2:57

http://www.youtube.com/watch?v=DvrBmnWRTZw

This film observes two figures who meet for the first time at a train station. They would be looked upon as grotesque by society, and we see that they are ignored by passers-by for the most part. It seems they are controlled by their instinct that it is not polite to stare. Yet the thing that most refuse to look at, is what brings healing and comfort for the pair. It seems they are free to acknowledge their peculiarity. This has ties with the idea of the bronze serpent from scripture.

Facade

The concept of this mask came from thinking about the use of lions in popular culture. I thought most immediately of the characters of Simba (The Lion King), The Cowardly Lion (The Wizard of Oz), and Aslan (The Chronicles of Narnia). Which lion mask do you think this man is putting on today? In addition, the suit also has a role to play. The well-tailored suit is almost somewhat of a mask itself. It broadens a man's shoulders and gives him a more powerful yet fluid figure. When chosen and tailored properly, most anyone can improve their appearance with a suit.

Another version of this photograph is to simplify it have the lion stand alone. This allows the viewer to use their imagination a bit more in some ways, and allows for a more detailed look.

Landscape

In thinking about what the "landscape" of 2010 would look like, I wanted to avoid being too traditional. To me, a landscape is a thing of beauty that makes many of us want to jump into environment captured by the photograph or painting and experience the sights, smells, and sounds we imagine. This photograph is no different as we imagine the smell of hot chocolate or coffee depending upon our preference, and hear the sounds surrounding the small-town cafe. Whereas we see photographs of landscapes during westward expansion, or paintings that capture undisturbed beauty in exotic locations, this is the new typical scenery. Some may interpret this as a critique of society, as we are now surrounded by pavement rather than fields, telephone poles rather than trees, and the sound of gossiping old women rather than chirping birds. Others may see this as a spin on an old concept, where we see cafes as the more modern place to relax and take in the sights. People-watching seems to be the new way we like to pass the time and "enjoy the scenery."

This photograph stands in contrast to the earthworks photographs where we see an attempt to frame and mirror the natural (literally and symbolically). For the most part, the landscape's elements are formed by man and the only thing that is framed is more of the man-made surroundings. Yet something still seems serene and artistic about the landscape's setting. Though not capturing the beauty of mountain scenery, creativity and beauty can be found in everything from the shape of the chairs to in the dressing of the drink before us.

Real Vs. Ideal: Summer in Autumn

This first portrait tries to capture the "ideal." Summer is a woman. She appears to be in the kitchen cleaning, properly owning her role as a female. This of course is the ideal: what we should aspire to be. She is aware that she is being looked at as female subjects have been in the greater part of art history. Her expression seems to say "Hurry up. You're distracting me from my job. I really need to get back to work." All of this works together to capture Summer's fulfillment of her Biblical duty: the ideal.

(kidding, kidding)

This second portrait (our ACTUAL "ideal") seeks to capture the what we seem to strive for in today's society. This portrait is still somewhat of a parody of the ideal. Summer is aware of the viewer, which hearkens back to much of art history's take on gender roles. She is placed in a position that is "pretty" for pictures, but would probably be awkward to maintain comfortably for a longer period of time. She is obviously posed, but not in an outrageous, dramatic, Lady Gaga-esque position, so as to "appear natural."

The third portrait seeks to capture the "real." Summer is relaxed as she is talking to her friends who she brought along with her for part of the shoot. It seems that she is almost unaware of the camera. She is not placed in some glamorous-but-awkward position with a gentle breeze blowing through her hair. Nor is she casting a sultry gaze at the viewer. She is simply Summer. This photo shows that even the "real" moment can be captured and still be a thing of beauty.

Reflections

When I see this picture I think of it in contrast to the iconic painting of God and Adam by Michelangelo. In the painting, God is reaching down to earth to man. In this photo it seems that man is trying to find a way to God. This ties into the history of the church in general, and art as it has portrayed the gods as distant, cold figures.

This photo is interesting because it is obvious that the man's efforts will be in vain and end by crashing on the sharp rocks below.

It is true that our efforts to reach God will be in vain and end in disaster. It is because of this reason, that this photograph is compelling. it would be interesting to hear what a person who does not have a similar belief system would see in this photo.

Picture of God

This photograph is a portrayal (albeit a limited one) of God. More specifically, it is a portrayal of the triune God of the Bible. In periods of art history God has been portrayed rather grandly, glowing with halo overhead. As time progressed however, we see God (Jesus specifically) being depicted as a more average person. This was offensive to many as Jesus started to look more like a peasant. This photograph takes this idea one step further and portrays each part of God through various parts of the human body. The Father is represented as hands. The Son as feet. The Holy Spirit as lips.

When I thought about each side of God, these are the parts I imagined. The hands that represent the Father convey creation, molding, touch. The feet are meant to remind us that Jesus walked the earth as a man; human feet are unique in form. The lips represent the Holy Spirit, who reminds me of breath, comfort, and giving of wisdom. I choose to represent God with human parts, not to diminish his deity, but to echo the message that we are made in God's image.

Of course, there can never be a perfect representation of God. Taking a picture of Him is impossible. However, I hope to convey the beautiful characteristics of the triune God, while reminding us that it is marvelous that we are made in His image. We are fearfully and wonderfully made!

Portrayal of Jesus

Caravaggio's Thomas Touching the Side of Jesus

This painting fits into art history in a couple of ways. First, notice the shallow depth of field; There is no grand landscape behind the subjects. This seems typical of Caravaggio. There is nothing to distract us from what is happening in the scene. It is as if we are leaning forward along with the subjects of the painting. This lack of scenery is a departure from various periods in art history. Second, the disciples and Jesus (to an extent) are not explicitly portrayed like deities and saints; they look like "peasants," which was considered extremely distasteful in periods of art history's past. They are simply "average-looking" men who are not standing in any grand poses with stoic expressions, but are straining and squinting.

I choose to look at this image because of the things that it is missing, the things mentioned above. I said Jesus looks like a peasant only "to an extent" because he does look noticeably different from the disciples. He looks much more put together and somewhat glorified. I like the fact that this painting seems to be inviting us to lean in with the disciples and see the miracle that has taken place.

I think that this painting has a message to offer, along with aesthetic beauty. However, I realize that any portrayal of Jesus is limited. I have a feeling that an actual look at the real Jesus would surprise us all in one way or another. I feel it is impossible for us to know on this earth exactly what Jesus looked like. If we acknowledge this limitation, then we can look past our erroneous and finite assumptions to the story and character of our savior.

The Body

The inspiration for this photo comes from Ancient Egyptian sculpture. There are some subtle similarities between the two. The sculpture was often fixed to a background of sorts rather than being freestanding. The overall demeanor of the figures seemed to be somewhat tense, frequently with fists clenched. Both of these can be seen interpreted in the photo.

How does all of this relate to the body? It seems that Egyptian sculpture’s emphasis was not so much on the body itself. Of course the body was present and visible, but the focus seemed to be placed on the posture of the body and the story or idea it was trying to convey.

My favorite observation about this photo as it relates to Egyptian sculpture is that, in Ancient Egyptian sculpture, both the “background” and the figure itself were made of the same material. They had simply been carved out of a single block of the material. The “man of 2010” is seen here “fixed” to a mirror. Would you agree that this is a fair representation of the man of 2010? Keep in mind that the Egyptians’ sculptures most always depicted the pharaohs or the gods. What are the qualities of a mirror? What connotations does it hold?

Test Post

Test Post...