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Recontextualization Essay - Saint Paul by Bernardo Daddi Unlike books or films, painters have a single frame to express various messages through painting. As such, it requires careful interpretation by the readers in order to decode the correct information presented by the painter. In particular, it is important for the reader to reconstruct the context of the painter for correct decoding of messages. In this regard, the following discussion describes the context and interpretation of Saint Paul painted by Bernardo Daddi.

Several interpretations can be made from close examination of the Saint Paul prepared by Bernardo Daddi. The painting shows Saint Paul holding a bible and a sword, an indication of defined messages communicated to the viewers of the paint. According to the National Gallery of Art, the significance of the Bible is to indicate the importance of recalling the Epistles written by Paul in the Bible. In addition, the sword symbolizes Saint Paul as a defender of Christianity, his career as a soldier and his suffering as a martyr.

Of more importance, the painting depicts various contexts from which the author developed the product. Firstly, the size and dimensions of the painting indicate that Giotto di Bondone trained the painter. According to the J. Paul Getty Museum, Bondone advocated paintings that represented physical reality, something indicated in the Saint Paul painting. The painting also indicates the worshipping culture adopted in the Middle Ages period. According to the NGA, the painting includes couples, which commissioned the product, but are separated just like in church settings during the period. Therefore, it is possible to point out that Daddi was probably aware of the church settings during this period.

Interpretation of the Saint Paul painting by Bernardo Daddi, reveals several messages passed on by the painter. Critical analysis of the art further shows the context from which the painting was developed. Saint Paul was one of the pioneers during the apostolic age. He taught gospel of Christ during the first century. There is a separation of gender at the bottom of the painting, since Bernardo Daddi was knowledgeable in these topics we know he split the couples up on purpose. I want to try and eliminate the separation at the bottom if possible by doing some removals or some editing on the bodies to make it less obvious what gender each body represents and try to make them all alike. Another idea I have in mind about recontextualizing the piece is using the symbolism hidden under the bible Paul holding. He wrote Epistles in the bible and Daddi wants the viewer to remember the importance of what this means. I want to make the symbolism on the bible clearer and show affective a tool it can be. I may add a cover to the bible to make it more recognizable at first glance. On his other hand, the sword is a more clear use of symbolism. He is represented as the warrior and defender he was. I can remove his sword and replace it with a crucifix to start off, and then aim for a clear and perhaps peaceful message. The additions of a church in the background or a pastor among the people in the bottom are also viable options that I’d like to try.

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National Gallery Project







A brief timeline story of the changes Saul of Tarsus (his birth name) went through in his life before becoming St. Paul.

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Krauss Essay Rosalind Krauss mused on the aesthetics of narcissism, especially as narcissistic values, motifs, and techniques filled modern art. Written long before new media, “The Aesthetics of Narcissism” could be updated with ample reference to music, street art, and new media. New media is especially ripe with examples of how notions of “mediums,” of “self-encapsulation,” and mirroring make their ways into new constructive and deconstructive forms. The functions of narcissism in art remain similar to those evident in the 1970s, but the forms self-obsession have taken expand also to include that which passes for journalism. Blogging is, after all, a narcissistic enterprise in which speaker and audience fuse in the same way that Krauss describes the fusion of artist and medium or artist and subject. With new media, bloggers and others in control of their self-expression interject their emotions, thoughts, and opinions into public discourse as if their feelings matter or bear relevance. The implication is of absolute social mirroring: the Other is reflected in the Self and vice-versa. Nowhere perhaps is the aesthetic of narcissism more evident than with social media. Krauss might have written an entire book on the subject of social media, given the preponderance of examples of how social media belies its very title. The media is genuinely social, and yet it is also morbidly self-referential. The viewer is the exhibitionist, and the exhibitionist is the voyeur. Connecting with others motivates one to reconsider self-image and self-presentation. For artists, this may mean manipulating one’s art to meet market needs or to appeal to local, political, or prevailing trends. Musicians likewise present their audible consumables in narcissistic packages, their band photographs self-referential rather than engaging the viewer. Gone are the attitudes and freedom of the 1970s, during which Krauss wrote. Current hipster norms and aesthetics guide a more loathsome brand of narcissism in which preening and grooming are more needs than they are modes of acquiring attractiveness or magnetism. The Other no longer matters, because all speakers have a platform. Social media offers the opportunity also to display photographic images and videos of the most mundane matters. As Krauss points out, video can be the most narcissistic medium above all others because of the potential to engage solely with oneself in the imagery and mise-en-scene. Likewise, the selfie is the ultimate emblem of acceptable narcissism. Selfies are the expected, relevant, global, universal standard of imagery. The subject is the self, and the artist is also the self. Likewise, the audience is the self for as soon as the image is displayed on Instagram, the Self becomes engaged in the ensuing conversation related to how many people “like” the image or share the image. Status becomes wound up in self-reflection and self-image depends on how others appreciate the act. New selves are constructed, reconstructed, deconstructed, and continually revised. The self becomes the object and subject, as well as the artist and interpreter. Objectification, more extreme than that which Krauss witnessed, has become the new aesthetic. In street art as well, narcissism reigns because of the fact that there is no sense of permanency, no enduring legacy for others. The goal is to please the self and gain accolades. Art is no longer about beauty, but it is likewise no longer about social commentary. The prevailing aesthetic is about how to place the self in novel ways, competing with others for the best food photos revealing one’s supreme taste in kimchee and craft beer. Placing oneself in the selfie in unique ways, as with a photobomb, have usurped genuine aesthetic discourse.

Counter Monuments A monument/landmark is a sort of structure that was unequivocally made to recognize an individual or critical occasion, or which has ended up essential to a social gathering as a piece of their recognition of notable times or social legacy, or as an illustration of noteworthy structural planning. The expression "monument" is frequently connected to structures or buildings that are considered samples of essential engineering and/or social heritage. In the article Quentin et al are of the opinion that the 20th century monuments failed to continue the tradition that the monuments before them had that reminded the community of a significant event, person or even capture the attention of most passersby or even art enthusiasts. Because of this, the decade’s monuments have come to be referred to as counter monuments. In English this term counter monuments is used to define memorial practices that rebuff certain features of contemporary monuments. There are many examples of such monuments given in the article such as the Harbug monument that failed horribly to capture its intended purpose of remembering those who died in war instead attracting graffiti artists. Another counter monument is the Aschrott Fountain, which was left to the elements and is now below ground. In my opinion the article captures the situation as is on the ground. Most monuments were not given the iconic flare that earlier monuments had. The statue of liberty in new York is a symbol of American tradition and this is why they take care of it like it is a priceless artifact but other lately constructed monuments do not symbolize the spirit of the community or a significant event but rather the artists own thoughts that he tries to force the people to understand and that is why most of them qualify to be called counter monuments.

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