Contemporary Artwork: Contrast and Analysis

The two items that i have selected for evaluation use similar strategy to encourage an completely different outcome and audience response. It is the way in which these artists go about their creative process, and how this, in turn provokes such contrasting principles, with such similar mediums that engages me. The first part for comparison is the "haunting photographic assembly" (Fakray, 2009) "Les Suisses Morts" By Religious Boltanski, 1990, to be compared and contrasted with the fashion/art work photographic editorial "Retain your hat" by photographer Stacey Draw, 2009, comprising five components. In the same way the task of Boltanski involves multiple photographs to be able to improve narrative. The most important parallel between the two pieces ( apart from choice of medium) lies in the soft concentrate cosmetic of the photographs in question, which creates the illusion of the topics fading into and from the work, subsequently evoking feelings and introducing notions of presence and absence within the work (Roca and Sterling, 2007). Both works appear to have strong associations with Phantasmagoria (Roca and Sterling, 2007), the illusion of constant alterations in light and color pushing a dreamlike point out involving the fusion of reality with the creativeness (Gunning, no particular date). The entire effect for both portions is some what visionary, yet they conjure up quite contrasting feelings within their audience. In this essay I will be identifying the mindful artistic choices which were manufactured in order to help make the work similar yet so dissimilar simultaneously.

"Store your hat" by Stacey Make is effectively a fashion photographic editorial which includes been performed artistically in order to transport the onlooker into a whimsical dream world. Having a young woman, the work is "very sensuous and moody" (McGrath, 2009), and with this in mind, has been made to sell, promote and recreate the boater hat, an subject of the past. (Days gone by is merely one of the themes or templates dealt with in each part, as Boltanski brings again from the past haunting stories of the deceased (Fakray, 2009), in to the present, enabling them to go on). There may be, therefore, a central concentrate to the work, which every imaginative decision relates back to in order to create a strong cohesive narrative for the editorial pass on consisting of five separate photos. Whilst the eventual goal of this piece is to sell to a audience, the task of Boltanksi endeavors with an entirely different impact after its audience through visible disruption and "intense" emotional impact (Feinstein, 1997).

Christian Boltanski is closely mixed up in devastation and lack of life which occurred during the Second World War and the Holocaust, a whole contrast in subject matter to Mark's photography. The emotional electricity of Boltanski's work derives from the mental ties that the audience relates when in the existence of his installations. His photographic installations offering portraits of the deceased which were publicized in the obituary of your Swiss newspaper are specifically powerful, perhaps disturbing to the audience in their suggestion of the Holocaust (Simon, 2003). Boltanski appropriates his source material in the creation of his haunting archival unit installation consisting of great collections of photos (Fakray, 2009). Contrastingly, although by using the same medium expressing her ideas, Stacey Symbol takes her images, beginning with a clear film and following her work through to the finish using only the merchandise of her creative efforts. This isn't to say that the task of Boltanski is any less evocative, in truth possibly the creative process in which he immerses himself, makes the outcome all the more meaningful, with greater impact than what may have been if he had of produced his source materials himself (Fakray, 2009).

Lighting is an element which is used very in a different way and carefully within these two parts to evoke contrasting feelings within the audience. In "Les Suisses Morts" Boltanski lighting his subject matter from above, subsequently creating a strong "sense of interrogation" ( artline, no time) where the eyes of the photographic topics fall into profound sinister shadows. The image appropriation combined with applied lighting strategy lends each portrait a "Shadowy skeletal form" and "Semi obliterated face, " (Caines, 2004) thus possessing a powerfully haunting result after the audience. Adversely the light adopted in the picture taking of Stacey Draw increases the luminosity that diffuses from the work, having quite the opposite effect on its audience. Glowing yet smooth light seems to diffuse lightly onto the subject of these photographs, giving the images a dream like and visionary impact, perhaps achieved through the use of back light as well as forward facing studio lights. With this lamps "Store your head wear" achieves a feeling of serenity as well as purity and femininity, all emotions that are assisting to sell the product through appealing to the audience.

Mark's use of such lamps lends a tender emphasis and pictorial aesthetic to the task whilst Boltanski achieves a in the same way pictorial impact (Franzke, 2009) with an completely different strategy. "Les Suisses Morts" assembles old photographic portraits of the deceased Swiss appropriated from papers, which have been re-photographed and enlarged by Boltanski, making them slightly larger than life for maximum audience impact (Vetrocq, 2008). Boltanski requires care to enlarge to enhance audience response rather than to distort "with regard to realism, " yet he still attains a delicate focus, marginally blurred and obscure aesthetic as a result of this enhancement which is "feature" of his are it works to encourage notions of lack and existence, (Simon, 2003. )

This alternative approach to working generates better recommendations to "childhood, innocence, fatality and recollection, " (all central themes or templates explored in his work), because of this of Boltanski's use of real portraits, each with the own story in order to (Hylton, 1995. ) Boltanski seeks to subvert his audience and provoke deep thoughts of melancholy, both which he is able to significantly enhance upon with the use of real life family portrait appropriation, (Simon, 2003. ) Such realism within the work inflicts a "dense psychological impact" upon the audience as Boltanski touches upon notions of death as well as the disintegration of memory over time, which induces a sense of nostalgia amongst the viewers, desiring lost family members and their own childhood (Caines, 2004. ) In an identical, though more light hearted way, "Store your head wear" by Stacey Tag "has the audience sense nostalgic" because of their childhood and the times of dressing (fashion vanished rogue, no particular date).

Though his note is powerful, Boltanski objectifies and dehumanizes his photographic things in various ways. The many faces comprising his archival unit installation are private to the audience; they are really unknown encounters which Boltanski arranges to be read as whole, rather than watching the average person. "AN IMAGE captures a moment in timeby its very characteristics it implies selection and priority, " and each family portrait reflects a snap taken second of an entire life (Caines, 2004). Initially the audience feel oppressed by the vast amounts of deceased faces towering over therefore of Boltanski's dehumanization "reminding us of the absurdity of loss of life, " nevertheless the work then commences to forward the concept of memory, which appears to counteract some of the effects of death, as the audience begin to recognize with the average person, (Fakray, 2009. ) In this manner, both pieces appear to promote. Whilst Boltanski stimulates a thought and a concept, Stacey Make uses artistic and creative efforts to promote a product and sell, which is in this manner that Draw objectifies and dehumanizes his photographic subject. Mark uses the lady as an thing through which to trade a product signifying the lady herself is a selling point as she compliments the boater head wear, and vice versa. The beautiful accessory, on the young young lady, with the carefully lit back again drop, soft target effect and expression of serenity all help make a cohesive and strong narrative with a feeling of beauty and innocence (McGrath, 2009) through which to sell a product. Innocence is a feeling sensed in both pieces of work, particularly in the sense of vulnerability and helplessness which Boltanski achieves in his unit installation, (Hylton, 1995. )

It has been interesting to explore two modern art pieces that have such different functions yet remain correspondent in several ways, as well as the contrasting creative functions these entail. By far the most engaging way in which they fluctuate and compare at the same time lies in the contrasting lighting techniques which both seem to be to bring about notions of lack and existence, yet conjure up opposing emotions and thoughts within the audience with different aims. Through the investigation of the photographic medium found in installation as a fine fine art practise and in fashion as an editorial by which to sell, I have been encouraged to concentrate on meaning behind work, and much more contemporary means of working.

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