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History & education of Andreas Gursky essay

History & education of Andreas Gursky essay.

History & education of Andreas Gursky essay

Category: Others

Instructions

Throughout their career, many artists focus on different subjects or ideas, and sometimes work in different styles. In this writing assignment, you will be writing about TWO of the artists in the list and answering the questions in the attached document.

Please do your research, and Please use your own words- the file that you turn in will go through a plagiarism check called “Turn it in”.

For each artist there are two artworks, please write about these specific artworks. You will need to do additional research on the artists, as well as the concepts being asked about in the questions.

Please use complete sentences, you will be graded on content, grammar, spelling and the use of formal language (Art and Design vocabulary- such as “line, shape, form, color).

Please take your time and consider your answers before submitting the assignment. Please use citations for your sources.

The attached document contains directed questions, please answer all six questions for the two artists- it will be a total of 12 questions.

Please refer to the artist by their last name (if they have a first and last name) or by their artist name (for example the artist Caledonia Curry goes by the name of “Swoon”. We refer to her as Swoon, not Caledonia).

Make sure the document is submitted as either a Word document or PDF.

Assignments that do not follow these instructions will not be graded.

Requirements: All the question 

Students Name

University’s Name

Course

Professor’s Name

Date

History and education of Andreas Gursky

According to Nayeri (2018), Gursky is a German photographer and professor born in the east of Germany known as Leipzig in 1955. When Gursky was a year old, his father set up a commercial photography studio in Düsseldorf in the west of Germany; hence, the family relocated to Essen. Although he grew up surrounded by a lab and camera equipment’s he was not initially determined to follow his father’s photography footsteps. Little by little, the passion for photography dawned on him; hence he attended the Folkwang University of Arts, where he studied visual communications and got a degree in photography. In the early 1980s, Gursky enrolled at the Düsseldorf art academy, where he received critical training from Becher, his teacher by then. After spending a couple of years in the art academy, Gursky started practicing by taking color panoramas of mountains, camping sites, and swimming pools that featured human beings represented in tiny pictures. In the early 1990s, he switched from taking color panoramas to digital photography, where he took large-format photographs and manipulated the images in digital postproduction. During those days, photography was small, printed in large editions, and presented black and white. Gursky took the initiative to make full use of color and produced photography in limited editions, which are the key themes that dominate today’s lives.

The context in which Andreas Gursky creates his message 

According to Kane (2020), Gursky says that his 99 cent was inspired by an experience on his first trip to Los Angeles. As he was on his journey to Los Angeles, he came across a dollar window while driving at night, and it fascinated him to the extent that he ended up composing an immersive and beautiful scene. Although the inspiration came from him traveling to a different country, Gursky has always practiced his act of photography in his own country, Germany. Gursky’s family was not among the minority, even though they were not that wealthy. Gursky is a Christian with religious beliefs not different from my own, inspiring him to soar to greater heights.

A historical event that happened when Gursky’s artwork was created

The ordinary happenings around the artist influence most artworks; hence they want to represent it in photography or even painting. For instance, in the artwork of Gursky, the May Day II image is a representation of a historical event known as the German electronic music festival. The image is among the series of photographs Gursky took between 1997 to 2006 while in attendance at various mayday festivals (Rabb et al.,2018). Gursky shot from a signature perspective of elevated distance to deliver color juxtaposition, withholding actual representation of the true reality of the event and those who participated in the event.

Two artworks by Andreas Gursky

Among the artworks made by Gursky 99 cent and Bahrain I are outstanding in their way as described. The 99 cent is an enormous photograph represented as over six by 11 feet in size depicting the interior of a ninety-nine cent store in Los Angeles which he saw on his first trip to Los Angeles while driving at night. The Bahrain I is a photograph depicting the motorsport racetrack consisting of photos taken at formula one track worldwide. The grandstand in the center and a cluster of buildings in the horizon markers allow viewers to get a clear sense of representation.

Similarities and differences of the two artworks by Gursky 

The two artworks by Gursky, namely 99 cent and Bahrain I, are similar in terms of scale since they are all shot from an elevated aerial perspective. The color scheme is different since, in the artwork 99 cent, Gursky uses monochromatic colors, while in Bahrain I, he does not use many colors. The materials used in both artworks are different.

My own experience in looking at the artworks 

In looking at the artwork, I encourage thoughtful conversation in my mind whereby I understand that there is more than one approach to everything I see. For instance, in the artwork 99 Cent, the photograph is taken in an aerial view allowing me to see all that the whole store entails. The artworks make me fall in love with nature and understand how it can be represented perfectly in an image. The painting makes me think of memory since when I am out and observe things represented in art, I tend to relate to them quickly; hence, I enjoy it.

History and education of Doreen Garner 

Thackara (2018) describes Garner as an American sculptor and performance artist born in 1986 in Philadelphia, Pennsylvania. She attended the Rhode Island School of design, where she studied art and received an MFA award. Garner later joined Temple University, graduated from the Tyler School of Art, and moved to New York, where she attended the Skowhegan School for painting and sculptures in 2014. With her knowledge in arts and sculptures, she focused on exploring where history, power, and violence meet on the body through beauty or medicine. Although sculptures were considered a male domain in the early days, that did not stop Garner from getting interested in studying and pursuing her career; hence, she was among the few female artists who created some of the most challenging, exciting, and ambitious sculptures. Garner retold histories through sliced flesh since she wanted her viewers to understand just how deep the wounds went through into the body and for them to understand the necessity of acknowledging the scars in their bodies in order to start the healing process (Thackara, 2018). Garner has conducted exhibitions in several venues, including Abrons Arts Centre, Socrates Sculpture Park, and Museum of Contemporary African Diasporan Art in Brooklyn.

The context in which Doreen Garner creates her message 

According to Richardson (2017), Garner’s inspiration came from taking glass tumor forms and coating them with smooth On’s Ecoflex to make a bitch ass mold. When she bisected the mold, it was floppy soft, and sticky. She started stuffing the silicone form since she realized that glass objects could produce a new life through another material and that the new medium increased the scale and interactivity of her sculptures. She was raised by a family that cared for her and encouraged what she did. Garner has practiced her art in the same country she was born in, although she currently lives in a different town.

A historical event that happened when Garner’s artwork was created

Art represents human creative skills through visuals form such as photography, painting, and sculptures. Garner introduced the artwork Betsey’s Flag in 2019 to describe the happening during the colonial era. Betsey’s Flag paid tribute to enslaved women subjected to horrific medical experiments during the colonial period (Thackara, 2018). The artwork was an exhibition of Garner’s most direct distillation of the colonial era horrors. She used silicone strips in varying shades of brown, navels, and vulvas taken from the bodies of black women. She stapled them together to create a monstrous Betsy ross flag representing the horrible things that happened during the colonial period.

Two artworks by Garner 

The artworks of Garner include the Red Rack of Those Ravaged and Unconsenting and the Invisible Man Tattoo. The Red Rack of Those Ravaged and Unconsenting represents the problematic relationship between medicine and race(Richardson,2017). The sculpture is a large metallic structure lined with red fluorescent bulbs, which considers the career of Dr. Marion, who performed vaginal surgeries on enslaved women without administering anesthesia. Invisible Man Tattoo offers designs that reflect the histories and experiences of black people; hence the sculptural installation focuses on the exploitation of black bodies by the medical industries. The invisible man tattoo mobilizes themes in concert to address the persistent erasure of black resilience within textbooks.

 Similarities and differences of the two artworks by Garner 

Garner’s Red Rack of Those Ravaged and Unconsenting and the Invisible Man Tattoo are made of different materials. The color scheme also differs in both since they represent different things (Trila, 2019). Both artworks are not realistic since they are made of glass, silicone, and organs from the blackbodies.

My own experience in looking at the artworks by Garner 

Looking at the artwork makes me feel happy and reduces stress while observing my mind is fully engaged to the image as I try to relate with the artist. Observation of the artwork puts my brain into work, allowing me to discover shapes, patterns, and anything that connects me to the art. The artwork engages me fully, whereby it takes me into that moment when the photograph was taken and made me wonder what the artist tried to portray. The artwork makes me think of memory since when I am out and observe things represented in art, I tend to relate to them quickly; hence, I enjoy it.

References

Kane, C. L. (2020). 7. Landscape as Data: From the Classical to the Consumer-Mathematical. In High-Tech Trash (pp. 154-172). University of California Press.

Nayeri, F. (2018). Andreas Gursky ls Taking Photos of Things That Do Not Exist.

Rabb, N., Brownell, H., & Winner, E. (2018). Essentialist beliefs in aesthetic judgments of duplicate artworks. Psychology of Aesthetics, Creativity, and the Arts12(3), 284.

Richardson, J. (2017). Black organs and optics: gazing at viscera in the work of Doreen Garner. Women & Performance: a journal of feminist theory27(1), 81-95.

Thackara, T. (2018). These 20 Female Artists Are Pushing Sculpture Forward. Sculpture.

Trila, M. C. (2019). Amor propio (Doctoral dissertation, Universidad Nacional de La Plata).

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