I will be writing my review on William Christenberry’s Alabama Wall I. This piece was made with metal and tempera on wood in 1985. It is placed on the third floor in the East Wing of the Smithsonian American Art Museum. As a photographer, painter, and sculptor who works with personal themes from his childhood experiences in Alabama, Christenberry was able to take a piece of metal and make art. He explores his experience with Alabama landscape by cutting license plates, advertising signs, and rusted metal and quilting them together. With the help of bright colors, Christenberry is able to contrast the sense of age that came with the rusted metal. The bright strip of color makes the piece look fresh and compliments the old signs. I learned that the repeated “36” in the piece is the numerical code for Hale County, the city Christenberry is from. Coincidently it also happens to be the year of Christenberry’s birth. His use of repetition whether it is the use of “36” or the shape of the rectangles is appealing to the visual eye. The blue Royal Crown sign stands out along with the strip of grey and red metal because of their size and color. Christenberry makes sure that the cut up signs and licenses are harmoniously organized. The piece is also very detailed. The use of rust emphasizes the age of the licenses and the lifestyle of Hale County Alabama. The holes for metal bolts throughout the piece are a thoughtful touch that reminds its viewers that the piece is made of things that were once used for other purposes. Christenberry’s use of color, shapes, and texture work with one another to form a thoughtful and intriguing piece. Christenberry offers the growth and aging on the landscape of Alabama by using old and rust pieces of metal. He captures details of erosion and decay on the landmarks of his past by using fading signs. The colors, angles, lines, sizes, and shapes of the multiple structures that make up this piece are harmoniously brought together. The textures of the different pieces on the canvas are important to the structure as a whole. It separates colors, signs, and the idea of new and old. Christenberry is able to compress time in his piece by showing changes in the license plates and signs. Christenberry accurately depicts the imagery of his past and home of Hale County Alabama. He is able to produce meaningful pieces made out of simple items.
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bersabellPosted on
November 10, 2013Posted under
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