Landscape and the Sublime

"Misrach lives such moments to their sensory brim without standing on any ceremony. He gives us the feeling that what happens out there in the nominal wild happens for him and to him quite in advance of being filtered through any memory of art." (Max Kozloff, American Art, National Museum of Art, Smithsonian Institution)

'Battleground Point #1' (1999) Richard Misrach

  

Questions from the Cadi Blog:

I. Define the Enlightenment, including its context (time and place).
The Enlightenment was likely to have been centred around France during the 18th century but when the Enlightenment truly started is not known nor when it ended. More or less in present day we are still in an Enlightenment world. According to Hamilton, (1992, p. 23) "the Enlightenment was the creation of a new framework of ideas about man, society and nature, which challenged existing conceptions rooted in a traditional world-view, dominated by Christianity". Because of theses new ideas Enlightenment 'intellectuals' raises concerns of the Church's authority, its control of the information media and their traditional views of the world.

II.Define the concept of the Sublime.

'Wanderer in the Mists' (1818) David Friedrich

The Sublime was the ultimate experience of divinity and greatness that is unmeasurable or imitated. The concept is about how "the life of feeling and spirit is in harmony with the larger order of the universe." (AUT University, 2012, p.110) A good example of the Sublime is 'Wanderer in the Mists' by David Friedrich. Instead of a serene and admiration to beauty of the misty mountains treatment; the landscape is full of energy. Landscape is used here to show the Sublime, the feeling of overwhelming greatness yet a mixture of awe as the artist stands on the rocky mountain top.

III. Explain how the concept of the Sublime came out of Enlightenment thought? 
The idea of the Enlightment was to look and have a new view of the world without the influence of the Church. This led people to focus more on humanity and the study of the natural world. As a result Sublime emerged possibly because of the idea how people are compared and incomparable to the enormous universe.

IV. Discuss the subject matter, and aesthetic (look) of Misrach's work to identify the Sublime in his work. Include some quotes from art critics and other writers who have written about his work.

'Swimmers, Pyramid Lake Indiana Reservation, Nevada' (1987-93) Richard Misrach

"But he almost always includes a sense, visible or implicit, of human interaction and presence, and a magisterial manipulation of light and composition." (David Littlejohn)

Misrach captures very captivating, calm and simplistic images yet very complex and mysterious in their ideas. Misrach's main subject matter is the open landscape. He focuses only what is natural and draws people in by the beauty and colour of nature. Taken in the 20th and 21st century he includes no towns, shops, cars or anything that is noisy to disturb his scene.

Like the concept of Sublime, nature is the central focus in Misrach's works. In works like 'Swimmers, Pyramid Lake Indiana Reservation, Nevada', landscape overpowers the figures to give a sense of admirable greatness yet fear of the overwhelming environment that seems to go one forever.

V. Describe how does Misrach's photography makes you feel. How does it appeal to your imagination?

'On the Beach' (2002-05) Richard Misrach

'On the Beach' (2002-05) Richard Misrach

Looking at Misrach's 'On the Beach' works makes me feel very overwhelmed not only by the vast landscape but the truth of reality. In Misrach's works, nature and life seems to go on forever. You hear nothing but the sound of your own breathing and occasionally the sound of a small gust of wind or a gentle roll of wave. Yet the lone figures in the 'On the Beach' series made me realize how fragile and vulnerable we are compared to the world around us. Even though life goes on, Misrach's photos seems to show that we humans don't. His photos also gives me a feeling of sadness. The figures being frozen in their world, not knowing whether they want to move on or to stay and escape reality.

His works also gave me as a viewer a world where I can escape to from the wild and busy reality. His works makes me feel as if I'm longing something. The colours and calmness that he managed to capture hypnotically draws me in and drowns me into his world.

VI. Identify some other artists or designers that work with ideas around the Sublime, from the Enlightenment era as well as contemporary artists.

'The Widow of an Indian Chief Watching the Arms' (1785) Joseph Wright of Derby

We can see the Sublime in this painting by how the landscape (or more specifically the sky) is dramatic which adds to the feeling of the great natural world, both beautiful and fearsome.

 

'Hidden Lake of Memories Blue' (2010) John L. Mendoza

Like Derby's painting, the dramatic use of colour and brushstrokes shows the idea of the Sublime.

VII. Add a Sublime image of your choice to your blog, which can be Art or just a Sublime photograph. 

'The Colours of Winter' (2011) Leonid Afremov

Reference: 
http://www.bu.edu/wcp/Papers/Aest/AestGilm.htm 
http://seesawmagazine.com/misrachpages/misrach_interview.html 
http://www.pdnphotooftheday.com/2010/01/3367 
http://www.edelmangallery.com/misrach-bio.htm 
http://online.wsj.com/article/SB10001424052970203914304576631420492598888.html 

Clewis, R. R. The Kantian sublime and the revelation of freedom. Retrieved from
   http://www.cambridge.org/servlet/file/store6/item2495325/version1   
   /item_9780521516686_excerpt.pdf 

Hamilton, P. (1992). The Enlightenment and the birth of social science, in Hall, S. & Gieben 
   B. (eds), Formations of Modernity. Cambridge: Open University Press.

AUT University. (2012). Landscape and the sublime. Academic Literacies in Visual 
   Communication 1. Auckland, New Zealand: Lyceum Press.

The Social Status of the Artist - The Renaissance and Now

"The French term Renaissance emerged in the 19th century and was used to describe an entire period of rebirth, occurring between the 14th and 17th centuries. Artists of this time looked back to those before them while incorporating a greater sense of light and color through new mediums. Creating a sense of space was also a major innovation of the time, as was perspective, a clever device that causes your eye to see in three-dimension." (Maria Lacy Kitchin)

'Self Portrait in Fur Coat' (1500) Albrecht Durer

Questions from the Cadi Blog:

I. Identify aspects of Durer's self portrait that show a changing view of the artist's view of himself as an individual.

During the Renaissance artists began to see themselves as intelligent people of society. They see themselves as part of the liberal arts, like the architects and writers. We can see the new way artists' view themselves in Durer's 'Self Portrait in Fur Coat'; how he paints himself identical to the godly Christ. Durer possibly see himself as high human being because like Christ, Durer is also a 'creator'. Through the pose and position of the portrait and the use of Latin words; Durer shows the viewer that he is a genius, intelligent and powerful artist.

II. Explain how the artist's social status increased during the Renaissance period. Briefly explain why this  

    happened.

The social status of artists increased during the Renaissance perhaps because of Mercantilism. Driven by mercantilism, more artists were hired by wealthy merchants and nobles to fill their homes with paintings. Because higher class people were commissioning artists, they see the right to have more fame and be more noble in society as well.

Another key movement to the increased social status of artists during the Renaissance was 'Humanism'. Humanism was the revival of classical antiquity and learning such as mathematics and science. Because individuals was the new encouraged focus, artist were painting more famous men and wanting equal fame for themselves. To increase their status, artist incorporate more intellectual knowledge into their work to be more superior over the traditional 'craftsmen'. This also led them to be higher in social status, known as educated men, a part of the liberal arts and a part of the Humanist society.

III. Comment on Gavin Turk's work in relation to individualism, status of the artist and egotism.  

'Knob' (1997) Gavin Turk

An autograph is a signature that most people will relate with fame and popularity. Turk's 'Knob' shows that his signature represent his own individual self. It could also be interpreted as arrogance because he see himself as very famous or of such high importance that his signature needs to be made into an artwork (with colours).

IV. Comment on Damien Hirst's use of his work and the media for self promotion.

Damien Hirst with 'The Physical Impossibility of Death in the Mind of Someone Living' (1991)

Hirst uses very controversial materials and sometimes unethical ways of obtaining and making his artworks. People are also questioning whether his works should be called "artworks" since he didn't have much relationship with the making progress. Such as 'The Physical Impossibility of Death in the Mind of Someone Living', the work could either be in a museum or science lab but why was it considered art? Hirst's works questions the audience and media and forces them to debate about his ideas and subjects which puts Hirst at the center of media attention.

'For the Love of God' (2007) Damien Hirst

Hirst also uses money to promote himself clearly seen in his 'For the Love of God', a diamond encrusted skull. With the $50 million asking price the work became the most expensive artwork by a living artist. With the price and the title its hard not to get the media's attention.

V. Find 2 images of work by any artist or designer that reflect some of the ideas of individualism, self promotion 

    or egotism that have been discussed on this blog. Upload images to your blog, title and date the work, 

    identify the artist/designer and comment on the work in relation to the question.

 

Saber, Skywriting

Saber at New York City, Opera Gallery

Saber is a graffiti artist and takes his works out to the streets; using the walls and the sky as his canvas. Saber shows his individualism by painting and expressing his name in graffiti. 

By etching his names on walls out in public, he self promotes by having everyone passing by to see 'him' and his name. His works are also grabbing the media's attention as graffiti is not really considered 'art' but is more known as damaging the city landscape. However this idea is even better as it lets the people know that 'Saber' exist.

VI. How do you think artists and designers are viewed in Western society today?

In Western society nowadays, artists and designers are seen as people who express their thoughts and ideas into their crafts and materials. Some can be a reminder of our past, and some can show us their glimpse of the future. Saying this, in today's world there are no clear definition to what is art and what is not. So all artist and designers have the freedom to express whatever.


Reference:
http://voices.yahoo.com/individualism-secularism-humanism-during-renaissance-2157826.html 
http://www.jstor.org/discover/10.2307/2708126?uid=2129&uid=2&uid=70&uid=4&sid=47699015910067 
http://employees.oneonta.edu/farberas/arth/arth200/artist/durer_koerner.html 
http://www.mieonline.org/home/attachments/GENIUS.pdf 
http://www.students.sbc.edu/kitchin04/artandexpression/renaissance%20art.html 
http://www.guardian.co.uk/artanddesign/2002/nov/30/art.artsfeatures1 
http://www.guardian.co.uk/artanddesign/2012/mar/16/damien-hirst-art-market 
http://www.3news.co.nz/Skulls-sharks-and-polka-dots-in-Damien-Hirst-show/tabid/418/articleID/249082/Default.aspx 
http://artfulhelix.wordpress.com/2012/02/21/artist-of-the-day-22112-graffiti-2-saber/ 

Barker, E, Webb, N. Woods, K. (1999). Historical introduction: the idea of the artist. In E. 
    Barker, N. Webb and K. Woods (Eds.), The Changing State of the Artist (pp.7-25). 
    London: Open University

Blunt, A. (1962). Artistic Theory in Italy 1450-1600. Oxford: Oxford University Press 

McManus, A. (2012, May). Saber x Revok. Juxtapoz, 19(136), 106-117.