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Art Green: Consider the Options

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Introduction

Mark Zaborniak February 28, 2009 Art 1100 Art Green Consider the Options, Examine the Facts, Apply the Logic Green uses lines to create shadows on the main focal point of the painting. The man in the center has many short parallel lines around the seams of his clothing and where the shadow on his shirt should be. The majority of the lines used for shape in the painting are vertical. The two towers in the background of the painting frame the man in the center by rising vertically up around him. All of the shading lines within the painting are horizontal helping to level out the vertical movement in the painting. Green also uses lines to outline the numerous "explosions" in the painting. This allows them to be seen as separate from their surroundings and makes them pop-out to the viewer. One of the most interesting uses of the line is on the "thought bubble" above the mans head. The lines going to the up and left of the bubble make it seem like it has flown in. ...read more.

Middle

One would expect that the explosions are creating most of the light present in the art. But the use of shading and shadows does not always reflect this. The man's shadow is behind him pointing directly at one of the explosions. Contrasting colors are present in the painting. Art Green uses a mainly Newtonian primary color system. The building is painted using varying shades of blue, the explosions are in yellow outlined by red, and the two framing buildings, cloud lines, and the "NO!" are done in red. This color system prevents the colors from becoming muddy to the eye, and shows importance by separating shapes from their surroundings. The only exceptions to the color scheme are the green used for the grass, and the grey used in the cloud filling, and frame. The green is a minor characteristic of the painting since it is in the background, however the grey is very important. Since the artwork is not presented in the gallery with any sort of physical frame, the artist used a thick grey line around the whole painting. The only compromise to this implied or visual frame is the movement in of the NO! bubble. ...read more.

Conclusion

Many of the viewpoints Dutton critiques do not fulfill his need for closure. The second article considers the separation the audience feels from the artist. Alfred Gell describes the "magic" of creating art that average people do not understand. In a social sense, this "magic", creates a new social strata for the artist. For people to truly appreciate the art, they have to have little understanding of how it was created. This may be true for art where we just don't know what techniques the artist used, but Dutton brings up the point of modern art. The one example he uses to debunk this viewpoint is the placement of a statue, specifically a Fountain by Duchamp. We know that it is placed as art because it represents something different than just a fountain. Yet we still know exactly how it was produced; just like all the other fountains like it. The use of known signs as art, especially if the sign represents an attack on technique itself, take the wind out of Gell's argument. From viewing art previously, I do understand Gell's viewpoint. Art does have a "magical" sense when I don't know how it was made or the intricate styles that the artist uses. ...read more.

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