Art Green: Consider the Options Essay Example

a muddled effect. The sole exceptions to this color scheme are the green hue found in the grass and the grey shade used in the cloud filling and framing. Though the green is an insignificant element as it only appears in the background, the grey shade holds great importance. In absence of a physical frame in the gallery setting, the painter opted for a substantial grey border encompassing the entire piece.

The movement of the NO! bubble is the only exception to the implied or visual frame. The light in the painting has unique features, as the explosions are not always the source of light. The shading and shadows used do not always reflect this assumption. The man's shadow is visible behind him directed towards one of the explosions.

Art Green's painting incorporates contrasting colors through his use of a mainly Newtonian primary color system. The building is painted with different shades of blue, while the explosions are outlined in red and filled with yellow. The two framing buildings, cloud lines, and the "NO!" are also in red. This color system ensures that the colors remain distinct and prevents them from appearing muddy to the viewer, while also highlighting the importance of particular shapes by setting them apart from their environment. The grass is the only exception to this color scheme, as it is depicted in green, and the clouds and frame are rendered in grey.

Although the green is not prominent due to being in the background, the grey is highly significant in the painting. The absence of a physical frame in the gallery resulted in the artist incorporating a thick grey line surrounding the

entire artwork. The movement within the NO! bubble is the sole exemption to this visual frame. Additionally, there are intriguing features to the illusion of light depicted within the painting.

Despite the expectation that explosions are the primary source of light in the artwork, shading and shadows do not always support this notion. For example, one explosion is positioned directly in line with a man's shadow. Denis Dutton's analysis begins by focusing on the statement that "they have a different concept of art than ours."

According to Dutton, the words "concept of" are crucial in the original phrase. His aim is to prove that while art's functionality may vary across cultures, it can still elicit the same emotions as Western art. Dutton vehemently criticizes various scholars, dismissing their arguments as inferior. One such scholar is Hart, who focuses on Indian wall paintings in marriage homes. Across several paragraphs, she highlights differences in the role of artists between Hindu and Western societies. Dutton appears to take offense at her decision to refer to Jyothi painters as "producers" rather than "artists."

After describing western artists as being solely motivated by the desire to showcase their work in a gallery, Hart is answered by Dutton who starts with the phrase "I...

Disputing the suitability and capability of labeling it as Western art is the challenge posed. The reader, like Dutton, expresses surprise at the characterization of Western art after perceiving that although there may not be a commercial or publicity motive behind the artist's creation, the artwork still displays comparable levels of passion, fervor, and imagination. The deficiency of these arguments remains the central theme of the essay.

Dutton finds fault with

several viewpoints lacking the need for closure. In the second article, the focus is on how the audience perceives the artist. Alfred Gell explains how the "magic" of creating art creates a social status that is not easily understood by the general public. Appreciating art requires a certain level of ignorance about its creation process.

While it may be true for certain art pieces where the techniques used are unknown, modern art presents a challenge to this idea. Dutton cites Duchamp's Fountain as an example, arguing that we know it is art because it represents something beyond its functionality. Despite this, we still have knowledge of how it was made, just like any other fountain. When known symbols are used as art, especially in ways that critique technique, Gell's argument loses its force. Having seen art before, I can appreciate Gell's perspective.

The "magical" quality of art can arise from its mysterious creation process or the artist's intricate stylistic choices.