Taking a stand

Another nice image/poster by Shepard Fairey...the pixil-ated surface is commercial in nature because of digital imagery and reproduction, what separates these images, in my mind are the simple details...elements that move slightly away from the glitz...the off white backdrop, instead of the clean and sterile white margins...the loss of visual information, it is not necessary to complete the image in a glossy way (in line with Warhol's silk screen portraits) and the over spray and looseness of the exterior line quality...these visual suggestions tie back to street art.

He does a good job of making the noncommercial, commercial which I feel many creative individuals miss, DON'T compromise on the work to be more commercially viable, but utilize the marketing and commercial tools to take what you do and get it out there...it's a numbers game, if you want to be successful you have to knock on more doors and get your images out there...in this way Mr. Fairey is dominant in the market place.

Tranformation of a snap shot

In honor of my meeting with Shephard last night, I wanted to explore some of the reasons I enjoy his work...we talked briefly about the case pending with the Associated Press over this image and I have been thinking about the case for a while...art, as a discipline, generally does not prescribe to this notion of complete and utter ownership of an image...we realize it may be possible that nothing new has been created for a very long time and we re-present similar images and ideas over and over, but in a slight and subtle new way, incorporating the modern individual and her or his own experiences...nothing is entirely unique but everything is infinitely new...new to the artist and new to A viewer...this digestion process changes the parts and makes a new whole...

I won't get into the legalities of the situation but let's just look at what this image did the the AP image could not do...the structure may be similar, but with the color, divided background, the simplification of shape and line...these significant changes transformed a likeness into work of art that moved, empowered, motivated and changed our country. The other point I would like to make is that the AP had every opportunity and still does to sell the "original" likeness, yet no one wants to buy it, why? They are a big company with deeper pockets, more opportunity to market and sell this image, yet is still remains meaningless to most people. Is that what's really relevant here? It's a different image, it is a work of art and not just a snap shot...

Sad and conflicted

The figure is engulfed by line work, the "Weeping Nude" by Munch utilizes the visual medium to convey the idea...the darkness around the face combined with the fleshy, light areas on the arm and back counter balance the strong line created on the right hand side of the picture plane between the red and green.

The figure becomes the bridge that connects these visually opposite areas...the use of green in the figure further ties the picture plane together...all is in balance, but these visual devices embody the sorrow of the moment...we are voyeurs into a life, a sad and in conflict existence.

Image and title

A strong commentary on relationships and personal, emotional tragedy...this piece by Edvard Munch entitled, "Vampire," attempts to conceptually close the space between image and title. It looks like a fairly normal embrace, the male figure is buried in the breast of the woman in a submissive pose and she appears to be kissing his neck, or is she sucking him emotionally dry?

There is always a darkness to Munch's work, an eerie, unexplained quality...an ambiguous, but active background....mark making, concentric line work around the figures, touches of color, but used visually to move the eye around, creating a sense of unity...without the title, would this be just an embrace?

In the moment

Enough said! The most famous and popularized Munch painting...he did several versions of the piece in different mediums...a very unique approach to an unsettling emotion at the time...a triangular compositions, moving from the main "screaming" figure, up the right and across the sky to the two figures on the left hand side and back down to the figure.

The line work and waves of paint/emotion carries the viewer around visually like directional arrows on a highway...a strong complimentary color scheme, blue and orange, balanced with brown/neutrals...creating visual vibration, parallel to those feelings during a scream.

Love and loss

This piece by Edvard Munch entitled, Separation II, is a beautiful exploration of longing and loss. The female form is facing away, looking out over the landscape her hair is merging with the striated background...blowing away in the dark environment.

The male form is contemplating the past, eyes closed and head tilted away from her...a dream of what was and what could have been...the decorative, rectilinear shape at the bottom of the picture plane tieing in with the reddish orange organic shapes below and to the left of his face...her hair is draped over his shoulder, part of him but separate.

Exploring Angst

Confronted by the darkness and angst, a series of exploration in Anxiety by Edvard Munch...the faces are expressionless but the organization of the individuals is random, asymmetrical, lost and standing waiting...suspended in time and water...

Contrast of color, strong complimentary color scheme...flowing and vibrating line work...capturing the dark and lucid moment in time...organic construction...I have also included the simplified print version to see how the composition is re-organized to fit the context, color and material concerns...Munch does an amazing job capturing the emotion of a point in time.