Sunday, April 15, 2007
Why my visual argument sucks:
I approached this visual argument assignment much like many of my tutees claim to approach their own papers: with little planning or clear design. While I didn’t compose this assignment while watching a Cardinals game, something I hear often in the WL, (although I did make this last week, when I was pretty loopy on massive amounts of anti-nausea medicine), I didn’t follow the structured assignment described in Wysocki’s “Opening New Media to Writing” either. I think this definitely shows, since the argument in my work is unclear. The text ultimately just distracts the viewer from Rothko’s piece, and the text itself isn’t anything incredibly compelling. Some design troubles also led to my ultimate dissatisfaction with my visual argument. Personally, this is not my favorite Rothko piece. In fact, I think the most beautiful and poignant pieces are those that incorporate darker colors (some of my favorites are White Center (1950) and Untitled (1953), both of which you can view at http://www.nga.gov/feature/rothko/). The text, however, was too difficult to decipher on portions of these paintings. Consequently, while Rothko remains my favorite artist, I am not easily persuaded by my visual argument because this painting in particular isn’t one I would necessarily deem “silent poetry”.
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5 comments:
Actually, Liz, I would say that your argument is clearer than any of the rest of ours that I've seen so far, simply because your piece has language to explain the argument. And I like the painting. :)
Liz,
I agree with Leta. I have always been torn about whether I should love or hate Rothko's work, but that's probably because I don't know his project. (ah HA! *visual* argument!) Maybe it's because he was a pioneer in this type of work, but my first reaction to him was "why can't I be famous for painting rectangles?" But then I spent over an hour in a room devoted to him at the Tate Modern, so he definitely holds me in an inexplicable thrall.
Although I might have come to your piece with the attitude "but language? in a visual argument?", the skunk drawing I showed everybody last week was entirely predicated on the textual illumination (if you can call it illuminating). I also like the way your poetic structure can change our understading of poetry as painting with words.
I'm with you, Katie. I'm going to quit grad school and just paint rectangles. :)
Meeee too!
You could always use one of the darker ones with white text...How about Rothko and Roethke?
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