For 2/18- Commercial Art Repetition

This is a vintage Nabisco add I hung in my kitchen. It uses repetition of form (the snacks) and also a grid pattern to maintain a neatness and pleasing overall composition. While the snacks are all similar, several of the pieces vary with specific toppings, using differentiation of form to emphasize the point that these snacks can be eaten in a variety of ways.  

For 2/16- Gestalt Quilt!

This is the quilt on my bed. It uses similarity or repetition of shapes as well as proximity to create a unified pattern. Most of the shapes are triangles or a square with two triangles placed on either end (whatever that shape is called). Quilts, by nature, usually are unified by similar shapes and proximity of those shaped quilt pieces. 

For Wed., 2/11- Andy Goldsworthy

This is one of Andy Goldsworthy's more permanent outside works--a stone fence wrapping and snaking around trees and flowing down the hill and into the river, like a long, lazy snake. The design fascinates me because it seems as if it is a natural phenomenon, as if the rocks wanted to form around and hug the forest and river bank. The colors of the rocks fit with the tree colors. The snow on top of the fence is striking, and the snow is really the only reason the fence sticks out from its surroundings at all. 

For Wed., Feb. 9- Gestalt Principles

Two gestalt principles are applied in the image above. One is proximity-the individual figures can be perceived as making up a tree because they are close enough to one another to do so. All spread out, they would not form an overall unified image. Also, because the individual images' similarities to one another, we are more able to focus on the overall tree image rather than on the individual images. If the individual images were different things while still placed in proximity to one another in a tree form, we may not be able to recognize the tree form as readily. 

For Fri., Feb. 4- Louise Nevelson boxes

This is Nevelson's “Sky Cathedral Presence.” In Nevelson's work, objects and boxes come together in blackness to lose their specificity and create a new total object and feeling, while recognizable shapes and depths give you places to explore and wonder about after taking in the total structure, which is solemn, semi-symmetrical, and mysterious.  

For Wed., Feb. 2-Lucas Samaras boxes

 This is Samaras' Box no. 54, Colored wool and synthetic polymer paint on wood. 

This is Samaras' Box no. 68, synthetic polymer paint on wood. I chose to show two photos, because I had to view several to get a feel for Samaras' work. To him, the box is not about what is inside, as it is for Cornell. Rather, the art is the box itself--and it does not have to be a whole box. In both these examples, the "boxes" may have started out as whole cubes, but Samaras cut and reconstructed to make something more interesting, architectural, and unexpected. 

For Friday, Jan. 28- Cornell Boxes

This Cornell box is titled, "Habitat Group for a Shooting Gallery." I find the use of primary colors paired with natural wood and paper elements very appealing. It also seems to make a comment on environmental concerns, about placing an entire species together and systematically annihilating them. That could be off base, but either way, I'd love to hang this in my room.