All of the Renaissance to Modern Art History survey students will especially want to view this exhibition at CSU Fullerton.
GOYA: LOS CAPRICHOS
Curator: Robert Flynn Johnson, Curator in Charge, Achenbach Foundation for Graphic Arts, Fine Arts Museums of San Francisco
November 1 - December 12, 2008
Closed November 25-29, 2008
Opening Reception, Saturday, November 1, 5-8 p.m.
Cal State Fullerton Main Art Gallery
800 North State College Blvd. at Arts Drive, Fullerton, CA 92831
Contact, Marilyn Moore, Art Gallery Office
(714) 278-7750, Fax, (714) 278-2390
Main Art Gallery, 714-278-3262
Web site, http://www.arts.fullerton.edu/arts/events
Gallery hours, Tuesday - Friday, 12 - 4 p.m.; Saturday, 12-2 p.m.
Francisco Goya, "The sleep of reason produces monsters", Plate 43 of Los Caprichos, 1799.
BACKGROUND: Goya: Los Caprichos features a set of eighty etchings by Spanish artist Francisco de Goya y Lucientes published in 1799 and recognized as one of the most influential series of graphic images in the history of Western art. This early first edition of the complete set of etchings is one of four acquired directly from Goya by the Duke and Duchess of Osuna and is now part of the holdings of the Museo de Zaragoza, Spain.
Los Caprichos deals with such themes as the Spanish Inquisition, the corruption of the church and the nobility, witchcraft, child rearing, avarice, and the frivolity of young women. Its cast includes goblins, monks, aristocrats, procuresses, prostitutes, and animals acting like human fools; these personages populate a world on the margins of reason, where no clear boundaries distinguish reality from fantasy.
Accompanying the exhibition are images by two distinguished artists directly inspired by Los Caprichos: Edward Hagedorn and Enrique Chagoya. Their images resonate with Goya's vision: that art can be used as a weapon of truth to attack injustice through irony, ridicule and satire.
The exhibition was organized by Landau Traveling Exhibitions, Los Angeles, California, in association with Denenberg Fine Art, West Hollywood, California.
October 30, 2008
All of the Renaissance to Modern Art History survey students will especially want to view this exhibition at CSU Fullerton.
October 27, 2008
The Associated Students of Chaffey College (ASCC) sponsored a free bus trip to the J. Paul Getty Museum of Art at the Getty Center in Los Angeles on Saturday, October 25. John Machado, Art History Professor and ASCC Faculty Advisor, and Susan Stewart, Director of Student Activities, joined just over 40 students on the museum trip. One of the highlights of the visit was the special exhibition of Baroque portrait sculptures by Gian Lorenzo Bernini (Italian, 1598–1680).
If you didn't make it on this trip, be sure to check back for upcoming information on another museum trip in the spring.
Jacob Yeo and John Machado
Catarina Yi and Samantha Lopez
October 26, 2008
Finally after waiting more than two months, yesterday I went to the Getty center museum located in L.A. Me and a group of about 39 other students met at Chaffey College and left there at around 9 am. In about an hour we reached our destination and took the museum tram to get to the main entrance building. The special attraction of that week was the exhibition of Gian Lorenzo Bernini. I couldn't take any pictures inside any exhibitions because you were not allowed to use a flash, however I did take a few pictures of sculptures at the Fran and Ray Stark Sculpture Terrace building without using a flash. The museum had marble structures, paintings, furniture, glass objects, photographs, fountains, garden sculptures and other attractions starting from 1500's to 1900's.
The museum is named after J. Paul Getty who was an rich oil industrialist. I asked one gentleman who was looking after the central garden how the clean and beautiful museum was maintained and he replied that Mr. Getty donated a huge amount of money to an organization and they built this place to honor him. It is free to get inside the museum and the only time a visitor needs to pay money is for parking and for food.
On the top : Mr. Machado taking a group photo.
I personally think that the Getty art museum is a better and education place to visit than the Universal Studios or Disney land as it saves you money and is educational.
October 24, 2008
As an art historian of Precolumbian Mesoamerican cultures, I have to admit that I found this to be very cool. David Stuart, a world renowned Maya epigrapher from my alma mater, the University of Texas at Austin, designed a Maya glyph that spells "Obama".
If you are wondering about the additional "a" at the end, this is a result of the way Maya words are constructed. This glyph block is created by four glyphs that represent individual syllables. The Maya syllables are either a vowel or a combination of a consonant-vowel sound. The Maya words therefore are formed with alternating consonant-vowel-consonant constructions. Also, the last vowel sound in the word is not pronounced, so if you only had the first three syllables, o-ba-ma, it would be read "obam". This is why the additional vowel of "a" is added at the end, so that when read the final vowel sound in Obama will be preserved.
October 21, 2008
October 15, 2008
Writing an Artist Statement workshop on Wednesday, October 22 from 2:00-3:30 p.m. at the Wignall Museum.
This workshop is presented by the Chaffey College Art Department with support from the Wignall Museum and the Writing Center. Explore how to write a good artist statement/proposal to include in your Student Invitational application or for your own personal use. Art Faculty member Cynde Miller and Writing Center Instructional Specialist Rob Rundquist will guide you through the process.
There were three major transitions in Greek Art and Philosophy that took place during the Archaic Period (600-480 BCE), a broad Classical Period before the reign of Alexander the Great (490-323 BCE), and the Hellenistic Period after his death. In this discussion, we will be discussing the transition between the Archaic (600-480BCE) into the Early and High Classical Time period (480-400 BCE). The discussion asks if Philosophy could have influenced the style and motive of artistic convention during these periods.
During what is known as the Archaic age, the pre-socratic philosophers were a leading group of scholars whom fostered an investigation on the origin of nature and the physical world and created theories such as the law of the universe. They believed that the physical cosmos was the result ot the laws of causation and so it could inevitably be predicted and undertood. They discovered natural law, which believed if the phenomena were understood, they could explain why many other things occured. The first philosopher whose writing survived was Thales of Miletus, who analyzed the physical aspects of the world and attempted to make it intelligible. Some great Pre-Socratics were Anaximander (the first evolutionist) and Hippocrates (empiricist who carefully studied the aspects of the weighed and measurable world (Adler, 93). In order to understand many of their philosophies of nature, it required a sense of logic, mathematical reason, and keen observation. In juxtaposition, the Artistic style and architecture during this period consisted of the creation of some meticulous conventions, which required some insight to measurability. In regards to the Doric order (which influenced Ionic orders and Corinthian Orders) and the spacial plans of the temples, they required a keen understanding of geometric laws and an ability to weigh and measure in a precise manner. When they studied Egyptian art, they derived the canon of proportions such as the Statue of Menakaure and the Greek Kourai poses with the slightly extended foot, yet the Kourai were more athletic in appearance and expressed in a more Greek identity. Perhaps the beginning of aberrations from styles and thought that were not Greek. In doing this, they were creating an identity of their own with art and architecture in conjunction with innovating their philosophical world.
October 14, 2008
Infrastructure October 20 - November 19, 2008
at the Wignall Museum at Chaffey College
The Wignall Museum is pleased to present Infrastructure featuring artwork by Robert Alderette, Matthew Bryant, Enrique Castrejon, Hollis Cooper, Andres Janacua, Jed Lind, Rachel Lachowicz, Jean Lowe, Rachel Mason, Richard Metzgar, Joey Lehmann Morris, Christian Mounger, Joe Suzuki and Ryan Taber and curated by Roman Stollenwerk. Infrastructure explores the silent forces that guide society. While seemingly benign, these systems and codes nevertheless influence the way we view the world and experience life. Infrastructure is an exhibition of artists that engage with the silent forces that shape our perception of the world and with the meaning that gets overlooked, lost or intentionally hidden in representation.
Wednesday, October 22 (6 – 8 PM) with light refreshments and entertainment featuring dj Trickmilla.
Infrastructure Artist’s Lecture Series:
The Artist’s Lecture Series is a free event for Chaffey College students, faculty, staff and the community featuring a weekly artist’s lecture on Wednesday afternoons from 12:30 – 1:30 that will provide an opportunity to hear artists from the exhibition Infrastructure speak in-depth about their work and answer questions. The series will take place weekly during the run of the exhibition on Wednesdays in the Wignall Museum Project Space.
10/22: 12:30 – 1:30 PM (Andres Janacua)
10/29: 12:30 – 1:30 PM (Enrique Castrejon)
11/5: 12:30 – 1:30 PM (Hollis Cooper)
11/12: 12:30 – 1:30 PM (Jed Lind)
October 5, 2008
A new remote sensing technology has peeled away layers of mud and rock near Peru's Cahuachi desert to reveal an ancient adobe pyramid...
The discovery doesn't come as a surprise to archaeologists, since some 40 mounds at Cahuachi are believed to contain the remains of important structures.
"We know that many buildings are still buried under Cahuachi's sands, but until now, it was almost impossible to exactly locate them and detect their shape from an aerial view," Masini told Discovery News. "The biggest problem was the very low contrast between adobe, which is sun-dried earth, and the background subsoil."
Cahuachi is the best-known site of the Nazca civilization, which flourished in Peru between the first century B.C. and the fifth century A.D. and slid into oblivion by the time the Inca Empire rose to dominate the Andes.
Currently I am taking Art 9 which is the History of the Ancient Americas. I never had much interest in art or its history and the first two days of attending this class was very confusing to me because I missed the first five classes at the beginning of this course and I felt completely lost.
I went to many countries and visited many historical places but never thought of finding out the cause of why that place is well known and famous. Now I have a completely new perspective about new places, objects and paintings and try to analyze everything I see and guess at least five reasons behind its creation. So last night I was trying to browse online about everything I need to know about art and found some information that I thought I should share with everyone as I found it interesting and new.
Here are two of the famous places that are discussed in this course and has made its way to the Seven Man Made Wonders of the World list:
Pyramid at Chichen Itza (Mexico) is a famous Maya temple. Served as the political and economical center for the Itza Maya civilization.
Teotihuacan: Consists of Pyramid of the Moon, Pyramid of the Sun, Temple of the Feathered Serpent and Avenue of the Dead.
October 4, 2008
The palace of Knossos, infamous for the legend of the Minotaur, was conceptually an architectural marvel. A Heraklion native who lived inland of the site of Knossos, Crete, by the name of Minos Kalokairinos began some excavations in 1878 but later excavated to a greater extent by Sir Arthur Evans of Herfordshire England in 1900 (Knossos). In history, the palace had to be rebuilt by the wake of an earthquake and an excursion by the Mycenaen Greeks, which were structurally made of rubble and mud bricks and finished with dressed stone (Art-3 text/Stokstad, 87).
In describing the legend, history, palace periods, and building material composition, the Art-3 text is a resource that may help you, but it does not include the main parts/sections of the palace complex so I thought that a short review from the lecture notes and a source online which parallels many of the concepts lectured in class, could be of some assitance briefly before the test.
The palace consists of of 7 major sections. The North Propylaeum, the South Propylaeum, West Court, West Storage Magazines, Central Court, Throne Room, Hall of Double axes, and the Queen's Megaron. There are many different subsections to augment the areas of the palace, and this link on the Knossos archaeology can describe those details for you here. The site takes you through the survey of excavations with insights from the moment the discoveries were made and many of the details go beyond the scope of our lecture and content for Art-3 Class.
Furthermore... The propylaeum is a entry way the Greeks descibed for their sanctuaries. Evans noticed the the staircasings in the south propylaeum and named them "piano noble" because of its monumental look. The west court is adjacent to the storage magazines and is an abode to three koulares. Koulares are the stone lined pits about 5-6 meters in diameter and 3 meters deep, which was believed to have been for the disposal of sacred objects but only potsherds were found below. The Storage Magazines were a long row of narrow rooms, which housed large storage jars filled with olive oil, wine, and other agricultural products and later modified during the New palace period with more functionality for different purposes. Interestingly, the narrow rooms may have been designed in short spaces to support the columns on the floor above, which did not exist during the excavation by Evans. It is not for certain what the central court was designed for, but was 50 X 25 meters and may have functioned as a meeting area for the various wings of the palace and an inlet for water, air, and light to its surrounding buildings. The Throne Room was adjacent on the west side of the central court and is noted for the Griffins and papyrus paintings on the walls. Griffins are half eagle and half feline figures, which are associated with the divine guardians especially in the Minoan culture. At the Hall of Double axes, on the north wall remained what could speculatively be a heap of ash from a burnt throne. The room was decorated with running spirals which led to the Queen's Megaron, or palace chamber decorated with marine life around the walls. These rooms could be accessed by a grand staircase connected from the central court to the hall of double axes (Knossos).
In closing, Archaeological research and its capabilities have increased dramatically since back in the beginning of the 20th century so it is important to recognize the obstacles archaeologists had to encounter and respect their attempts to tell the world what they thought the remnants of a civilization meant in their educated understanding. I hope this resource may be of assistance to you.
Knossos The Palace of Minos.
Odyssey Adventrues in Archaeology.
4 October 2008 http://www.odysseyadventures.ca/articles/knossos/knossos_palace.htm