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My conclusion about the real and ideal in art caused me to questions artist intentions versus a viewers interpretation.  Sol LeWitt's drawing is purposefully left up to the viewer, while Die Ungeborenen by Anslem Kiefer makes explicit historical references to the reality of World War II, but still leaves every narrative aspect of his art up to interpretation at the same time. And, the sculpter of Father Time makes its message very clear, but we cannot make any completely accurate conclusion without knowing the artist true intention. Plato's "Allegory of the Cave," masterfully exemplifies how even if one is exposed to the truth of the artist, people will still think whatever they please. The parables then reiterate how we need to question the accuracy of interpretation of all art and literature.  After viewing my curation I hope you will understand and recognize how an artist intention is not always our interpretation.

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“A 3-2-1 Look: Father Time.” The Yale Tribune, campuspress.yale.edu/ycbateachers/a-3-2-1-look-father-time/.

Cunningham, Lawrence, et al. Culture & Values: a Survey of the Humanities. Cengage Learning, 2015.

Dunne, Susan. “Sol LeWitt Wall Drawings At Yale University Art Gallery.” Courant.com, 23 Aug. 2018, www.courant.com/entertainment/museums-galleries/hc-ctnow-sol-lewitt-yale-new-haven-0906-story.html.

“Father Time: Chronos and Kronos.” Waggish, 18 Feb. 2013, www.waggish.org/2013/father-time-chronos-and-kronos/.

JESUS OF NAZARETH, www.jesuschristsavior.net/Parable.html.

“Now Contemporary Art Evening Auction.” Steichen, Edward 'the Pon ||| Photographs ||| Sotheby's n08165lot387hmen, Sothebys.com, www.sothebys.com/en/auctions/ecatalogue/lot.35.html/2015/contemporary-art-evening-auction-l15024.

“Sol LeWitt Overview and Analysis.” The Art Story, www.theartstory.org/artist-lewitt-sol.htm.

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The root of the word parable means a placing side by side for sake of comparison. The parables were originally told by Jesus Christ as simple stories. These stories told daily life instances, that generally spoke to a more important moral lesson. Jesus went around telling these parables, that were eventually written down in synoptic Gospels of Angels: Mathew, Mark, and Luke hundreds of years later. These parables teach important lessons about topics ranging from humility to greed. In the parable “The Arrogant Guest,” Jesus teaches a lesson on humility. He explains that upon going to a dinner party it is wrong to sit at the highest seat at the table. It is far better to sit at the lowest spot and then be promoted to a higher seat. "For every one who exalts himself will be humbled, and he who humbles himself will be exalted." While there is clearly good value in this lesson, there is definitely good reason to question the authenticity of the stories. Jesus told these stories orally and were not written down onto paper until much later. This can be easily compared to a simple game of telephone. A group of people sit in a circle or line and one person whispers something into the ear of the person to their right, and then the person whispers this word or phrase into the ear of the person to their right. At the end, the last person to receive the word or phrase says it out loud, and you compare the accuracy; which is almost never accurate. Just like the parables, they started with Jesus and whomever was last and eventually write them down, probably got the general message but not every detail. Through art and literature we need to question the accuracy of the historical assumption we pull from them. The meanings of the art in this curation were probably very different when they were created.

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Plato was a student of Socrates, who was a philosopher, until his execution. It after Socrates death that Plato began to see the world as an evil and cruel place. Plato’s “Allegory of the Cave,” is an analogy where Plato explains what would happen if a group of people were tied up in dark cave since birth, and could only see the shadows of the world through the light of a fire. More specifically, Plato theorizes what would happen if one prisoner was then released and was able to recognize that the shadows he had seen his whole life were not actual reality. Upon seeing the light, Plato synthesizes that he “would escape by turning them away from the things which he was able to look at, and these he would believe to be clearer than what was being shown to him.”  Similar to when people view art, no matter what someone else tells you to believe, art is of one's own mind. Even if the prisoner had looked into the light, if he went and told the prisoners who were not enlightened, “they would all “laugh” and tell him he had “spoiled his eyesight”. We are all living in the same cave as the prisoners when it comes to art. We will never know what an artist desired intention was, so we will never leave the cave and be enlightened. By not knowing what an artist intention was, historical conclusions drawn from art can be completely discredited. Plato’s “Allegory of the Cave” gives a simplified example of how humans minds are stubborn, and even if we are told we are wrong, we will always believe we are right.

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Die Ungeborenen (The Unborn) by Anselm Kiefer is a piece crafted in 1935 out of oil, acrylic, plaster, and lead on canvas. Kiefer was an important German artist known for making explicit references to historical events. This piece was created after World War II, a time of despair. This piece is apart of a collection, described by Kiefer as,  “The desire of not wanting to be born”.  To express this feeling, he uses theodicy to question god's creation of humans. He is questioning whether god made humans on purpose or by accident, and if he has any regret to have birthed such ungrateful creatures, as a reference to the events of World War II. However, what makes these religious references interesting is that Kiefer is an atheist. Interpreting this piece becomes unique to the viewer, based on this information. Interpreting this piece can be impacted by the viewers own personal religious beliefs, altering the trajectory of one's interpretation. I believe Kiefer used this as a technique to reach out to everyone who was suffering. Kiefer gives an overall feeling of despair through his piece by using the color grey to morph all parts of the painting as one, but also an independent pieces of the same time. This technique is unique to Kiefer's works and can be seen as a reference to life and death. Other elements such as dresses, numbers, and branches are incorporated into this piece to express his emotions. The dresses can either be a reference to demon lilith, a figure from Jewish Folklore, who was believed to kidnap newborn children, or to simply remind people of the holocaust and the lives that were taken. Kiefer hides very little in this piece, yet at the same time leaves every piece up to interpretation of the viewer.

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This is a statue of Father Time crafted in coade stone, believed to be from the 18th century but there is no named artist. Father Time can also be referred to as the Greek god of time, Chronos or the Grim Reaper depending on the context of the literature. No matter what text you are reading, he has a few consistent defining features. He is always an older man with a long white or gray beard, with a robe draped over him, carrying a scythe and an hourglass. The hourglass and scythe represent how time or personified as Father time, catches up to everyone through natural causes such as aging and death. The hourglass and scythe ultimately represent the unstoppable forward movement of time; Father Time is unstoppable. In most artworks Father Time is depicted as a strong figure that cannot be beaten, in dominant standing poses. However, in this stature Father time is sitting on a rock, with his scythe below his waist and gazing at his hourglass that has no sand or time left in it. His physical position, and position of objects show a sign of weakness in a strong figure. Father Time is known to never lose and be immortal, but this sculpture depicts how he goes through the same struggles of aging as mortals do, by showing weakness in his stance. The sculpture itself was crafted with precision, paying special attention to his body. His muscles are very clearly defined, adding to his mortal features in this depiction of him. His body is also in the correct proportion, showing a great level of skill by the artist, but in depth face features are not shown. I believe his face is left blank to leave his expression up to the viewers interpretation. This piece became completely different the more I researched it, without context of who Father Time is, I would have interpreted this piece completely different. While more context lead me to a better view on the piece, the blank expression on the statue leaves some up to the viewers discretion.

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Sol LeWitt grew up in Hartford Connecticut, raised by Jewish parents, his first pieces rose to popularity in 1980, when his work was first put up in the Hayward Gallery in London. This is drawing number 334, all of LeWitt’s works are labeled numerically, some believe this to be an aspect of his minimalist style, if a piece of art is given a name that is used as the  first clue to a viewer to guide a “correct”  interpretation. LeWitt, was apart of of the conceptual movement in the artistic world, during this period in time a shift from modern to postmodern era art had begun, meaning art was “of our moment”.  He constantly challenged the fundamental beliefs of art, through his minimalist techniques and the simplicity of his works.  He believed that the conception and execution of a piece of art was completely separate from the interpretation of the artist or viewer. LeWitt’s art is also commonly placed under the abstract expressionism category.  LeWitt believed the idea of a piece of work itself was a work of art; a piece of art was no longer required to have an actual material presence in order to be considered art. But in this piece he uses materials and many artistic techniques to create a truly beautiful work of art. He uses graphite lines and different values of the primary colors and geometric patterns, to show the viewer the importance of colors and simplicity on a large scale. The lines are repeated in a pattern to create his image through consistent regular straight lines. Everyone can interpret this piece in there own unique way, which is something truly special about LeWitt’s work, everyone sees lines and colors different similar to how everyone hears and interprets words differently in literature.