Month: November 2018

Tuesday’s talk inspired me to continue to find different ways to use my time, so I can develop more skills essential to obtaining success. Being able to develop smart and engaging digital marketing strategies has been a goal of mine for a while, and I am even more aware now of just how important such a skill is. As I learned from the “Art Power” panel last month, a crucial skill to acquire is capturing people’s attention. What you have to offer will often not reach your target audience if they are not drawn to the marketing of your idea. Once you have their attention, however, news of your purpose will have a higher chance of spreading — through shares, tweets, and word-of-mouth. 

One thing that particularly stuck with me during this talk is to never underestimate the power of any platform. It has been years since I have been active on Facebook. I find Twitter and Instagram better provide the service I desire. Still, many of my friends and family members remain active on Facebook, and Facebook continues to have an overwhelming number of users. Though I personally do not spend much time on Facebook, if I want to increase my online presence, it would be unwise to ignore the reach Facebook still has. 

My use of Facebook will still certainly differ from how I use other social media platforms; that’s because Facebook simply is different. Every platform for digital marketing should be approached individually. Some marketing formats work better with one platform over another. I must ask myself questions like: Is it appropriate to use sarcasm to be humorous on this platform, or is it more likely to be received as hostility? My audiences will vary from platform to platform, and while I aim to convey what I plan to share with others, I must also keep in mind how different audiences will receive what I put out into the world. 

This painting in Carole Spandau’s collection of cityscapes of Rue St. Paul, Vieux, Montreal uses vibrant colors and basic shapes to convey a lively and busy city scene.

Very few dark colors can be seen in the painting, and those that are present accent fire truck reds, bright sandy hues, and sunny yellows. The use of these colors throughout the entire composition, without interruption by duller shades, brings a wondrous energy to the scene. Even the faceless human figures exude the same energy. Most of them have warmly colored hair — either red or blonde —and they sport bright clothing. Their tilted postures, from pointing arms to turned heads, convey a sense of constant activity.

The inability of the viewer to perceive detailed features on the faces of the strolling people, or on any aspect of the location, additionally add to the image of a bustling city. Instead of becoming engrossed in insignificant details, the viewer is encouraged to take in how overwhelming the sheer quantity of people and buildings are. There are few empty spaces on the canvas: the bit of sky at the top center and the pavement at the bottom of the painting are the only unoccupied areas of the scene. Not even the horizon is visible. The land beyond what the viewer can see is likely taken over by the same urban livelihood seen in this painting.

The vivid colors and the simpler depiction of urban structures permit the viewer to not just take in the easily perceptible view, but to also be absorbed by the feeling this scene of Montreal offers. The viewer is invited to feel just as joyous and amazed by the animated setting.

John Bramblitt is a blind artist known for his vibrant paintings. His work Shared Moments was the first to catch my eye. I was intrigued to learn how Bramblitt could paint such a detailed and carefully composed scene without vision and was further fascinated by his artistic choices. 

In the FAQ section of Bramblitt’s website, the artist explains how he is able to decipher between different paint colors by their textures and viscosity. He mixes the paints to achieve various effects, as well, such as glazing. Simply put, the key to painting without sight for Bramblitt is by using his sense of touch. 

In his work Shared Moments, I can see the importance of touch in painting through the textures of the paint, in addition to Bramblitt’s ability to nonetheless highlight the value of color. The more obvious and thick brushstrokes on the leftward autumn tree provoke a different response from the smoother application of paint on the wet ground. The thick-leaved nature of the trees provide an emphasis on emotion; the brushstrokes pop out at viewers. Additionally, their fiery colors represent the passion of what appears to be two lovers strolling down a sidewalk. Warm colors like red and yellow convey love, jubilation, and hope. The red color of the umbrella shared by the couple further emphasizes these feelings and illustrates the loving relationship between the two lovers. 

The smoothness of the ground beneath the couple’s feet constrasts the thick brushstrokes of the trees, suggesting a sense of ease between the romantic partners. The blue color that dominates the pathway further conveys this ease. Still, the reflection of other colors onto the sidewalk communicates that the couple’s relationship is not one-note. Reds, greens, and other hues signify a dynamic bond between the partners and furthermore connect the foundation of their relationship (the walkway) to their burning passion represented by the trees. A trail of warm colors circle around the couple’s feet and lead to the base of the rightmost tree. From that tree trails a line of other trees receding into the horizon. The heads of the colossal plants all radiate golden-white light, like street lamps. It is as if the trees are expressing that the couple have a bright future ahead of them, as they walk in the same direction the trees flow into the horizon. 

Bramblitt’s Shared Moments is a touching work of art, and the magnificence Bramblitt achieves through it without sight to guide him is unbelievable. As I admire the work repeatedly, I frequently think of Bramblitt’s words on his experience as a blind artist: “What I discovered was a whole new world of perception that in many ways equaled eyesight, but in some ways actually exceeded it.” Bramblitt believes that sight can be a limiting factor of detail in art, and it makes me reflect on my own limitations. There is always a different perspective through which one can view art to deepen their understanding and sense of enlightenment. 

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References

https://bramblitt.com/pages/faq