Universal Sacred Space

Our universal sacred place is placed near the Twin Towers site in New York City. We wanted the Universal Sacred Place to have lots of symbolism of what happened on 911. We are building this sacred place with a belief that no matter what religion you are or where you are from the unfortunate events of 911 has left everyone with shock and devastation and every American and others around the world were in someway affected by the events that day. Our Universal Sacred place will not be confined in a building; it will be an open area with symbolic objects. By giving it an open architecture we are trying to make sure that all the worshippers are as close to and in perfect harmony with the nature as possible. And also since our site is near Ground Zero we want to come as close to feeling the pain of what had happened there in hope of gaining more strength to overcome it and to survive many other harsh events in life. The site would include two tower-like structures that are approximately 50 feet in height which anyone can walk up to and look up at the towering structure over head and reflect. The structures will be constructed of black brick representing “mourning” of those who lost their lives; also the structures will represent the buildings rising from the ashes of the event, symbolizing a rebirth and hope. Authorities say that approximately 2749 people died at the World Trade Center that day so we would have the ground in front of our structure made of white marble and have mixed in marbles that have the inscribed names of all that lost their lives that day. The coolness of the marble and the white color will symbolize peace and harmony. The names are the base of our strength. And further the area where the inscribed marbles will be placed will have a circular vessel with eternal fire burning. The burning fire will symbolize the spiritual zeal. We would also include in our sacred place a Circular Garden that surrounds the towers and creates a boundary. The flowers will always be maintained beautifully to show how Americans came together season after season to support and pray and how we still do and will in years to come. The area with the fire burning and the names inscribed will be our main worshipping ground. Silence will be maintained in that area, and each one of us can say our individual prayer in silence. This is the area where we will remember the lost ones. Remembrance begins with deep, personal identification. And silence and preferably a momentary meditation will help us gain that. It will begin with remembering the affliction of all the lives touched, and marking their pain as our own. Remembrance is a sacred moment when we raise up and hold to the light of the eternal moment (the burning fire), and remember the good ones who have passed.After the worshipping we will proceed to the two towering structures. In attempt to look and admire the structures we will have to raise our head and look up at the sky. Looking at the sky as a closing part of the worship is like looking up at some divine power for hope and strength and faith. Religion in America is universal and given that we belief our sacred place should reflect on an event that touch all Americans lives and many people that are not American.

Universal Sacred Space

Our universal sacred place is placed near the Twin Towers site in New York City. We wanted the Universal Sacred Place to have lots of symbolism of what happened on 911. We are building this sacred place with a belief that no matter what religion you are or where you are from the unfortunate events of 911 has left everyone with shock and devastation and every American and others around the world were in someway affected by the events that day. Our Universal Sacred place will not be confined in a building; it will be an open area with symbolic objects. By giving it an open architecture we are trying to make sure that all the worshippers are as close to and in perfect harmony with the nature as possible. And also since our site is near Ground Zero we want to come as close to feeling the pain of what had happened there in hope of gaining more strength to overcome it and to survive many other harsh events in life. The site would include two tower-like structures that are approximately 50 feet in height which anyone can walk up to and look up at the towering structure over head and reflect. The structures will be constructed of black brick representing “mourning” of those who lost their lives; also the structures will represent the buildings rising from the ashes of the event, symbolizing a rebirth and hope. Authorities say that approximately 2749 people died at the World Trade Center that day so we would have the ground in front of our structure made of white marble and have mixed in marbles that have the inscribed names of all that lost their lives that day. The coolness of the marble and the white color will symbolize peace and harmony. The names are the base of our strength. And further the area where the inscribed marbles will be placed will have a circular vessel with eternal fire burning. The burning fire will symbolize the spiritual zeal. We would also include in our sacred place a Circular Garden that surrounds the towers and creates a boundary. The flowers will always be maintained beautifully to show how Americans came together season after season to support and pray and how we still do and will in years to come. The area with the fire burning and the names inscribed will be our main worshipping ground. Silence will be maintained in that area, and each one of us can say our individual prayer in silence. This is the area where we will remember the lost ones. Remembrance begins with deep, personal identification. And silence and preferably a momentary meditation will help us gain that. It will begin with remembering the affliction of all the lives touched, and marking their pain as our own. Remembrance is a sacred moment when we raise up and hold to the light of the eternal moment (the burning fire), and remember the good ones who have passed.After the worshipping we will proceed to the two towering structures. In attempt to look and admire the structures we will have to raise our head and look up at the sky. Looking at the sky as a closing part of the worship is like looking up at some divine power for hope and strength and faith. Religion in America is universal and given that we belief our sacred place should reflect on an event that touch all Americans lives and many people that are not American.

Museum Visit - by Michele E. Hughes

Michele E. Hughes

October 5, 2007

ART 1301-002
Art Appreciation
Professor D. Gibney


Museum Visit Visual Analysis

Art is defined in and by our text as a human phenomenon by which visual medium is used to express ideas about human experiences and the world around us. Art serves many purposes and encompasses and or consists of many different avenues. Ones interpretation or perception of art can vary depending on personal preference, creativity, and experience. A visual analysis of an art piece can be used to depict intricate and defining aspects and details of an art form.
I visited the African American Museum in the historical Fair Park located in Dallas, Texas. There I observed several pieces of art and one stood out among them all. The piece of art that caught my attention was a carved and painted wood of Martin Luther King. This beautiful work of art belongs to the Billy R. Allen Folk Art Collection and was sculpted by artist Joseph Sharlow. Born in 1934 Joseph Sharlow received no formal art training and he is an excellent woodcarver, figural sculptor, painter, and drawer.
Art elements such as line, shape, space, light, color, and texture where all depicted in this carving. Several lines where used to enhance or bring out certain features including the hair and beard of Martin Luther King in this carving. To do this a metal rod was heated to create the hair and beard. Several basic shapes were used to erect this carving. These shapes included circles, rectangles, and squares. The figure suggested proud and string in the sense that the appearance told a story of boldness, and screamed beautiful and striking due to arrangement and presentation. Next we examine the space to determine composition. The carving filled spaces by lending a head sculpture that one can formally and quickly recognize. It was of normal size therefore making it realistic and easy to relate to. Now we look at how light accents the work of art. The interaction of light with the carving was not substantial due to where the carving was placed in the museum. Another very important quality or feature in art work is color. Due to the type of art there where not any or many colors used, because the artist used a wood medium to give birth to this carving. The color of the wood was appropriate for the theme and subject the artist wanted to convey. Now we take a look a texture and how it complimented the surface/object. The texture was both smooth and rough in certain places. A pattern of smoothness was created at the base and on the face of the carving, while patterns of roughness or jaggedness was used for certain features.
First we looked at how art elements help to bring art work to life, now we will integrate art principles and see how they affect art. Balance in this work was asymmetrical thus allowing the artist to erect the necessary shapes to create the carving. The artist also used opposite shapes to create the carving. There was particular emphasis placed on designing the body or head of this piece. My attention and eyes where drawn to the face of the carving because the facial features spoke volumes. Certain patterns or elements are repeated purposefully in order to bring out or enhance certain features. The rhythm in this piece unified and blended in with the theme of the work.
Now we look at how the incorporation of media and technique helps or limits the artist. The carving of Martin Luther King displayed in the museum was three dimensional. The medium was highly durable thus preserving the integrity of the work. The carving of this piece was defined in the sense that all features where brought out equally and not implied of blurred. To create this work the artist carved the wood medium thus requiring strength. The sculpting or making of this carving was created through a subtractive process. The artist used such tools as wood and a rod to bring his work to fruition. Thus representing, creating, and portraying the power of this great leader through his work.
It is not until we analyze things that we get a better understanding of what it is we are analyzing. By incorporating and looking at certain elements and principles we truly come to understand and appreciate art and its benefits. Joseph Sharlow’s carved and painted wood of Martin Luther King on the surface looks to be a simple art form, but when you apply and look at the detailed elements and principles of art the same does not hold true. Instead I found it to be that and even more incrusted into hard work, vision, and purpose.

Standing In The Shoe - by Michele E. Hughes

Michele E. Hughes
October 19, 2007
Art Appreciation



Michelangelo

As one might suspect, art and the creation thereof can be an extremely difficult process. Be it drawing, painting, sculpting, or carving they all posses a level of difficulty. For this project I attempted to create a work of art using a bar of soap. As I began to chip, chisel away, and carve designs into the soap, I had no idea what the finished piece would look like. My experience in sculpting this piece was one of both fun and frustration. Frustrating in the since that I was unfamiliar or skilled in a technique that would give the end result I desired and fun because it was new experience.

Profile of a Sacred Space: by Michele E. Hughes

Michele E. Hughes
November 9, 2007
ART 1301
Art Appreciation
Professor Gibney

Profile of a Sacred Space

Altar and Temple of Heaven

The Temple of Heaven also known as The Altar of Heaven is situated in South Beijing, in the Xuan Wu district and was founded in the first half of the 15th century. . The temple was constructed from 1406 to 1420 during the reign of the Yongle Emperor, who is also responsible for the construction of the Forbidden City in Beijing. At the temple emperor of the Ming and Quing dynasties worshiped and prayed for good harvests. Recently The Temple of Heaven underwent a 5.9million face left in preparation for the 2008 Beijing Summer Olympics.
The general layout of The Temple of Heaven incorporates the ancient Chinese configuration of a round heaven and a square earth. This symbolic form ties in to a north-south geographic alignment, with the concept north round and the south square. Two layers of walls surround the temple precincts; the outer wall circumference is 6,563 meters with a space inside which is about four times the size of Beijing’s Palace Museum. The Altar and Temple of Heaven is the on the site once occupied by a large percent of what was the outskirt of ancient Beijing. The Temple of Heaven is enclosed with a long wall and is about 2,700,000 square meters. The architecture and layout of the Temple of Heaven is based on elaborate symbolism and numerology. The northern part of the wall is semicircular symbolizing the heavens while the southern part of the wall is square symbolizing the earth. The northern end of the wall is higher than the southern end symbolizing heaven is high and the earth is low.
The temple grounds comprise three main groups of construction, all built according to strict philosophical requirements. The first group is The Hall of Prayer for Good Harvests and is a triple-gabled circular building that stands 32 meters in diameter and 38 meters tall built on three levels of marble stone base where the emperor prayed for good harvests. The building is completely wooden with no nails and was rebuilt after it burned down in 1889. The second group is The Imperial Vault of Heaven which is a single-gabled circular building, built on a single level of marble stone base. It is located south of the Hall of Prayer for Good Harvests and resembles it but is smaller. It is surrounded by a smooth circular wall called the Echo Wall and it transmits sounds over large distances. The Imperial Vault is connected to the Hall of Prayer by the Vermillion Steps Bridge, a 360 meter long raised walkway that slowly ascends from the Vault to the Hall of Prayer. The third group is The Earthly Mount and is located south of the Imperial Vault of Heaven. It is an empty circular platform on three levels of marble stones, where the Emperor prayed for favorable weather. It was built in 1530 by the Jiajing Emperor and rebuilt in 1740. Today The Temple of Heaven has been converted into a park that is popular both with tourists and residents alike.

Encyclopedia of a Sacred Space - Natasha KC

Profile of a Sacred Space: Kandariya Mahadeva Temple

Figure 1: Kandariya Mahadeva Temple

General Description:

Kandariya Mahadeva temple is located in Khajuraho in Madhya Pradesh, India. It is one of the largest and the most elaborate medieval temple built during the ruling of Chandela dynasty in the 11th century. The temple is dedicated to lord Shiva and is well known all over the world for its temple architecture and exquisite sculpture.

Figure 2: Shikhar of the Temple

Architectural Design:

The temple is architecturally very impressive, representing the peak of temple architecture in central India. The temple is built in North Indian nagara style. The temple rests on a risen open platform, a distinctive feature of the Khajuraho temples, with subsidiary shrines at the four corners of the platform. The main shrine, also called shikhar is 102 feet long, 67 feet wide with a tower rising 118 feet high. The main shrine is further surrounded by 84 miniature spires, and it holds the amalaka which is a circular ring motif common in Indian temple architecture. The temple has a linear series of access-steps facing the east-west directions. The temple also has columned halls with balconies, an entrance porch, and the inner chamber. The most elaborate feature of the temple is the 646 decorating statues around the side of the temple. The side panel statues are that of Shiva and his consorts and other divinities. Basically the temple consists of four compartments: an entrance porch which is called the ardhamandap, the vestibule called antarala, and the sanctum naming garbhagriha. Inside the main chamber is a marble linga which represents Shiva.

Figure 3: Ceiling of the Temple

Figure 4: Sculptures on the outer Panel

Harmony with Nature:

The sides of the risen platform are decorated with sculptures portraying scenes from everyday life, war, processions, and sensuality. The temple is ascending on steps, and each succeeding compartment is at a higher level, making the one with the ‘linga’ at the highest level. It has only one entrance facing the rising sun in the east. The form of the temple also embodies the human form. The platform represents the legs, the middle portion with the wall is the waist, the shikhar is the head and the circular motif is the crown. The soul of resides in the main compartment where the marble Shiva Linga is situated. Further the temple also seems to have layer upon layer rising skyward. This multiple spires depict the Himalayas where the Hindu gods are said to reside.

Figure 5: Kandariya Mahadeva Temple: side view with ascending stairs.

Symbolism and Sacred Objects:

The temple was built with an attempt to reconstruct the image of Shiva’s home. The name of the temple ‘Kandariya Mahadeva’ temple means ‘the cave of lord Shiva’. The main shrine represents the holy mountain Kailasha which is lord Shiva’s mythological residence. A marble linga (representation of Lord Shiva) is placed at the centre of the garbha griha which is the innermost chamber of the temple. One of the many theories behind the erotic sculptures surrounding the temple is that the temple was built as a celebration of Shiva’s marriage with Parvati, causing the creation of romantically charged atmosphere. These sculptors on the outer panel are made with such fine skill and a sense of imagination that they symbolize human emotion in the form of spiritual and physical love.

Figure 6: Shiva Linga in the inner chamber

How it is used by worshippers:

The temple is not used for worship anymore, and is a world heritage instead. Historically, worshipping tradition for lord Shiva was followed there. In this temple dedicated to the god Shiva, the most precious image of Shiva is the marble linga placed in the heart of the inner chamber. The linga is a symbolic image of the god. At the beginning of the worshipping (puja) and during prayers, they are rung by worshipers to request the god's attention. Above the linga there usually is a vessel filled with holy water that is allowed to drip onto the top of the linga during prayer, honoring the god. At the front of the shrine there are usually oil lamps that are lit during worship. Other objects that may be used during the prayer are a small pot to hold holy water, a spoon for ladling the water onto the linga, an incense burner, and a handbell that is rung by the priest during the prayer. The worshipping is done mostly by the priest, and the worshippers usually give all their offering to the priest who acts as an intermediate between the god and the worshipper.


Sources:

http://www.khajuraho-tour-packages.net/temples-khajuraho/western-group-temples.html

http://cheap-air-tickets-hotel-discounts.blogspot.com/2007/01/khajuraho-is-well-known-all-over-world.html

http://www.indiavacationpackages.com/erotic-sculptures/khajuraho-temples.html

http://www.hat.net/album/asia/india/10_temples_and_gods/34_khajuraho/03_kandariya_mahadev/

http://www.indianetzone.com/1/khajuraho_india.htm

http://www.sawf.org/newedit/edit04172000/history.asp

http://en.wikipedia.org/wiki/Kandariya_Mahadeva_temple

Encyclopedia of a Sacred Space- Brandon Litaker

Encyclopedia of a Sacred Space- The Great Pyramid
By: Brandon Litaker

General Description:

The Great Pyramid is one pyramid of a larger site called Plateau of Giza, which is just outside of Ciaro. A Pharaoh named Khufu placed Giza at the heart of funerary devotion, with his pyramid “the Great Pyramid” as the largest structure there. The Great Pyramid took unimaginable amounts of materials and labor to construct. It was also thought to have taken hundreds of thousands of workers over 20 years to complete the pyramid. The Great Pyramid was 481 feet tall when constructed and was the tallest structure on Earth for centuries, it also covered over 13 acres. The Great Pyramid’s King Chamber is lined with Red Granite.

Architectural Design:

The structure is mostly solid with a few chambers inside. The construction materials were large stone blocks approximately 2 and ½ million of them weighing over 2 tons each! The pyramid designers had an advanced degree of understanding about geometrics and astronomy. They aligned objects with stars and produced angles on the architecture that was very precise. The stone blocks were thought to have been rolled in on cut down tree trunks and mud.

Harmony with Nature:

The Great Pyramid was constructed with lots of limestone. The location of the plateau of Giza was perfect for the simple reason that it had an abundant supply of limestone. The Great Pyramid sits high atop the plateau and can be seen from far away. The lifeline of Eygpt is the Nile River and the nutrients it supplies to the populations and the location of the Great Pyramid is close enough to it to be seen. The pyramids rose above the civilization almost as if it was protecting them.

Symbolism and Sacred Objects:

Some believe that the Great Pyramid is at the center of an alignment of 3 pyramids that resembles the 3 stars in Orion’s belt. Today many have tried to disprove this but there is still some very valid strong arguments being revealed. The Great Pyramid is symbolic of ascending to the Gods. It not only was large it also was on a plateau and could be seen from all around which has some symbolism of the power of the rulers who laid to rest there. There are 4 air shafts on the Great Pyramid, it is thought that they were intended to channel the soul of the Pharaoh directly to Orion, and then he would become immortal as a God. The pyramid was designed with the heart King’s chamber being it’s most vital and scared spot.

How it is used by worshippers:

The great pyramid is a one of the 7 ancient wonders of the world. It has been constantly reviewed for better understanding. The Plateau of Giza has had more excavations than any other site in Egypt, and maybe even the world. More people come to the Great Pyramid to understand it and how it was constructed; there are many questions to how it was built.


Sources:
1. http://www.crystalinks.com/giza.html
2. http://www.crystalinks.com/gparc.html
3. http://www.sacred-destinations.com/egypt/giza-pyramids.htm
4. http://www.sacred-destinations.com/egypt/giza-pyramids-pictures/slides/pyramids-cc-scarletthread.htm
5. http://en.wikipedia.org/wiki/Great_Pyramid_of_Giza
6. http://www.si.edu/Encyclopedia_SI/nmnh/pyramid.htm

Rothko Chapel

General Description:
Rothko Chapel is a place where religion, art, and architecture meet (Lane). It is a non-denominational chapel in Houston, Texas founded by John and Dominique de Menil. The interior serves as a chapel, but also as a major work of modern art. On its walls are fourteen paintings by Mark Rothko (Rothko Chapel). The inside is a fairly empty room. It has eight walls. An overhead skylight provides the only illumination. In the center of the room are rows of simple, wooden benches (Wikipedia). On September 16, 2000 Rothko Chapel was placed on the National Register of Historic Places (Rothko Chapel).
Architectural Design:
In 1964 Rothko was commissioned by John and Dominique de Menil to create a meditative space filled with his painting. As Rothko was given creative license on the design of the structure, he clashed with the project’s original architect, Philip Johnson over the plans for the chapel. The plans went through several revisions and architects. Rothko died before the chapel was completed (Rothko Chapel).
Harmony with Nature:
Rothko Chapel is illuminated by a single source of light. There is a skylight in the center of the chapel. This natural sunlight helps to produce a mood that encourages reflection (Wikipedia).
Symbolism and Sacred Objects:
There is one main example of symbolism and sacred objects in the Rothko Chapel. On the walls are painting. There are fourteen of them. Each is rectangular with a few large, rectangular, slightly irregular blotches of brilliant pure color. These paintings were commissioned to be within the chapel, and they will always be the only fourteen within the Rothko Chapel. These fourteen sacred objects are monumental in creating the ambiance of this sacred place.
How is it used by Worshipers? :
The Rothko Chapel was dedicated to 1971 as an intimate sanctuary available to people of every belief. It is a modern meditative place that is inspired by the paintings of Mark Rothko. People of every faith come to enjoy this sacred place (Lane). The institution distinguishes itself by regarding issues and concerns before they are recognized by the major population. Support for human rights issues in important to the Rothko Chapel. The chapel is also concerned with peace, freedom, and social justice throughout the world (Lane). The people that are not affiliated with any certain religion find the chapel appropriate for memorial services for their loved ones or for wedding ceremonies. It has become a spiritual landmark (Lane).

References
Lane, Jim. "Rothko Chapel." Humanities Web. 8 Nov. 2007. <www.humanitiesweb.org>.
Rothko Chapel. "About the Chapel." The Rothko Chapel. 8 Nov. 2007. <www.rothkochapel.org>.
Wikipedia. "Rothko Chapel." Wikipedia. 8 Nov. 2007. <www.en.wikipedia.org/wiki.Rothko_Chapel>.

Museum Visit: Dallas Museum of Art

Sculpture: Shiva Natraja (bronze)

I went to the Dallas Museum of Art for my Museum Project. The sculpture of Shiva Natraja was quite interesting and unique. And so I decided to analyze the elements and design of this antique piece of art, that also very closely represents the Hindu culture and heritage.

Shiva Nataraja was first represented in a beautiful series of South Indian bronzes dating from the tenth amd twelfth centuries A.D. Shiva, represented in this bronze statue, is one of the three major Hindu deities. This high relief statue represents apocalypse and creation as he dances away the illusionary world of worldly pleasures transforming it into power and enlightenment. The bronze structural form came into existence in Chola dynasty and then continued to be reproduced in metal, stone, and other substances. The sculpture was made by molding bronze.

Shiva Nataraja sculpture is made with precise understanding of Indian mythology.After closely analyzing the Shiva Nataraja structure a lot of hidden symbolism can be revealed from the choice of each gesture and form used to build the structure. The gestures of the dance represent Shiva’s five activities, creation (symbolized by the drum), protection (by the “fear not” hand gesture), destruction (by the fire), embodiment (by the foot planted on the ground), and release (by the foot held aloft).

In this bronze structure, Nataraja dances with his right foot supported by a crouching figure and his left foot elegantly raised. In India, dance has been one of the most basic and relevant forms of expression since ancient times. Here, Shiva dances within a circle of flames, representing cosmic order and radiance of his dance. The drum in his right hand ticks our time into existence, and flame in his left hand ends our existence. Shiva’s raised foot symbolizes salvation. His right foot stamps on the prone figure of ignorance. He wears two earrings, one a man’s and the other a woman’s, signifying the duality of our nature. A cobra uncoils from his lower right forearm, and the moon and a skull are on his crest. He dances within an arc of flames This dance is called the Dance of Bliss, anandatandava.

Different elements and principles of designs are implied to create this piece of art. The significance of Natraja is said to be that Shiva is shown as the source of all movement within the cosmos, represented by the repeated arch of flames. In this three-dimensional sculpture, motion is implied. Shiva is shown in the dance of destruction and recreation of the universe. The movement is reinforced by his untamed hair flying everywhere. Use of curvy lines to make his dance posture, and repeated arms depicts motion as well. The sculpture is made of bronze. The texture of hand and feet are lifelike to the degree where it’s soft like skin. Mass in this sculpture is in open form, which is supported by the unkempt hair, four arms stretched in different directions, and gesture of his feet.
Repetition and rhythm is created with his hair streaming out on either side of his face. Two of his hands are joined together on one side; however this is balanced by the demon under his foot. Furthermore, his raised foot is also balanced by the resolution of weight, stress, and tension of his posture. The repeated fiery ring surrounding Shiva emphasizes the representation of the universe with all its illusion, suffering, and pain. The outer edge is fire, and the inner edge the oceans. Nataraja dances above the body of the demon, Apasmara, who represents the ignorance of teaching. Dwarfing the demon subordinates its existence and emphasizes Shiva’s supreme power. In the sculpture Shiva’s limbs, hair, and flames fan outward from his torso like spokes in a wheel, with the center at his navel. With the use of various stated elements and principles of design Shiva’s perpetual motion and the sense of unearthly power is fully expressed in this sculpture of Shiva Natraja.

By:

Natasha KC

Museum Visit: Dallas Museum of Art

Paragone Discussion: Group Summary

Dear All:

As a summery of the Paragone we as a group decided that there were some strong and some weak parts of the discussion. Some of our group members could relate to the last part of Leonardo's discussion since it pointed out that paintings have 2 perspectives and sculpting has none, and how paintings are more beautiful because of the perspectives and color. Our group thought that his strongest point was the fact that sculpting requires physical fatigue and in painting you have more mental fatigue. However, the weak part of the discussion was how painters have to carefully evaluate quality and quantity of shadow and light, and then saying nature provides this for a sculptor. The sculptor like a painter has to think about what shadows will be created from different light angles. The sculptor's on the other hand had a strong argument that they almost can’t mess up, because they can’t paint over it, if they chizzel away to much marble then they can go back and reattach it. They had a weak point when saying that "his work is more enduring, for it to fear from humidity, as well as fire, heat, and cold." All of these components can more negatively affect painting if left out than a sculpture. Both are susceptible to the elements. Despite of both sides of the argument being quite convincing we as a group decided that comparing the two different mode of art would be like comparing apples and oranges. There are too many significant differences to ever say one is better than the other. The whole point is that sculpture and painting are two different media, and cannot be compared, any more than you could say that a piano is a "better" instrument than a violin- each is unique. Each expresses in a unique way. We believe that both the form of art is quite challenging and noble. It is only in the mind or ego of an artist that arguments about one medium being intrinsically better or nobler than the other take place.

Monet Group

My Museum Visit

Nancy Graves- Wheelabout
By: Brandon Litaker

I went to the Modern Art Museum in Fort Worth. I choose a piece that was created by Nancy Graves called Wheelabout. This piece was very interesting to me and it stood out the most in my mind while walking through the museum. Nancy Graves likes to try combining shapes and forms you can find in nature with objects found in everyday life. She used many ordinary objects in this artwork including a c-clamp and a drainage pipe, she combined these with bronze and stainless steel to create one interesting piece of art. There are parts that resemble a bicycle, what looks like handle bars and a twisted wheel with spooks. The three wheels that are touching the ground are representative of her playful spirit. There is some empty space created inside the upper curve of the S-shape, the lower part of the s-shape has twisted wheel shape in front of it with other lines behind it. The object is not small at all, it is quite large and many odd shapes are used, which catch you a little off guard at first. It takes a few minutes to process this piece of art because is so complex. The objects are very intense bright colors, they are very warm colors very few cool colors were used. There are not a few colors used but a whole assortment of colors, which she used as another indicator of her playful spirit. The colors used were not compliments or analogous, they appear to be more randomly chosen. The texture is smooth but the twisted angles and multiple spooks on the twisted wheel make it appear rough. The curved s-shaped part of the artwork is curved but there are straight bars connecting to curved upper pieces to the chain bottom piece, this gives the artwork a balance between the two. There are handle bars that hang down from the s-shaped curves that indicate the playful spirit again. There is a pattern created using the colors painted on the chain part of the s-shape, it draws your eye even more to the artwork because you are trying to understand the all the colors. The S-shape helps to balance the object as a whole; it draws your eye across the artwork. As your eyes follow the s-shape you find more and more complexity to this art work. There are many focal points with this piece; Nancy Graves wanted people to have many focal points and changing perspectives as the looked at the artwork. There is a lot of repetition in the colors that are painted on along with many curved pieces and straight pieces. Polyurethane paint was used and it helped to add more detail to the artwork because it added more lines and depth to the artwork. This artwork was constructed using an additive process which had to take some strength considering that it is constructed of bronze and stainless steel that she had to bend and twist into the shape she liked. This art work is a very complicated piece that needs to be looked at carefully and you will continue to find more levels of complexity.