Talking and writing about art
How to write an art piece description
There are many general principles that work to produce effects, feelings, and meanings. The Visual Elements and Subject Matter are used separately and together to create all kinds of relationships, motion, transition, contrasts, conflicts, variations, themes, feelings, meanings, depth effects, space effects, and so on. Nochlin argued that it was earned and in fact turned to good purpose, a goad to the intensity and passion evident in her work. When you discover principles, you can use them and you will understand how to make and understand artwork better. What if everyone has a different opinion or understands the artwork differently? Do you think that you actually see the world differently than other people? Do you have a favorite art work among your creations? Border Crossings looks at contemporary art with interest, passion and thoroughness. Interest and motion is added to artwork by repeating things like shape, color, line type, value, subject matter, size, and so on. It could be an analogue or addendum, opening out possibilities, and in admiring Berger and Hickey too and speaking about Hickey here because of his recent book , it is their presence in the language I note. You do not have to be an art expert to facilitate a discussion with your students. When you see a visual effect it means that some sort of organizing Principle is working. Why did you choose that media to fabricate it? For example, a combination of red and orange has a different effect than a combination of red and green.
Does a diagonal line indicate more or less motion than a vertical or horizontal line? If a color is repeated in different size or shape it may more interesting than if it is repeated in the same size or shape.
She recognizes that it is significant. When you feel depth, can you figure out why you feel it? Recommend: This article originally appeared in Border Crossingspublished August Then ask the group to consider what new thoughts they have.
The exaggerated foreshortening, the slablike rosy impasto on the thigh that almost seems to leap off the canvas, but above all, the securing of the surface by means of the gray horizontal plane beneath the body and the elegant tattoo on the vertical arm that intersects with it—these are the strategies to recall both the traditions of modernism and the anxieties of postmodern representation.
Elements often together with subject matter create visual effects. Is it ever hard to part with a work?
Or is there a particular historical period from which you draw inspiration?
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