{"id":217,"date":"2015-04-13T22:20:41","date_gmt":"2015-04-13T22:20:41","guid":{"rendered":"https:\/\/courses.candelalearning.com\/masteryart1x6xmaster\/?post_type=chapter&p=217"},"modified":"2015-06-05T21:36:50","modified_gmt":"2015-06-05T21:36:50","slug":"putting-it-together-3","status":"publish","type":"chapter","link":"https:\/\/courses.lumenlearning.com\/mcc-artappreciation\/chapter\/putting-it-together-3\/","title":{"raw":"Putting It Together","rendered":"Putting It Together"},"content":{"raw":"[caption id=\"attachment_905\" align=\"aligncenter\" width=\"700\"]\"A<\/a> Christo, The Gates, New York City[\/caption]\r\n\r\nAll communication, including art as a form of visual culture, takes place in multiple contexts. In the beginning we discussed Robert Capa\u2019s photograph, The Falling Soldier<\/em>, and how the context of its viewing in America might have impacted what American viewers took away from the photograph. Now let\u2019s use the knowledge of different contexts to analyze a more recent artwork, the 2005 installation in Central Park, New York, titled The Gates<\/em>, by artists Christo and Jeanne-Claude. At the time of its\u00a0unveiling, many people pointed out the similarities to the Fushimi Inari shrine in Kyoto, Japan (Jennifer Lee, \"Nostalgia Draped in Orange: Remembering \u2018The Gates,'\" nytimes.com).\r\n\r\nWhen questioned about this in 2008, Christo acknowledged knowing about the Japanese shrine, but quickly pointed out it was not his inspiration for The Gates<\/em>. \u00a0His claim demonstrates the artist\u2019s perspective. However, if Japanese (or other) viewers had previously experienced the Inari Shrine, their experience of The Gates would have been much different from most American viewers' (Sayre, 3). Despite Christo\u2019s perspective on his own work, there is still a contextual difference for the American viewer versus the Japanese viewer of the same artwork.\r\n\r\nConsider what unique aspects of your life (age, race, gender, geography, economic status, etc.) form contexts that influence\u00a0how and where you encounter art and how you interpret those experiences of art.\r\n

Works Cited<\/h3>\r\n

Lee, Jennifer. \"Nostalgia Draped in Orange: Remembering \u2018The Gates.'\" New York Times<\/em>. 2008. Web. 31 May 2015.<\/p>\r\n

Sayre, Henry. A World of Art<\/em>, Sixth edition. Boston: Prentice Hall, 2010. Print.<\/p>\r\n ","rendered":"

\"A<\/a><\/p>\n

Christo, The Gates, New York City<\/p>\n<\/div>\n

All communication, including art as a form of visual culture, takes place in multiple contexts. In the beginning we discussed Robert Capa\u2019s photograph, The Falling Soldier<\/em>, and how the context of its viewing in America might have impacted what American viewers took away from the photograph. Now let\u2019s use the knowledge of different contexts to analyze a more recent artwork, the 2005 installation in Central Park, New York, titled The Gates<\/em>, by artists Christo and Jeanne-Claude. At the time of its\u00a0unveiling, many people pointed out the similarities to the Fushimi Inari shrine in Kyoto, Japan (Jennifer Lee, “Nostalgia Draped in Orange: Remembering \u2018The Gates,'” nytimes.com).<\/p>\n

When questioned about this in 2008, Christo acknowledged knowing about the Japanese shrine, but quickly pointed out it was not his inspiration for The Gates<\/em>. \u00a0His claim demonstrates the artist\u2019s perspective. However, if Japanese (or other) viewers had previously experienced the Inari Shrine, their experience of The Gates would have been much different from most American viewers’ (Sayre, 3). Despite Christo\u2019s perspective on his own work, there is still a contextual difference for the American viewer versus the Japanese viewer of the same artwork.<\/p>\n

Consider what unique aspects of your life (age, race, gender, geography, economic status, etc.) form contexts that influence\u00a0how and where you encounter art and how you interpret those experiences of art.<\/p>\n

Works Cited<\/h3>\n

Lee, Jennifer. “Nostalgia Draped in Orange: Remembering \u2018The Gates.'” New York Times<\/em>. 2008. Web. 31 May 2015.<\/p>\n

Sayre, Henry. A World of Art<\/em>, Sixth edition. Boston: Prentice Hall, 2010. Print.<\/p>\n

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