Claes Oldenburg & Coosje van BruggenTypewriter Eraser, Scale X
Washington, D.C.
1999
Claes Oldenburg & Coosje van Bruggen
Dropped Cone
Neumarkt area of Cologne, Germany.
2001
7A
Claes Oldenburg work thrives in a public setting, just like Charles Ray's Firetruck. I can connect his work with the still life masters mentioned in the sense that they both illustrate realistic portrayals of everyday objects. The melted part of the ice cream in The Dropped Cone really appears as if it has dropped from the sky and been left to melt in the sun, stuck on the corner of a downtown building. The Typewriter Eraser illustrates a sense of movement, just like his dust pan piece at the Denver Art Museum.
Claes Oldenburg work thrives in a public setting, just like Charles Ray's Firetruck. I can connect his work with the still life masters mentioned in the sense that they both illustrate realistic portrayals of everyday objects. The melted part of the ice cream in The Dropped Cone really appears as if it has dropped from the sky and been left to melt in the sun, stuck on the corner of a downtown building. The Typewriter Eraser illustrates a sense of movement, just like his dust pan piece at the Denver Art Museum.
Raphaelle PealeVenus Rising from the Sea - A Deception (After Bath)
1822
1822
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Fall '91
1992
7B
I choose to compare Charles Ray's Fall '91 and Raphaelle Peale's Venus Rising from the Sea - A Deception (After Bath). One similarity between these two artists and these particular pieces is that they both toyed with their viewers' expectations. When a viewer approaches Ray's Fall '91 they are expecting a life-sized woman mannequin figure. The closer viewers get, the larger her proportions get. Peale's piece is misleading through the title and plays on the idea of what was tolerable in mainstream American society during the early 1800's. By viewing the title, Venus Rising from the Sea, one would expect a figurative piece of a nude female. Instead the viewer experiences an incredibly realistic depiction of a cloth hanging from two pins on a clothes line. It intentionally blocks the viewer from the female figure in the background. Peale reveals a hint of a foot and an outreached arm that are barely visible from outside the cloth. This cloth is of course much less offensive to viewers as opposed to a nude figure during this time period in American society.
Besides Peale's spin on the title, he depicts his true ability to create a trompe l'oeil effect with the draped cloth/towel. Peale operates within a 2 dimensional setting. Ray deceives the viewer by utilizing a 3D space. He analyzed how and what a viewer would visually perceive from a distance. The manipulation of space exists with in the viewer's space in relation to their physical location of Fall '91.
I choose to compare Charles Ray's Fall '91 and Raphaelle Peale's Venus Rising from the Sea - A Deception (After Bath). One similarity between these two artists and these particular pieces is that they both toyed with their viewers' expectations. When a viewer approaches Ray's Fall '91 they are expecting a life-sized woman mannequin figure. The closer viewers get, the larger her proportions get. Peale's piece is misleading through the title and plays on the idea of what was tolerable in mainstream American society during the early 1800's. By viewing the title, Venus Rising from the Sea, one would expect a figurative piece of a nude female. Instead the viewer experiences an incredibly realistic depiction of a cloth hanging from two pins on a clothes line. It intentionally blocks the viewer from the female figure in the background. Peale reveals a hint of a foot and an outreached arm that are barely visible from outside the cloth. This cloth is of course much less offensive to viewers as opposed to a nude figure during this time period in American society.
Besides Peale's spin on the title, he depicts his true ability to create a trompe l'oeil effect with the draped cloth/towel. Peale operates within a 2 dimensional setting. Ray deceives the viewer by utilizing a 3D space. He analyzed how and what a viewer would visually perceive from a distance. The manipulation of space exists with in the viewer's space in relation to their physical location of Fall '91.
Another artist in In the Making that toys with viewer's expectations is Eve Andree Laramee. If you haven't heard of her, in one exhibition she displayed the drawings, documents, notebooks, paintings, photos, correspondence, etc. of a scientist that had died whom she was supposedly a research assistant for. Only the museum director and curator knew that she was the creator of the works of art and that the scientist was fictional!
ReplyDeleteGreat blog entry! I'm going to have to look into putting pictures in the blog like that.
ReplyDeleteI liked the work of Charles Ray also. He also has nude female mannequins which would pair nicely with this work from Peale. Ray take the cloth away.