Part 1: Dallas Museum of Art “Power Play”
1. Spiritual.
Mesoamerican peoples (artist unknown). Dog with human mask. Late Formative period, c. 100 B.C.E – C.E. 200. Ceramic. Dallas Museum of Art. Hollowed ceramic statue depicting a hairless dog wearing a mask. Gifted to the DMA by the Eugene McDermott Foundation and the Meadows Foundation, Incorporated. The dog is thought to be a tepescuintli, which was raised for food in Mesoamerica. Dogs are known to be used for spiritual reasons in the state of Colima. Usually created for funerary ceremonies as a spirit guide to the underworld. When used in such a matter, the dogs are created wearing a mask signifying their supernatural status and is included in the burial.
The statue is smooth and reddish …show more content…
Garden Fork. 2008. Steel and aluminum. Collection of Christen and Derek Wilson. This fork really makes me smile, no one I know would dare put this in their yard. I immediately thought of “Guitar Center” and how they would probably sue for copyright infringement if they knew this fork existed, and just laughed. It looks like a huge advertisement for a diner in the middle of nowhere.
5.
Sol LeWitt. Modular Cube/Base. 1968. Painted steel. Raymond and Patsy Nasher Collection. This sculpture reminds me of my father. He has been a metal worker all of his life. I used to go over to his house on the weekends and see him welding all sorts of different things together. It would start out as a few simple pieces and by the end of the weekend it would be an intricate work of art.
6.
Garth Evans. Frames (Echoes) Group No. 7. 1971 – 1974. Painted plywood. Nasher Sculpture Center, Gift of Jacqueline and Peter B. Stewart. Frames reflects my own values because I’ve always respected the abnormities in people. It’s what makes us all beautiful. The artwork starts out seemingly normal on the left, like how people seem on the surface. As the art progresses it becomes more abstract, just like people when you get to know them, until they are as beautifully abstract as the frame to the …show more content…
Horse in full gallop. Late 18th century. Wood with polychrome pigment, gilt, and inset glass mirrors. Pondicherry region, 1981. An amazing wood horse sculture with defined shape and muscle tones. Approximately 6-feet long and and 4 1/2 foot tall. The skin color of the horse is red. The front hooves and mouth are a yellowish gold color and the back hooves are black. Decretive ornaments are carved throughout the the body of the horse; including a detailed saddle and harness, a golden rooster perched on its head between its two ears, and many decretive jewelries. Some of the jewelry stands out more predominately because of inset glass mirrors covering parts of the head piece, neck, and
1. Spiritual.
Mesoamerican peoples (artist unknown). Dog with human mask. Late Formative period, c. 100 B.C.E – C.E. 200. Ceramic. Dallas Museum of Art. Hollowed ceramic statue depicting a hairless dog wearing a mask. Gifted to the DMA by the Eugene McDermott Foundation and the Meadows Foundation, Incorporated. The dog is thought to be a tepescuintli, which was raised for food in Mesoamerica. Dogs are known to be used for spiritual reasons in the state of Colima. Usually created for funerary ceremonies as a spirit guide to the underworld. When used in such a matter, the dogs are created wearing a mask signifying their supernatural status and is included in the burial.
The statue is smooth and reddish …show more content…
Garden Fork. 2008. Steel and aluminum. Collection of Christen and Derek Wilson. This fork really makes me smile, no one I know would dare put this in their yard. I immediately thought of “Guitar Center” and how they would probably sue for copyright infringement if they knew this fork existed, and just laughed. It looks like a huge advertisement for a diner in the middle of nowhere.
5.
Sol LeWitt. Modular Cube/Base. 1968. Painted steel. Raymond and Patsy Nasher Collection. This sculpture reminds me of my father. He has been a metal worker all of his life. I used to go over to his house on the weekends and see him welding all sorts of different things together. It would start out as a few simple pieces and by the end of the weekend it would be an intricate work of art.
6.
Garth Evans. Frames (Echoes) Group No. 7. 1971 – 1974. Painted plywood. Nasher Sculpture Center, Gift of Jacqueline and Peter B. Stewart. Frames reflects my own values because I’ve always respected the abnormities in people. It’s what makes us all beautiful. The artwork starts out seemingly normal on the left, like how people seem on the surface. As the art progresses it becomes more abstract, just like people when you get to know them, until they are as beautifully abstract as the frame to the …show more content…
Horse in full gallop. Late 18th century. Wood with polychrome pigment, gilt, and inset glass mirrors. Pondicherry region, 1981. An amazing wood horse sculture with defined shape and muscle tones. Approximately 6-feet long and and 4 1/2 foot tall. The skin color of the horse is red. The front hooves and mouth are a yellowish gold color and the back hooves are black. Decretive ornaments are carved throughout the the body of the horse; including a detailed saddle and harness, a golden rooster perched on its head between its two ears, and many decretive jewelries. Some of the jewelry stands out more predominately because of inset glass mirrors covering parts of the head piece, neck, and