artheoryandcriticism

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Paper boats created by the community.

The Collaborative Nature of the Exhibition

The installation, created in partnership with the Malta Community of Illustrators, really encourages public participation, breaking down the usual barriers between the artist, the artwork, and the audience. This collaboration feels like a symbol of solidarity, which is key when thinking about the ethics of climate migration. By inviting people to interact with the piece, the exhibition makes the whole issue of displacement feel more personal, showing that it's something we all have a responsibility to understand and respond to as a global community.

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Daniela Attard (Iella), Portrait of a migrant, Copper plate etching-hard ground, aquatint and soft ground,2023.

Iella’s Migration Nation showcase migration due to environmental factors, using her art to highlight the deep human impact of environmental change.

Her work invites viewers to reflect on the global crisis of climate migration and the connections between environmental issues, migration, and art. The birds in her artwork, migrating out of need, symbolize the forced movement of climate refugees, creating a link between humans and nature. This symbolism highlights the connection of life in the face of climate disaster.

Through her portrayal of birds and displaced individuals, Iella humanizes the experience of migration, making its emotional and existential dimensions more relatable.

Information (no date) iella / Daniela Attard. Available at: https://danielaattard.com/introduction (Accessed: 19 October 2024).

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Olaug Vethal, Cats in the park 1, Oil on Canvas, 2002.

What immediately caught my attention was the directness of the painting, with its expressive brushstrokes and vibrant colours—ultramarine contrasting with fiery oranges, and the almost childlike outlines of the figures. Despite the painting’s large scale, which allows for intricate details, the artist maintains an expressive, almost spontaneous approach. A playful touch, like a cat peeking from the vase, adds a humorous element that makes the piece even more enjoyable to view. As Cassar (n.d.) noted, “…speed in execution was very important for Olaug, as she aimed to capture the immediacy of her feelings towards a subject or mood in a singular moment.”

Cassar, D.J.P. (no date) The artist Olaug Vethal, Olaug Vethal. Available at: https://www.olaugvethal.com/about-us/ (Accessed: 19 October 2024).

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Guernica (1937) by Pablo Picasso

Guernica was made for the Spanish Pavilion at the 1937 International Exposition in Paris. Pablo Picasso was inspired to create this piece after hearing about the Nazis aerial bombing of the Basque town it’s named after. He was deeply affected by the dramatic photographs of the attack published in newspapers, like the French paper L'Humanité (Leal, 2019).

Because Picasso learned about the bombing of Guernica through a newspaper article, it’s thought that the suggestion of a torn newsprint appears in the painting. While creating Guernica, he allowed a photographer to document its progress, and historians believe the black-and-white photos influenced him to move away from earlier coloured versions, shifting to a starker, more striking palette. The lack of colour not only reflects the harshness of the bombing's aftermath but also works with the special matte house paint Picasso used, designed to minimize gloss. Combined with shades of grey, white, and blue-black, this choice gives the artwork a bold yet raw and unembellished feel (PabloPicasso.org, 2017).

Picasso's Guernica embodies the tragedies of war as an anti-war symbol and an embodiment of peace. It feels like a chaotic snapshot of suffering, with layers of symbolism that make you question everything. The broken sword in the fallen hand, holding a flower, could suggest resistance mixed with tragedy—like even the act of fighting was forced on them. It feels almost like a tribute, maybe marking this figure as a fallen soldier, a hero who tried to protect others but fell, or just a sign of peace. Then there's the bull, solid and strong, possibly representing the working class—yet even its strength is fragile, its tail becoming smoke, like the civilians being consumed by the destruction around them.

The ghostly faces slipping through the doorway feel haunting, like the fleeing spirits of the dead, and the mother clutching her lifeless child, so exposed, her grief raw and universal, almost echoing Pieta’s sorrow. And the feet—bare, dragging, weighed down—amplify that sense of vulnerability and unpreparedness, the woman with her drooping leg; it’s like she’s dragging the emotional weight of the entire scene.

Then there’s the lightbulb, maybe revealing the truth of it all. It has this panoptic vibe, like that constant, uncomfortable feeling of being watched or controlled. Together, all these elements represent the painful image of war’s aftermath.

Leal, Paloma Esteban. “Guernica.” Museoreinasofia.es, Museo Nacional Centro de Arte Reina Sofía, 5 Apr. 2019, www.museoreinasofia.es/en/collection/artwork/guernica. Accessed 19 Nov. 2024.

PabloPicasso.org. “Guernica by Pablo Picasso.” Https://Www.pablopicasso.org, 2017, www.pablopicasso.org/guernica.jsp. Accessed 19 Nov. 2024.

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Nighthawks (1942) by Edward Hopper

Hypothetical Questions and Explorations

What if the diner were full of people?

A lively diner would shift the tone dramatically. The loneliness and isolation that define the painting would disappear into a more shared atmosphere. The empty streets would look less eerie, emphasizing urban liveliness rather than desolation.

What if the scene took place at dawn instead of night?

Dawn would introduce a sense of hope. The light of morning might make the diner feel like it’s for the community of working people rather than a place for the lonely.

What if the figures were looking at each other instead of away?

If the figures interacted, the painting’s sense of isolation would soften. The figures might suggest shared experiences, connections, or even conflict, making the narrative more dynamic.

Inferences about Time and Place

Without external research, Nighthawks appears to depict an urban American setting in the 1940s, represented by the architecture, clothing, and design of the diner. The men wear suits and hats, while the woman’s dress shows 1940s style. The lighting—artificial, harsh, and yellow-green—symbolizes the rise of technology in urban life, reflecting the stress and personal struggles of the individual in America.

Imagining as a Figure in the Painting

If I were the woman, I might feel the discomfort or disconnection. Am I here willingly with the man beside me, or is our silence a sign of our problems? The empty streets outside adding to my tension of being the only one alone in the night adding to my vulnerability.

Personal Reflection on Nighthawks

To me, Nighthawks speaks of urban isolation and the complexity of human connection. The lighting creates a divide between the diner's inside world and the streets' dark emptiness. The glass window creates a barrier; the viewer is left outside, unable to enter this world fully. The colour palette, with its dominance of cool greens and warm yellows, evokes comfort and unease.

Suggested: https://youtu.be/ILGT25hA6xA?si=Z4ZSl0OfjqQIAhV3 (virtual 3D representation of Edward Hopper’s Nighthawk).

The placement of the figures—together yet apart—makes me wonder about their stories. The man and woman share closeness but seem emotionally distant, while the lone man’s hunched posture makes him look tired, isolating himself from the rest of the customers; perhaps it's the own feelings of the artist, representing himself as being alone in this world. The waiter, positioned slightly apart, bridges the gap between the customers and the viewer, yet he, too, seems locked in his own role.

Nighthawks remind me of moments of isolation in busy places, where silence feels heavy and reflective. It captures the stillness during chaos and how loneliness is a common experience in modern life.

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1. Description of Nighthawks by Edward Hopper

The painting depicts a nighttime scene inside a diner on an empty urban street. Hopper uses cool tones, primarily blues and reds. Inside the diner, there are three customers: two men in dark blue suits and a woman in a red dress. The bartender, dressed in a white uniform, serves them.

The composition features straight leading lines in the diner and street, with artificial lighting illuminating the scene. The bright interior contrasts with the dark, empty surroundings outside.

Analysis The contrast between the brightly lit interior and the dim, deserted street creates a visual and emotional divide. The composition draws the viewer’s eye to the right, focusing on the man sitting on the stool. The artist uses cool tones- blues, and reds.

Interpretation The painting conveys themes of isolation and melancholy. The eerie and mysterious mood is emphasized by the contrast between the harsh interior light and the surrounding darkness, as well as the closed shops on the street. The lone man sitting apart from the others intensifies the feeling of isolation and draws the viewer's focus to him. It’s possible that this figure represents the artist’s own emotions—keeping himself distant and anonymous by not revealing the man’s face, yet symbolically present by including himself in the scene. This subtle ambiguity blurs the line between observer and participant, adding a personal and introspective layer to the artwork.

The physical barriers, such as the counter and large glass window, may symbolize the separation between individuals and the outside world, reflecting urban loneliness. By placing the viewer outside the diner, Hopper leaves the story open-ended, inviting personal interpretations and emphasizing the anonymity of urban life.

Symbolism The composition may represent the loneliness and isolation of modern city life. The counter and glass window act as physical and metaphorical boundaries, separating the figures inside and outside. The lack of a clear narrative encourages viewers to project their own stories, reflecting the impersonal and detached nature of urban environments.

Judgment Nighthawks is memorable and reminiscent, resonating with viewers through its uncertain narrative and portrayal of urban isolation. Its depiction of a quiet, empty New York night contrasts with the city's usual lively nightlife, emphasizing themes of loneliness and hopelessness. The use of colour and lighting is highly effective, intensifying the eerie mood and emotional depth. Hopper’s ability to place the viewer as an outsider looking in further enhances the scene’s haunting and relatable portrayal of modern life.

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Willem de Kooning, Woman and Bicycle, Oil on Canvas, 1952

The painting is an abstract expressionist piece, evident with rapid dynamic sweeping brushstrokes giving it a lively, almost chaotic energy. The colours are bright and intense—reds, yellows, greens, oranges and blues all clashing together. Around the figure, the background is a blur of smeared colours blending into each other, creating a messy, unrecognizable setting. But interestingly, the ground area seems to have sharp, clean edges, almost as if it were taped off to keep it neat.

In the centre, we see a woman, her figure exaggerated like a caricature. Her huge, toothy grin makes her look wild and playful with the red lip tint. She’s wearing what looks like a tight dress, a blue hat, and black shoes. Around her neck is a necklace, which somehow mirrors her grin. The whole scene feels spontaneous, with each brushstroke adding to the intense energy and movement of the piece.

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Piet Mondrian, Broadway Boogie-Woogie, Oil on Canvas, 1943.

The artwork is an abstract composition of geometric shapes, primarily squares and rectangles, arranged in a dynamic and rhythmic pattern. It uses a primary colour palette—red, yellow, blue—and incorporates white to create negative space.

The repetition of shapes guides the viewer's eye, establishing a visual flow as squares lead one after another, forming an intriguing pathway. What captivates me most is the use of negative space, particularly the dominant white area at the center, contrasted by touches of blue scattered around the corners.

According to Piet-Mondrian.org, this piece reflects Mondrian's experience of New York. They describe the painting as capturing "the daily rhythm of New York itself, the pulsating movement that animates Broadway."

Broadway boogie-woogie, 1942 by Piet Mondrian (no date) Piet Mondrian. Available at: https://www.piet-mondrian.org/broadway-boogie-woogie.jsp (Accessed: 29 October 2024).

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(The image is from an online source)

Mark Rothko, my researched artist and inspiration, shows colour can evoke profound emotional responses and create immersive experiences in art...

Mark Rothko utilized large blocks of colour to evoke intense emotional responses. Shades like maroon, black, and purple often elicit feelings of isolation and deep contemplation. The size of his paintings is also significant; they are frequently larger than the viewer, creating the sensation of being enveloped within the artwork. This immersive experience fosters a personal connection that draws you in and enhances emotional engagement.

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I remember looking at an artwork exhibited in the Grand Master's Palace during a school trip to the Malta Biennale. This piece was expressive, with chaotic strokes of pinkish hues layered on a large canvas, leaving some areas slightly exposed. My initial critique was based on personal reaction. At first, I wasn’t sure what I was looking at, but then it began to resemble a mix of Henry Matisse and Picasso's figure drawings, with different perspectives. The artwork made me feel both eerie and peaceful. The use of pinks and flowy brushstrokes seemed to represent love and femininity, yet the scene was also somewhat unsettling due to its sexual implications.

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Thoughts

Art criticism creates a dialogue between the artist and the viewer. This exchange helps artists reflect on their work and can inspire them through the feedback they receive. Critique may also challenge the artist in terms of their technique or concept.

Understanding art criticism will influence how I interact with art in the future. I believe I will approach artwork with a more questioning mindset, asking questions like: What is the artist trying to communicate? How do colour, composition, and texture contribute to the meaning? Art criticism isn’t about finding a single “right” answer but about exploring the multiple meanings a piece can hold.