Introduction
Art has over the years been used as a form of expression. It is through art that various artists have been able to present their thoughts and feelings regarding various events, peoples, cultures, and occurrences to their audiences. In Preble’s Art forms Chapter 5, the author builds on the idea that arts are based on various objectives and motives by their artists. The Chapter argues that there are three theories upon which the creation of art is based. This paper will first of all discuss these three theories and apply these theories to the artwork Violet faces Red Side by Robert, Indiana.
The first classes of the theories that are discussed in Preble’s Art forms Chapter 5 are the formal theories. Under this theory, the author of the chapter argues that artworks are at times influenced by other works that had been done earlier. This is plausible because most of the artists are often mentored in the artistic world by other artists. There are artists who are attracted to the works of given artists and seek to replicate some of the characteristics that were evident in the works of prior works. One thing that is worth noting is that in some cases some of the events that had transpired in earlier days might also happen in the present. Artists with the same intentions of expressing the same events might be motivated by the artworks of artists who expressed the same event at an earlier date. For example, paintings that were done in the late 1920s and the early 1930s focused on the economic depression of the time. Economic deadlocks have been evident in our society today. For example, the US economy was worse hit in 2008. At the climax of the 2008 economic recession in the United States, various artists would be motivated by the artworks that were created by artists in the 1920s and 1930s expressing their thoughts and feelings about the economic meltdown at the time. Therefore, the overarching theme that is presented in formal theories is the idea that artworks of in some cases motivated by earlier works and artists.
Socio-cultural theories
The second type of theories that are discussed in Preble’s Art forms Chapter 5 is that art emanates from the culture and the values of a given society. Preble’s is of the view that most of the artists represent the richness of their culture through art. Different societies across the world have different culture and different values. For example, cultures in Latin America are more influenced by music such as Tango in Argentina. On the other hand, other cultures such as in the Arab world are influenced by the desert life and the religion demographics of the area. This means that artists from these two regions would express different values in art. The distinctiveness in cultures is important in enhancing the diversity of art. Therefore one of the main things to look for in art is some of the ways in which the artwork is influenced by the culture of the place where the artwork was created or represents. It is also worth noting that the value system of different cultures varies. This means that some of the arts in Western art that for example focus on nudity would not be highly appreciated in cultures in the East that have a high regard for moral representation. Therefore, the mode of representation in art can also be used to explain the origins of the paint and the society in which the artwork represents.
Expressive theories
The third class of theories that are discussed in Preble’s Art works Chapter 5 is expressive theories. Just as the name of the theories suggests this class of theories argues that that some artworks focus on expressing a given personality, feeling, perspective, or worldview. One thing that is worth noting is that artists are actively involved in society and understand the prevailing feeling within their audience regarding a certain event or personality. Because artworks have over the years been used as enterprises to make money, artists have to keep up with the most recent events so as to capture the feelings of the people at the time. For example, at the height of the Industrial Revolution, many people were existed about the transformation of production and manufacturing methodology; from manual labor to a factor-led economy. At the time people did not understand the repercussions that would be associated with the industrial revolution such as environmental degradation. It was at this time that various artists created artworks to illustrate the environmental damages that were associated with the industrial revolution. A good example of such an artwork was Monet’s piece named Water Lilies that illustrated the richness of nature and the need to protect it due to aesthetic beauty.
Application of Theories to Artwork: Violet faces Red Side by Robert, Indiana (1966-2000)
Source: http://www.waddingtoncustot.com/exhibition/current/2/B42113/
Robert Indiana & Formal Theories
The artwork that this paper focuses on is the Violet faces Red Side by Robert Indiana. This artwork was created between 1966 and 2000. This sculpture has the word ‘LOVE’ placed on top of frame. The artwork is made of Polychrome Aluminum. This material has been curved into upper case letters to form the word ‘LOVE.’ Robert Indiana the creator of this artwork uses both a cool and warm color (Dannatt, 2005, p.22). The colors of this artwork are red and blue. This artwork is part of the artworks that were created during the emergence of popular culture in the United States in the 1960s. Some of the other artworks that were also made during the same period in the United States include the artwork EAT & HUG that were created almost in the same period by Robert Indiana. This artwork is an original copy and its frame measures about 36 x 36 x 18 inches (Indiana, 2001, p.67).
One of the ways that this artwork ties to the formal theories is that it is highly influenced by popular culture at the time. In the 1960’s artists were beginning to amalgamate fine arts and popular culture at the time. Some of the sources of pop art at the time were through the advertisements and the news that circulated social networks such as comic books and the mass media at the time. In specific, Robert Indiana’s artwork was highly influenced Ellsworth Kelly (Indiana, 2012, p.33). Kelly was among the renown graphic designers at the time who had made various abstract representations of events such as the Vietnam war that was happening in the 1960s and issues such as sex that were becoming popular among the members of the public at the time.
Violet faces Red side & Social Cultural Theories.
This painting was created in the 1960’s at a time that the mass media, comic books, advertisements and other social networks were beginning to become part of popular culture. At the time artists were beginning to incorporate elements of popular culture into the world of fine arts. It was in 1966 that Robert Indiana’s artwork began to be created. This artwork is relevant because issues such as sex and eroticism were among the major topics that were being discussed in the mass media. The painting first appeared on a Christmas card indicating that Indiana’s work was used the socio-cultural context of the time. The appearance of this artwork on Christmas card created a name for Indiana’s works. The choice of the word LOVE by Robert Indiana relates to the socio-economic, cultural, and political contexts of the time because Love was among the key themes that were being preached by religion at the time, while domestic and international cooperation and love in the fight against communism.
At the time, JF Kennedy had just taken office and was seeking the support of the international community in his fight against communism that was being propagated by the Soviet Union. Therefore, Indiana’s artwork was relevant according to the socio-economic and political culture of the time. It is also worth noting that Robert Indiana had been educated in a big city of Chicago and settled in New York which was also a thriving global city. Therefore, his location of both education and business kept him in contact with people and more familiar with the popular culture of the time. The painting was made in New York and had great impact on society at the time. Considering that Christmas cards and postcards were part of popular culture at the time, it was possible for Indiana’s work to spread fast both within and without the United States (Weinhardt, 1990, p.65). His artwork at the time was also in line with what his peer artists such as those of Eleanor Ward who owned the Stable Gallery that was located at the heart of New York.
Robert Indiana and Expressive Theories
The artwork love was made by Robert Indiana who started his career in New York at the height of the growth of pop art and popular culture in the 1960s. The artist made this painting because it was in conformity with the popular culture of time. Love was among the key topics that were being made at the time. His inspiration was some of the graphic designers at the time such Ellsworth Kelly. These graphic designers presented the popular culture in terms of graphic designs. Therefore, artists such as Robert Indiana amalgamated fine arts and popular culture to create pop art (Kernan, 2003, p.14). The artwork love by Robert Indiana (1966-2000) is a good example of pop arts that were being created at the time. Robert Indiana was highly religious because the word love was motivated by his idea that God is love. He understood that such a statement would gain more acceptability within the general public because the idea was widely accepted across different religions and faiths within the United States (Unruh, 2012, p.41). Therefore, Robert Indiana’s artwork love incorporates popular culture of the 1960’s. All the three theories – formal, sociocultural, and expressive theories – can be used to describe the timing of the artwork and its composition.
Reference List
Dannatt, A. (2005). Robert Indiana: wood. New York: Paul Kasmin Gallery.p22-23.
Indiana, R. (2001). Robert Indiana. Knokke-Heist: Guy Pieters Gallery.p65-67
Indiana, R. (2012). Robert Indiana: sculptures. London: Waddington Custom Galleries.p32-35
Kernan, N. (2003). Robert Indiana: recent paintings. New York: Paul Kasmin Gallery.p13-14
Unruh, A. (2012). Robert Indiana: new perspectives. Ostfildern: Hatje Cantz.p37-42
Weinhardt, C. J. (1990). Robert Indiana. New York: Abrams.56-65
