ART F200X: Aesthetic Appreciation Interrelation of Art, Drama, and Music. Visual Art Elements.
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This document provides information on various artworks and how they utilize different visual elements such as line, shape, color, light, and space. It examines pieces by artists like Elizabeth Murray, Keith Haring, Sarah Sze, and Jennifer Pastor and discusses how they employ lines, contours, implied lines, and more. The document also explores use of color through works by Inka Essenhigh, Diana Cooper, and Georges Seurat and analyzes techniques like pointillism. Overall, the document analyzes how different visual elements are demonstrated across various artworks.
ART F200X: Aesthetic Appreciation Interrelation of Art, Drama, and Music. Visual Art Elements.
- 1. Elizabeth Murray The Sun and the Moon 2005 Oil on canvas on wood 9'9” by 8'11” by 2” First glance – looks like a controlled explosion of colorful jigsaw puzzle pieces Further look – Pink-red figure, a person stepping over a cat, a speech bubble, a window frame Strikes a balance between abstraction and representation. We notice range of colors Some lines that suggest texture (within objects) There are spaces between the wood Murray, Elizabeth. The Sun and the Moon. 2005. The Phillips Collections, Washington, D.C. Living with Art, Tenth Edition. By Mark Getlein. New York: McGraw-Hill, 2013. Print.
- 2. Eight terms to analyze this Painting are called the Visual Elements: Line, Shape, Mass, Light, Value, Color, Texture, Space These can be used by any artist when creating a piece In the 20th century Time and Motion were added to the traditional list of elements.
- 3. Keithe Haring Untitled 1982 Vinyl paint on vinyl tarpaulin 72 by 72” Thickly brushed green lines to portray a winged merman and a dolphin Wavy lines – spiritual energy – symbolic In reality there is no line separating a body from the space around it, but Haring uses thick outlines around the figures and forms The wavy line is a symbol of perception. Our mind creates that boundary where the body is separate from the air around it, and we indicate this with a line in drawing Haring, Keith. Untitled. 1982. Hamburger Bahnhof, Mueum für Gegenwart, Berlin. .Living with Art, Tenth Edition. By Mark Getlein. New York: McGraw-Hill, 2013. Print.
- 4. Sarah Sze's installation Hidden Relief 2001 Mixed Media dimensions variable Lines that “draw” curves, circles, rulers, lattice formations in the air uses common place objects: measuring sticks, string, lamps, ladders, toothpicks, plastic tubes, kitchen implements conveys direction and motion, our eyes move along the different curves Sze, Sarah. Hidden Relief. 2011. Installation at the Asia close up photograph makes it look very large Society, New York. Living with Art, Tenth Edition. By Mark Getlein. New York: McGraw-Hill, 2013. Print.
- 5. Jennifer Pastor Sequence 6 from Flow Chart for “The Perfect Ride” Animation. 2000. Pencil on Paper, 13 1/2 by 17” Contour and Outline An outline defines a two-dimensional shape Contours are the boundaries that we perceive of 2 dimensional forms and contour lines are the lines that record those boundaries This is one of a series of drawings It captures the cowboy riding a bull at a rodeo, from beginning to end Pastor, Jennifer. Sequence 6 from Flow Chart for “The Perfect Ride” Animation. 2000. Courtesy Regen Projects, Los Angeles. Living with Art, Tenth Edition. By Mark Getlein. New York: McGraw-Hill, 2013. Print.
- 6. Henri Cartier-Bresson Aquila, Abruzzi, Italy 1951 Henri Cartier-Bresson uses line to show direction The “decisive moment” here is the woman being framed by the archway of the stair as she walks The happy visual coincidence is that the bread loaves she carries resemble the cobble stone street Our eyes slide down the railing and then see the cluster of people in the background Flat, horizontal lines don't seem to have any movement to us, vertical lines look like they are jutting straight down and have an assertive quality, but diagonal lines seem so speak to direction and action. Cartier-Bresson, Henri. Aquila, Abruzzi, Italy. 1951. Living with Art, Tenth Edition. By Mark Getlein. New York: McGraw-Hill, 2013. Print.
- 7. Thomas Eakins The Biglin Brothers Racing 1873 – 74 Oil on canvas, 24 1/8 by 36 1/8” Two boats in foreground are on a hint of a diagonal arms and oars provide the diagonal of the line and are where the force comes from The oar in the image is at the same angle as the clouds in the sky and the tree line to the left. Eakins, Thomas. The Biglin Brothers Racing. 1873-74. National Gallery of Art, Living with Art, Tenth Edition. By Mark Getlein. New York: McGraw-Hill, 2013. Print.
- 8. Théodore Géricault The Raft of Medusa 1818-1819, Oil on canvas, 16'1 3/8 by 23'9” Géricault, Théodore. The Raft of Medusa. 1818-1819. Musée de Louvre, Paris. Living with Art, Tenth Edition. By Mark Getlein. New York: McGraw-Hill, 2013. Print. Gericault's work uses linear movement for emotional effect The wreck of the French government ship Medusa off North Africa in 1816, where only a few survived. Depicts the moment when they sight a rescue ship Two conflicting points of interest with line: the arms of the figures reaching up to the figure waving the shirt on the top right, and the the rope of the sail and the sail itself pull our eyes up to the top of the mast. This shows that the wind is moving us away from the desired direction. This creates a visual tension which helps the scene because it is an intense subject matter
- 9. Jean-Antoine Watteau The Embarkation for Cythera, 1718 – 19 50 by 76” Watteau, Jean-Antoine. The Embarkation for Cythera. 1718-19. Schloss Charlottenburg, Staatliche Schlösser und Gärten Berlin. Living with Art, Tenth Edition. By Mark Getlein. New York: McGraw-Hill, 2013. Print. Implied Lines Our eyes follow the curved line of the couples, starting at the front right. It isn't really a complete line, but our eyes fill in the blanks. Cythera is the mythological island of love Watteau is part of the Rococo movement where everything is over the top frilly, airy fairy, and depicts wealthy artistocrats in the works The statue of Venus in the right of the page points downward, which creates an implied line. Our eyes naturally want to follow where somebody points. The woman toward the centre who looks back also gives us an implied line to look back in that direction too
- 10. Bill Reid The Raven and the First Men 1980 Laminated yellow cedar, height 6'2” Shape and Mass Creation story of the Haidi people from the pacific North West. The Raven discovers the first humans hiding in a clam shell and encourages them to come into the world The shadows show us where the statue recedes and re-emerges, but this piece would need to be experienced in person in order to get the feeling of its mass. Reid, Bill. The Raven and the First Men. 1980. Courtesy the Collection of the UBC Museum of Anthropology. Living with Art, Tenth Edition. By Mark Getlein. New York: McGraw-Hill, 2013. Print.
- 11. Emmi Whitehorse Chanter 1991 Oil on paper, mounted on canvas 39 by 28' A Navajo artist, inspired by signs and symbols carved into cliffs of her Native region The shapes appear and disappear into the background – distinction between figure and ground is not so clear ex. The pale ground the bird sits on turns into a figure some use implied line and some use a shift in colour Whitehorse, Emmi. Chanter. 1991. Murray, Elizabeth. The Saint Louis Art Museum. Living with Art, Tenth Edition. By Mark Getlein. New York: McGraw-Hill, 2013. Print.
- 12. Shapes can be placed in two categories, geometric and organic. Geometric – square, triangle, circle etc. Organic – irregular and evoke things in nature Circular shield with fret design. Aztec, before 1521 Feathers, diameter 27” upside down house-like shapes outlined in white are organic. A figure is the shape we detach and focus on A ground is the surrounding information, the background the shapes we perceive as figures we call positive space, and the background we call negative space. Circular shield with stepped fret design. Aztec, before 1521. Living with Art, Tenth Edition. By Mark Getlein. New York: McGraw-Hill, 2013. Print.
- 13. The Madonna of the Meadows Raphael 1505 Oil on panel 44 by 34” The figures of Mary, young John the Baptist (left) and young Jesus (right) are grouped so that the head of Mary, her foot on the right, and John the Baptist all form a triangle Implied line - When given a part of a shape our minds can complete the whole Raphael. The Madonna of the Meadows. 1505. Kunsthistorisches Museum, Vienna. Living with Art, Tenth Edition. By Mark Getlein. New York: McGraw-Hill, 2013. Print.
- 14. Doug Wheeler - DW 68 VEN MCASD 11. 1968/2011 White UV neon light, dimensions variable Light Open white room so that all we notice are light and space the aura around the wall that starts to dematerialize and play tricks with your eye as you look at it Wheeler, Doug. DW 68 VEN MCASD 11. 1968/2011. Museum of Contemporary Art San Diego. Living with Art, Tenth Edition. By Mark Getlein. New York: McGraw-Hill, 2013. Print.
- 15. Manuel Alvaez Bravo The Visit 1935 Gelatin silver print Implied Light: Modeling Mass in Two Dimensions Light and shadow model the textures on the wall and clothes, and we understand the source of light is coming from the front by how we see light and shadow. Value of light and dark is seen on the cloaks Bravo, Manuel Alvaez. The Visit. 1935. Center for Creative Photography, The University of Arizona, Tucson. Living with Art, Tenth Edition. By Mark Getlein. New York: McGraw-Hill, 2013. Print.
- 16. In the Renaissance, Italian painters developed the technique of chiaroscuro for recording light and dark The white creates a sense of light, and we can see the hand pointing up looks flat in contrast Leonardo Da Vinci. The Virgin and Saint Anne with the Christ Child and John the Baptist Charcoal, black and white chalk on brown paper 54 by 39 Da Vinci. The Virgin and Saint Anne with the Christ Child and John the Baptist. Living with Art, Tenth Edition. By Mark Getlein. New York: McGraw-Hill, 2013. Print.
- 17. Charles White Untitled 1979 Etching 4 by 5” White, Charles. Untitled. 1979. The Charles White Archives. Living with Art, Tenth Edition. By Mark Getlein. New York: McGraw-Hill, 2013. Print. Charles White uses hatching in order to describe shadow, more lines crossing each other create darker values, and leave spaces to describe light Stippling is another method of doing this where single dots are drawn and the denser parts create darker values, where the further apart they are the lighter the values are
- 18. Color Wheel Colors on red-orange side of the color wheel are spoken about as “warm colors” - associated with sun and fire Blue-green are “cool colors,” sky, water etc.
- 19. Camille Pissarro Palette with a Landscape 1878 Oil on wooden palette 9 by 13” Pissarro, Camille. Palette with a Landscape. c. 1878. Sterling and Francine Clark Institute, Williamstown, Massachusetts. Living with Art, Tenth Edition. By Mark Getlein. New York: McGraw-Hill, 2013. Print. White, yellow, red, violet, blue and green around the outside Shows us that he mixed all the colors from the image out of this palette Color Properties Hue – name of the color according to the categories of the color wheel Value – lightness or darkness, amount of white or black mixed in the color Intensity – adding black and white or some of the color on the opposite end of the color wheel to dull the color, or the purity of the color, like an unmixed red will be intense and highly saturated
- 20. Inka Essenhigh In Bed 2005 Oil on canvas, 5'8” by 5'2” Color Harmonies Monochromatic – a painting done all in different variations of one hue Complementary – two colors on the opposite end of the color wheel, make the other one look more vivid Essenhigh, Inka. In Bed. 2005. Courtesy Victoria Miro Gallery, London. Living with Art, Tenth Edition. By Mark Getlein. New York: McGraw-Hill, 2013. Print.
- 21. Analogous harmonies - combine colors adjacent to one another on the color wheel, Diana Cooper's The Site Red and Yellow Diana Cooper The Site 2006 Corrugated plastic, vinyl, felt map pins, acrylic paint, Velcro, paper, construction fence, neoprene foam, 58 by 65 by 5” Triadic harmonies – three colors equidistant from each other on the wheel Restricted palette: an artist limits themselves to certain colors Open palette: does not! Cooper, Diana. The Site. 2006. Courtesy Postmasters Gallery, New York. Living with Art, Tenth Edition. By Mark Getlein. New York: McGraw-Hill, 2013. Print.
- 22. Georges Seurat, Evening, Honfleur, 1886 Oil on canvas 25 by 32” Optical Effects of Color Impressionist painters tinted the shadows in their paintings with the complimentary color of a nearby highlight warmer hues, high intensity and dark value of the color of an object make them look larger and closer Seurat used pointillism in his pieces, he did not blend the color but placed the tiny dots of pure color down beside each other. We see forms, but the colors are distinct enough to make it shimmer Violet, green, orange and red are used: complimentary colors being red and green, violet and orange Seurat, Georges. Evening, Honfleur. 1886. The Museum of Modern Art, New York. Living with Art, Tenth Edition. By Mark Getlein. New York: McGraw-Hill, 2013. Print.
- 23. Spools of thread as equivilent of pixels form an upside down Jimi Hendrix, looks non-representational (not of a specific object!) Sphere reflects an upside down image of Jimi-Hendrix, so we can see what it is. The lens is similar to how our eyes work Sperber, Devorah. Hendrix. 2009. Living with Art, Tenth Edition. By Mark Getlein. New York: McGraw-Hill, 2013. Print. Hendrix Devorah Sperber 2009 1292 spools of thread, stainless steel ball chain and hanging apparatus, clear acrylic sphere, and metal stand; panel of spools 60 by 48”
- 24. James Abbott McNeill Whistler, Nocturne in Blue and Gold (Old Battersea Bridge) c.1872 – 75 Oil on canvas 23 3/4 by 18 3/8” Blue is a cool color Blue is linked to sadness is English language, and in India it is the color of Vishnu, the god of order and stability This painting is mostly monochromatic except for a hint of lights and fireworks Blue contributes to the subdued emotional mood bridge – calm, one figure is by himself Whistler, James Abbott McNeill. Nocturne in Blue and Gold. 1872-75. Tate Gallery, London. Living with Art, Tenth Edition. By Mark Getlein. New York: McGraw-Hill, 2013. Print.
- 25. Edvard Munch The Scream 1893 Tempera and casein on cardboard 36 by 29” Munch uses red to indicate horror, blood, and anguish, and we know this because of his diary: “I sensed a shriek passing through nature ... I painted this picture, painted the clouds as actual blood.” Unstable diagonal lines and swirling lines create the mood as well (contrast with Whistler, straight and calm horizon lines) Wavey figure in the foreground seems to be alone in screaming, the figures in the background don't seem to notice Munch, Edvard. The Scream. 1893. Munch-Museet, Oslo. Living with Art, Tenth Edition. By Mark Getlein. New York: McGraw-Hill, 2013. Print.
- 26. Mona Hatoum Prayer Mat 1995 Nickel-plated brass pins, brass compass, canvas, glue 26 1/2 by 44 1/8 by 5/8” Texture The texture is actually made of brass pins glued onto a canvas backing References the Muslim tradition of praying five times a day It has a compass on it so that you would know which way is Mecca Poses questions about inflicting pain on ourselves as a sacrifice to God and whether that brings about any good or recognition Hatoum, Mona. Prayer Mat. 1995. Courtesy White Cube. Living with Art, Tenth Edition. By Mark Getlein. New York: McGraw-Hill, 2013. Print.
- 27. Hiroshige, Ando. Riverside Bamboo Market, Kyobashi and Fireworks at Ryogoku from One Hundred Famous Views of Edo. 1857. Honolulu Museum of Art. Living with Art, Tenth Edition. By Mark Getlein. New York: McGraw-Hill, 2013. Print. Hiroshige's Riverside Bamboo Market, Kyobashi and Fireworks at Ryogoku both influenced Whistler's Nocturne in Blue and Gold (Old Battersea Bridge) He went to Paris in the 1850's where a lot of people were collecting Japanese prints Goes both ways, in the 18th century, art in Japan was learning western techniques, and had incorporated linear perspective into their own styles (special type of print called Uki-e)
- 28. Constantin Brancusi Bird in Space 1925 White marble, height 5'11 5/8” on a base of wood and limestone Roughly carved wood base, smoother limestone marble piece, bird made of smooth marble, this progression of textures helps to create a sense of thrust upwards Brancusi, Constantin. Bird in Space. 1925. National Gallery of Art, Washington D.C. Living with Art, Tenth Edition. By Mark Getlein. New York: McGraw-Hill, 2013. Print.
- 29. Visual Texture Raoul Dufy Regatta at Cowes 1934 Oil on linen, 32 1/8 by 39 1/2” Has a visual texture, it is smooth to touch, but to the eye it looks like there are “rough patches,” like in the waves of the sea It does not depict what the water looks like itself but conveys the idea of roughness or choppiness, which is found in the water Dufy, Raoul. Regatta at Cowes. 1934. National Gallery of Art, Washington, D.C. Living with Art, Tenth Edition. By Mark Getlein. New York: McGraw-Hill, 2013. Print.
- 30. Samuel Fosso The Chief: He Who Sold Africa to the Colonists, from Self-Portraits I-V. 1997. C-print photograph, 39 3/4 by 39 3/4” A Pattern is any decorative, repetitive motif or design The artist sits in this picture, dressed as a parody of a ruler the patterns create a spatial ambiguity and make it so that all parts of the image jump out for our attention Fosso, Samuel. The Chief: He Who Sold Africa to the Colonists, from Self Portraits I-V. 1997. Centre Georges Pompidou, Musée National d'Art Moderne, Paris. Living with Art, Tenth Edition. By Mark Getlein. New York: McGraw- Hill, 2013. Print.
- 31. Space The space in a visual work is not a void, it is necessary. There can't be a shape without the space around it for the object to be defined against Alberto Giacometti The Nose, 1947 Bronze, iron, twine, and steel wire 32 by 28 1/2 by 15 3/8” He visited a friend in the hospital and had the sense that his friend's face was sinking away deeper and deeper, and had a sense of the space between him and his friend, so he made this image of a head to hang in an empty box in space to communicate this experience he had Giacometti, Alberto. The Nose. 1947. Hirshhorm Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C. Living with Art, Tenth Edition. By Mark Getlein. New York: McGraw-Hill, 2013. Print.
- 32. Architecture can be thought of as a means of shaping space Do Ho Suh Reflection 2004 Nylon and stainless steel tube, dimensions variable, each gate life-size Entering visitors find inverted gate, and see its reflection on the ceiling Memory implies reflection Suh, Do Ho. Reflection. 2004. Courtesy Lehmann Maupin Gallery, New York. Living with Art, Tenth Edition. By Mark Getlein. New York: McGraw-Hill, 2013. Print.
- 33. Maharana Amar Singh II, Prince Sangram Singh, and Courtiers Watch the Performance of an Acrobat and Musicians. Rajasthan, Mewar 1705- 8. The Metropolitan Museum of Art, New York. Living with Art, Tenth Edition. By Mark Getlein. New York: McGraw-Hill, 2013. Print. Implied Space: Suggesting Depth in Two Dimensions Depth: Show one object overlapping another to show that it is in front Position: We assume objects that are lower down are closer to us (like if you look at the objects in front of you while seated at a desk) Maharana Amar Singh II, Prince Sangram Singh, and Courtiers Watch the Performance of an Acrobat and Musicians. Rajasthan, Mewar c.1705-08 Ink opaque watercolor, and gold on paper, 20 1/2 by 35 1/2 Prince is at the top and everyone is looking at him, framed by architectural structure. We understand that the figures at the bottom are in front of the ones above them on the lawn
- 34. Martini, Francesco di Giorgio Martini. Architectural Perspective. Staatliche Museen zu Berlin, Preussischer Kulturbesitz, Gemäldegalerie. Living with Art, Tenth Edition. By Mark Getlein. New York: McGraw-Hill, 2013. Print. Linear perspective and the Vanishing point Forms diminish in size as they recede from us Parallel lines receding into the distance seem to converge, until they meet at a point on the horizon where they disappear: the vanishing point. Francesco di Giorgio Martini (attr.) Architectural Perspective late 15th century Furniture decoration on poplar wood 4'3 by 7'7”
- 35. Leonardo da Vinci Da Vinci. The Last Supper (after restoration). 1495-7. Refectory, Santa Maria delle Graie, Milan. The Last Supper (after restoration) Living with Art, Tenth Edition. By Mark Getlein. New York: McGraw-Hill, 2013. Print. 1495-7 Jesus has just announced to his disciples that one of them will betray him, they are all asking “who, is it me?” And Judas, who it is, is shown sitting looking on to the left The use of linear perspective of the walls and ceiling lead the vanishing point to Jesus' head Creates a halo effect around his head The wide image using linear perspective helps create a more dramatic effect, and makes Jesus more of a central point
- 36. Hans Baldung Grien The Groom and the Witch c.1540 Woodcut, image 13 5/6 by 7 7/8” Foreshortening The groom lying perpendicular to us, and the horse in the background have compressed forms to show the angle Grien, Hans Baldung. The Groom and the Witch. c. 1540. Staatliche Museen zu Berling, Preussischer Kulturbesitz, Kupferstichkabinet. Living with Art, Tenth Edition. By Mark Getlein. New York: McGraw-Hill, 2013. Print.
- 37. Dürer, Albrecht. Draftsman Drawing a Reclining Nude, from The Art of Measurement. c. 1527. Living with Art, Tenth Edition. By Mark Getlein. New York: McGraw-Hill, 2013. Print. Albrecht Durer Draftsman Drawing a Reclining Nude from The Art of Measurement c.1527 Woodcut 3 by 8 1/2” Artist draws from model looking through a grid to use grid lines as reference points
- 38. Albert Bierstadt The Rocky Mountains, Lander's Peak 1863 Oil on canvas, 6'1 1/4” by 10'3/4” Bierstadt, Albert. The Rocky Mountains, Lander's Peak. 1863. The Metropolitan Museum of Art, New York. Living with Art, Tenth Edition. By Mark Getlein. New York: McGraw-Hill, 2013. Print. Atmospheric Perspective Leonardo Da Vinci discovered this and called it aerial perspective, but today we call it atmospheric perspective The sky becomes paler and less distinct the farther away it gets Bierstadt traveled with U.S. Army engineers to map an overland route from St. Louis to the Pacific Ocean to make sketches of the West which were shown to Americans back East Dramatic lighting and atmospheric perspective draw our eyes through and make the scene look more majestic
- 39. Huang Gongwang Dwelling in the Fuchun Mountains, detail 1350 brush and black ink on paper layers of contour strokes example of a handscroll, this is 13 inches high and 20 feet long Trees get small and fainter as they are farther in the distance, using atmospheric perspective Gongwang, Huang. Dwelling in the Fuchun Mountains, detail. 1350. National Palace Museum, Taipei. Living with Art, Tenth Edition. By Mark Getlein. New York: McGraw-Hill, 2013. Print.
- 40. The Siefe or Belgrade, from a manuscript of Sulaymannama Istanbul, 1558 Ink and opaque colors on paper Chinese and Muslim painters use diagonal lines but without allowing parallels to converge The blue and white fortress in the background is isometric perspective
- 41. Time and Motion In the 20th century advances in technology made daily life more dynamic and so time and space became more of a hot topic of thought Alexander Calder Southern Cross 1963 Sheet metal, rod, bolts, and paint height 20'3” Calder constructs abstract forms with wire. The bottom orange part he calls a stabile, which does not move, and the top part is like a mobile Southern cross is the popular name for a constellation called Crux. Kinetic Art – Art that moves! From the Greek word kinetos = moving Calder, Alexander. Southern Cross. 1963. Storm King Art Center, Mountainville, New York. Living with Art, Tenth Edition. By Mark Getlein. New York: McGraw-Hill, 2013. Print.
- 42. Serra, Richard. Bellamy. 2001. Gagosian Gallery, New York. Living with Art, Tenth Edition. By Mark Getlein. New York: McGraw-Hill, 2013. Print. Richard Serra Bellamy 2001 Weatherproof steel plate, thickness 2” overall dimensions 13'2” by 44'3” by 32'10” Richard Serra “I've learned a great deal from looking at and walking through architecture. It has enabled me to understand space in relation to movement.” Bellamy – first we confront it from the outside as an object, then we see the space and decide to walk inside it. Parts are narrower or wider within the space and so our sense of space changes as we go through it. The inner part is open to the sky and more spacious.
- 43. Nick Cave Soundsuit 2011 Knits and appliqué metal armature, vintage black faced voodoo dolls black bugle beads, vintage mammy's cozy, hand mirrors, wiggle eyes, and Felix the Cat vintage leather mask, height 10' Cave would create Soundsuits out of discarded and re-used materials They are made to be worn and animated and create different sounds and personas The idea came out of his thinking about race after video came out of the Los Angeles police brutally beating an African-American man He wanted to repurpous sticks that had been discarded on the ground because they had been rejected and been called valueless like other African-Americans In the process he realized he made a suit where the race of the wearer couldn't be seen Cave, Nick. Soundsuit. 2011. Jack Shainman Gallery, New York. Living with Art, Tenth Edition. By Mark Getlein. New York: McGraw-Hill, 2013. Print.
- 44. Steinkamp, Jennifer. Dervish, detail. 2004. Lehmann Maupin Gallery, New York. Living with Art, Tenth Edition. By Mark Getlein. New York: McGraw-Hill, 2013. Print. Jennifer Steinkamp Dervish, detail 2004 Video installation at Lehmann Maupin Gallery, New York 2004 Each tree 12 by 16' Sufi mystics who enter into a state of spiritual ecstasy with a spinning dance The trees each spin and also cycle through the four seasons She altered images of real trees to arrive at these, she wanted everything to be simulated in her work
- 45. Elements of Art: Line, Shape, Mass, Light, Value, Color, Texture, Pattern, Space, Time and Motion fin