You are an Art Critic! Select
one of the two installations and write a review. Summarize how well the artist
connected (unified) elements of the interior space to their installation (or
lack thereof). Is your review negative, positive, or both?
Answer the questions below:
In regards to the installation, was
the overall space utilized well? (read and think about all questions before
-Did the artist integrate their installation and the space (interior architecture) to create a unified piece? Describe how (read questions below before answering this question).
-What architectural aspects (elements)
of the gallery space were utilized, or could have been utilized to support the
installation (refer to elements and principles of design before writing).
-Can you think of possible solutions that could improve the installation in regards to the space / installation relationship?
* In your review, please cite the artist names, name of the show, where the show is located, viewing dates, etc.
In 1874, there were strict standards for works hung in the official Paris Salon. They had to be classically painted, perfectly aligned and glass-smooth with no brush strokes - almost photographic. A group of artists who had a different style of painting had often been rejected by the Salon. Their art went in a different direction. It embodied small, fast, colorful brush strokes that gave merely the essence, the "impression," of the subject. They decided to exhibit their works in an independent show. And their first show got a bad review.
Art critic Louis Leroy ridiculed
the show, using the title of Monet's piece as the title of his hostile review,
"The Exhibition of the Impressionists." He wrote:
"Impression - I was certain of it. I was just telling myself that, since I was impressed, there had to be some impression in it... and what freedom, what ease of workmanship! Wallpaper in its embryonic state is more finished than that seascape."
Although intended as a derogatory remark, the term "Impressionism" was adopted by the artists themselves. The Impressionists were radicals at the time who now had a name for their new art movement.
Article Source: http://EzineArticles.com/4727320
The New York Times
Perhaps the impression that the
place is grim is exaggerated by the presence of several giant new sculptures
by Louise Bourgeois: a spider and three 30-foot steel spiral staircases, like
prison guard towers with enormous mirrors on top, plunked at the east end of
the hall. The sculptures are awful. Previously a neglected artist, Ms. Bourgeois
is now vastly overrated.
The quality of art improves episodically in the galleries. Tate officials (who can blame them?) have generally avoided art that would be too controversial. No decapitated cows. Nothing really risque. Nothing that might overshadow the experience of wandering fresh galleries for the first time.
By MICHAEL KIMMELMAN
Published: May 10, 2000