My HCC Map
When I looked at my map I noticed that some of my quotes and justifications are cut off.
In order of how the buildings were mapped:
1. “There is not a bulb in sight, but let into the ceiling and actually part of it…”
http://www.flwright.org/researchandexplore/furnitureanddecorativearts
When entering Chesapeake, a hallway adjacent to the entrance is illuminated with receding lights. Wright utilized fluorescent lighting to enhance natural light. His innovative designs even included new concepts to interior lighting. Prior to Wright, receding lights had not been used-- bulbs and fixtures were exposed. Wright designed the lighting as a part of the ceiling, not separate or jutting out.
2. "The dominant horizontality of Prairie style construction echoes the wide, flat, tree-less expanses of the mid-Western United States. Frank Lloyd Wright, the most famous proponent of the style, promoted an idea of "organic architecture"."
http://www.prairieschoolarchitecture.com/frank-lloyd-wright/
Wright’s Organic Architecture perceived the building as a part of the land, not a separate entity. His Prairie style design mimicked the flat land horizon. Chesapeake Hall goes with the flat horizontal line of the land. This extends the natural lines, but does not alter it.
3. "Interior space is not packed in boxes called rooms; rather, space should flow freely from interior area to interior area."
http://www.flwright.org/ckfinder/userfiles/files/Wright-Organic-Architecture.pdf When entering Chesapeake Hall, it is an open, well-lit foyer. The shape of the foyer is five sided with doorways that blend with the walls leading to offices or event halls. The design of the building funnels you down the corridor to the buildings offices. The design is open, and without sharp turns or double door hallways.
4."Human use and comfort should have intimate possession of every interior—should be felt in every exterior.”
http://www.flwright.org/ckfinder/userfiles/files/Wright-Organic-Architecture.pdf
Wright focused on the functionality of his design in both the interior and exterior. The area located outside Chesapeake Hall was utilized as a patio seating area. The patio is lined with garden beds and trees. Being one with nature is the main concept of Wright’s Organic Architecture. This patio encourages students to take a moment outdoors and connect with nature.
5."The building grows out of the landscape as naturally as any plant; its relationship to the site is so unique that it would be out of place elsewhere." http://www.flwright.org/ckfinder/userfiles/files/Wright-Organic-Architecture.pdf
Organic Architecture shapes the design to the land. Wright’s Prairie style mimicked the flat horizon lines of the mid-West. Chesapeake Hall contains an overhang that moves with the horizontal land in the front of the building and flows down the side of the building contouring to the earth. The roof maintains the level horizon line around the entire building and the base goes with rise and fall of the land. If Chesapeake Hall was placed anywhere else on campus with the same design, it would not contour to the earth the way it does here.
6."Prairie School buildings generally have a massive quality, as if rooted to the earth." http://www.artisansofthevalley.com/ed_aa_styles4.html
Wright’s Prairie style and his Organic Architecture designs focus on harmony between the land and the buildings design. The horizontal rooflines and the way the building contours to the ground makes it appears to have grown from the land. Darlington Hall is an example of this. It flows with the HCC landscape and even though it was built in recent years, it has the feel as if it has always been there.
7."…the pure expression of materials, without unnecessary ornamentation, was the dominant design feature."
http://www.artisansofthevalley.com/ed_aa_styles4.html
Wright’s design focused on the materials utilized. The panels on the corner of Darlington Hall are an example of this. The various gray panels are strategically placed, creating an abstract art. With this design no ornamentation is needed. The architectural design in itself becomes the feature of attraction.
8."Wright’s interiors were further enriched by his innovative use of lighting." http://flwright.org/researchandexplore/furnitureanddecorativearts
Wright’s lighting is a decorative functional component of his designs. In one of his designs he enclosed the lights with rice paper. Throughout Darlington Hall this design is evident. The use of large glass windows to enhance the receding luminescent light fixtures with natural light is also a part of Darlington’s lighting. Wright’s lighting designs are still modern a century later.
9."Wright’s light screens illuminated his interiors with natural light, touched by the autumnal dashes of his color palette and animated by his exquisite visual geometries." http://flwright.org/researchexplore/franklloydwrightleadedglass
A beautiful feature of Wright’s Prairie style was the stained glass light screens. The upper floor offices of Darlington Hall have stained glass fixtures in the doors. His glass designs focused on the unique geometry of each building. The same geometry of the building was to be represented in the stained glass light screens. Darlington’s light screens are more ornamental than representative of the geometry of the building. However, they are an uplifting feature to have in any office.
10. "Wright’s early oak furnishings, characterized by straight lines and rectilinear forms, are designed with the traditional Arts and Crafts preference for solidity and simplicity." http://flwright.org/researchandexplore/furnitureanddecorativearts
Wright started designing furniture in the early 1890s. The furniture is aesthetic and functional. Each of his designs tied into to the design of the home or building and its function. Throughout Darlington Hall seating is provided in various creative ways. All of the furniture in Darlington designs follows the straight lines and rectilinear forms of Wright’s oak furnishing designs, but with the use of modern materials and serves the function of the students and staff.
11."Prairie School style architecture is usually marked by its integration with the surrounding landscape, horizontal lines, flat or hipped roofs with broad eaves, windows assembled in horizontal bands, solid construction, craftsmanship, and restraint in the use of decoration." http://www.prairieschoolarchitecture.com/frank-lloyd-wright/
Edgewood Hall is the first building you see when entering HCC campus. The building contours the natural landscape and contains only horizontal and angled lines. The cantilevered roofs with eaves surrounds the building. The Hall’s windows maintain the horizontal and geometric lines. The design of Edgewood Hall is representative of Wright’s innovative architectural creations.
12. “He was one of the first architects to design and supply custom-made, purpose-built furniture that functioned as integrated parts of the whole design.”
http://www.prairieschoolarchitecture.com/frank-lloyd-wright/
Wright’s functional furniture design is seen throughout HCC campus. When entering Edgewood Hall an open atrium ceiling and octagonal walls surround a centered oak octagon seat. The octagon encases a small garden. Bordering the room are more oak tables and chairs. The design of this room functions as a sitting, eating, and garden area for staff and students.
13. "Interior walls were suppressed or minimized to emphasize openness." http://www.hopkinsandcompany.com/Books/Frank%20Lloyd%20Wright.htm
Wright focused on community and gathering spaces in his designs. Inside Edgewood Hall the lecture hall has raised atrium ceilings. The ceiling contains Wright’s design for receding light fixtures and the use of natural light. Angled walls are used to create more space. The lecture hall and lobby of this building together create an open gathering place for HCC events.
14. "With the Prairie School style in particular, there was intent to have architecture fit more into the rhythm of the surrounding natural landscape." http://www.artisansofthevalley.com/ed_aa_styles4.html
Harford County’s countryside is hilly with many rises, falls, and flat portions. Edgewood Hall’s design meets Wright’s Prairie style intentions of fitting into the natural landscape. The lot the Hall is built on is flat horizontal land and slightly slopes in the direction of Fallston Hall. This building follows flow of HCC’s land. And each building thereafter continues the flow of the landscape.
15. "The way a building comes together, how one material joins another; the very form of the building should be an expression of the nature of the materials used." http://www.flwright.org/ckfinder/userfiles/files/Wright-Organic-Architecture.pdf
Wright’s architecture utilized materials that express the artistic qualities of his designs. The materials used to build Edgewood Hall demonstrate this. Variations of different color bricks are used to create bold horizontal lines around the building. The building has cantilevered roofs that meet at different angles, adding additional elements to the horizontal and vertical design. The glass windows mirror this design as well.
16. "Incorporating furniture, lighting, and decorative arts into the structure of his buildings enabled Wright to achieve a harmonious and unified interior." http://flwright.org/researchandexplore/furnitureanddecorativearts
Wright designed every detail of his buildings down to the decorations, lighting, and furniture. Total control of a design creates a unified interior and exterior. The design for Aberdeen Hall uses the same unified concept. The decorations throughout the hall are slotted stained horizontal slats with receding bulletin boards. The lighting throughout the Hall is a mixture of receding lights and long tubular fluorescent lighting. Throughout the hall, furniture is built in for eating and sitting areas for the students and staff.
17. "Not all organic architecture has ornament, but when used, it is developed as an integral part of the material, not applied. Examples are patterns cast in concrete or carved in stone, leaded glass panels, and tile or glass mosaics."
http://www.flwright.org/ckfinder/userfiles/files/Wright-Organic-Architecture.pdf
Across HCC campus the use of Wright’s Organic Architecture aesthetically uses the building materials as ornamentation. Outside of Aberdeen Hall’s main entrance a blue mosaic fills in the space between the door and the surrounding walls. To the right of the tiles is all glass windows, the windows reflect the blue of the sky and blend naturally with the mosaic tiles. In comparison to the massive building it is a subtle but beautiful feature.
18. "Horizontal lines were intended to unify the structure with the native prairie landscape of the Midwest."
http://www.prairieschoolarchitecture.com
Wright’s Prairie style was designed after the flat horizon lines of the mid-west. The Hall is covered in horizontal and vertical gray, wood, and glass panels, windows, and doors. The entire building has an abstract geometric appearance. The lot it was built on is hilly but even still his horizontal design is unified with the landscape.
19. "Wright fully embraced glass in his designs and found that it fit well into his philosophy of organic architecture."
http://www.prairieschoolarchitecture.com/frank-lloyd-wright/
Wright used long glass windows to utilize natural lighting as a feature of his designs. Aberdeen Hall contains Wright’s glass designs around every turn. Entire walls and hallways are designed with geometric glass panels and windows. The Hall’s connecting hallway and the three-story high stairwell are encased in all glass. Utilizing Wright’s glass design, provides students with a multi-perspective view of the campus.
20. "...Wright termed “Organic Architecture.” By this Wright meant that architecture should be suited to its environment and be a product of its place, purpose and time." http://flwright.org/researchexplore/prairiestyle
Wright’s designs were intentional and functional. Each feature had it’s own purpose, but functioned holistically. Aberdeen Hall has many built in sitting, eating, and work areas for the students. The Hall is L-shaped and has a connecting glass hallway equipped with a built in bench and a view of the courtyard area, adjacent buildings, and parking lots. Underneath the hallway through the middle of building a pathway was constructed for convenience and direct access to the heart of the campus.
Friday, May 20, 2016
Thursday, May 19, 2016
Final: Digital Humanities Project
In 1969 over 400,000 people gathered for a three day music festival located at Max Yasgur's dairy farm in Woodstock, New York. The festival was intended to be a three day event with 50,000 people from August 15th to August 17th, but turned into a four day event with 400,000. Thousands of photos, videos were taken at The Woodstock Music & Art Fair. Countless perspectives, experiences, and moments were captured by the concert goers. Woodstock was an important moment in music history and part of the counterculture of the 1960s.
For my Digital Humanities project I would like to design website that provides an interactive tour of The Woodstock Music & Arts Fair. The tour would include photography, music, videos, documents, and personal accounts of the event. The project will also highlight different musicians that performed and their set lists. I would like to incorporate an interactive map that shows the layout of Yasgur's farm, stages, vendors, artists, campgrounds, and gatherings.
The first step of this process would be to compile the websites content. Photography, video, documents, and personal accounts would need to be located and rights or permission to use the articles would need to be purchased or granted. A good place to start to gather photographs, videos, documents, and personal accounts is www.woodstockpreservation.org, a archive website dedicated to the preservation of Woodstock. Besides essays and external links on the site (permission from their respective owner would be needed), much of the website's content is under fair use. Another open source that would provide different types of archive photos,videos, music, documents, books, personal accounts, and internal and external links to additional Woodstock content is library.rockhall.com. This website is dedicated to archiving documents from important festivals in music history, it is also linked with worldcat.org a search engine that locates items in libraries near you.
In order to accomplish this project a website would need to be designed to navigate through the different Woodstock experiences. Wix.com is a website building site that is free of charge for non-premium members. The site gives you access to an simple to use drag and drop editor, 500 MB of storage and customizable templates. It also breaks down the building process into a step by step guide.
Next, an interactive map needs to be designed for the website. Arcgis.com provides you with ready to use maps and templates and can be embedded into websites. Photos of the event would be added to the map and placed on the map in the location of where the photograph was taken. For example, any photos of the crowd would be placed in the field in front of the stage and photos of the musicians would be placed on the stage. I would also add additional maps that provide a visual of how massive the festival was. One that displays what the property looked like covered with the 50,000 people that the permit granted for the event versus the 400,000 people that attended the event.
Finally, I would like this project to be left open for others to add and collaborate within the guidelines of this project.
For my Digital Humanities project I would like to design website that provides an interactive tour of The Woodstock Music & Arts Fair. The tour would include photography, music, videos, documents, and personal accounts of the event. The project will also highlight different musicians that performed and their set lists. I would like to incorporate an interactive map that shows the layout of Yasgur's farm, stages, vendors, artists, campgrounds, and gatherings.
The first step of this process would be to compile the websites content. Photography, video, documents, and personal accounts would need to be located and rights or permission to use the articles would need to be purchased or granted. A good place to start to gather photographs, videos, documents, and personal accounts is www.woodstockpreservation.org, a archive website dedicated to the preservation of Woodstock. Besides essays and external links on the site (permission from their respective owner would be needed), much of the website's content is under fair use. Another open source that would provide different types of archive photos,videos, music, documents, books, personal accounts, and internal and external links to additional Woodstock content is library.rockhall.com. This website is dedicated to archiving documents from important festivals in music history, it is also linked with worldcat.org a search engine that locates items in libraries near you.
In order to accomplish this project a website would need to be designed to navigate through the different Woodstock experiences. Wix.com is a website building site that is free of charge for non-premium members. The site gives you access to an simple to use drag and drop editor, 500 MB of storage and customizable templates. It also breaks down the building process into a step by step guide.
Next, an interactive map needs to be designed for the website. Arcgis.com provides you with ready to use maps and templates and can be embedded into websites. Photos of the event would be added to the map and placed on the map in the location of where the photograph was taken. For example, any photos of the crowd would be placed in the field in front of the stage and photos of the musicians would be placed on the stage. I would also add additional maps that provide a visual of how massive the festival was. One that displays what the property looked like covered with the 50,000 people that the permit granted for the event versus the 400,000 people that attended the event.
Finally, I would like this project to be left open for others to add and collaborate within the guidelines of this project.
Friday, April 22, 2016
Reflection: Digital Humanities
Digital humanities is a cultural gateway, expanding our knowledge and passions further than ever before. It is a world of unbeknownst connections. Analyzing, collaborating, and learning information can be done in innumerable ways, it is a system that works for every type of learner. Initially I struggled with this course, each project felt like a hurdle. I approached them academically, no differently than any other course I have taken. After several assignments, I realized my inability to think outside of the box. I felt lost when I was left to my own creative devices--to navigate and discover freely. I was rigid and wanted things laid out so I could fulfill every aspect of the assignment, nothing more, nothing less. The Digital Humanities does not allow that. Seldom do things go as expected and being supple is the key. It is a course of asking, not telling, and innovativeness is welcome. This course has taught me to be humble, ask for help, work with others, and to persevere until a solution is reached. Digital Humanities is about gain and expansion--of self and the collective.
Thursday, April 21, 2016
Reflection: Voices of Change
The 1960's has always been a period of great interest for me, especially the music and the art. For years, everyday after school I had "Bob Dylan Hour", my time to paint and explore his music. When I learned that the "Voices of Change" exhibit and lecture was a part of our curriculum, I was elated. I was aware that the 60's was filled with catalysts and the changes that they brought about. However, what Dr.Ball taught me was their various powerful methods. I have never really meditated on how different political art is. Non-political art is silent and we are allowed to take away from it what we choose, and cast aside what we choose. Political art takes something silent and uses it to speak volumes to the masses, we are stuck with the imagery and casting it aside feels like a moral choice. I was fascinated by the psychological impact that these pieces had/have on society and how they promote the changes that were/are desired. Most of the art discussed in the lecture I was unfamiliar with. It was amazing to see the different artist's creative approaches to displaying the controversies of the time. Overall, Dr.Ball's lecture was enlightening. I was given a deeper understanding to an era I love, and to the creative methods these individuals used to bring about change.
Matisse, Gertrude Stein, and Artsteps
My Matisse Exhibit
This project was especially fun for me. Curating Mattise's artwork allowed me to look at different aspects of the his style, palette, and themes that I would not have noticed while just observing it. Curation gets you closer and more connected with the art. The Artscape exhibit coupled with Gertrude Stein's repetitious, yet unique, offbeat quotes from her "Matisse" composition helped me understand Matisse's struggle to achieve recognition and his process of recognizing himself as a great. The Matisse biography "The Personal Life of Henri Matisse", discusses the publics reaction to his work, "Eyewitness accounts tell of laughter emanating from room VII where they were displayed." When Matisse was presenting his deviating art in the early 1900's, few could appreciate his unique style.
I began my curation process by selecting the Matisse pieces I enjoyed, allowing the theme of the exhibit to develop from my attraction to the art. I was drawn to his paintings of his models. I loved how he portrayed each woman's different qualities.
Navigating clockwise around the exhibit, when you enter and look to the left the first piece I chose was "Odalisque with Green Sash", with Stein's quote, "There were very many wanting to be doing what he was doing that is to be one clearly expressing something." This painting is one of the more graphic pieces out of all of the ones in the exhibit. I envisioned myself walking into an exhibit where that was the first piece I observed--my attention would be captured. I chose this quote because I imagine that many artists, collectors, or spectators would have wanted to deviate away from the traditional art of the time and create, collect, or appreciate what they desired, however societal restrictions made this less likely to do so.
The following piece I selected was "Purple Robe and Anemones", with Stein's quote, "Some were certain that this one was clearly expressing something being struggling, some were certain that this one was not greatly expressing something being struggling." I placed this piece next to "Odalisque with Green Sash" because of the red vertical lines in the background of both. In addition, this painting is the first in a series of different pieces with models in dresses I chose--located on the following wall. Stein's quote explains how some perceived Matisse's style of painting as lacking skill and traditional technique, where as others perceived his style of painting as skilled and innovative.
The next piece I selected was "The Embroidered Dark Blouse", with Stein's quote, "He certainly was clearly expressing something, certainly sometime any one might come to know that of him." This piece followed "Purple Robe and Anemones" because of the similar abstract representation of the models and the orange hue used in the backgrounds. Stein's quote explains Matisse's truly unique abstract way of conveying the conventional.
Next, I selected "The Yellow Dress", with Stein's quote, "One was quite certain that for a long part of his being one being living he had been trying to be certain that he was wrong in doing what he was doing and then when he could not come to be certain that he had been wrong in doing what he had been doing, when he had completely convinced himself that he would not come to be certain that he had been wrong in doing what he had been doing he was really certain then that he was a great one and he certainly was a great one." I chose this painting because the model and her dress are a poised focal point for the centerpiece of the wall and exhibit. Also, the background of the painting is a blend of the orange in the background of "The Embroidered Dark Blouse" and the browns in "The Brown Dress". Stein's quote explains how Matisse's grappled with self doubt, however his perception of himself and his art transformed from a negative one to a positive one. I love this quote, it is an incredible way of explaining how Matisse found peace in his trials.
I selected "The Brown Dress"as my next piece, with Stein's quote, "Certainly very many knowing this one and being certain that this one was a great man and that this one was clearly telling something were not listening to this one telling about being living, were not listening to this one telling this again and again." I chose this because of Matisse's use of soft and dark colors. The dark colors in the painting offset the vibrancy of "The Yellow Dress" and leads you to the following wall which is predominantly soft and dark colors. Stein's quote explains how the individuals who noted Matisse's talent had not allowed the critics to sway their opinion of his work.
The following wall has three pieces that I will discuss together. From left to right I chose "The Music Lesson, Two Women Seated on a Divan", with Stein's quote, "This one was certainly a great man, this one was certainly clearly expressing something." Next I chose, "Woman in a Striped Pullover, Violin on the Table", with Stein's quote, "He was certainly a great man, any one could be really certain of this thing, every one could be certain of this thing." Lastly, I chose "Violinist and Young Girl", with Stein's quote ""Every one could come to be certain that he was a great man."
I selected these pieces for the wall because they are violin themed. As well as, the color flow from one wall with the brown in "The Brown Dress" to the next wall with the brown-orange in "The Music Lesson, Two Women Seated on a Divan", to the orange-red in "Woman in a Striped Pullover, Violin on the Table", to the reds in "Violinist and Young Girl". The three quotes I selected discuss how Matisse inevitably achieved positive recognition from individuals and and the whole.
For the final wall in the exhibit I chose the remainder of the "Odalisque" pieces I had selected. I picked that location because it separates these pieces from the rest of the walls, but is close enough to the "Odalisque with Green Sash" piece at the entrance to the exhibit to keep them all together. I placed them close to one another so they can be viewed exclusively.
From left to right, I chose "Standing Odalisque Reflected in a Mirror", with Stein's quote, "Some were certain that he expressed something very clearly and some of such of them said that he would have been a greater one if he had not been one so clearly expressing what he was expressing." I selected this quote to go with one of his nude models because Matisse has a rawness to his depictions that to this day some might have a difficult time appreciating.
For the centerpiece I chose, "Seated Odalisque, Left Knee Bent, Ornamental Background and Checkerboard ", with Stein's quote, "This one was one very many were knowing some and very many were glad to meet him, very many sometimes listened to him, some listened to him very often, there were some who listened to him, and he talked then and he told them then that certainly he had been one suffering and he was then being one trying to be certain that he was wrong in doing what he was doing and he had come then to be certain that he never would be certain that he was doing what it was wrong for him to be doing then and he was suffering then and he was certain that he would be one doing what he was doing and he was certain that he should be one doing what he was doing and he was certain that he would always be one suffering and this then made him certain this, that he would always be one being suffering, this made him certain that he was expressing something being struggling and certainly very many were quite certain that he was greatly expressing something being struggling." Stein wrote about how Matisse explained his battle for recognition and self recognition, and how he persevered and continued to immerse himself in his art, even though it was tormenting. His dedication to his work lead him to accept the negative and positive experiences he endured. Eventually, he viewed his art as a symbolic representation of his struggle.
Finally, I chose "Standing Odalisque, Tambourine in Her Right Hand", with Stein's quote, "Some said he was not clearly expressing what he was expressing and some of such of them said that the greatness of struggling which was not clear expression made of him one being a completely great one." Stein's quote explains again, how some perceived his paintings as unskilled depictions, where as other perceived his paintings as a unique abstract style and that is what made him so great.
This project was especially fun for me. Curating Mattise's artwork allowed me to look at different aspects of the his style, palette, and themes that I would not have noticed while just observing it. Curation gets you closer and more connected with the art. The Artscape exhibit coupled with Gertrude Stein's repetitious, yet unique, offbeat quotes from her "Matisse" composition helped me understand Matisse's struggle to achieve recognition and his process of recognizing himself as a great. The Matisse biography "The Personal Life of Henri Matisse", discusses the publics reaction to his work, "Eyewitness accounts tell of laughter emanating from room VII where they were displayed." When Matisse was presenting his deviating art in the early 1900's, few could appreciate his unique style.
I began my curation process by selecting the Matisse pieces I enjoyed, allowing the theme of the exhibit to develop from my attraction to the art. I was drawn to his paintings of his models. I loved how he portrayed each woman's different qualities.
Navigating clockwise around the exhibit, when you enter and look to the left the first piece I chose was "Odalisque with Green Sash", with Stein's quote, "There were very many wanting to be doing what he was doing that is to be one clearly expressing something." This painting is one of the more graphic pieces out of all of the ones in the exhibit. I envisioned myself walking into an exhibit where that was the first piece I observed--my attention would be captured. I chose this quote because I imagine that many artists, collectors, or spectators would have wanted to deviate away from the traditional art of the time and create, collect, or appreciate what they desired, however societal restrictions made this less likely to do so.
The following piece I selected was "Purple Robe and Anemones", with Stein's quote, "Some were certain that this one was clearly expressing something being struggling, some were certain that this one was not greatly expressing something being struggling." I placed this piece next to "Odalisque with Green Sash" because of the red vertical lines in the background of both. In addition, this painting is the first in a series of different pieces with models in dresses I chose--located on the following wall. Stein's quote explains how some perceived Matisse's style of painting as lacking skill and traditional technique, where as others perceived his style of painting as skilled and innovative.
The next piece I selected was "The Embroidered Dark Blouse", with Stein's quote, "He certainly was clearly expressing something, certainly sometime any one might come to know that of him." This piece followed "Purple Robe and Anemones" because of the similar abstract representation of the models and the orange hue used in the backgrounds. Stein's quote explains Matisse's truly unique abstract way of conveying the conventional.
Next, I selected "The Yellow Dress", with Stein's quote, "One was quite certain that for a long part of his being one being living he had been trying to be certain that he was wrong in doing what he was doing and then when he could not come to be certain that he had been wrong in doing what he had been doing, when he had completely convinced himself that he would not come to be certain that he had been wrong in doing what he had been doing he was really certain then that he was a great one and he certainly was a great one." I chose this painting because the model and her dress are a poised focal point for the centerpiece of the wall and exhibit. Also, the background of the painting is a blend of the orange in the background of "The Embroidered Dark Blouse" and the browns in "The Brown Dress". Stein's quote explains how Matisse's grappled with self doubt, however his perception of himself and his art transformed from a negative one to a positive one. I love this quote, it is an incredible way of explaining how Matisse found peace in his trials.
I selected "The Brown Dress"as my next piece, with Stein's quote, "Certainly very many knowing this one and being certain that this one was a great man and that this one was clearly telling something were not listening to this one telling about being living, were not listening to this one telling this again and again." I chose this because of Matisse's use of soft and dark colors. The dark colors in the painting offset the vibrancy of "The Yellow Dress" and leads you to the following wall which is predominantly soft and dark colors. Stein's quote explains how the individuals who noted Matisse's talent had not allowed the critics to sway their opinion of his work.
The following wall has three pieces that I will discuss together. From left to right I chose "The Music Lesson, Two Women Seated on a Divan", with Stein's quote, "This one was certainly a great man, this one was certainly clearly expressing something." Next I chose, "Woman in a Striped Pullover, Violin on the Table", with Stein's quote, "He was certainly a great man, any one could be really certain of this thing, every one could be certain of this thing." Lastly, I chose "Violinist and Young Girl", with Stein's quote ""Every one could come to be certain that he was a great man."
I selected these pieces for the wall because they are violin themed. As well as, the color flow from one wall with the brown in "The Brown Dress" to the next wall with the brown-orange in "The Music Lesson, Two Women Seated on a Divan", to the orange-red in "Woman in a Striped Pullover, Violin on the Table", to the reds in "Violinist and Young Girl". The three quotes I selected discuss how Matisse inevitably achieved positive recognition from individuals and and the whole.
For the final wall in the exhibit I chose the remainder of the "Odalisque" pieces I had selected. I picked that location because it separates these pieces from the rest of the walls, but is close enough to the "Odalisque with Green Sash" piece at the entrance to the exhibit to keep them all together. I placed them close to one another so they can be viewed exclusively.
From left to right, I chose "Standing Odalisque Reflected in a Mirror", with Stein's quote, "Some were certain that he expressed something very clearly and some of such of them said that he would have been a greater one if he had not been one so clearly expressing what he was expressing." I selected this quote to go with one of his nude models because Matisse has a rawness to his depictions that to this day some might have a difficult time appreciating.
For the centerpiece I chose, "Seated Odalisque, Left Knee Bent, Ornamental Background and Checkerboard ", with Stein's quote, "This one was one very many were knowing some and very many were glad to meet him, very many sometimes listened to him, some listened to him very often, there were some who listened to him, and he talked then and he told them then that certainly he had been one suffering and he was then being one trying to be certain that he was wrong in doing what he was doing and he had come then to be certain that he never would be certain that he was doing what it was wrong for him to be doing then and he was suffering then and he was certain that he would be one doing what he was doing and he was certain that he should be one doing what he was doing and he was certain that he would always be one suffering and this then made him certain this, that he would always be one being suffering, this made him certain that he was expressing something being struggling and certainly very many were quite certain that he was greatly expressing something being struggling." Stein wrote about how Matisse explained his battle for recognition and self recognition, and how he persevered and continued to immerse himself in his art, even though it was tormenting. His dedication to his work lead him to accept the negative and positive experiences he endured. Eventually, he viewed his art as a symbolic representation of his struggle.
Finally, I chose "Standing Odalisque, Tambourine in Her Right Hand", with Stein's quote, "Some said he was not clearly expressing what he was expressing and some of such of them said that the greatness of struggling which was not clear expression made of him one being a completely great one." Stein's quote explains again, how some perceived his paintings as unskilled depictions, where as other perceived his paintings as a unique abstract style and that is what made him so great.
Friday, April 15, 2016
The BMA Cone Collection
Prior to my visit to the BMA I listened to several lectures given by you, Professor O'Reilly, and Professor Ball that covered a range of different artists, techniques, collectors/collections, and curation. The knowledge gained from these lectures helped immensely in my appreciation of my experience at the BMA.
I decided to wander through the maze of exhibits until I stumbled upon the Cone Collection. For the first time, I observed the exhibits not for the art itself, but for each room's design and how it was curated with intent and purpose. I could appreciate the dedication that went into it all. Some exhibits contained many small pieces that lead you to a large piece which was the rooms focal point. Other exhibits contained similar style or sized pieces, all seemingly equivalent in their individual greatness. Whereas other exhibits contained a variation of style, sizes, color, and space-- drawing your focus in multiple directions.
The Cone Collection in particular, was a soft yet vibrant exhibit. The pieces are well spaced out and not one takes away from another. The Mattise collection appeared to be arranged by the different media (sketches and paintings) he used, canvas sizes, and palette. The small room that depicts a portion of Etta and Claribel's apartment was a fascinating part of the exhibit. Combining the replica with the virtual tour of the apartment, displayed the volume and extensiveness of their collection and decadent obsession. The virtual tour provided an in depth perception of the collection and how the Cone sister's carefully curated every nook and cranny of their home. My favorite aspect of the virtual tour was delving into the trunks inside their rooms and looking at their textile collection.
Observing the collection firsthand helped me gain perspective on the size of the pieces, not one was the size I had envisioned. Matisse's use of color is remarkable and inspiring. The green hues he used in "The Yellow Dress" and "Ballet Dancer Seated On A Stool" are my favorite. The visit to the BMA was truly enriching. These assignments resonate with me and I am grateful.
The Cone Collection in particular, was a soft yet vibrant exhibit. The pieces are well spaced out and not one takes away from another. The Mattise collection appeared to be arranged by the different media (sketches and paintings) he used, canvas sizes, and palette. The small room that depicts a portion of Etta and Claribel's apartment was a fascinating part of the exhibit. Combining the replica with the virtual tour of the apartment, displayed the volume and extensiveness of their collection and decadent obsession. The virtual tour provided an in depth perception of the collection and how the Cone sister's carefully curated every nook and cranny of their home. My favorite aspect of the virtual tour was delving into the trunks inside their rooms and looking at their textile collection.
Observing the collection firsthand helped me gain perspective on the size of the pieces, not one was the size I had envisioned. Matisse's use of color is remarkable and inspiring. The green hues he used in "The Yellow Dress" and "Ballet Dancer Seated On A Stool" are my favorite. The visit to the BMA was truly enriching. These assignments resonate with me and I am grateful.
Friday, March 11, 2016
GIS Mapping
For
each building I plan to document some of the features that define the buildings
as Wright’s Prairie style. For instance, I will document the use of horizontal lines, cantilevered
roofs, glass corners, open spaces, terraces, and a flow with nature. For
each building I plan on making one collage with an app on my phone. The collage
will show different aspects of the same point on the building. I would also
like to document one element of the landscape surrounding the buildings,
because Wright’s landscape design seemed to be just as important as his
structure design. With the landscape photos I can possibly discuss quotes about
Wright’s Organic Design and how it applies to the building.
Some
of the quotes I plan on using are as follows:
"Incorporating
furniture, lighting, and decorative arts into the structure of his buildings
enabled Wright to achieve a harmonious and unified interior."
"Wright’s
early oak furnishings, characterized by straight lines and rectilinear forms,
are designed with the traditional Arts and Crafts preference for solidity and
simplicity."
"Wright’s
interiors were further enriched by his innovative use of lighting. "
"Characterized
by dramatic horizontal lines and masses, the Prairie buildings that emerged in
the first decade of the twentieth century evoke the expansive Midwestern
landscape."
"...Wright
termed “Organic Architecture.” By this Wright meant that architecture should be
suited to its environment and be a product of its place, purpose and
time."
In
addition, I plan on documenting the leaded glass in the library, using and justifying this quote:
"Wright’s
light screens illuminated his interiors with natural light, touched by the
autumnal dashes of his color palette and animated by his exquisite visual
geometries. "
Example of collage: Aberdeen Hall
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