The Concept of Art History - Essay Example

It is here that the actual relevance of intention of one’s understanding of art lies. Spectators ignore the intentional contribution of the photographer, devalue the art representation and its creator, as a medium of artistic creation (Jonathan Friday, p.67, 2002). One of the most well-known and controversial artists of the contemporary world goes by the name of Yoko Ono. Born in Japan, Yoko Ono is known more because of her marriage to John Lennon. However, one cannot take away the brilliance of this artist, who through her art embraced a wide range of media; defying traditional boundaries and creating new forms of artistic expression.

Her works include objects and installations; film and video; music and performance art. YES YOKO ONO was one exhibition where Yoko’s talent was on display. It offered for the first time, a comprehensive reevaluation of Ono’s works, exploring her position in postwar international avant-garde, and her critical and influential role in originating forms of cutting-edge art, music, film, and performance. The exhibition portrayed Yoko’s role in Fluxus, an avant-garde movement in New York in the early 1960s, her contributions to Conceptual art in New York, London, and Tokyo, her concerts, films, vocal recordings, public art, which included her works made with John Lennon, and finally, her interactive installations and site-specific art.

The exhibition, YES YOKO ONO, is on an interactive installation known as Ceiling Painting, a work where, the viewer is invited to climb a white ladder, on the top of which is a magnifying glass dangling by a chain from a frame on the ceiling. The viewer has to use the reading glass to read the ‘instruction’ beneath the framed sheet of glass, which says, ‘Y E S.’ It was through this work that Ono met her future husband and longtime collaborator, John Lennon. The Installation for the Ceiling Painting (YES Painting), 1966, included, Text on paper, glass, metal frame, metal chain, and painting ladder. Another prominent work of her’s is the billboard campaign, ‘War Is Over! If You Want It,’ which was a landmark project created by Yoko and John Lennon to promote world peace. ‘War is Over!’ 1969, is a Billboard installed in Times Square, New York (SFMOMA, 2002).
Many songs sung by John Lennon had the theme of peace and happiness written all over them, however, the song that justifies John Lennon’s effort to bring peace and harmony, synonymous with the billboard installed at Times Square in New York is, ‘Imagine,” a song that is a mixture of harmony and personal mood.

Another artist of immense interest is Sally Mann. Her photographs reflect a ghostly eerie, and some of her early photographs were of those taken by her against the backdrop of her woodland home in Virginia of her children, portrayed in dignity, individuality and intimacy. Sally Mann has exhibited, taught, and received numerous awards including N.E.A. grants; N.E.H. grants; and a Guggenheim Foundation Fellowship (Robert Koch Gallery, 2007).

Sally Mann, through her photographs of her children in black and white, depicted with their mischievous and sly gazes, seems to suggest a sense of seductiveness as well as innocence. Many have questioned her black and white prints as controversial, while some others have found her work to be highly imaginative and professional. Nonetheless, there is a strong sentiment that echoes the pathos of being haunting, intimate, and disturbing. All said and done, viewers have never left with a feeling of disgust or uneasiness; they have left the viewer feeling comfortable.

‘Shiva at Whistle Creek’, 1992, depicts the figure of a young girl in a crouched position, holding herself together with arms embracing her knees, her hands, palm to palm, pointing downwards. Her silhouette is brought out by the light which is reflected on the water behind her. Shiva at Whistle Creek, in 1992 and 1995, is in Gelatin Silver Enlargement Print, of size 20" x 22", printed by the photographer from the original negative in 1995, Signed, titled, dated, and editioned in pencil, verso.

Many of Mann’s photographs, produced by a one hundred year old 8" by 10" camera, evoke a ghostly timelessness, reminiscent of the work of early Victorian photographer Julia Margaret Cameron. Her series entitled, ‘At Twelve: Portraits of Young Women’ reflect the life of young girls at the brink of adolescence. The photos speak for themselves, as can be seen in their eyes. With a sense of sorrow, yet pulling together in a show of strength, these girls represent an age of uncertainty and vulnerability of youth.

As mentioned earlier, Mann’s fling with her children in, ‘Immediate Family,’ shows her children displaying the actions and freedom of childhood. The image of her son afloat in a pond with her two daughters dressed up playing mother generates a feeling of despondency and remembrance (Holmes and Busse, 1998). The image of Mann’s son afloat with her two daughters in the pond is very close in resemblance to Act I: The Terrace In Front Of The Palace Of Prince Siegfried: Pas de trios - A Young Man and Two Girls of TCHAIKOVSKY: Swan Lake.