Showing posts with label Tom Phillips. Show all posts
Showing posts with label Tom Phillips. Show all posts
Wednesday, December 3, 2008
Jenny L. on Tom Phillips page 354
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Page 354
The lucidity of one’s memories is in a constant struggle against the inevitable darkness that comes with the fading of mortality as Tom Phillips depicts in his artwork. Phillips uses an excerpted page entitled the Human Document, to show the inevitable fade of one’s emotions and memories as time prevails. Through his contrasting use of colors, from vibrant to dark, thoughtful placement of his selective diction, and contrast of the artificial with the natural using specific images, Phillips is able to accomplish a mood of looming darkness and nightfall.
The brightest and most vibrant colors present on page 354 are shades of pinks and reds. These colors, dominate the major portions of the page, just as the most unforgettable memories may dominate the minds of its beholders. Such bright colors symbolize the most vivid experiences in one’s life. The color red possesses a dual meaning: with the brightness connoting joy but the redness connoting pain since it may allude to blood. With this duality in meaning, Phillips is able to portray the pieces that puzzle together to form the memories one holds: the feeling of happiness and pain. However, the bright colors Phillips uses is no doubt contrasted by the inking black that creeps up from the corner and is slowing engulfing the page. This contrast places emphasis on the two forces at hand. The force of the brightness of the piece, pushes for the prevalence of memory against the force of darkness as death slowly takes over. At the captured moment of the artwork, Phillips shows only a small portion of the page covered by the dead black color. Nonetheless, viewers receive an inevitable sense that the black color will soon overwhelm the art work as a whole, swallowing life and its memories along with it.
In addition to the contrast of colors, Phillips contrasts images as well through his use of perspective. He is able to depict life through cartoon like images of drawn flowers on the wall with a vibrant use of color, but he is also able to allude to life using natural colors of life, green and blue, shown through the small window. The perspective Phillips uses to draw viewers’ attention to the outside creates a focus on the distance of life. The outside, portraying an impressionistic image with a blue sky and green hill seems out of place and rather surreal. With the ambiguity of the shapes in the images of the outside, Phillips tries to show the blurring of one’s memories as “night” or rather death, looms near. Phillips shows the engulfing of one’s life along with its memories through the ebbing of the black color on the page, but he also uses a subtle blurring and darkening in the sky to foreshadow nightfall.
Phillips’s piece places words artistically to contribute to the sense of a fading memory of love as words trail listlessly down the page. Meant to illustrate the initial vividness of one’s memory, he groups together the majority of the words in his piece at the top of the page. However, the words soon become loose and separated just as one’s recollection of the past becomes vague and distant. Though death can envelop one’s memories, “loving [someone]…is contained in the record of the…night.” The “love” Phillips decides to incorporate in his piece suggests the immortality of the emotion despite physical death. The “love” is “recorded” despite the arrival of “night.” Phillips draws readers to the strands of words, as it protrudes through and contrasts the colors of the background. The speaker of the words seem to declare that since his memories has been swallowed by “night” he “can’t write anymore” and declares surrender as he “come…away”, departing from his memory. Since the words move off the page of the artwork, openings are created, leading to a leak of memories into the “night” the speaker refers to. The speaker surrenders his memories as the words “night” and “away” ventures off the canvas of the page. Like many of his other pages of artwork, Phillips uses the word “toge” to depict the separation of together. The memories of the past, whether it be emotions or experiences is now detached as death begins to overpower life.
Through the words he selects, he creates a parallel between night and death. Phillips depicts the overwhelming power of death as he uses night to show its fall upon light, leaving a sense of gloom and darkness.
The sunny facade that the picture portrays possesses an underlying and undeniable lingering darkness. Phillips utilizes both words and images to evoke the imagination of his viewers. As day turns into night, and as one’s life draws to an end, the memories one leaves behind must struggle against the darkness to be remembered. With clear distinctions between light and dark, contrasts between images of life and death, and diction placed to visually demonstrate the dominating struggle of the art piece, Phillips is able to develop the idea of not only life versus death, but the ability for memories of emotions and experiences to stay alive despite the death of its owner. As the title of the piece “A Human Document” suggests, Phillips’s art on page 354 represents a documentation of life and death along with the trail of memories left behind that struggles to be preserved.
Tuesday, November 25, 2008
Tom Phillips: Explicating A Humument (Final Step)
The same basic premise applies for explicating a visual image as it does a poem, especially in your thesis. You are actually doing both in this essay. You are trying to explain how the artist creates meaning. Since there are words in the image, you must also analyze them. Use the same techniques you would for poetry.
On page_ _ _ of Tom Phillips' A Humument, Phillips [active verb] that_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ by [technique and effect]_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _.
Guidelines for Posting:
- Due Monday, December 1st, 2008. 3:00 p.m.
- You should have at least 3 pages worth of writing, Times New Roman, 12pt. font, double-spaced (with extra space between paragraphs) before you post.
- The Title of your essay should be the page number of A Humument hyperlinked. Kevin Ta.. gave a mini-lesson on how to do this below.
Tom Phillips: Writing About an Image OPTIC (Step 2)
OPTIC. I find Walter Pauk’s theory quite useful when writing about an image.[1] The AP Art History Course also uses this Acronym as a successful approach to writing about visual art. I have adapted it here with further commentary and explanation in light of your specific goals.
The point of the first two steps is pure description. What does your eye notice first? Then what? Think space, color, dimension, etc...Notice what you notice. You are doing this so that explicating will be easier and better. Pick and image that you can describe with words.
- Overview: Conduct an Overview of the visual or graphic. I recommend an extensive brainstorming process here.
- Parts: Key in on the Parts of the visual by noting any elements or details that seem important. The old cliché goes “a picture is worth a thousand words”, which translates to about three pages. I think this is a good rule of thumb, but by no means a fixed rule. Describe what you see. Where do your eyes go to first? Then what? Follow the natural progress of where your eyes go. Give as much detail as possible.
- Title: Explain the Title (if one is present) and its relation to the piece of art. Even an “untitled piece” may tell you about the artist’s aesthetic.
- Interrelationships: Use the title, or your theory, and the parts of the visual as your clues to detect and specify the Interrelationships in the graphic. In other words, this is where you develop your thesis about the image and connect ideas.
- Conclusion: Draw a Conclusion about the piece as a whole.
Tom Phillips: Explicating A Humument (Step 1)
You will be explicating a page from Tom Phillips' A Humument. Click the link and visit this fascinating website--you could spend days in the world he creates. There are links on the site that introduce the work and give Tom Phillips' biography. There are essays on the work and plenty of stuff to read up on. All of it will be great background knowledge. None of it will end up in your essay.
- When you've found the page IN THE GALLERY you are going to explicate, post the page number in this comment section of this post to claim it. SORRY, NO REPEATS AND IT IS ON A FIRST COME, FIRST SERVE BASIS.
- Also, I would like you to hyperlink your title to the image you pick. Below is a mini-lesson on how to do this.
Alright, here’s my quick mini lesson on how to hyperlink in comment boxes. Say you want to make a link like this. All you have to do is type the following into the comment box:
<"a href=http://www.google.com">"this"<"/a">
and get rid of the quotation marks. When you publish it, it will look like:
Replace the URL (making sure you have the http:// part) and the “this” and it’s as simple as that.
Remember that the Preview button is your friend. Hope that helps.
Monday, February 11, 2008
Tom Phillips: Explicating A Humument (Step 4)
The same basic premise applies for explicating a visual image, especially in your thesis. You are trying to explain how the artist creates meaning. There is the OPTICS method posted below that we began the year with when we wrote on Brueghel. Since there are words in the image, you must also analyze them. Use the same techniques you would for poetry.On page_ _ _ of Tom Phillips' A Humument, Phillips [active verb] that_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ by [technique and effect]_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _.
Guidelines for Posting:
- Due Monday, February 25th, 2008
- You should have at least 3 pages worth of writing, Times New Roman, 12pt. font, double-spaced (with extra space between paragraphs) before you post.
- The Title of your essay should be the page number of Humument Hyperlinked. Kevin Ta.. gave a mini-lesson on how to do this, so I'll just copy his directions:
Kevin Ta 5 said...
Alright, here’s my quick mini lesson on how to hyperlink in comment boxes. Say you want to make a link like this. All you have to do is type the following into the comment box:
<"a href=http://www.google.com">"this"<"/a">
and get rid of the quotation marks. When you publish it, it will look like:
Replace the URL (making sure you have the http:// part) and the “this” and it’s as simple as that. Remember that the Preview button is your friend. Hope that helps.
PERIOD 5 & 6 POST HERE
"Helpful Hints" to enhance your descriptive powers: (Step 3)
- Spend as much time as possible "free writing" about the image. You can always edit this down if you feel that the writing is stale or redundant. Free writing is best done with fresh eyes as a first response, and can be edited after you know the image well.
- When describing colors, expand your vocabulary. There is no such thing as pure yellow. Maybe you mean lemon yellow or canary yellow or cadmium yellow or saffron. But stick to colors that your audience will be able to visualize. For example, I can't picture alice blue, but I can picture aqua and royal blue.
- If the image is particularly abstract, focus on the emotions that the artist is trying to express. Do the lines create a sense of movement? Does the painting seem to speed up time, or slow it down? Ask your self creative questions and answer them.
Tom Phillips: Writing About an Image OPTIC (Step 2)
OPTIC. I find Walter Pauk’s theory quite useful when writing about an image.[1] The AP Art History Course also uses this Acronym as a successful approach to writing about visual art. I have adapted it here with further commentary and explanation in light of your specific goals.
The point of the first two steps is pure description. What does your eye notice first? Then what? Think space, color, dimension, etc...Notice what you notice. You are doing this so that explicating will be easier and better. Pick and image that you can describe with words.
- Overview: Conduct an Overview of the visual or graphic. I recommend an extensive brainstorming process here.
- Parts: Key in on the Parts of the visual by noting any elements or details that seem important. The old cliché goes “a picture is worth a thousand words”, which translates to about three pages. I think this is a good rule of thumb, but by no means a fixed rule. Describe what you see. Where do your eyes go to first? Then what? Follow the natural progress of where your eyes go. Give as much detail as possible.
- Title: Explain the Title (if one is present) and its relation to the piece of art. Even an “untitled piece” may tell you about the artist’s aesthetic.
- Interrelationships: Use the title, or your theory, and the parts of the visual as your clues to detect and specify the Interrelationships in the graphic. In other words, this is where you develop your thesis about the image and connect ideas.
- Conclusion: Draw a Conclusion about the piece as a whole.
NO POST NEEDED HERE.
Tom Phillips: Explicating A Humument (Step 1)
You will be explicating a page from Tom Phillips' Humument. Click the link and visit this fascinating website--you could spend days in the world he creates. There are links on the site that introduce the work and give Tom Phillips' biography. There are essays on the work and plenty of stuff to read up on. All of it will be great background knowledge. None of it will end up in your essay.
- When you've found the page IN THE GALLERY you are going to explicate, post it in the comment section of this post to claim it. SORRY, NO REPEATS AND IT IS ON A FIRST COME, FIRST SERVE BASIS.
Due February 15th, before you leave for break.
PERIOD 5 & 6 POST HERE
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Page 302
On page 302 of Tom Phillips' A Humument, Phillips creates a cause-and-effect relationship that explains his philosophical reason for the existence of hell. This view is presented to the audience by his simplistic, yet revealing, use of color and shape that depicts a descent into darkness, biblical references in the form of numerology, and interjections of staccato text, which appear as if they are interjecting thoughts in a degenerating psyche. Together, these techniques create a situation where the carnal emotions of man send the reader on a self-reflective journey to discover the darkest parts of their own nature, and the consequences for acting on such dark emotions.
At first glance, the most prominent object on page 302 of A Humument is, in fact, the only colored object on the page. Sitting in the center of the top of the page against a solid black background is an unnerving blood-red object. This irregularly-shaped spot extends about a third of the way down the page, terminating in a circular shape that oddly enough looks like a flow of blood pooling on a flat surface. The shape of this object both hints at the spilling of blood, and starts the downward progression of the observers eye which leads to the other objects in the image. Additionally, the color of the object (a dark blood-red), in combination with the black background of the piece, gives the entire piece a sinister tone. Phillips use of this specific shade of red is extremely important as well to the overall tone of the piece. Pure red is a vibrant color- used to show liveliness, energy, and passion. Blood-red, however, is a muddy and dark shade of red which hints at the corruption of this energy and passion. It symbolizes all of the darker passions that arise within human awareness, such as hatred, anger, and destructive feelings. Combined, all of these factors demonstrate that it is all of these darker emotions that contribute to the degeneration of the human mind into a hellish environment, which can be viewed as a method of self-induced quarantine.
Directly below this red shape is the most prominent piece of text on the page. In the center, slightly above the horizontal midline of the page, is “CHAPTER XXX” written in all capital letters. This holds a symbolic biblical meaning, as the number thirty (XXX read as a roman numeral) equates to divine order in biblical numerology. Also, these words are surrounded by a parchment-colored oval, which is the only circular object on the page. Circles are also interpreted to have an extremely spiritual meaning, as they represent unity, infinity, and perfection. This further strengthens the religious allusions present in this piece. Divine order becomes the driving force behind the work as a whole, and is philosophically hinted at more prominently towards the end of the observers experience with the piece. This selection of words is connected by two extremely thin parchment-colored lines, reminiscent of a lightning bolts, that shoot both upwards and downwards in order to connect the oval with “sorrow/ materials” above it and “the emotions of men” below it. In context, divine order becomes the unifying concept between all “sorrow/ materials” and all of “the emotions of men”. This reveals to the observer that when viewed through the eyes of a higher power, it is his/her own human nature that causes their own pain and suffering. Diction is also important here, as the blame is only placed upon the emotions “of men”, or in other words, those emotions that correspond to the darker side of humanity. Interestingly enough, these are the same emotions that are connected to the color blood-red.
Descending from “the emotions of men” is another off-white line which juts sharply downward into the black background before forking into two separate lines, each terminating at another piece of text. The eye’s descent down the page is both literal and figurative, as it also represents the descent into the darker realms of existence. One of the paths terminate in a simple phrase, which sounds more like an observation than anything else. Here, the observer learns that “hell is/ torments”, immediately being faced the horrible consequences of their darker “emotions”, which are prescribed by the divine order embodied by the number XXX. Ironically, the second pathway leads to a second observation, stating tersely “tongs, supplied”. Tongs are tools used by blacksmiths to manipulate metal at extremely high temperatures, like those associated with the burning fires of hell. The ironic message transmitted here is that thankfully, although a soul has found itself in hell, tongs are “supplied” so they do not burn themself.
Finally, at the very bottom of the page, is a block of text that is completely isolated. Fittingly enough, this text is “separated/ once for all”, and indeed it is the only text in the entire piece that is not connected to any other block of text. It is the lowest object on the page, and the last thing that the eye is drawn to. It reflects on the divine order theme hinted at by the roman numeral XXX, as well as eliciting a tone of quarantine and preservation.
It is here that a philosophical reason for hell is suggested at as well. When a person’s dark passions overtake them and they are sent down to hell, shown by the downward progression of the words on the page, they are effectively “separated/ once” from the rest of creation “for [the sake of] all”. Here is where the entire rest of the piece is put into perspective; where the cause (“the emotions of men” and all “sorrow/ materials”), the effect (placement into “hell”), and the reason interrelating the cause and effect (separation “for [the sake of] all”) is revealed.