Student Art Rocks Chaffey College
By Vanessa Garcia and Melissa Myers
The 2006 Student Invitational Exhibition taking place at the Wignall museum is an exhibition displaying the work of 10 student artists. The artists include Christopher Adlay, Gabriel Gonzoles, Price Hall, Aubree Harris, Lacey Lipis, Ranee de la Rosa, Celia Sanchez, Stephanie Schmitz, Miles Smith, and Kate Thomas. Their pieces, which are talented and thought provoking, provide the viewer with a small insight into the mind of the artist. Some of the work displays inspiration of past art, while others are entirely modern and display inspiration from ordinary objects, culture, and even astronomical geology such as the work of Price Hall. But one thing that each artists has in common is that each piece is not only self-referential but also that these pieces allow the viewer to connect with the artist on a personal level.
Painting, photography, ceramics, mixed media and digital media are included in the exhibition. Each artist created art that was emotional and inspiring in their respective mediums. Cynde Miller, Professor and Art Director of the Student Invitational, remarked how the students have artistic talent and technical skills but developed a more conceptual outlook. “They’re not trying to prove anything,” Miller commented. When asked what her favorite piece was she simply replied, “I think they’re all amazing for different reasons.” They all have their own remarkable specialties.
The artists seem to take a few different approaches in creating their pieces. Some of the work could be viewed as self-expressionism because the artist is not only making their personal thoughts public but also providing the viewer a chance at observing the world through another’s eyes. We see this in the work of Lacey Lipis and her self-portraits, Christopher Adlay's "Buttons" which are created from his own sketches, Miles Smith's paintings which he created through the interpretation of his own emotions, and Stephanie Schmitz's self photographs of her in an angered and irritated state. Schmitz said it perfectly, "I'm not just putting my work out there, I'm putting myself out there".
What one also experiences through this exhibition is the idea of conceptual art. With conceptual art the ideas embodied by a piece of art are more central to the work than the means used to create it. We see this in the work of Celia Sanchez. Her photographs depicting a 1950's traditional wife tending to the needs of a modern husband expose female stereotypes and suggest lost identity.
What we see in the sculptures of Ranee de la Rosa and Price Hall are examples of artistic irony. De la Rosa has taken ordinary objects like pillows and changed their composition. These objects which were once soft have now become the very opposite, hard. In Price Hall's sculptures of impact craters and meteorites we again see this idea of irony. He created objects that represent pieces of earth which were made by clay or as Hall titles it "The flesh of the Earth".
Even though art seems to continually change artists still look to the past for inspiration. Traditional religious depictions of the Madonna and child inspired the poses portrayed in the photographs of Aubree Harris. She took a series of over 500 pictures within 6 months of her, her child, and her sleeping husband. To this day her husband has no idea that he has been photographed.
Other artists, like Christopher Adlay look to the present for inspiration. His Button Machine, an old fashioned gumball machine filled with button pins rather than gumballs, was inspired by the band buttons that people are sometimes seen wearing. To take art out of its traditional form and formal constraints is a modernist view, and when art becomes mobile or “saturated” into society, it is definitely an innovative approach. When art gets taken out of its traditional context, it becomes modern. His work was literally taken out of the gallery setting and into the world outside of conventional institutions.
Other reoccurring ideas of Modern art include spontaneity and non-methodological approaches to creating art, by not actually planning how the end result will look. Gabriel Gonzales remarked, “I really don’t think about what I’m drawing or painting but just start painting and whatever it becomes, it becomes.” He is inspired by dreams and nature. Miles Smith’s abstract paintings burst out with vibrant colors; he says he is fueled by emotions and feelings of his past. “I just put some paint on canvas,” he replies.
Lacey Lipis exhibited self-portraits that push the boundaries on the expectations of traditional art. They are not intending to be beautiful; instead she comments “they’re supposed to be gross.” Kate Thomas focused on the concept of existence through documentation by visually promoting several non-existent bands with an array of colorful posters, fliers, and stickers. She also designed the student invitations for the show.
Art is not simply something to be seen, it is an aid in helping define the perspective of the artist as well as the viewer. Art invites the viewer to ask questions and think openly about the work without feeling self-conscious or feeling as if art has to have standards.
The Student Invitational will continue through May 20, 2006. The Wignall Museum is open Monday through Friday from 10 AM to 4 PM, and Saturdays from 12 PM to 4 PM. Admission is free. There will be an artists’ talk on May 4th from 7 to 9 PM.
Vanessa Garcia is the Vice President and Melissa Myers a member of the Chaffey Art History Association.
April 30, 2006
Student Art Rocks Chaffey College
April 21, 2006
African-American conceptual artist, Lorna Simpson is displaying her photographs at MOCA on Grand Ave. now thru July 10, 2006. Her work is intriguing and thought provoking. Her subjects usually deal with racism, female oppression, and slavery. One photograph entitled Wigs (1994) was the most striking to me. It represented the vain facades women strive to achieve by dying, curling, straightning, braiding, weaving, and, cutting their hair. The piece is fun to look at at first because women can always transform themselves in so many different ways. Yet, from an analytical approach, it became upsetting to realize that most women are subject to change when society pressures them and not because they choose to. To take it a step further, Simpson herself sees the work as a representation of how minority women either reject or conform to "white" America by placing one bleached blonde wig amongst the 16 other jet black corse haired wigs. Her statement is bold but elegant and sophisticated at the same time.
April 19, 2006
My cousin Shayna is currently doing a journalist internship in Buenos Aires, Argentina. Last week 46 different sites and newspapers around the world, including the LA Times, published an article she wrote about the return of a Moai to Easter Island. To say the least she is very excited.
By SHAYNA CHABNER, Associated Press Writer
3:04 AM PDT, April 13, 2006
BUENOS AIRES, Argentina -- The huge stone head is framed by a wooden crate that casts shadows across its vacant eyes and elongated nose. After an odyssey of more than 80 years, the sculpture is set for what should be its final journey -- home to Easter Island.
The 7-foot Moai, carved from compressed volcanic ash and decked in a red-rock headdress called a Pukau, is one of almost 900 ancestral statues crafted centuries ago on the remote Pacific island, annexed by Chile in 1888.
It was taken from the island in 1929 and spent some 40 years in the Chilean capital of Santiago before traveling to Argentina and making a quick round-trip visit to the Netherlands.
"Today is the end of a long exile for this Moai," Chilean Ambassador Luis Maira said at a ceremony Tuesday in Buenos Aires. "Today it is being returned to the place where it belongs, where the people are affectionately waiting for it."
Chilean artist Rosa Velasco, the statue's current owner, said that by returning the Moai she hopes to help preserve part of the cultural heritage of the Rapanui islanders, the natives of Easter Island.
"This is a very important moment for me. I am happy that I can return this piece, repatriate it to Easter Island," said Velasco, who put the statue on public display Tuesday and Wednesday at a Buenos Aires cultural center. "I think that it is my ethical duty to return this statue."
It is one of a dozen statues known to reside outside of Easter Island, including two at the Smithsonian Institute's National Museum of Natural History in Washington, two at London's British Museum and two in the National Museum of Natural History in Santiago.
Next week the statue is to be trucked from Buenos Aires to the Chilean port of Valparaiso and loaded aboard a Chilean navy ship for the journey to the island, 2,250 miles off the coast.
The Moai was taken from the island's capital of Hanga Roa in 1929 when it was given to Chilean President Carlos Ibanez del Campo.
It remained in Santiago until 1970, when it was bought by Velasco's father and transported to Buenos Aires. She said the statue was then sold to an art collector, who took it to the Netherlands. But the statue was returned to Buenos Aires after eight months when the collector's payment did not clear.
Velasco said the Moai then spent years in Argentine customs while the dispute was settled before ending up in her possession.
A group of Easter Island elders worked with Velasco and Maira to arrange the repatriation.
The Moais, crafted between 400 and 1,000 years ago, represent deceased sacred ancestors of the Rapanui, who were believed to have descended from gods. While some are up to more than 70 feet tall, most average 20 feet and weigh some 20 tons.
Although the Rapanui people no longer worship the statues, the Moais are a symbol of their culture and history, said University of Hawaii Archaeologist Terry Hunt.
"The Rapanui people have the right to have that culture back," Hunt, the director of the university's field study program on Easter Island, said by telephone.
To date, as many as 880 Moai statues have been counted on the island, but scientists estimate there may be more than 100 others still undiscovered.
The history of the monolithic statues -- with their large heads, long ears, pursed lips and compact torsos -- remains a bit of a mystery.
Scientists say the island's inhabitants went on a carving spree between the 15th and 17th centuries, depleting the island of its forests as logs were used to move the massive statues into place. But there are still many gaps in the history, including when the inhabitants arrived on the island and what spurred their obsession with the Moais.
"There is a lot that is said about the island and a lot that we don't know. We have a lot to learn in doing research there," Hunt said.
As far as the value of the individual Moais, no one here was willing to place a price on the statues, other than to say that collectors would probably pay thousands of dollars for one.
To the Rapanui islanders, the return of the statues is priceless.
"I am happy to hear and to find that this history has an end. And this end completes us now," said Ema Tuki, a member of the Easter Island National Indigenous Council.
April 18, 2006
Now the LACMA has special exhibition of five important paintings by Austrian artist Gustav Klimt (1862–1918) from April 4th to June 30th
two portraits of Maria Altmann’s aunt, Adele Bloch-Bauer (1881–1925) and three landscapes, Beechwood (1903), Apple Tree I (ca. 1911), and Houses in Unterach on Lake Atter (1916). this is a great opportunity to see the Klimt's original paintings.
April 16, 2006
Saturday morning a group of students joined me at the Museum of Contemporary Art to view the exhibition PAINTING IN TONGUES. Hopefully everyone else already had a chance to go, the show closes on Monday. The exhibition featured the work of contemporary artists Kai Althoff, Gillian Carnegie, Mark Grotjahn, Lucy McKenzie, Rodney McMillian, Ivan Morley, and Anselm Reyle.
This survey examines the work of seven international emerging artists who have embraced a novel and challenging approach to painting. By employing a varied mix of painterly styles, modes, sources, and materials, as well as working against a single recognizable “hand,” the featured artists have each crafted a complex and rich practice that offers innumerable avenues for exploration and growth.
Mark Grotjahn, Untitled, 2005
Kai Althoff, Untitled, 2004
In the afternoon I went down to Chinatown for some great food and to take a few photos, before finding a quiet cafe to spend the rest of the day grading exams.
Yeah, it's not all fun and games :)
Saturday night was the opening reception for Stan Hunter's MIGRATION GRIDS at Chouinard Gallery. Hunter's creative talent and enthusiasm for pushing the art of ceramics is evident in this present showing of works. The event was well attended by the art community and many present and past colleagues and students of the artist. A past student was overheard saying that Professor Hunter "was one of the most important influences in her life."
Professor Cynde Miller taking a closer look.
April 15, 2006
As some of you might have noticed, we have been one art historian short this spring. Orville Clarke has been teaching Chaffey art history courses in Italy this term through the Study Abroad program. I know, tough life :) Well, I just received this brief update of how things are going in Italy.
Currently we have 31 students studying in Florence, Italy. Students have traveled to Rome, Venice, Siena, Volterra, Milan, and Padua to visit museums and important churches and structures. In addition, many of the students have traveled to other destinations such as Zermatt, Switzerland, Barcelona, Spain, Cinque Terra, Italy, Brussels, Belgium and Berlin, Germany. Classes are held in a Renaisance Seminary and students live in apartments in the city center in Florence. They have visited countless museums and churches and learned the rich culture of Italy. It has been a rewarding experience. -Orville Clarke
Sounds wonderful! Wish I was there! :)
The Study Abroad program has many great trips like this with destinations all over the world. Check it out.
April 14, 2006
The University of California, Riverside Sweeney Art Gallery presents the latest installment of its free film series: F1LM FROM TH3 MARG1N. Avant-garde and experimental filmmaking dating from 1946 to 1998 is the focus of this season’s series.
APRIL 19: Sidney Peterson
APRIL 26: Joyce Wieland; Peggy Ahwesh; George Kuchar
MAY 3: Kenneth Anger; Bruce Baille
MAY 10: Tony Conrad; Peter Kubelka
MAY 17: Owen Land; Michael Snow
MAY 24: Andy Warhol
Film screenings are FREE and open to the public and will be held in the UCR ARTS Building, Room 335. All films are held on Wednesdays and begin at 6pm. Info: 951/827-3755.
Tags: press release
Discovery news published an article on Dec. 15 about an ancient Maya mural taht was found by archaelogist, Saturno, in 2001 in a lush Guatemalan jungle, San Bartolo. The mural is the Sistine Chapel of Mayan art, comparitivley, the mural is the Michelangelo of the Mayan civilization. The mural is a significant find, telling the story of creation, Mayan kingships, dieaties and also the Mayan underworld. The mural raises questions about what time period the maya culture is considered to have developed into an advanced civilization. Previoulsy, the maya culture was assumed to have not reached a level of high sophistication until 300 AD, this depiction of civilization shown in this mural contradicts this belief, showing that the Maya had reached that level by 100 BC, the time the mural was dated back to. The mural was extraordinary to find, the paint colors lasted for centuries, the blue, orange,yellow, and pink flesh tones used to paint the Maya rulers and dieties, give the Mural the appearane that it has been recently painted, like yesterday. The dieties are depicted as animals in the mural and add to the intrigue of the mural, heiroglyphic script is used as well as the painted images, to tell the story of creation. This story can also be found in the Dresdon Code. Four dieties are pictures,representing a water- underworld, the land, the sky, and paradise. Other sections of the mural show the maize god and finally, God's birth and death and resurection. Overall, the mural gave a new point of view into the ancient Mayan people's civilization.
April 12, 2006
on exhibit at Chouinard Gallery.
Gallery Exhibition April 15 - May 20, 2006
Saturday, April 15, 2006, 7 - 10 PM
Detail, Migration Grid #6, clay, shadow. Photo: Gene Ogami
Ceramist and sculptor Stan Hunter was inspired by an article in the LA TIMES’ Science File, which portrayed grids formed by UV light from the sun that only Monarch butterflies can see. The grids guide the butterflies on their winter migration from the United States to Mexico’s Sierra Madre mountain range. The resulting work is otherworldly and magical.
“The use of earth (decomposed rock) to make these sky-forms is for me an interesting and precarious contrast. It is a material normally associated with mass and permanence, but in this body of work it is referring to extremely ethereal and ephemeral forms, invisible to the human eye. Earth is also associated with home, and often used as a material to make homes. The navigational grids represent both home and displacement, and are as much about the shadows they cast as they are about extremely delicate objects. They reek of architecture and are inspired by architecture, as much of my other work is. I find the intricacies of scaffoldings, trusses, and the skeletons of buildings to be quite stunning. Architects and builders are the original Light & Space artists in my book.” -- Stan Hunter
1020 Mission Street
South Pasadena, CA
April 9, 2006
Yesterday a bus full of students and I spent the day at the Los Angeles County Museum of Art. The bus trip to the museum was free to all Chaffey College students. Another dozen or more and English Professor Robert Nazar joined us there. This was an excellent showing. I had a great time talking with the students about the collection at LACMA.
In addition to the permanent collection, I would recommend visiting to see the special exhibition of five paintings by Austrian artist Gustav Klimt (1862–1918) from the collection of Ferdinand and Adele Bloch-Bauer, Miro to Warhol an exhibition of gifts from Robert H. Halff, and a contemporary drawing installation by Mrzyk & Moriceau that incorporates prints from the nineteenth-century artist Felicien Rops.
I would like to thank the Associated Students, Student Activities, and the Art History Association for all of their time and effort in making sure that we had a fun, successful, and well organized event. I hope everyone involved enjoyed the trip.
In the fall we will be planning a trip to the J. Paul Getty Museum, so keep an eye out here on Tesserae for that information to make sure you get a seat on the bus!
April 8, 2006
Did you enjoy the LACMA visit and you're ready to view more art? Or, like me, did you bomb the first exam and are looking to accumulate as much extra credit points to redeem yourself? Would you like to join me at the The Getty Museum to view more art and earn some extra credit?
WHO? Open to anyone who would like to go
WHAT? Student coordinated museum visit to The Getty
WHEN? Saturday, April 22, 2006
WHERE? 1200 Getty Center Drive, Los Angeles, California 90049 (If you are not meeting the rest of us at the main campus, plug in the above address to mapquest for directions)
WHY? Because it's fun and I need some extra credit (keep scrolling for extra credit details)
HOW? Let's meet up at the main campus @ 9:00 AM, parking lot # 8. I plan on spending the day there, so pack a lunch or bring extra cash to eat at their cafe/restaurant.
CARPOOL? We will have to decide final carpool arrangements when we meet at the campus. People who need a ride, please take a few bucks to give to your driver for gas and parking fee. If you intend to go and would like to offer to drive your vehicle or if you are in dire need of a ride...I'll do my best to coordinate (I have two seats available). Click HERE to contact me.
I gathered the following information from The Getty Website:
- Admission to the Getty Center is FREE, no tickets or reservations required for general admission.
- Parking is $7. Cash only.
- For exhibitions and events including performances, lectures, and free family programs, check out their event calendar.
EXTRA CREDIT ASSIGNMENT FOR FELLOW ART 5 STUDENTS:
The following information was established on page 4 of our syllabus:"To receive an extra 10 points write a review of a minimum of two pages (as if you were writing for a news paper) of an art exhibit at an art museum (other than one already assigned for this class). Inform your readers about the guiding idea of the show. Describe the range of objects and works of art (in terms of media, use, style, and so on) and describe a few in some detail. Comment about what you think is most and least interesting in the art exhibit. Most importantly, discuss how the art relates to the history of art. Attach an admission ticket or receipt as proof of the date of your visit."
Other art students, please see your syllabus or talk to your Art History Teacher about your extra credit assignments.
Thanks and hope to see you there!
April 6, 2006
A JURIED STUDENT ART EXHIBITION TO OPEN AT CHAFFEY
Chaffey College and the Wignall Museum are pleased to present the Student Invitational 2006, an annual exhibition of work by students that have excelled in the art program. Participation in the exhibition and the honors class that accompanies it is competitive. The students are selected by a jury of full-time faculty from the Art, Photography, Ceramics, and Digital Media departments. In its 29th year, this annual exhibition reflects the creative professionalism and diversity of the visual arts program at Chaffey College.
The Student Invitational 2006 opens on Saturday, April 22 and runs through Saturday, May 20, 2006. The opening reception will be on Saturday, April 22nd from 7:00 pm to 9:00 pm. The ten student artists will give an artists' talk on Thursday, May 4 from 4:00-7:00 pm. The exhibition, reception, and artists' talk are free and open to the public.
The students selected to participate in the exhibition create completely new bodies of work specifically for the show. They also participate in a unique, honors seminar course where--with the support and assistance from the art faculty, gallery curators and staff--the students intensely explore their own artistic process, as well as participate in many aspects of exhibition development and production. The impressive result is the Student Invitational 2006—an exhibition of exciting and innovative artwork that engages the viewer at the intersection of personal obsession and social critique.
Christopher Alday's readymade inspired projects focus on the seduction of consumption and ownership. He offers tidbits of himself to the viewer to take, enjoy and eventually throw away or forget. Christopher literally excised small pieces of his sketchbooks to create wearable buttons that can be bought by the viewer from an old-fashioned gumball machine. This body of work uncovers Christopher's desire to manipulate, process or transform his environment in little, secret, and personal ways.
Ranee Delarosa's process is highlighted through her delicate stretching, folding and twisting of clay. The process leaves paper-thin tears that allow the viewer to peek into an interior space. The result is almost fluffy, intimate objects whose whimsy comes from the juxtaposition of the known weight and texture of clay with the look that Ranee is able to achieve.
Lacey Lipis tells it all in brutal honesty and beautiful detail. Her large-scale self-portrait paintings are titled after the men who "made" her. She adds visual interest and more seething honesty by detailing the ground with patterns from her underwear. Lacey works on enormous canvas painted drop cloths which she drapes over and attaches to stretcher bars – the end result creates pooching and sagging that adds to the visceral quality of the figurative images.
Gabriel Gonzales creates a synaesthesic experience where sound, sight, color, texture, space, dream and reality merge into one intimate moment. Gabriel's' intuitive process begins with the same swirling brushstroke. His final images are a direct response to his dream life.
Miles Smith loves to paint and it is evident in his abstract images where he explores color, texture, illusion of space, brushstroke, figure/ground relationships, and compositional structure. Miles images create complicated spaces of layered curves and slashes that provoke the sense of hidden and lost images.
Part celestial, part oversized dog toy - Price Hall's grand scale ceramic work puzzles the viewer first by seeming to be of natural origin. With closer observation the viewer recognizes the intense and obsessive work of the artists' hand. The immense weight and size of his ceramic work in combination with the primordial shapes and handwork leave the viewer happily wondering where, how and why?
The self-portrait photography of Stephanie Schmitz confronts the viewer with the raw and stunning gaze of the artist. Larger than life size, we become witness to the private conflicts and struggles of an artist and her camera. With richly colored backdrops and chiascuro lighting, the figures' intimate recline and stare are further dramatized.
Kate Thomas celebrates the assumption that documentation IS reality. Kates' daydreams take on reality in the form of band flyers and movie posters. The fun and mysterious combination of images and text leave space for the viewer to insert their own daydreams and narratives.
Through photography, Aubree Harris depicts her view of motherhood by photographing herself, child, and husband over the past few months. She has involved her husband in her work by including him in the photograph without his knowledge. She photographs him while he is asleep and poses herself and child around him. She juxtaposes her very formal, portrait like poses against her husbands' very candid positions in which he falls asleep.
Celia Sanchez questions the idea of choice and progress in her photographic work. Celia's triptych portrays an anonymous woman who seems to be caught in a 1950's time warp sarcastically serving a contemporary looking household and husband. Celia has recently become a mother and her new frustrations, experiences and emotions inform this work.
The Wignall Museum/Gallery is located at 5885 Haven Avenue, Rancho Cucamonga, CA 91737-3002. Admission is free. Park in the North Parking Lot, permits can be purchased at vending machines for $2. Parking is free during museum receptions and special events. HOURS: Monday-Friday, 10:00 a.m. – 4:00 p.m. and Saturday, noon – 4:00 p.m. EVENT INFO: (909) 941-2702, www.chaffey.edu/wignallgallery
April 5, 2006
According to Yahoo! News archeologists "discovered" an Indian pyramid in Iztapalapa, Mexico City. I strongly believe this is not new news, but it is centered at the spot where the re-enactment of Jesus's crucifixion took place, which makes it a holy place. This "discovery" took place today, April 5, 2006. It's 18 yards tall by 150 yards on each side. It's from the 6th century and was carved out of the earth. The history of it is not completely known but it's speculated that it is derived from the culture of Teotihuacan and was also part of the Toltecs, specifically the Coyotlateclcas culture. There were also archealogical remains found. Hopefully, they'll release their findings to the public soon. Perhaps some missing puzzle pieces will help and try to fill in the blancks of MesoAmerican Art History. Yet it will not completely be excavated due to Christian rites.
April 2, 2006
I felt like a little kid visiting a candy store as I excitedly ran up the stairs to the main entrance of the museum and anxiously opened up the double glass doors. I was greeted by the attendee at the desk where I was planning to pay for my admission and had a brief conversation with her about my intentions of the visit. Specifically, I mentioned that I was enrolled in an Art History class and wanted to study some of the pieces that we had discussed to get a fuller understanding. And since I am currently enrolled, she allowed me to enter for free, no admission costs, which surprisingly saved me $6.00 bucks (standard fee $9, students $6, Sunday free admission).
I grabbed a map of the museum, some brochures, flyers, etc. from the front desk and rushed into the Ludington Court. The first piece I viewed was the Landsdowne Hermes, Roman, first half of 2nd century A.D, Marble. With its classical style, non expressive facial features and ideal proportions, I immediately compared it to that of Michelangelo's David. I had this innate desire to touch the marble statue and even looked to my left and right to see if I could get away with it, but there was someone watching me, so I hesitantly behaved and kept my notepad in one hand, pen in the other and continued to admire the beautiful sculpture -- within reasonable distance of course. What really fascinated me about seeing this particular piece was the intricate detail that one cannot normally see in a mere publishing. For example, I could see the veins overlaying the bone in the hand of the piece and often found myself examining my own hands, comparing the precise similarities; I was impressed!
After viewing a few more marble sculptures, I headed for the Campbell room (Picture Stories: The Art of Europe and the Americas) where I viewed various 17th century oil on canvas paintings. My favorite piece in this area was by an unknown artist, The Madness of Nebuchadnezzar, early 17th century, Oil on Canvas: A painting of a beautiful forest scene with golden and green colored foliage including animals of all shaped, colors, and sizes. There were mice, birds, camels, dogs, goats, bulls, sheep, deer and much more wild life prancing, dancing, moving, and looking in every direction. With all the action going on in the front of the painting, it took me some time to notice the King of Babylon in the background on all fours looking very estranged in his new habitat. This scene must have alluded to Daniel 4:33 "The same hour was the thing fulfilled upon Nebuchadnezzar: and he was driven from men, and did eat grass as oxen, and his body was wet with the dew of heaven, till his hairs were grown like eagles' [feathers], and his nails like birds' [claws]." I still want to do more research on this piece and figure out which genre/category if falls into. What do you think?
Like an adventurous child, I found myself eager to see what else I could find to satisfy my curiosities. I weaved in and out, went to and fro, back and forth, saw etchings, woodcuts, Picasso's, modern pieces, still life and portraits and finally started winding down when all of a sudden...I found the Godiva amongst tootsie rolls...the grandiose painting of the Renaissance to Rococo...it was a museum of art within a museum of art...Giovanni Paolo Panini, Interior of a Picture Gallery with the Collection of Cardinal Silvio Valenti Gonzaga (detail), 1749. Oil on canvas. I had to take a few steps back to take it all in and scribbled the following notes upon my first impression,"Wow, rich colors, intricate designs, exhaustive detail, huge painting, drawings, portraits, marble columns" etc. This is the MUST see piece of the gallery!
And just when I realized the art gallery had another level "Asian Galleries" is about the time my friend gave up on me and pulled the "I'll be waiting outside" bit. So, unfortunately, I do not have much to share about the rest of the museum, but would love to hear about it from anyone who has. Overall, it was a great experience and I recommend it to all. It definitely satisfied my sweet tooth :)
Next stop...The Getty Museum! I am planning a trip to the Getty on Saturday, April 22! I will post details, including times, directions, car-pool info., etc. very soon...so save the date!
Some basic things I learned from the visit that I would like to share:
- Wear comfortable shoes
- Take a purse, bag, or backback with a shoulder strap
- Have a notebook and pen to jot down your thoughts
- Pick up a map/brochures to assist with visual aids when recalling pieces for writing assignment/s
- Leave non-art lover at home!!! :)
Feel free to contact me with questions, concerns, suggestions: email@example.com