ART 213 Midterm Study Slidehow #1

Mid-Term Study Slideshow #1

ART IN CONTEXTART 213

10:00AM & 2:00PM MW

James Greene

This Midterm Study Slideshow Covers the Following:

Unit 1 What is Art?

Unit 2 Technologies of Art Production

What is Art?

THE CENTAUR EXCAVATION AT VOLOS- Hodges Library, University of Tennessee, Knoxville TN.

Professor Beauvais Lyons from the School of Art at the University of TennesseeKnoxville worked with legendary set designerBob Cothran to install this realistic and“scientific” display in the Hodges Library on theUTK campus in 1994.

The centaur challenges students’ pre-conceived notions of the “truths” of Art, Science and History and also distinguishes the role of the University library as descriptive and not prescriptive.

The Centaur offers an object lesson in skepticism.

“Do you believe in centaurs?”

What is Art?

Leo Tolstoy (1828-1910)

Famed author of War and Peace and Anna Karenina, who, later in life, composed several essays on Christianity, morality and art.

In 1898 his essay What is Art? was published. In it, he argues against numerous aesthetic theories which define art in terms of the good, truth, and especially beauty. In Tolstoy's opinion, art at the time was corrupt and decadent, and artists had been misled.

What is Art?

Leonardo Da Vinci’s Paragone

In his Paragone, Leo argues persuasively that painting is superior in representing nature than all other forms of expression. The things he emphasizes as important to art have much to do with nature, beautiful light effects, and total control over the virtual “reality” contained within the painted surface.

His arguments are reiterated by Modern painter, teacher and author Laurie Fendrich, who recommends that students of art read and react to Da Vinci in addition to keeping up with the trends of contemporary art that have taken beauty, nature, and technical skills OUT OF THE ART EQUATION.

John Berger (born 1926) is an English art critic, novelist, painter and author. His 1972 essay on art criticism Ways of Seeing, written as an accompaniment to a BBC series, is often used as a college text. Ways of Seeing examines how seeing paintings or anything else is often less spontaneous or natural than we tend to believe due to the fact that in the age of mechanical reproduction, we see paintings as no one has seen them before.

What is Art?

The Technologies of Art Production: DRAWING

Cave Drawing, Lasceaux, France 15,000-10,000 BC. Pigment, charcoal

Leonardo Da Vinci, cartoon sketch for Madonna of the Rocks, charcoal, white lead, 1483-1486

The Technologies of Art Production: DRAWING

Kathe Kollwitz, Self-Portrait, Charcoal, 1928

Robert Longo, Leap Into The Void, Charcoal drawings, 2004

Adrian Piper, Self-Portrait ExaggeratingMy Negroid Features, pencil drawing, 1981

The Technologies of Art Production: PAINTING

ENCAUSTIC PAINTING: Pigment suspended in heated beeswax

Egypto-Roman Funerary Masks, encaustic on woodFaiyum, c. 160-170 AD.


TEMPERA PAINTING:Pigment suspended in a mixture of water and egg yolk.

Gentile deFabriano, Adoration of the Magi, Tempera on wood panel, 1423.


Fresco Painting: Pigment suspended in wet, fresh plaster applied to walls or ceilings.

GiottoThe Lamentation Frescoc. 1305.


OIL PAINTING:Pigment suspended in linseed oil and thinned with a solvent like turpentine.In the high European tradition, oil paintis applied in thin transparent glazes thatbuild up and create luminous surfaceslike this one.

Jaques Louis-David, Napoleon Crossing the Alps Oil on canvas1800.


Kehinde Wiley, Officer of the Hussars Oil on canvas2007

When an artist choosesoil paint, they may enter into a well-developed European tradition of representation.

The Technologies of Art Production

Lucian Freud, Naked Portrait with Reflection Oil on canvas, 1980

Oil paint is uniquely suited tocapturing the luminosity ofhuman flesh.

The Technologies of Art Production

Acrylic: Pigment suspended in an acrylic polymer (plastic) emulsion

Robert Shimomura, "Classmates"

acrylic on canvas, 2008


James GreeneCuster, SDAcrylic on canvas2010

Technologies of Art Production: PRINTMAKING

Prints are derived from a matrix, or a mother image. This can be a block of wood, a metal plate, a slab of limestone, a nylon mesh screen or another material. The matrix gets between the work and the artist, but it allows for the creation of multiples.


Relief Printing:

An image is carved into asurface like a block of wood,a linoleum panel, or rubber. Whatever surface area is left gets inked and pressed into paper.

For each color, a different block must be used.

This woodcut print used three blocks.


INTAGLIO PRINTING

An image is etched intoa metal plate and ink is

scraped into these etchedgrooves. The ink is then

wiped off the surface.

When the intaglio is pressed, the paper is

traditionally wet.

The wet paper grabs theInk out of all the

grooves in the plate.

Intaglios have distinctembossments.


LITHOGRAPHY

Invented on purpose by Germanplaywright Aloys Senefelder in 1796

A slab of limestone is drawn upon withgrease pencil. The image is thenchemically etched in the stone, allowingthe printing of multiples.

This process is still used on a large scale using aluminum or polyester plates instead of stones.


LITHOGRAPHY

Was the most popular form ofprinting in Europe and the US untilmechanical plate lithographyreplaced it in the early 20th Century.


SILKSCREEN PRINTING

The matrix is a piece of nylon fabric stretched over a screenframe. A stencil is made on themesh, which the ink is pushedthrough to create flat areas of color.

Andy Warhol elevated this cheapcommercial technique to the levelof fine art.


INKJET PRINTINGThe fastest and most ubiquitous commercial method today. Who knows what will replace it?It is used by the best selling painter in the US.

Thomas Kinkade, Make A Wish Cottage, oil on inkjet print on canvas, 2005


PRINTSTALLATION: A new genre where printed multiples are used to redefine a large space.

James Greene “Valuistics: The Making Of” (Installation view) silkscreen on pink foam insulation, dimensions vary, 2006.

The Technologies of Art Production: PHOTOGRAPHY

The first European drawing of a CAMERA OBSCURA. 1544


18th Century innovations to the camera obscura.

The Camera Obscura was a drawing instrument thatused a lens and a dark space to create an upside-downimage of reality. It would eventually be combined with the use of film and mechanized during the industrial revolution tobecome what we think of when we think of a camera.


The first permanent photograph was an image produced in 1826 by the French inventor Nicephore Niepce. However, because his photographs took so long to expose (8 hours), he sought to find a new process.

http://en.wikipedia.org/wiki/Nic%C3%A9phore_Ni%C3%A9pce


Working in conjunction with Louis Daguerre, they experimented with silver compounds based on a Johann Heinrich Schultz discovery in 1724 that a silver and chalk mixture darkens when exposed to light. Niépce died in 1833, but Daguerre continued the work, eventually culminating with the development of the daguerreotype in 1837. Daguerre took the first ever photo of a person in 1839 when, while taking a daguerreotype of a Paris street, a pedestrian stopped for a shoe shine, long enough to be captured by the long exposure (seven minutes).

http://en.wikipedia.org/wiki/Louis_Daguerre

http://en.wikipedia.org/wiki/Johann_Heinrich_Schultz


Many advances in photographic glass plates and printing were made through the nineteenth century. Several were made by Matthew Brady’s crew when documenting the American Civil War.

Matthew Brady, The Dead in Front of Dunker Church, Antietam, Maryland, 1862.


In 1884, George Eastman developed the technology of cellulose film to replace photographic plates, leading to the Eastman-Kodak technology used by film cameras today.

Technologies of Art Production: CERAMICS

PORCELAIN:

Clay containing high levels of KAOLIN andlow levels of sand. High plasticity, high fire.

Porcelain ceramics are among the strongest and most luminous.


STONEWARE:

Clay containing less Kaolin than porcelainand more sand. Strong, sturdy and not porous. Used in most everyday dishes, mugs, cups, etc. High fire.


TERRACOTTA

Clay containing more sand little kaolin.Fired vessels are fragile and porous unless glazed.

Ancient Greeks used black and red glazesfor their terracotta dishes and containers.


KILN VARIETIES

GAS

PRIMATIVE

RAKUELECTRIC

Technologies of Art Production: SCULPTURE

Relief sculptures are similar to 2D works in that their 3D forms are raised from a flat background. In low relief or bas-relief, the forms project only lightly from the background.


In high relief, figures project at least half their natural depth.


Freestanding sculptures have fronts, backs sides and tops. They invite the viewer to walk around, underneath, or even inside them.


Subtractive Process: such as carving, unwanted material is removed.


Additive Process: such as modeling, casting andconstructing, material is added, assembled, or built up to reach its final form.


Casting:The Lost-Wax Technique is used to create BRONZE CASTINGS like this.


Assemblage: Found objects are CONSTUCTED into a finished work.


Kinetic sculpture: Where the sculpture literally moves.

Earthwork: When the artist uses only the earth as their medium.


PUBLIC COLLABORATIVE SCULPTURE

When the art is the result of anagreement with various government bodies.

The result is a public art experience that the entire community shares.

Technologies of Art Production: NEW MEDIA

VIDEO ART: An artist or artists produce(s) a work that exists primarily as a video. A watershed moment for artists came in 1967 with the invention of the Sony Port-A-Pack.

SOUND ART: Speaks for itself. Sound pieces need not have an accompanying visual element.


Performance: Performance art can be any situation that involves four basic elements: time, space, the performer's body and a relationship between performer and audience. A piece of performance art may or may not have similarities with theatre. Performances are often documented with video and audio, blurring the boundaries between sound art, video art and performance art. This is why the term NEW MEDIA is useless.


Virtual Reality: Using a combination of video and sound, or a digital video-game interface, artists create virtual situations that take over the viewer’s senses. This can be delivered via a computer screen or created within a space that responds to the viewer’s presence using motion-sensing devises.


Installation Art: This blanket term describes an artistic genre of site-specific, three- dimensional works designed to transform the perception of a space. The genre incorporates a very broad range of everyday and natural materials, which are often chosen for their evocative qualities. Many installations are site-specific in that they are designed to only exist in the space for which they were created.


Cai Guo Qiang: Head On 99 stuffed wolves, plexiglass, monofilamentDeutsche Guggenheim, Berlin, Germany 2006

Christopher Baker: Hello, World! Or, How I Learned to Stop Listening and Love the NoiseVideo, sound, motion sensors and rear-projection screens, 2008.


ART 213 Midterm Study Slidehow #1

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Transcript of ART 213 Midterm Study Slidehow #1