Learning to Look

The images selected for my Learning to Look exhibit capture who I was and who I am becoming as I continue to evolve in my understanding and appreciation of visual culture. This exhibit begins with my long held appreciation for Renaissance and Impressionist artistry and concludes with a new undiscovered world of art, one that was previously unknown to me and not fully understood and appreciated for its artistry and message. 

This Renaissance painting illustrates the use of perspective to establish realism and place the viewer as a spectator. Linear perspective technique is used in the pattern and lines of the floor with a single vanishing point, thus anchoring the eye of the spectator and drawing the gaze backward creating a sense of depth to the painting. The images in the picture diminish in size moving from the front of the painting to the back, thus creating depth and a two dimensional visual experience. Colour scheme and intricate detail of all imagery within the painting enhance the realism.
This Impressionist painting uses perspective to create a two dimensional viewing experience and evokes a sense of realism. This painting depicts a soft muted almost gauze like overlay inviting the eye of the viewer to "look" and create a personal interpretation of the painting.The people are walking forward and coupled with the light in the distance in contrast to the grey dark colours at the front, creates depth and the eye of the viewer is drawn into the painting to a two dimensional viewing experience enhancing the feeling of being a spectator.
This painting is intriguing because of the Cubism design and a perspective technique called perspectival anamorphosis(Sturken & Cartwright, 2009, p.166). Looking at the painting from different angles and focus not only can you see the naked woman but the chair is a bird, the cloth on the table is a fish, there are two people in the painting with their heads together and there is one black leg with a shoe in front of the leg of the naked woman. This painting captures the essence of "the restless and complicated process of human vision" (Sturken & Cartwright, 2009, p.167)which creates a dynamic fluid viewing experience and "challenges the dominant role of perspective" (Sturken & Cartwright, 2009, p.166). This painting is about exploration and discovery and the viewer establishing their own personal reality and meaning of and with the painting.
This painting epitomizes the concept of Gaze. The partially clad woman, sitting provocatively with legs open, arms up and away from the body to fully expose her breasts coupled with the partially removed lacey red and black lingerie invites and challenges the viewer to gaze. This painting radiates sexuality and has a voyeurism aura; she knows you are looking and that looking at her is pleasurable for you but she will not look back, thus enhancing the spectator gaze. There is no need for her to look in the mirror to see herself, your spectator gaze attests to her beauty and sexual appeal.
This painting captures the essence of vision, truth, mass media and a catalyst for change. The blue background represents water filled with brightly multi coloured bacteria, similar to looking into a fish tank with beautiful vibrant fish. The bright colours and sense of beauty is in direct contrast to the truth of contaminated water. This painting is part of a specific project concerned with water quality, contamination and advocating for social awareness and change. This image is a satirical catalyst to create and interpellative viewing experience,thus creating discourse concerning social and government practices relating to water quality and safety. Placing this on a water tank in the public forum of everyday life is ingenious and creates a captures the power that lies within ths visual culture that surrounds us.
Credits: All media
This user gallery has been created by an independent third party and may not always represent the views of the institutions, listed below, who have supplied the content.
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