Week 8 Jackie Hazlett

I am so thankful I didn’t “peak” in high school. I peaked in middle school.

You might think that’s worse, but trust me, it’s not. You see I had all the affirmation of being cool when I needed it, but everyone forgot about that time by the time we hit high school. People are still “waiting” for me to peak. It’s like it never happened and there might be a second wave on the horizon of coolness. There’s probably not, but there could be.

I feel like maybe the Renaissance era would agree with me. As far as I’m concerned, being the crowning of human endeavor sounds a lot like an early “peak.”

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Ghiberti’s Gates of Paradise is an excellent example. This relief sculpture was cast in individual bronze reliefs and assembled to be the baptistry doors of Florence. The cohesive color of the bronze illuminates the light of God while the individual tiles tell the story of God’s hand in history. The repetition of the module also opens space for unity and variety throughout the sculpture. The unifying, repeating square shape with a variance of the detail inscribed creates a cohesive feeling. The scale of the piece is hard to see in a textbook or computer, but the multiplying magnitude of the smaller squares adding to the large doors is overwhelming. This piece overall does a highly effective job of being complete, bold, and detailed.

I would not say we are fully immersed in a time of Renaissance, or re-birth, but I do believe that it is on the horizon and that people see that we are in need of one. I would first say that technology needs a re-birth. Technology, since the early 200s has progressed far more exponentially than our minds can really keep up with. Already I see people uncomfortable with how fast we’ve been moving, especially with CRISPR technology for example. CRISPR technology gives us the ability to cut out and rewrite our DNA. This could be used to grow plants that build a home on their own, demolishing the construction industry. CRISPR is more known for what it can do in healthcare, eliminating genetic diseases from unborn babies, but also potentially making way for people with the money to create their own “designer baby.”

I also see a need for a re-birth in the view of art in culture. I think a lot of times art is seen purely for its aesthetic value, and nothing else. I think it would be really effective for the overall wellness and also educational system if art was of higher reverence. Art could be used for more than aesthetic value, but also for the development of communication and effectiveness in learning processes.

Week 7 Jackie Hazlett

In packing to move back and forth between college and the temporary homes I’ve been living in, I’ have come to find a lot of things that I didn’t always know I had. My favorite amongst these treasures: picture frames. These aren’t any picture frames. These are picture frames that still have the stock photo in them because I really never got around to it. They look a little something like this:

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My pastor joked around even. It’s like, “Wait?! Who are they??” “Oh them? They’re the 8x10s..They’ve been family friends for a long time.”

You can laugh, but it’s true. I am no good at finishing things, and chances are most people aren’t either. That’s why it’s so amazing when we come across these multigenerational Gothic buildings.

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Chartres Cathedral, Source

These delicate yet sharp edges pique interest, creating something strong and elegant. Then ornated with stained glass windows and various other decorations, and you equate to one large, more-than-a-lifetime-project that the 8x10s don’t stand a chance. I have a lot of adoration and amazement towards feats like these cathedrals. I think a lot of what lies into multigenerational investment is the bigger story it lets individuals enter in. I like to relate it to the Christian journey. I do not think that overall the finding and following Jesus is about my personal journey, but rather that when I choose to say “yes” I am choosing a “yes” to thousands of years of persecution and redemption of the stories prior to me and those to come after me. Just the same, I feel like saying “yes” to embark on a more than the individual journey to craft cathedrals this intricate requires a desire to be a part of a longer, bigger journey that identifies these people as one. The building now becomes the story of a unified people with the unifying goal that surpassed death.

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Rose Window of Notre Dame de Paris Source

Stained glass windows have always struck me since watching “The Last Song” as a little girl. The movie has nothing to do with glass windows, and more Miley Cyrus’ love interest, but there are a couple of scenes that span to the father’s side project for his church. This process always seemed painstakingly costly, unpredictable and time-consuming. Only 1/3 of those things sounds interesting to me, yet the final product is so captivating I wanted to know more.

The biggest question I have always had was does the crafter layout broken shards of glass first, and then form the metal around, or vice verse. I learned that with the Rose Windows specifically, that they were often used in group projects. The framing would be made first. The shape specifically was highly effective and served more as a “lazy susan” of sorts that could be turned towards different teammates to work on individual images.

The images were commonly used to represent God and saints, however, the Church of England ruled out all images of God, limiting where they could and how they could be displayed.

Another interesting point brought up was that since there were limited forms of entertainment at the time (no television or radio), when people would come and see these windows it would be more like a form of entertainment to see a light and art installation piece.

 

Britannica, The Editors of Encyclopaedia. “Rose Window.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., 19 July 2013, http://www.britannica.com/technology/rose-window.

Week 6 Jacqueline Hazlett

Lindau Gospels seem to glisten despite being over 1000 years old. The covers are a multimedia project at the core that took place over the entire spans of modern day Germany. The cover withholds the four gospels and the prologue of Jerome. The cover is backed with silk and the front is encrusted with hundreds of precious stones and laid with gold. The four quadrants surrounding include symmetrical figures made of gems and etched angels. The central figure is the crucified Christ. This depiction of Christ has a near-perfect posture. There is a confident feeling–more of an arms-open-wide to a hug feel than anything else.

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image and info source

The Gero Crucifix towers over the Lindau Gospels. The not-so-humble in height wooden cross meets a near 6 feet. Though the figure is more modest in ornaments, the sculpture is taller than most people. The piece originally sat at the foot of Archbishop Gero’s grave. The piece was donated. The sculpture depicts a Christ of humiliation. The eyes are closed and the body is contorted in a way that suggests pain more than just external.

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image and info source

I feel like the Gero Crucifix more closely depicts the crucifixion seen most today. I noticed in about 2012, maybe when I was in late middle school, there was a wave of “Jesus Freaks” that went on and on about the costly price Jesus paid. All over my little Christian Pinterest, there were pdfs on the scientific explanation of how gruesome the death of Christ was. Even today I attended a Catholic Mass for another class’ assignment, and every depiction of Jesus on the cross was a contorted, pain-ridden body. There was nothing glamorous about the crucifixion, and I feel like the Gero Crucifix depicts that.

I am most drawn to the Gero Crucifix for that reason. It speaks grandeur through scale and more humble materials, rather than the expense. I don’t think Jesus was a precious gems kind of guy–He had those in heaven. He came to Earth humbly and was a big deal through that, and between the two options, I feel like the Gero Crucifix better represents that.

As for the Illumination project, I am excited. I have always had a strong interest in embossing and card making, and I would love to include that process. I am still a little unclear on what passages we’re supposed to be looking to represent our pieces.

Week 5 Jackie Hazlett

I believe with no doubt that iconoclasm is, and will likely be a repeating theme through history. Iconoclasm defined as the importance of destruction or removal of images for political or religious reasoning. I think the first account of this is the initial persecution of the Jews. As slaves to the Egyptians, I can only imagine the limitation in worship. If the firstborn sons are being murdered out of fear of overthrowing Pharaoh, then icons and images that unify one another in faith would be an automatic “no” from me if I were Pharaoh. As history progresses and the Jews through building the temple, being thrown and diaspora, then rebuilding the temple again, I see a consistent theme of the value in icons. The development of the idea that “if we have no temple, but we ought to worship.” must have sparked a fair amount of creativity. When Christianity split off from Judaism, they were saying “yes” to persecution. Church’s for years were kept at a whisper in people’s homes.

Under the rule of Constantine, we see Christianity flourish. With the signing of the Edict of Milan, Christianity soon became the religion of the Roman Empire. House Churches quickly developed into massive places of worship. Icons could, and would be publically displayed everywhere. The Byzantine Era soon developed and Christian art was plastered on the walls everywhere–literally.

For example, the sarcophagus in the Church of S. Maria Antiqua in Rome. This is a high relief sculpture, not full in the round, made of marble. The piece itself is made up of Old Testament icons that point to the work of Christ. In a way, this is a metaphorical focal point. While it is hard to find a physical focal point throughout the sculpture, it is more linear, meant to be read and traveled through like a book, as it tells a story. The undercuts of the relief create a strong contrast and emphasizes the use of detail in the craft. There are two main linear focuses throughout the piece. One of the branches of the tree all point up, and the second as the people and the structures point horizontal, as a progression. The piece overall is enticing. It draws the viewer into its detail and story.

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Sarcophagus S. Maria Antiqua in Rome Source

Taking a few steps further in history, The Church would meet another great split in the 1500s as Martin Luther would reform the Protestant Church and throw all of the Christian art out with Catholicism.

Talk about complete iconoclasm!

 Today, I believe that it is time to reintroduce art into the church. I see art as a form of connection and worship between crafter and God, but also as a way to connect and unify the people of the church. It is a form of rest, conviction, discipline, humility, and discipleship. Not that images should be worshipped, but more so the process be a form of worship.

Week 3 (Jacqueline Hazlett)

One of the most notable sculptures of the Amarna period was the representational Bust of Nefertiti, one of many wives to Dynasty King Akhenaten, thought to be crafted by artist Thutmose. The sculpture is full in the round, a piece that is meant to be engaged with and walked around as detail is emitted from all angles. The sculpture is well preserved painted limestone. The bust is now stored at the Agyptisches Museum (Egypt Museum) in Berlin, Germany.

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Bust of Nefertiti | Thutmose (assumed) | Agyptisches Museum | Image Source

King Akhenaten introduced the idea of monotheism to the Egyptians by proposing sole worship to Aten, the sun disk. Though the king had multiple wives, Nefertiti takes most prominence in her representation of the sun cult. She is identifiable in this sculpture by her blue crown. The piece consists of elongated features thought to emphasize the importance and value of the cult she represented, accompanied by more naturalistic features throughout.

The sculpture makes well use of the element of line. The lines across the crown vary against its natural space. This use of line creates tension and draws the eye further into the symbolic crown–in reference to the sun cult, perhaps intentional. With so many lines, rectangular shapes are consistent throughout this piece, and interesting way to internally frame an in the round sculpture. The overall color scheme is warm, with cooler decorative pieces, drawing attention to details that set the sculpture, and the woman, apart from other figures. The fact that this piece in the round creates a space that desires to be engaged with. elongated figures feel light and near weightless, sparking curiosity.

This bust exhibits high use of repetition. Both Nefertiti’s crown and dress consists of repeated modules and patterns in a consistent, bright color scheme. There unity and variety amongst the unifying rectangular module, and the varying shape and color. By using complementary colors, the artist has created rhythm, the jewels seem to buzz, or hum with excitement, bringing the piece to life.

The elements and overall principles incorporated into this piece were highly effective in means of drawing attention to the subject. If the king were wanting more people interested in his monotheistic worship as part of the sun cult, this piece more than adequate draws attention to the aspects of Nefertiti that pointed likewise.

Something I found most interesting outside of this piece was the one I originally anticipated writing on. I wanted to save repetition, but the Opening Mouth Ceremony interested me most. I know that there is a high usage of hieroglyphics in this piece, which aesthetically frames the painting in a partial manner, but also makes me think of a children’s book. This painting is on papyrus, a means of communication in this era, and from a book titled Book of the Dead. I am curious if this served more so as a manual, or a story/documentation of history.

Source:

Adams, L. S. (2011). A History of Western Art (5th Edition ed.). New York , New York: McGraw Hill.

“New Museum – Exclusive Museum Tours.” ARIADNE – EXKLUSIVE MUSEUMSFÜHRUNGEN ÜBER DIE BERLINER MUSEUMSINSEL, http://www.ariadne-berlin.de/en/neues-museum-guided-tour/.

Week Two (Jacqueline Hazlett)

The era of Assyrian rule begins to display an understanding for the fragility of life. Assyrians were known through their own documentation and texts as severely cruel. There are claims for leaving mountains tops dyed red with the blood of slaughtered enemies. The architecture of their own was primarily meant for the glorification of their kings for their victory over nations. The Assyrians had is down: the death of others leads to victory for their nation, and that they will not live forever individually, but if they fight, then their nation will live and prosper. This group values over individual values, I believe brought weight onto reproduction in order to carry on families and nations.

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Ishtar Gate – Source

The Ishtar Gate was created as a processional route through the city in King Nebuchadnezzar’s time. This gate was named after the goddess of fertility, displaying the value on procreation–an attempt to carry on personal life in a greater attempt to carry on the life of the nation the fought so hard to build at the death of others. I like to think that the process of glazing used to finish these pieces was intentional to represent the resilience the people group strived for. To be able to withstand high heat, in any scenario, and only reap a seamless, smooth product.

I still feel like the fertility is overvalued in today’s church. While adoption has become a greater option for families, it is sadly seen as a “second choice” for when a mother is found to be infertile. When a family in my church adopted their first child, it was assumed that the wife was infertile. So many people had apologized to her for her circumstances, instead of rejoicing in the choice she made for her own life. People were silenced and uncomfortable when they found out the woman was not barren, and just felt a greater call to adoption. Adoption is a great way to carry on life by providing a quality, love-filled life and home to someone who might not have received that in an orphanage. I find it interesting how heavily marriage and family building is pressed on the church, especially when there are so many ministry opportunities for those called into singleness, simply because of the cost they come at. My original plan for my life was to never marry and live in Ethiopia as a doctor, the end. Then I met someone who completely changed everything around, and I’m so thankful for him and the role he plays in my life, but I also know that saying “yes” to him is saying “no” to dropping all of my family here to move to Ethiopia. I’m unable to participate in that cost because of something new I took up, that would’ve been easier to surrender in singleness.

Trying to stay close in the timeframe to my earlier discussed piece, I found myself most drawn to the Jericho Skulls. I’ve recently been interested in the amount of science work that goes into artistic processes.

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We all have our own aesthetics, but when I first was glancing through the pictures of these skulls I thought:

“For all we know, this is just a lump of clay with seashells.”

I was proven rather, it is a lump of plaster with seashells.

It wasn’t until further reading that I was wildly impressed by these pieces. Each “lump” is actually a thick coat of plaster encasing the actual skull of various demographics. Each skull was first stuffed with dirt in order to battle the pressure war between the plaster and the ground it would be buried in. The seashells are one of the few ways the piece was ornated. Seashells for eyes, and sometimes painted on hair in order to make each skull identifiable as for the human it once belonged to.

A lot of thought, clearly went into the process at the time, from pressure being accounted for to decorative details, but the process most interesting to me now is the modern attempts to replicate who the skull belongs to.

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The facial reconstruction above was crafted through 3D printing. However, it could not have been done just based around the lumpy exterior form we all see. Scientists were challenged with the taxing task of–without damaging the piece–getting to the actual bones of the skull. X-raying was proven faulty as the piece shows up as an entire white lump due to the density of the plaster. A CT-scan was able to reveal some parts, and the rest had to be crafter virtually.

The final piece now reveals a portrait with astounding detail. The portrait was able to reveal things unique to that individual, also relaying information about the culture. The individual’s septum was broken, that could have occurred in process of death, or in the creative process of crafting the cast. We are also able to see binding from the skull, a cultural practice done at infancy, in order to craft a specific head shape.

Overall, I feel like this piece is an extraordinary way of preserving life after death, following our theme. Not only did the makers of the time find a way to preserve the remains of their loved ones and public figures as a way to honor the life that they lived in remembrance, but even so to this day, we are able to visualize the life that proceeded us. A mix of age-old preservation with modern day technology and we are able to look into the eyes that begin to tell the story of a life from ages ago.

Image and information source: https://news.nationalgeographic.com/2017/01/jericho-skull-neolithic-facial-reconstruction-archaeology-british-museum/

Information Source: https://www.khanacademy.org/humanities/prehistoric-art/neolithic-art/a/jericho

Blog Prompt Wk 1: Value and Analysis (Jacqueline)

Psychological value is the value that resonates most with how I value art myself. I see the approach the creative process as a tool to process and decipher topics that are hard to put into words. Long term I would like to incorporate the analysis, curation, and creating of art in my counseling work. I think that these three tools all help us ease into a greater psychology of self-reflection. Different works can evoke various emotions that either draws us closer or repulse us further. Using art in this way can reveal a lot of implicit biases towards ideas, or uncovers parts of our stories that were maybe blinded even to our own eyes.

The methodology most interesting to me was iconography and iconology. This approach seems to be most rooted in symbolism, or choosing a subject–icon–to represent with a deeper meaning. The text uses the example of Bruegel’s Tower of Babel as an example. This piece in particular can be aesthetically appraised. Not only is a detail oriented piece on a large platform, but it is also remarkably vibrant and textured for tempera paint. The piece can be admired for that alone, but with context of the text in Genesis, the piece now has an added value for the heavy symbolism of God’s disapproval of the tower ordered by believed Nebuchadnezzar.

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Peter Paul Rubens | Raising of the Cross | Chapter 19 | Image Source

Rubens’ Raising of the Cross heavily utilizes line, composition, and color to bring the viewer to his desired focal point. There is distinct repetition in the lines the viewer’s eye is able to draw drawing attention to Christ in the center. The angles drawn from each man’s arms in attempt to raise the cross directly point center. The way the bystanders are composed tallest to shortest draws in more centralized lines. All of these lines would be considered more expressive and gestural, as they follow along the human form. I would also go to say that all of the people replicated here are idealized in form–created to be far more muscular. The composition of the triptych is also an effective way to centralize the focal point. Smaller pieces surrounding the larger one furthers balance and symmetry in size to the piece, making it easier to stay in the center. Use of light, in creating Christ to be stark white amongst a dark setting creates a contrast that is hard to ignore. This also could be symbolic in Christ’s purity amongst a dark world.

 

Jackie, Your New Pal

Hello!

If we have yet to meet, my name is Jackie. If you already know me…well it’s still Jackie. I’m the blonde girl in all these pictures below. The brunette is my best friend Alli. She the very bestest support system and adventure pal to have. Our favorite pass times are dropping is like it’s hot, hiking, and eating ice cream. She’s also a Nusring Major at Fox. If you see her around, tell ‘er Jackie sent ya. She’ll probably be the neatest person you’ll ever meet (and a pretty great glimpse into who I am as a person).

As much as I could talk about her for hours, I’ll tell you a bit more about me. After summer I’ll be returning to Fox as a Junior studying Studio Art and Christian Ministries and an RA over Macy 3. I love plants, people, and paints, so all of these things kinda fit into my passions. Long term I want to teach Junior High Art and go back and get my Master’s in Counseling. I think it would be cool to use art and the creative process to help in counseling.

Until then I’ll be in the Seattle Area ish. I would call Newberg home right now, though. After my first semester at Fox my parents moved to Arizona and I was NOT about 115 degree summers. I currently just kinda house hop between friends and relatives in the Seattle Area while I’m working part time at the Starbucks I started at in high school and soon to be starting up an internship over Student Ministries at the church I grew up at. I like my life. It’s adventure filled and unknown right now, and the inconsistency has been stretching me in new ways that’s been really great! When I’m not working or schooling, I like to [insert every pnw kid’s outdoor activity list]. I like to be outside. I like to meet new people. I really like it when I can combine those two and go outside with people. I also really like to read, make dad jokes, write, make art, eat ice cream, and pretend I have important emails to send while I sit in coffee shops.

That’s all for now. 🙂