If You Come Any Closer I’ll Kill You—this is the title of the pair of paintings that reside in Beckman Hall as a part of the Escalette Collection of Art here at Chapman University. The pieces are by Los Angeles based artist Judie Bamber. The pair of paintings are square in shape, relatively small in
Many of us remember collage as an activity from elementary school classrooms. We often associate it with the cutting up of old magazines for a social studies or science project. Glue stick in hand, collage became a common way for us to deliver a theme when we were children. However, not everyone is aware of
It’s not what you look at that matters, it’s what you see. – Henry David Thoreau Museum visitors spend an average of 15 to 30 seconds looking at a work of art. Slow Art Day is a global event dedicated to lengthening this amount of time. Spending more time with a work of art results in
For the final post in The Art of Writing about Art series we turn to the newest work to enter the Escalette Collection: Soo Kim’s hand-cut paper That was because this year will of course go on (2014). Like Mary Corse’s Untitled, with which we began, Kim’s relief sculpture in paper is a study in
With Ann Hamilton’s Warp & Weft II, mundane materials (paper, ink) and mundane subject matter (a textile, drawn thin) expand in the imagination to the level of the sublime. Philip Pedersen (Senior, Screen Acting/English) and Jacob Walker (Senior, Screenwriting/Television) were drawn in by the painterly lithograph’s subtle pull, and attempted to find adequate metaphors to
Baldessari’s Discontent? II Like Rebecca Malkin, Junior Communication Studies major Raphaelle Canaan also sees discontent in Baldessari’s Accordionist (With Crowd) of 1994. However, in her reading that discontent is counteracted by the accordionist’s autonomy, leading her to argue that the work ultimately has a positive message. Faces in a Crowd Baldessari’s Accordionist (With Crowd) shows
Baldessari’s Discontent? Part I For their first formal analysis assignment, several students in ART 261 chose to write about John Baldessari’s 1994 lithograph Accordionist (With Crowd). Grace Jones (Freshman, History) explains why determining meaning in Accordionist (With Crowd) is so challenging: “Each face in the “crowd” is concealed by a large, colorful dot, giving viewers