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Melanie Sugeng-Olive Cotton Photography
Transcript of Melanie Sugeng-Olive Cotton Photography
the light, the wind' 1939 Subject Matter
Impact on Viewers
Frames Untitled (Interior) tea cup ballet 1935 1933 the artistic intentions of this photograph inspires
the art of memory and portrays a spectacle of her childhood.
She had shared this room with her sister, joyce at an early
age. she describes the room filled with lighting oppurtunites. shadows and lights act as the main subject matter as well as frame. the stained glass window, as cotton has described, 'had a simple floral motif which cast attractive shadows on the wall in the late afternoon. it displays a cultural frame of times, the colour and room interior displaying a heavy vintage feeling. the name of this photograph comes from lord byrons 'o summer sun' of 1895. it displays a young woman of beauty, in a structural matter of her upper body from the back. this was taken at a fashion photoshoot which cotton had been assisting in. the impact on viewers describes as a beautiful woman in tranquil. O summer sun, O moving trees!
O cheerful human noise, O busy glittering street!
What hour shall Fate in all the future find,
Or what delights, ever to equal these:
Only to taste the warmth, the light, the wind,
Only to be alive, and feel that life is sweet? * olive cotton
by max dupain darling harbour a landscape shot of darling harbour in 1942 which had been printed in 1985. Her photograph has no artist meaning behind it, but is acted as a historical shot of the famous harbour during world war two. olive cotton's most famous artwork, tea cup ballet is celebrated as cottons breakthrough as a photographer from being the apprentice of her childhood friend as well as ex-husband, Max Dupain. she says that this displays those coffee breaks as a photographer and that is was her epiphany of recognizing shadows in photography. viewers think this of an optical and magical illusions describing grace and elegance within simpleton. it intends the viewers to realise how a dancer relies on stage lights to influence the mood of their performance. dead sunflower 1984 not much is known about this work,except for the fact that it is often seen when discussing olive cotton. the image of dead sunflowers shows the artists intentions of how lifeless forms can still come together to form an era of beauty, and in this case she uses dead flowers. the subject matter evolves around the media of shadowing and light, with the affects of taking a show from the ground up. a viewer would see this as a nice field of flowers until further inspection that these flowers are dead. what is your intake of the artwork my impression was of the movie 'the phantom of the opera. maybe it's the vintage lighting and tea-cups lined in a row facing the spotlight of a stage, but this looks a lot like a ballet stage if you look at it closely or many even from afar. describe the mood of the artwork i think the mood of based around the artistic and perfoming arts of elegance and how quaint and simple yet enchanting lining figurines up against a strong light can seem. how from the wings, shadows dapple against the object, creating a stagelife theme of excitement and anticipation, concious and concern. what frames are used? the frames used are the culture of performing arts, ruling out the culture of a life on stage. the teacups symbolize dancers, yet at the same time calls out the image of just sitting down on a table ladden with teacups and drinking up the memories and nostalgious thoughts; sitting back and thinking about nothing. another frame induced is the subjective frame, which focuses on the feeling and imagination of this photograph. it links highly with the cultural frame and how they both link towards the images intention.