Items Similar to Modern Diorama "Area Above San Rafael Reef, Utah" Lloyd Brown, 1999, Painting

Antique American Hand-Embroidered Three Dimensional Paintings, Circa 1820

Architectural Diorama of a French Street

!969 Pop Art Lithograph by Ken Kusaka

Italian Handmade 1960s Wall Backlit Artistic Window with Madonna Child & Angels

1986 Mixed-Media Untitled Work by Dike Blair POOL Table Watercolor Landscape

Want more images or videos?

Request additional images or videos from the seller

1 of 6

Modern Diorama "Area Above San Rafael Reef, Utah" Lloyd Brown, 1999, Painting

About the Item

Stunning diorama by American artist Lloyd Brown. “View of Area Above San Rafael Reef, Utah” 1999. Signed and dated with gallery tags. I Lloyd Brown has been fascinated with the viewer’s experience of panorama, particularly as it seems to negate the role of the artist, throughout his career. Tradition has it that the artist, whether painter or photographer etc is singularly responsible for framing a scene. Mr. Brown takes this task off the plate of the artist and thusly provides the viewer with not only more visual information but also the agency to see and understand what they might see and understand within the composition with their own eyes. For example, Imagine if this composition did not include the information to your far right. The work would have been framed as a vista, a landscape painting, a scene of the horizon, the great American West. But by expanding (or in essence, breaking open) the frame, the viewer also sees the world of the artist, or the visual context as part of the vision. He or she stands on the same stained concrete as the artist , is able to see though their eyes but at the same time retain their autonomy by looking away from the vista. He or she does not have to see through the artists eyes and therefore understands the moment, experiences the moment, unencumbered by the task of looking. Viewer and artist are equal. So one might ask, Is the scene about the grand vista? Is it a scene of the great American West as we expect it to be? Or is it a scene that although grand serves to accentuate the viewer’s sense of alienation or even isolation and smallness in the moment, during the experience of the painting and ultimately throughout life’s path? The coupling of the mountains, garbage bins and even many of the plants at roadside seem to heighten the viewer’s experience of solitude even while with the artist — as this very human sort of ‘withness’ will never be the secure, permanent ‘withness” as the mountains before us maintain, enjoy even. After this late 1990s series of diaromas, Brown moved in to painting 2-d panoramas on curved canvases and is known for his long serious of works that spanned about a decade in the early to mid-2000s, in which he documented the panoramic view of each exit of the Interstate 50 east, a thoroughfare of particular personal significance for the artist. This series really takes up the idea of many postmodern photographers such as Ruscha and Shore, that used the lens to capture the seemingly uncaptureworthy. At the same time however, Brown shows us how contrived the seemingly banal can be as a result of being “framed.” He does this by removing the frame completely, giving panoramic access, and a profound sense of agency and capacity for engagement to the viewer of his work. Don’t miss this wonderful piece.

Creator:

Lloyd Brown (Artist)

Dimensions:

Height: 10 in (25.4 cm)Width: 48 in (121.92 cm)Depth: 4.5 in (11.43 cm)

Style:

Post-Modern (Of the Period)

Materials and Techniques:

Wood

Place of Origin:

United States

Period:

Late 20th Century