The Principles of Design in the The Principles of Design in the Artwork of Sandy SkoglundArtwork of Sandy Skoglund

Presentation by ___Presentation by ___Calvary Chapel Christian SchoolCalvary Chapel Christian School

Art ExperienceArt Experience

Sandy Skoglund• Born in Quincy, Massachusetts

in 1946• Studied studio art & art history

at Smith College 1964-68• Grad school University of

Iowa, M.A. 1971, M.F.A. 1972• Conceptual artist who deals

with repetitive, process-oriented ideas

• Interest in photography combined with interest in pop culture

• Lives in Jersey City, New Jersey

Unity

Germs are Everywhere. 1984.

Skoglund creates unity by covering the background with a solid color.

Here she has painted the walls, tv, table, fruit bowl, lamp, chair and bottle bright green. The performer even wears a green shirt and drinks from a green glass.

Variety

Radioactive Cats. 1980.

While the unity in Skolund’s work is more striking, she also uses variety to keep viewers interested.

In Radioactive Cats, each cat sculpture is unique. This variety causes the viewer to look at what each cat is “doing.”

Emphasis

Revenge of the Goldfish. 1981.

Skoglund emphasizes her sculptures in each installation by using bright, contrasting colors.

In this installation, the orange goldfish contrast strongly with the blue room. This emphasizes the fish and holds the viewers attention on the them.

Rhythm

The Green House. 1990.

Repeated objects create visual rhythm in Skoglund’s work. She uses progressive rhythm by varying the position or type of object.

In The Green House, the repetition of the blue dogs creates a rhythm that moves the viewer's eye around the composition. Skoglund also mixes in green foxes and dogs which are not noticeable at first.

Movement

Fox Games. 1989.

Skoglund implies movement by sculpting animals in active positions. The repetition of sculptures could also be seen as multiple images of the same animal.

In Fox Games, Skolund has created foxes in many poses – leaping on tables, stalking under chairs, scratching, licking, sniffing and playing.

Balance

Gathering Paradise. 1991.

Skoglund achieves asymmetrical balance by placing sculptures all over her installation.

Here the squirrels cover every surface in the installation.

Pattern

The Cocktail Party. 1992.

Skoglund pushes the boundary between texture and pattern by covering every surface in her installations.

In The Cocktail Party, every surface – even the performers clothes – is covered with cheese doodles. By using them pervasively, the snacks become a decorative pattern.

Proportion

A Breeze at Work. 1987.

Skoglund uses unusual proportion in the number of sculptures she places in an installation.

Skoglund uses a large number of leaves in A Breeze at Work. This proportion along with the usual color emphasizes the leaves over the people in the composititon.

Skoglund’s Surrealistic Style

Hangers. 1979.

Sandy Skoglund uses the principles of design to make mundane objects seem strange.

By using a large proportion of hangers and strategically composing them around the chairs and even the frame of the photograph, the installation becomes dreamlike, surreal. These things do not just happen.

Stories in Skoglund’s Style

Raining Popcorn. 2001.

Some of Skoglund’s works contain a narrative aspect. The viewer should think about what the people are doing.

Why is the man carrying the woman? Is she hurt? Where are they? Is it cold? What are the other men doing? Is that a dog or a wolf? Are they in danger?Is it raining or is it snowing? What could popcorn represent?

Politics in Skoglund’s Style

The Cold War. 1999.

Skoglund uses the principles of design to draw her viewer’s attention to symbolic objects. Viewers should contemplate what the objects represent.

In The Cold War, the viewer should think about the torpedoes and army men. How does war affect us individually? Is a cold war really cold? Why did Skoglund use warm colors?

New Interest – the Environment

Fresh Hybrid. 2008.

Skoglund’s most recent work, Fresh Hybrid, addresses the issue of the environment. What does it mean to be green? What is a hybrid? What is our relationship to nature?

In the past, Skoglund has been interested mostly in how pop culture affects everyday life. Recently, her work has become more political in nature.

References

Hobbs, J., R. A. Salome, & K. Vieth. (2005). The Visual Experience. Worchester, Massachusetts: Davis Publications, Inc.

Skoglund, Sandy (2008). Sandy Skoglund art site. Retrieved November 30, 2008, from sandyskolund.com Web site: http://www.sandyskoglund.com