Brend And Hilla Becher's collection known as Water Towers, is a 'typology' of nine framed photographs. Each of these photographs are unified in color and subject mater. Each photograph depicts the industrial conical form of a weathered concrete water tower, scaled and cropped to roughly the same dimensions and location in each photo. Each photograph is is achromatic, giving them not only a unified look, but also prevents the observer to identify, at least visually the age of the photograph due to weathering of the photograph. The nine photographs are arranged in a rigid three by three grid. The repeated forms and their arrangement gives the collection an industrial feel, as if each one was constructed by the same company.  However, each water tower's forms are slightly different. For some of the towers, there are ribbed support structures, while for others, there is an organic smooth form. Other variations include differences in height and thickness of the tower stems and reservoirs. Since The subject matter and arrangement give the collection a industrial look, the variations in rhythm can give the viewer a feeling that each tower on the periphery is a distorted variant of the central tower, as if looking through a fun house mirror.  

Ai WeiWei's installation piece Sunflower Seeds at the Tate Modern's Turbine hall is presented to the viewer by filling the hall's floor with millions of ceramic sunflower seeds. Each ceramic faux seed retains the rectilinear flat form indicative of real sunflower seeds. Each seed is painted with the same limited achromatic palette of black, gray and white.  The white stripes on each of these tiny sculptures are painted with varying mottled gestural lines painted lengthwise. This variation, gives each sculpture in the collection a form of random individuality, such as the random variations found in real sunflower seeds. This seed motif is repeated millions of times and piled and spread on the installation form. The repetition of form gives the viewer the feeling of witnessing a field of uniform colour from afar. However from close, the density of the seeds, and variation of texture gives the collection a subtle rhythm of rich diversity.

Tehching Hsiegh’s installation One Year performance, Punching the time Clock consists of a punch card machine, a wall of punch cards and photos and a video monitor displaying a sped up video reel of the photos shown in a serial animation. On the wall, aligned horizontally, is a row of punch cards, filled with entries punched in at the artist’s studio each hour of the day for an entire year. For archival purposes the artist takes a photo of himself punching the card.  Each photo has the same repeated element of the artist looking at the camera, next to the punch card machine, while wearing the same factory uniform. These photos are arranged in vertical columns under each punch card on the wall, of varying lengths, depicting the diligence the artist had in punching the time clock on time every day. The changes in posture, demeanor and even hairstyle in each photo, and varying lengths of each column of photos on the installation wall provide the collection a repetitive rhythm that highlights the dreariness of factory shift work.

Hello. I’m the Fine Arts Drone. Part of my continuing education in the University of Waterloo Fine arts Minor program, i am taking Fine 319: Contemporary Art. As part of the syllabus, i am encouraged to keep a tumblr blog for visual analysis of contemporary art that we see in class. Stay tuned for some visual analysis: -FAD

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