer’s eye through the image.  The same is also true of my kitten Stuart’s downward stare.

Space:  To create an illusion of depth in my collage, I included windows and spaces that illustrate linear and atmospheric perspective, overlapping images in specific places to create a foreground and background.  For example, my yellow-clad sister and I almost appear to be inside the elegant hall of the Hermitage.

Scale:  The largest and central image in my collage is the most recent, and my favorite, family photo, taken on Mother’s Day.  As I mentioned before, my family is truly the center of my life and therefore takes precedence in the composition.

Symbolism:

1.     The image of Stonehenge, as it relates to this class, represents the foundations of what we consider today to be art.

2.     The uniquely painted bears, which were part of an art exhibition displayed in Poland at the time, signify the global elements of art that connect and interconnect to create new style and influence, and all the many different peoples that together make up this crazy, wonderful world in which we live.

3.     The photo of the Berlin wall, directly beneath Stonehenge, symbolizes the gravity of certain history and how it has shaped the world today.  It is also now a form of artistic expression in its own way—an expression of how the peoples affected by its presence perceived its significance.

4.     The quote by Rainer Maria Rilke, 18^th-19^th Century Austro-German poet, is my favorite—it is a full representation of the way in which I hope to live my life each day.

"Can Art Be 'Priceless' in Rocky Times?"

http://roomfordebate.blogs.nytimes.com/2010/05/23/can-art-be-priceless-in-rocky-times/?ref=design 

The arguments presented in this New York Times blog article discuss the soundness of artwork as a long-term investment.  Although each person featured has a slightly different opinion about the matter, I find that I am able to agree with some aspect of each of their cases.  The first, Professor of Philosophy David Dutton, refers to pieces of artwork such as the (above) Picasso and Giacometti as "utterly irreplaceable record(s) of a historical artistic achievement" which therefore makes them a "solid investment".  I think he is right in this sense--that such works can and will never be degraded in importance--and that, therefore, in the long run, their monetary value will never be diminished.  Although the economy has had a negative effect on the art market as a whole, as editor Kinsella, notes, it also leaves the trade wide open for those who are still able and non-detteredly avid about purchasing artwork.  In my opinion, there will always be people to buy it, no matter what the economic status on the larger scale may be.  As Professor Donald Kuspit theorizes, people who buy art are "buying the brand name" (which would not have been true in most cases when the art itself was being made, however).  As such, I daresay those who have the funds (which those purchasing for the sake of "the brand name" rather than aesthetic or historical value generally do), will continue to do so.  That is to say, those who are largely unaffected by economic trends will not feel the need to cut back on their spending.  Articulated by Professor Kathryn Graddy, "while many people may be in economic distress, the very top echelon of wealthy individuals are doing just fine, and it is this very top fraction of the distribution that drives...the art market".  Though these particular types of artwork discussed may not have always been the primary focus of monetary frivolity, the wealthy upper class of peoples have, throughout history, made their importance known by inventory of possessions--the least necessary to survival being the grandest.  This trend remains true today.  Even if collectors are not buying Picasso's work for its incomparable historic value, they'll still buy it.  Therefore I think it is safe to conclude that art is a very good investment.

Analyzing Fragonard

Fragonard's The Swing

As a formal composition, The Swing by Jean-Honoré Fragonard is centered on a strong diagonal axis.  Viewers are able to follow the implied lines of the painting from the bottom left-hand corner, up the man's outstretched arm, over the delicate slant of the woman's body, and onward along the ropes of the swing.  A more subtle diagonal can even be found going the opposite direction--starting this time with the servant's arms and continuing upward and left through the gently swaying trees and brightly-lit vacant space.  The sort of X formation these lines create places the woman in the swing precisely in the center of the image, emphasizing her importance, though this is certainly not the only means by which she is emphasized.  The subordination of space surrounding the woman makes her stand out further from her surroundings.  Also, while everyone else in the scene is hidden in shadow, the playful maiden is bathed in sunlight.  The color palette of this painting is primarily composed of cool blue-greens, as in the foliage and the men's clothing.  For this reason, the warm pink of the woman's dress once again sets her apart from the rest of her environment.  It is not only Fragonard's use of color and light that draws the viewer's attention to the woman, however.  It is also her placement in the composition, with regards to the placement of the other persons depicted--all are situated below her, gazing up as she carelessly tosses her shoe into the air, as though in admiration.  

All of these formal elements clearly show that the woman in pink is the focus of this image.  It is not simply by product of Fragonard's imagination that this is done, however; it is a direct reflection of the time during which he painted it.  The 18th Century Rococo era is characterized by Louis XIV's movement of the art capital from Rome to Paris.  In this era, we see things taking on a distinctly feminine quality, symmetry is replaced with playfulness and ornate detail, reflecting the tastes and tendencies of those in power.  It is also characterized by the distinct presence of mistresses within the royal circle, and in such, the art commissioned for those royals during this time.  With the benefit of this social historical context, we are able to derive all new meanings from Fragonard's use of formal elements in The Swing.  The couple in the image are clearly man and mistress.  They are depicted as participating in a distinctly frivolous activity that would not have been representative of, say, a queen.  The man's placement below his mistress is not only an emphasis of her importance in the image, now, but is also slightly risqué and suggestive of their relationship.  Even the hushing cherub watching over the scene seems to be disapproving of their behavior.  The setting itself, tucked away in a cozy corner of the trees, suggests a desired privacy for this playful activity.  All of these things make up the cultural and socio-economic influence of the time period during which Fragonard so artfully crafted his painting.  As we can see, the lens of historical context adds much more to a work than the formal elements alone can explain.