Blog Post #7

Bethlehem, Pennsylvania, Walker Evans, 1936, Photograph

Photographs have the unique ability to freeze time and capture it, creating a snapshot of the landscape and time period. The photograph, though it may be solitary, tells a unique story that is set in its own time. Because of this ability to store visual clues and allow the viewer to draw inferences of the work, photographs are said to be "instant collages" of visual information. Perhaps the best creator of these "collages" is Walker Evans, a photographer best known for his photographs during the Great Depression. This theme is a common thread that will run through all of the work of Evans' early career. Each photograph depicts the suffering that people have to go through because of the severe economic atmosphere. In this photograph, that Evans sets the town of Bethlehem, a noted mining and industry town, behind a graveyard is telling: the Depression has "killed" the workforce, and the smoke stacks, once active with work, now lay still. Thus, understanding the time period goes a long way with this work.

Untitled #466, Cindy Sherman, 2008, Photograph

Portrait photography is a type of photography in which the emotion, personality, mood or other intimate details of the subject are displayed. A great example of this type of photography is Cindy Sherman's Untitled #466. In the work, the woman is shows to be wealthy, as shown by the massive home in the backdrop, and elegant, shown by the pair of high heels. That Sherman portrays only a woman suggests that all that the woman has, she has earned. Thus, the issue of women's role in society comes to a head not only in this work but throughout Sherman's entire portfolio. That this was taken in 2008 suggests that, though suffrage may be granted, the fight for gender equality still rages on.

Untitled, Jerry Uelsmann, 1996, Photograph

Manipulated photography is the application of image editing techniques to photographs in order to create an illusion of something that is not naturally present. One of the masters of this technique is Jerry Uelsmann and his skill is on display in this work. Through these tired and overworked hands is a picture of a boat, as if to suggest that these worked hands have done it for a hobby. This is a logical conclusion because of how the photograph is set up. This story-telling technique, in which the past is suggested in unconventional ways, is the defining aspect of Uelsmann photography.

Pieta, Michelangelo, c. 1499, Marble Statue

 Carving is a process in which the material being carved is chipped away and gouged at, hammered at until it takes the form of the intended subject matter. Perhaps one of the best to ever carve is Michelangelo and one of his most famous works is Pieta. Sculpted from marble, the work depicts the Virgin Mary with the lifeless body of Jesus. This work highlights some of the Renaissance ideals of natural beauty with religious undertones. Michelangelo, throughout his career, found carving history to be very important. Whether he carved David or the Pieta, Michelangelo made many important and famous statues.

Sheepfolds, Andy Goldsworthy, 1996-2003, Installation

Earth art is a form of art in which the landscape and the work of art are somehow linked. The art is created by using some elements of nature, in this case rocks, and mixing it with man-made objects like concrete. In this work, Goldsworthy gives an excellent example of Earth art. Goldsworthy is a big proponent of becoming one and at peace with nature. This work itself is very interesting. That a wall arises around a growing tree seems to send a message that these trees must be protected, lest humans come and chop them down. This would make sense given the time period as it was, truthfully, the first time in which deforestation became a national issue.

Untitled, Louise Nevelson, 1985, Various

Assemblage is a process in which various diverse singular objects are put together and combined into a solitary work. At the forefront of any conversation of assemblage art is Louise Nevelson, an immigrant who was known for putting together everyday objects and making them an art form. In fact, Nevelson used these objects and a three-color palette (black, white and gold) which gave her work a very mysterious tone even though the objects were everyday items. This mood and tone was what Nevelson searched for and it runs through nearly all of her works. It is also interesting that it was painted in 1985 as the Cold War, a time of great mystery as tensions ran high. Thus, the tone matches the history.

Blog Post #6

The Revelation of St. John: The Battle of the Angels, Albrect Durer, 1497, Wood Engraving

Wood engravings make incisions in a block of wood and, using the wood as a medium, provide greater light and dark contrasts while making the work much more emotionally charged. These contrasts are made by chipping away at the work and then applying a sticky ink to press onto paper. This work is a great example of the light and dark contrasts. The work, a battle of angels, depicts a scene of mass chaos and madness and, in many ways, the viewer can feel these emotions because of the many contrasts. Thus, the contrasts aid in getting across the overall emotions of the work. Throughout his career, Durer was inspired by Italian artists and used this inspiration to blend his innate style, the Gothic style of the Holy Roman Empire, with the ideals of perspective and form from Italy. This blend, as it does here, will continue throughout his career. In fact, he was so proud of this blend that he often signed his name. This work is very symbolic as well. In Durer's life, the Catholic Church had grown corrupt, with bishops and cardinals often more interested in themselves than their worshipers. However, one man, Girolamo Savonarola, an Italian Dominican Friar, spoke out against this corruption and urged Church leaders to repent for their sins. Shortly thereafter, he was excommunicated. Perhaps it is in this backdrop that the work starts to make sense. True angels do not take up arms, but instead love each other. Thus, the "angels" are nothing more than phonies who are slaughtering the true believers in Christ. Perhaps, then, this is a subtle commentary on the Catholic Church and their treatment of the "angel" Savonarola. 

Virgin and Child with a Cat, Rembrandt van Rijn, 1654, Etching

Etching is the use of acid to cut into a metal plate to form an intaglio. This work by Rembrandt is one of the foremost examples of etching. This work shows lines, such as the one behind the virgin, that are themselves very free and very expressionist. However, in the same way, the work is extremely well organized and very calculated. Rembrandt, pushing the limits, contrasts the light from the sun behind with the darkness of the room.  Rembrandt, throughout his career, was extremely grounded in reality. Whether it be shown through his self-portraits or his scenes of everyday life, Rembrandt painted with the utmost sincerity and honesty. Even as he suffered financial hardship and tragedy, Rembrandt kept this honesty, which is on display here as well. Rembrandt paints a scene of maternal affection and love. Yet, context is also very important here as well, as there is deep religious symbolism. For one, the sun behind the virgin creates almost a halo around her head, showing saintly status. Also, many believe that the man outside is Joseph, which symbolizes how close he is to the family yet how distant he is as well. 

Activos Congelados (Frozen Assets), Diego Rivera, 1931, Fresco

Fresco painting is when one paints onto plaster. Sometimes this is done by painting on top of dry plaster while other times it is done by mixing the paint directly into wet plaster, making the paint and plaster bound chemically. One of the main features of fresco paintings is that the paintings are, by-and-large, done on a large scale. While this snapshot may be misleading, this picture is huge, towering over many others. Also, this work is bound chemically into the wall, making movement of the fresco rather difficult as, in order to move it, the entire wall must move as well. This fresco technique, while not visible, is on display. Rivera, as a whole, was a very outspoken friend of the Communists. He believed that Communism was the economic system of the future because it was one-for-all, which spits in the face of the Capitalistic American system which often preaches all-for-one. In this work, this message is also on display. While hundreds of people are forced to sleep on the floor in what seems to be a garage and are as poor as one can be, there are others who have more money than they could possibly spend and keep it behind locked gates. That Rivera uses a banker is also poignant. At this time, the United States was in a depression, caused by bankers who had over-speculated. Thus, it is poignant: The people who caused this mess continue to succeed while the innocent suffer. This is surely a damning view of capitalism. 

Blue Poles, Jackson Pollock, 1952, Oil on Canvas

Oil painting is a process in which an artist puts drying oils, or oils that harden after a period of contact with the air, onto a canvas. One of the greatest artists to utilize these techniques was Jackson Pollock. Pollock, an abstract artist, used a distinct drip technique using the oil paint to make his works. This work uses oil paint on a canvas, thus displaying the main quality of oil painting. Pollock, throughout his tragedy-shortened career, studied the way that paint hit the canvas. Instead of being interested in creating a three-dimensional work, he instead focused on placing the paint in such a way that the paint is able to take that dimension itself. This would become a major focus in his career. Finally, this work is abstract so it is very hard to contextualize. However, at this point in time, the Cold War was heating up and the world was becoming a much different place. So perhaps with that backdrop it is easier to try and understand this work.

February Thaw, Charles Burchfield, 1920, Watercolor

Watercolor is the process in which the pigments of the paint are suspended in water and gum arabic. This painting form usually makes the colors seem much brighter because they are relatively purer color forms when compared to other painting methods. This luminosity is on display in this work by Burchfield as the hues of the colors seem to be much more pure. Also, the reflection off the water is only possible using these pure hues. Burchfield loved landscape painting and he used these scenes as if to show the transcendent nature of, well, nature. This technique infiltrates almost all of Burchfield's work. To contextualize this work means to understand that this period is the beginning of what would come to be known as the "roaring twenties," a time of unheralded consumerism and prosperity.

White Flag, Jasper Johns, 1955, Encaustic Oil

Encaustic paintings involves using heated beeswax to which there are colored pigments added to make the final work. This work, by Jasper Johns, is a great example of encaustic painting as a flag of the United States is reproduced but with no color added, instead it is merely white. Jasper Johns uses many symbols to comment on society. These social commentaries would shape his entire artistic portfolio. With this work especially, context is most definitely needed. 1955 was really right at the beginning of the fight for civil rights for African Americans. Perhaps, then, it is extremely poignant that Johns has left the flag white, as, in society, no colors other than white were accepted. It is a heavy indictment of society, especially using something so meaningful like the flag.

Blog Post #5

Las Meninas (Maids of Honor), Diego Velazquez, 1656-1657,  Oil on Canvas, 125 in x 109 in

Asymmetrical balance is a concept in which the work is not exact but it is counterbalanced with different contrasts in the work through color (dull and bright), light (different shades) and different areas of activity in the work. In this work, Velazquez has asymmetrically balanced the work to perfection. Starting with the vertical balance line, the light and dark contrasts, as well as the colors, center around the white dress of the maid in the middle and balances out the work. The horizontal balance line is what makes this work asymmetric: The top of the work is seemingly empty while the bottom is full of life. However, by painting himself in the frescoes behind the maids, Velazquez has funneled the eye into the background and balances even though the background is seemingly empty.

Cow's Skull: Red, White and Blue, Georgia O'Keefe, 1931, Oil on Canvas, 40 in x 36 in

Emphasis is a very interesting concept in art. It often requires the use of multiple focal points. However, there are exceptions to that rule, such as in this case. O'Keefe uses emphasis by putting the cow's skull directly in the middle and having each side mirror the other. This mirroring emphasizes the power of the skull, especially against the red, white and blue background. It is a very stark and powerful image. 

Campbell's Soup Cans, Andy Warhol, 1962, Polymer on canvases,  Each canvas 20 in x 16 in

This work is a prime example of repetition. Repetition, by its very definition, is an element or an idea that occurs over and over again. In this work by Andy Warhol, the same image, a Campbell's Soup Can, is repeated multiple times. Time and again, the same image is put on a different canvas. However, though the works are technically all the same, all of these canvases must be together as, if one was to take a canvas away, the work would be lacking the emotion it currently has. Thus, this repetition has fostered a rhythm and an emotion that only comes by the repeated images. 

The Entombment of Christ, Caravaggio,  c.1602, Oil on Canvas, 120 in x 80 in

Contrasts are a very important aspect of artwork. In this work by Caravaggio, light and dark contrasts are on full display. The light seems to illuminate the now-dead Christ and the mourners behind him slowly recede into the darkness. Soon, there is no faces visible in the crowd: instead, there is merely a face-less hand and the rest of the body has been blacked out. Perhaps this can be symbolic, but there is no denying the contrasts present in the work. 

Luncheon of the Boating Party, Pierre-Auguste Renoir, 1881, Oil on Canvas,  51 in x 68 in

 When the eye first falls upon this canvas, it cannot help to get sucked in to the movement that occurs. There are implied lines between almost all the characters and the eye tracks them, trying to understand and observe what those in the scene are observing. Yet, at the end of all of this movement, there is one figure, the man next to the man in the top hat, who pushes the eye back out of the canvas by staring back at the viewer. Thus, it is interesting that the same movement that sucks the eye in also pushes it back out. 

Vitruvian Man, Leonardo da Vinci, 1487, Pen and ink, 13.5 in x 10 in

Many artists are very interested in getting the scales of their work correct down to even the most minute of details. In this work by da Vinci, one can see da Vinci's attempt to get the scale of the human body into the correct proportion. This work is meant to be almost a case study into the scale of the human body and it is perhaps the first of its kind. While it is an experimental work, it does a good job to explain proportions and scale. 

Blog Post #4

Benois Madonna, Leonardo da Vinci, 1478, Oil on Canvas,  19.5 in x 13 in

Chiaroscuro, derived from the Italian word for "light-dark," is the use of light and dark to create the effect of three-dimensional surfaces. In the eyes of many, this technique was started be Leonardo da Vinci, who then inspired younger artists to follow suit. In this work, this technique, based on tone more than color, is clearly on display. Mary's dress varies in shades: From a black, to a pale blue, to even white. Thus, the scene almost seems like it has left its frame and become three-dimensional. Yet, this is only possible because of the aforementioned color contrasts, a brilliant new technique that would inspire generations of artists to come.

David with the Head of Goliath, Caravaggio, c.1610,  Oil on canvas, 49 in × 40 in    

Tenebrism, derived from the Italian word "tenebroso" (literal translation: murky), is a heightened form of chiaroscuro in which there are violent contrasts between light and dark, so much so that the dark contrasts tend to become the dominating force in the work. In this work, which depicts the biblical scene of David as he is victorious over Goliath, tenebrism is on full display. The work is completely black. Yet, out of this seemingly never-ending blackness comes light on the young victorious David and the head of his defeated adversary. This stark contrast is a prime example of tenebrism.

The Night Cafe, Vincent van Gogh, 1888, Oil on Canvas, 28.5 in x 36.3 in

 Complimentary colors are pairs of colors that are directly opposite each other on the color wheel. Colors such as red and green and violet and yellow are complimentary colors and, in this work, the use of these colors are on full display.The walls of the room are red but this is complimented by its opposite on the color wheel as the top of the table and the ceiling are both green. The same applies for the yellow lights which are complimented by the purple table on the left. Complimentary colors, though an elusive concept, are very elegant when they are used as effectively as they are here.

Composition with One Gray Stripe, Bart van der Leck, 1958, Oil on Canvas,  43.3 in x  41.3 in

Primary colors are colors that cannot be formed from mixtures of other colors. The main primary colors are red, blue, and yellow. In this work, all three primary colors are fully on display. With that said, primary colors are not the only colors pictured. In fact, black is pictured, which is a color that cannot truly be formed from other colors but is not a primary color, a very interesting development.

Quilt: Log Cabin Pattern, Pineapple variation, Pennsylvania Dutch,  c. 1875,  Wool and Cotton,  88 in x 88 in

Pattern is, by its very definition, a repetition of any thing. Whether it is a repetition of colors, lines, or shapes, all of them constitute as a pattern. This quilt, sewn by the Pennsylvania Dutch, is a great example of pattern. This quilt repeats the same pattern many times, using the same shapes, orientation, and colors each time it is used. Thus, this quilt has a clear pattern.

Wheat Field with Cypresses, Vincent van Gogh, 1889, Thick Oil on Canvas, 29 in x 37 in 

Impasto is, in its very nature, thickly textured paint that is almost three-dimensional in its appearance. This technique often leaves brush strokes which aid in the thick texture of the paint. In this work, the impasto for van Gogh serves a unique and distinct purpose: to give movement to the scene. If van Gogh were to make this merely oil on canvas, the work would have stagnated. However, the impasto gives the work breath and makes it seem as if the clouds are moving before the viewers very eyes. This could only be accomplished through impasto and it is executed masterfully. 

Blog Post #3

Leonardo da Vinci, Virgin of the Rocks, 1483-1486, Oil on Panel, 78.3 in × 48.0 in

An implied line is a line that is not actually in the work but that the viewer "makes" by filling in the blanks and, essentially, "connecting the dots." In Virgin of the Rocks by Leonardo da Vinci, the implied lines are sight lines, which is one of the strongest kinds of implied lines. Here, the angel in the red cape at the right is looking out toward the viewer while pointing, and then points at the infant  on the left, now known to be John the Baptist.  The infant John, in turn, looks at the infant on the right, known to be Jesus, who is, in turnm looking back at him. Above, the Virgin Mary looks down at Jesus and gestures toward him with her hand. Basically, the work brings the viewer into a cycle of movement and action. However, this is only possible by following the sight lines of each of the people in the work.

Henri Matisse, Blue Nude, 1952, Gouache-painted paper cut-outs on paper, 45.7 in x 35 in



An outline in art is when the edge of a shape or figure is depicted by an actual line. This

silhouete in Matisse's Blue Nude is perhaps one of the best examples of an outline. The body of the woman in this work is represented merely by lines that shape her figure. There is no detail further than just lines representing the edge of the figure in a crouched position. Thus, Matisse has provided a great example of outline in this wor.

Raphael, The School of Athens, 1509-1510, Fresco, 200 in × 300 in

 One-point linear perspective is a version of perspective in which there is only one vanishing point in the work. A vanishing point is the spot in the work in which all of the lines meet. In The School of Athens, the vanishing point is positioned directly behind the work's main subjects: Plato, the teacher, and his pized pupil Aristotle. Thus, the one-point linear perspective in this work is very useful insofar as it funnels the eye deeper and deeper into the work until it finally leads to the main point of the work. Thus, the technique is very useful.

Edward Hopper, The Mansard Roof, 1923, Watercolor, 13.75 in x 19 in

 Two-point linear perspective is a version of perspective in which there are two or more vanishing points present in the work. This work by Edward Hopper is a great example of two-point perspective as the lines from the work meet at two different and distinct vanishing points. While this does not funnel in the eye as well as the aforementioned one-point perspective technique did, it is still very useful.


Caravaggio, Supper at Emmaus, 1601, Oil on Canvas, 56 in × 77.2 in

Foreshortening is a technique that creates the appearance that the object of a work is extending into space by shortening the lines with which that object is drawn. This work by Caravaggio is a great example of foreshortening. The extended arms of the people in the work seem to be almost three-dimensional, extending past the frame and inviting the viewer into the scene. This is only achieved by the technique of foreshortening as the extended arms are made of shortened lines to make this work.

Vincent van Gogh, Road with Cypress and Star, 1890, Oil on Canvas, Exact dimensions unknown



An expressive line reveals the personaliity of the artist who draws them. These lines show the same personality, emotions, and feelings of the artist who drew them and can be even be autographic, which means that mere lines, like a signature, identify with the artist. Vincent van Gogh is one of the few artists whose lines have this quality. In this work, one can see these autographic qualities on show. The lines in the work are free and loose. It seems as if the lines are about to lose control. However, they are clearly controlled and drawn with masterful precision. These autographic qualities make the lines in this work great examples of expressive lines.

Blog Post #2

Marcel Ducamp, Fountain, 1917, Porcelin Urinal, 24.02 in x 14.17 in x 18.9 in

This image by Marcel Duchamp is perhaps one of the greatest examples of the contrast between form and content. The form, or the overall structure of the work, of the work suggests merely a urinal that is signed and dated. Focusing on form, there is nothing about the work that required any special artistic skill and nothing aesthetically pleasing to the eye. Yet, there is more to the work than meets the eye. The content of the work, or what the work of art means, is so much deeper than just a picture of a urinal. This work represents Duchamp's successful attempt to break with the traditional definitions of "art" and to create new parameters for artists' to operate under. Thus, Duchamp's content aims to break the mold as to what "art" truly means and redefine it under new parameters.

Albert Bierstadt, Among the Sierra Nevada Mountains, California, 1868, 120.00 in x 72.01 in

Representational art is, by definition, works of art that show natural objects in their visible and truest form. In light of that definition, then Among the Sierra Nevada Mountains, California is one of the finest examples of representational art. Bierstadt shows a landscape that is highly believable and extremely realistic, almost as if it were a photograph, which is the ultimate goal of representational art.

Erna Motna, Bush Tucker Dreaming, Acrylic on Canvas, Date Unknown, 48.5 in x 37 in

This work, like its counterpart presented in A World of Art, is a good example of abstract art. The work does not directly resemble things in the real world. Instead, the work is more representative and forces one to think and understand before one can fully and completely comprehend. However, there are definitely references to nature: The brown, yellow, and red coincide with the colors of leaves on the floor of a forest in autumn. Similarly, wildlife is represented but not directly drawn, instead shown as almost t-shaped figures. Since this work does actually depict a scene in the real world but does not directly resemble it, the work is said to be abstract.

Jackson Pollock, No. 5, 1948, 1948, Oil on Fiberboard, 8 ft x 4 ft

At the forefront of any discussion about nonrepresentational art is Jackson Pollock, who gained fame as a drip painter. In this piece, Pollock has certainly fulfilled the role of any nonrepresentational painter: There is absolutely no reference to real things in the physical world. Instead, Pollock has conveyed to the viewer the ultimate culmination of his own emotions and feelings yet has presented them in his own unconventional and unique painting style. Being nonrepresentational, the work is not meant to represent anything, but instead draw emotions out of the viewer, and the work certainly succeeds in that respect.

Leonardo da Vinci, Mona Lisa, ca. 1503-1519, Oil on Poplar, 30 in × 21 in

Usually, icons pertain to religious works of art, such as stained-glass windows and the like. However, other works, though not religious in nature, can obtain status as an icon. What defines an icon, in a general sense, is how much of an impact does it have on even the most uninterested viewer. With this working definition in mind, it is not an overstatement to say that Mona Lisa is one of the most iconic portraits in the world. This portrait is one of, if not the most, far-reaching portraits in the world, with millions trying to copy both the pose and smile of the subject at hand. This work is so widely known that even apathetic fans of art will know it in an instant. This fame makes it clear that Mona Lisa is a global icon.

Martin Missfeldt, The Last Supper-After Leonardo da Vinci, 2004, Gouache on Paper, 11.81 in x 23.23 in

Whether one believes in Catholicism or not, Leonardo da Vinci's The Last Supper is an iconic image. Between it being the depiction of one the holiest moments in the Catholic Church and the conspiracy theory of The da Vinci Code, the work is well-known and respected. However, in this work, Missfeldt exhibits a perfect definition of iconoclasm. He takes a work that is, in its base nature, extremely sacred and religious, and distorts it, making Jesus Christ and his twelve chosen apostles have necks and faces that resemble giraffes. That the artist even distorted the face of Jesus Himself, thought of as the Son of God in Christian sects, shows the direct and deliberate destruction of what was once a religious icon. This destruction is a living definition of what iconoclasm is.

Blog Post #1

Yayoi Kusama, Mirror Room (Pumpkin), 1991, Mirrors, 200cm x 200cm x 200 cm

This work is very unique and it represents the first role of an artist, that artists allow the viewer to see the world in new or innovative ways. To some, these dots are, just that, dots. But, these dots are very symbolic. That the dots are reflected in a mirror represent infinitude while also challenging the idea of human beings as alpha-male. In the end, humans are symbolic dots in a universe that is, in the end, merely a collection of dots.

Michelangelo, David, circa 1501, Marble Statue, 17 feet

This work represents the second role of an artist, and that is to make a visual record of the places, events and, in this case, the people of their time. King David is, according to history, one of the greatest Kings to rule Israel as he was a fiscal genius. Moreover, he was also known as the Great Liberator, as he truly set Israel apart from other nations and gave it its first true national identity. Thus, wherever David stands, he stands for freedom and ingenuity.

Marcel Duchamp, Bicycle Wheel, 1913, Various, 25.5 inches

Normally, a bicycle wheel is nothing glamorous. It is merely a part to the complete entity, a cog in the metaphorical (excuse the repition) wheel. However, in putting a special emphasis on this commonplace object, Marcel Duchamp has fulfilled the third role of an artist, that is to make functional objects more pleasurable. He has transformed a common object and transformed it into art. 

Michelangelo, The Creation of Adam, 1511, Fresco, 189.0 in × 90.6 in

Deeply religious in nature, The Creation of Adam is one of the most iconic and powerful portraits in the world. Painted by world-reknowned artist Michelangelo, the portrait shows God giving the final spark of life to his creation Adam. It is modeled after the Genesis story. Thus, this work gives life to a story told in the Bible, fulfilling the fourth role of an artist, which is to give form to the immaterial such as universal truths or, in this case, spiritual forces and entities

Alexandros of Antioch, Venus de Milo, circa 115 BC, Marble Statue, 6 ft 8 in

The Venus de Milo is a very beautiful sculpture. Sculpted for the goddess of love and beauty, the sculpture conjures up those very same emotions in the eye of the viewer. The work is beautiful to look at and soft on the eye. There is no real message to this work other than the beauty that radiates from this marble statue. This makes the work aesthetically beautiful, meaning that the artist intended to conjure a sense of beauty in the viewer with no real message behind the work.

Andy Warhol, Campbell's Soup Cans, 1962, Synthetic polymer paint on 32 canvases, Each canvas 20 x 16 in

This work is one of the premier examples of what kitsch means. Warhol takes a mass-produced object and repeats it thirty-two times, making art that seems mass produces and for commercial gains. This makes the work Kitsch: The work is cheap and unoriginal, doing nothing but repeating a commercail object over a series of canvases.