Introduction
The aim of this first part of the course is to introduce you to some of the themes of art history and to demonstrate that art history is much more than a timeline of who painted what and when. The important thing for you to take away from this opening section is a sense of the broad range of factors at work in what we call ‘art history’
Political, Social, Economical Factors
It is important to consider the political, social and economic circumstances in which works of art have been produced. After all, how could we explain the artistic developments of the twentieth century without reference to political factors such as the
First World War, economic circumstances such as the Depression or social developments such as changes in the role of women?
First World War, economic circumstances such as the Depression or social developments such as changes in the role of women?
?
? |
What political, economic or social factors might be influencing practitioners of art in the west today?
Don’t just think about painters; consider other disciplines such ? as architecture and applied arts (textiles, ceramics, etc.) It is difficult to separate these 3 factors as art that is created with a specific message or theme, often has all of them entangled in that message, but for the purpose of the exercise I will try to find examples that highly represent one factor. The examples shown below are from the source here. |
Political
Not every artist is always moved by beauty. They can also choose to use their art as a voice. An artist might want to draw their audience's attention to a political cause, a violation, a corruption or an endorsement.
Robbie Conal is an American satirical street artist. His work mostly represent politicians on guerilla style posters that are placed around the city. In this piece, Mitt Bubble, he created a portrait of Mitt Romney during his presidential campaign in 2012. Romney is portrayed with an uncomfortable look, cross eyes and a tight lip. There is a thought cloud above his head which is left empty for passersby to fill. The artist is using his impression of the candidate and his inadequacy and pointing it out to the public. By creating a space where they can caption his thoughts he is making them a part of whatever political statement he wants to make.
|
Economical
When talking about economical factors we are not really discussing the value of the art itself, but rather how the status, economic surroundings or social classes have affected the work. We need to consider where and under which conditions the artist grew up, or the monetary conditions of that which is his subject matter. Again, this factor his highly linked to social and political factors, as you cannot point out economic issues without there being an impact on both.
In Steve Lambert's 'Capitalism Works for Me!' instillation, he is pointing out the the philosophy by which Americans are governed. As the viewer has to make a selection of True or False, they are faced with a moment to reflect on their relationship with money and consider the impact of how their economy is run.
Capitalism provides the dream of independence and the possibility of 'making it big' but most often just leads to the small minority of rich getting richer, while the little guy suffers. Steve Lambert is an American artist and activist. His work centers around advertising and its impact on society. |
Social
When considering the social context of art we thin about the culture, traditions and interactions of people. Either within a specific place or a specific time (history). Social context can be applied to either the artist, which may help give us a background of why the art was created and how their own immediate surroundings may have affected the work. We could also consider the subject matter. Perhaps the artist is trying to convey a particular culture, tradition or social behavior through their work.
Vik Muniz is a Brazilian artist and sculptor. He creates portraits using various materials. In his series, Pictures of Junk, he used waste and debris. The works are meant to bring an awareness to the catadores of Brasil's Jardim Gramacho, the informal workforce that scavenges the landfills for reusable materials.
He is pointing out society's dependency on 'junk', and our culture of throwing things away. Through this he also brings our attention to those who try to make a living off of our 'junk'. It points out the divide in the social classes and the flaws in our relationship with consumerism. |
The changing status of painters and sculptors
A key period of the change in status of the artist, was the Renaissance. It was during this time that painters and sculptors started working with their own vision and artistic voice. Artist became seen not only for their craftsmanship or technical skills, but also for their ability to think and conceive. Before this they often worked anonymously and for little compensation or credit. This is because their was a real rise of the classes during the Renaissance. People started to value their human ability and wanted it to be captured. However, the artist circles were always predominantly male, with schools and commissions mostly being male oriented. Only during the twentieth century did we start seeing a shift in the value placed on female artists.
?
? |
How would you describe the status of artists today?
Do we still think in terms of big ‘stars’? Are they still predominantly male? Is there still a hierarchy that privileges painting and sculpture over art forms like textiles? What about photography? |
The Status of Artists Today
As the importance of Art grew, so did the status of the artist. The fact that universities, schools, and other educational institutions started pushing the importance of arts and the study of it in context, it has lifted the status of working in a visual art capacity. The Renaissance Masters certainly helped to set the tone for appreciating skill and the artist's voice, which meant that artists could rise to fame. Even so, status is something not just proven by fame/ popularity, but also by money. Even though visual arts has become more popular, we would still judge the status of an artist not just on how many followers they have on Instagram, but also by their monetary success. Realistically, if you don't have a high status in the art world, it is unlikely that you will be earning the big bucks. The Guardian wrote an interesting article (view here) about the salaries of artist in different parts of the world and how they are generally significantly lower than the average income wage. This shows that despite the strides that have been made in the support of arts, there is still a long way to go in acknowledging it as a career. In short, status is important in all career areas. Those who are more skilled, more qualified or have more experience, are better received by society. And the more your 'voice', skills or experience is revered or sought after, the higher that status will become. Today we live in a world where even skill or mastering technique is also not enough. It seems audiences want to be provoked, shocked, perplexed, amused and questioned. Artists like Jeff Koons and Ed Ruscha understand this principle having some of the most expensive pieces of contemporary art. More expensive contemporary art can be viewed here.
'Big Stars'
As I mentioned before, in any occupation experience will always be a factor to either or not people take you seriously. The Arts are no different, only here it seems that your popularity also plays a big role. As with other art forms, like music, film and fashion, the bigger the star you book, the bigger the audience and the publicity. Artsy has created quite a good list of who they consider to be the top 14 living artists of our time. Looking at the list and the work these artist are doing, it is clear to see that being a 'big star' in the visual arts world, means going beyond just being a painter or sculptor. These artist are incorporating multiple media forms, science and provocative themes to elevate their artistic voice. The fact that students and artist are studying, trying out and copying the methods of well known artists means that there must be big stars. The art world can tell that they are creating a shift or pushing new boundaries for the next generation of artists to continue.
Male Dominance in Art
Even if just using the list from my previous answer, only 4 of the 14 artists on the list are female. Throughout history the female artist has always been present, but due to bias and gender inequality they had difficulty studying and selling their art. History mostly shows that women were only participating in the 'decorative arts', painting textiles and ceramics. These were not considered fine arts, but crafts. These 'crafts' were considered feminine and inferior to fine arts which was a highly masculine industry. Fortunately after the 1960's thanks to gender equality and several feminist movements, females started to study teach and pursue art. Though there are still battles to be fought for women in art, it is evident that female artists have gained a voice and popularity. Of course an individuals country or up bringing might affect their views on females in any working industry, but I was personally fortunate enough to grow up in a time and with a family that taught me I could do anything. I have never found myself judging any job or product based on whether it is done by a male or female. Hopefully with education and awareness we can teach future generations to do the same.
Here are some links I found interesting regarding women in arts:
Brief history of women in Art
The 10 most subversive women artists in history
The 12 most important women painters
Here are some links I found interesting regarding women in arts:
Brief history of women in Art
The 10 most subversive women artists in history
The 12 most important women painters
Hierarchy of art forms
Traditionally under the definition of what is considered visual Fine Art, painting, sculpting, and architecture reigned supreme. These art forms were considered to require more refined skills and intellect and were thus placed at higher esteem. Of course as science and technology grew, so did our capacity and means to produce creatively. Photography, design, film and animation has since also proven that that there is a specific set of skills and intellectual planning that goes into creating a product. It is often hard to let go of traditions, this is why museums and galleries still tend to favor paintings when curating shows. Certainly among the art elite, there is still a sense of snobbery towards whose primary skill or craft is not painting. I suppose this is because painting comes with many hours of practice and perfecting technique. It is coupled with hours of study and understanding Art History and the Masters who paved the way for us. I can certainly appreciate that there is much to learn from those who helped to change and shape the art world, but disciplines should evolve. You wouldn't teach a smart phone technician how to create a handset, or expect him to, it is redundant. To get back to the question, within the art world, I believe their is still a higher value placed on paintings, but there is clearly a shift happening, and the museums and art galleries are already noticing that. The Met Museum of Art is a good example of this, having displayed Anna Wintor collections and currently running The Costume Institute, a collection of 35000 costumes from over 5 continents.
Other useful links:
Hierarchy of Mediums in Modern art
Defining High and Low art
Categorizing High Art
Other useful links:
Hierarchy of Mediums in Modern art
Defining High and Low art
Categorizing High Art
Materials and Processes
Art has changed through the centuries with the advance of technology, science and techniques. Printmaking probably had the most significant impact on the art world. Artists were now able to copy and learn from the work of others. Images could be use to create textiles, ceramics and more. Photography was another great influence on the history of art. Though first not taken seriously, it was later realized that artistic photography has a similar thought process to painting. Considerations of compositions, story telling and colour interpretations, many of which has to been controlled by the artist and their understanding of their tool.
?
? |
Are you aware of any current developments in materials and processes that might influence the art of the future?
For example, how have developments in digital technology influenced artists in the recent past? |
Science and technology have always played a great role in the development of art. From the invention of portable paint tubes to make plein air painting easier to experimentation with printing on wood, silkscreen and more. Following are some examples of experiments and explorations that are changing the face of art.
Rising Colourspace
Artists Julian Adenauer and Michael Haas created a lightweight robot, called the Vertwalker, that walks across the wall creating acrylic patterns as it moves. The robot is programmed to move across the wall towards sounds. This means that the patterns are continually changing and the painting changes from day to day. What makes this interesting is that even with the use of technology that has to be programmed, the art is still organic and ever changing depending on the sounds of the day.
Rising Colourspace
Artists Julian Adenauer and Michael Haas created a lightweight robot, called the Vertwalker, that walks across the wall creating acrylic patterns as it moves. The robot is programmed to move across the wall towards sounds. This means that the patterns are continually changing and the painting changes from day to day. What makes this interesting is that even with the use of technology that has to be programmed, the art is still organic and ever changing depending on the sounds of the day.
3D Printing
3D printing has taken more than just the art world by storm. It has created endless possibilities in design, medicine, architecture, education etc. Eyal Gever is one artist who understands the fusion of technology and art. He is a cutting-edge contemporary artist who uses code as his palette to develop life-like digital simulations of moments in time to create 3D-printed sculptures and installations.
3D printing has taken more than just the art world by storm. It has created endless possibilities in design, medicine, architecture, education etc. Eyal Gever is one artist who understands the fusion of technology and art. He is a cutting-edge contemporary artist who uses code as his palette to develop life-like digital simulations of moments in time to create 3D-printed sculptures and installations.
Digital Art
Using art to create digital prints, animation and film has been popular since the invention of the first animation in 1908 by Emil Cohl. Whether using a paintbrush or a mouse as your tool, the technical skills, thought process and compositional planning is still to be admired. Ricardo Jabardo is a digital artist who creates digital paintings, creates film and has worked on special effects for films. Taxman is from a series of images called Onirika. |
The concept of style
?
? |
What do you understand by the term ‘style’ as applied to art?
Before you read any further, make some brief notes in your learning log and return to this question when you’ve got to the end of this section. |
First Response:
Style can be interpreted in different ways when looking at art. When talking about the style of a painting according to its composition and representation of subject matter, you would generally be referring to a time period in art. For example, the painting is created in a baroque style or neo-impressionist style. The way an artists has used their chosen tools also helps to define this further. Particular brush stokes and colour schemes are also related to different artistic movements. For example, consider the bright contrasting colurs and shapes used in pop art.
Second Response:
When talking about the work of others or trying to analyze art, people find it easier to group artists together to find a commonality or 'movement' to define them. Though it is important to note that this classification does not necessarily apply to all artists or works.
When looking at an individual, style becomes more of a signature. It is the unique tools, ideas or processes that define you as an artist. Off course, some of those 'unique' features are potentially shared with many others, in which case your 'style' could essentially also be grouped or classified. As long as these classifications don't box in an artist, 'I think it is useful to have a frame of reference when discussing art.
Style can be interpreted in different ways when looking at art. When talking about the style of a painting according to its composition and representation of subject matter, you would generally be referring to a time period in art. For example, the painting is created in a baroque style or neo-impressionist style. The way an artists has used their chosen tools also helps to define this further. Particular brush stokes and colour schemes are also related to different artistic movements. For example, consider the bright contrasting colurs and shapes used in pop art.
Second Response:
When talking about the work of others or trying to analyze art, people find it easier to group artists together to find a commonality or 'movement' to define them. Though it is important to note that this classification does not necessarily apply to all artists or works.
When looking at an individual, style becomes more of a signature. It is the unique tools, ideas or processes that define you as an artist. Off course, some of those 'unique' features are potentially shared with many others, in which case your 'style' could essentially also be grouped or classified. As long as these classifications don't box in an artist, 'I think it is useful to have a frame of reference when discussing art.
Critics, thinkers and historians
One of the things you’ll learn on this course is to evaluate the work of prominent art historians and critics. Some of these, such as the philosophers Aristotle and Plato, the writer Zola or the psychologist Sigmund Freud, are people that you might not have associated with the visual arts. Others, including Vasari, van Gogh and Matisse, were prominent artists whose writings shed light on the work of other contemporary practitioners as well as on their own. You’ll also learn how critics and art historians, as well as artists, have been influenced by the intellectual concerns of the periods in which they were writing.
?
? |
Read some reviews of exhibitions or articles about art in the newspaper or in a magazine.
What is the role of the art critic today? |
The main role of the art critic would be to provide information about exhibitions and artists. Writing a critical review about anything, means that you have some form of understanding and appreciation for the subject at hand in order to make informed observations. Off course art critics still have their own voice and opinions and these usually get voiced as well.
"A critic is obliged to give an honest, informed assessment. They must be prepared to distinguish good from bad, and argue their case. No-one is forced to agree with a critic’s reasoning, but they should always give their readers something to think about."
~ John McDonald
I think art critics still have a place within the art world. With the evolution of the internet and our ability to communicate to a wider audience it will be important for artists to have critics that still promote and analyze the surge of art hitting us from all angles. However, social media has changed the way we receive information. We have become much more accustomed to receiving details in small chunks or 'posts'. We tend to want our information immediately and once 'liked' we move on to the next thing. I think this makes a difficult platform for both artist and critic. Both parties now almost have to sensationalize or reinvent what they are doing on a regular basis to keep up with fleeting trends. We have stepped into dangerous territory where everyone is an artist and everyone is a critic. There is no real resolution to this, but as an individual you can educate yourself on what is important. How does the art speak to you? What is the artist trying to say? How have traditional art practices, skill or techniques been used to engage or provoke? Both artist and critic would need to be more vigilant on how they 'follow' by considering their voice and integrity.
Useful Links:
Role of the art critic
Famous art critics
Art Review
10 Critics to follow on twitter
"A critic is obliged to give an honest, informed assessment. They must be prepared to distinguish good from bad, and argue their case. No-one is forced to agree with a critic’s reasoning, but they should always give their readers something to think about."
~ John McDonald
I think art critics still have a place within the art world. With the evolution of the internet and our ability to communicate to a wider audience it will be important for artists to have critics that still promote and analyze the surge of art hitting us from all angles. However, social media has changed the way we receive information. We have become much more accustomed to receiving details in small chunks or 'posts'. We tend to want our information immediately and once 'liked' we move on to the next thing. I think this makes a difficult platform for both artist and critic. Both parties now almost have to sensationalize or reinvent what they are doing on a regular basis to keep up with fleeting trends. We have stepped into dangerous territory where everyone is an artist and everyone is a critic. There is no real resolution to this, but as an individual you can educate yourself on what is important. How does the art speak to you? What is the artist trying to say? How have traditional art practices, skill or techniques been used to engage or provoke? Both artist and critic would need to be more vigilant on how they 'follow' by considering their voice and integrity.
Useful Links:
Role of the art critic
Famous art critics
Art Review
10 Critics to follow on twitter
Inside and outside influences: non-western art
Though our focus will mainly be Western art, it is important not to consider American and European art in isolation. For example, consider how China had influenced European art through technical advances in ceramics, glass and paper making passed down the Silk Road and absorbed indirectly through Islam.
?
? |
Can you think of any other non-western influences on western art?
Try and come up with 2 or 3 examples and make brief notes in your learning log. If you can, identify the route by which this influence came about. |
Influences from other cultures can come in many forms, from specific painting techniques, to subject matter to materials used. I will explore an example of each of these. I also found an interesting chapter about the Chinese Influences in Europe that looks at influences in painting, architecture, ceramics and engravings, which you will find here.
Painting Techniques
Calligraphy is widely practiced and revered in Chinese culture. A calligrapher prides them self in being able to use the brush to create a rhythmic motion through expressive strokes that are filled with dynamic life. Picasso himself has spoken of his fascination with the specific stylistic brush stokes used in Chinese calligraphy and there is evidence of these stokes an many of his works. In this image of the weeping woman, the very specific focus of the black lines that shape and create an energy and movement in the image are quite reminiscent of calligraphy strokes. |
Subject Matter
Art generally has a theme or a message as we have discussed before. Artists are generally influenced by there surroundings and culture. With the rise of travel and social media, artist can now also be influenced by others cultures and also their politics. During the time of the Chinese Revolution, Any Warhol took a particular interest in the rising 'popularity' of the communist leader Mao Zedong. He transferred the image to an array of canvases, and transformed the leader by applying the same wild, vibrant blocks of paint he had deployed to remake actress Marilyn Monroe. He began this series shorty after U.S. President Richard Nixon flew into Beijing to break a two-decade-long freeze on ties between the two Pacific powers in 1972. |
Materials
As travel and trade grew, so too did the exploration of different tools and materials used in art. Each culture tends to play to the strengths of their countries specific natural resources. In China, for example, the use of rice paper, silk and ink were particularly popular. In Japan, bamboo is a symbol of prosperity. It has many uses, but its strength and durability makes it a popular material for creating crafts, furniture, architecture and instruments. American artist, Charissa Brock, is one artist who has realized the strength and flexibility of Bamboo and uses it to create amazing sculptures. |
Inside and outside influences: art and popular culture
Popular culture has greatly influenced the modern western artist. Artist have long been imitating and recycling each others work. More recently, an interest in popular culture has been superseded by an interest in the process of globalization, the arrival of communications technology and the emergence of new ideas about the relationship between the artist, the artwork and the viewer.
?
? |
Do you think there’s still a clear distinction between fine art and popular culture today or is it more useful to think in terms of a spectrum of visual culture?
With millions of images available online, is there still a place for the traditional art gallery? |
Distinction in art
The definition of art is open, subjective and widely debated. Art is a topic that has grown, evolved and changed so significantly over the decades that even pinpointing a specific definition is challenging, but in order to answer this question I think it is important to establish a definition for 'art' and 'fine art'.
Art
The expression or application of human creative skill and imagination, typically in a visual form such to be appreciated primarily for their beauty or emotional power.
Fine Art
Creative art, especially visual art whose products are to be appreciated primarily or solely for their imaginative, aesthetic, or intellectual content. An activity requiring great skill or accomplishment.
If we apply the umbrella definition of art to works, anything could in theory really be considered art. A 2 yr old's scribbles would be art to a mother, as the image would connect to her emotionally. An elephant creating a painting would be appreciated as it is a skill not associated with their common behaviour. Bathroom graffiti would be art as it intends to provoke or amuse, but surely we need to employ more than just one of these elements when considering if an artwork can be considered 'fine art'. However, losing all sense of discernment, and raising such art to the level where is it celebrated as exemplifying the pinnacle of human achievement, shown at major galleries and commanding high prices, seems to belittle humanity's potential for displaying high degrees of skill and creative visual excellence.
I think it is useful to create a spectrum of arts, even though the lines may be blurred at times and we may find it hard place works in specific column, it is still useful when analyzing and discussing it. Almost in the same way that film and music is divided into genres, it makes it easier to create a frame of reference for what to expect from a piece of art.
Galleries
As mentioned before, when celebrating fine art, we are also celebrating the journey of the artist. Their exploration of skill and ingenuity to create, provoke and stimulate. There is a sense of ceremony and honor about works being displayed in a gallery, so from the perspective of an artist I certainly think galleries still have a place. From the perspective of an audience member it is even more important. There is a reason why people have physical pieces of art in their homes. They piece allows them to connect and feel the connection. Sure you could access these images on line, but it is not constantly there for you to interact with. It is also an important way for people to engage with the texture and feeling of the art, which is not generally conveyed well in a digital image. Personally, when I view an image online it is for mere seconds, but when I'm looking at work in a gallery, I spend minutes scanning the canvas to figure out what the artist has done and I believe that interaction remains an important one.
Useful articles about defining art:
Visual Art: Definition and Meaning
Art: What do we really mean
The definition of art is open, subjective and widely debated. Art is a topic that has grown, evolved and changed so significantly over the decades that even pinpointing a specific definition is challenging, but in order to answer this question I think it is important to establish a definition for 'art' and 'fine art'.
Art
The expression or application of human creative skill and imagination, typically in a visual form such to be appreciated primarily for their beauty or emotional power.
Fine Art
Creative art, especially visual art whose products are to be appreciated primarily or solely for their imaginative, aesthetic, or intellectual content. An activity requiring great skill or accomplishment.
If we apply the umbrella definition of art to works, anything could in theory really be considered art. A 2 yr old's scribbles would be art to a mother, as the image would connect to her emotionally. An elephant creating a painting would be appreciated as it is a skill not associated with their common behaviour. Bathroom graffiti would be art as it intends to provoke or amuse, but surely we need to employ more than just one of these elements when considering if an artwork can be considered 'fine art'. However, losing all sense of discernment, and raising such art to the level where is it celebrated as exemplifying the pinnacle of human achievement, shown at major galleries and commanding high prices, seems to belittle humanity's potential for displaying high degrees of skill and creative visual excellence.
I think it is useful to create a spectrum of arts, even though the lines may be blurred at times and we may find it hard place works in specific column, it is still useful when analyzing and discussing it. Almost in the same way that film and music is divided into genres, it makes it easier to create a frame of reference for what to expect from a piece of art.
Galleries
As mentioned before, when celebrating fine art, we are also celebrating the journey of the artist. Their exploration of skill and ingenuity to create, provoke and stimulate. There is a sense of ceremony and honor about works being displayed in a gallery, so from the perspective of an artist I certainly think galleries still have a place. From the perspective of an audience member it is even more important. There is a reason why people have physical pieces of art in their homes. They piece allows them to connect and feel the connection. Sure you could access these images on line, but it is not constantly there for you to interact with. It is also an important way for people to engage with the texture and feeling of the art, which is not generally conveyed well in a digital image. Personally, when I view an image online it is for mere seconds, but when I'm looking at work in a gallery, I spend minutes scanning the canvas to figure out what the artist has done and I believe that interaction remains an important one.
Useful articles about defining art:
Visual Art: Definition and Meaning
Art: What do we really mean
Political, economic or social factors
'In every human society, art forms part of a complex structure of beliefs and rituals, moral and social codes, magic or science, myth or history.' (p2)
'Most large scale works of art were crated for a purpose, whether religious, social, political or exceptionally to express and artist's inner vision.' (p14)
'However accessibly their formal qualities may be to us, however engaging in their subject matter, works of art cannot be properly or fully understood unless related to their original context - to the beliefs, hopes and fears of the people by whom and for whom they were made, which may differ widely from those prevalent nowadays in the West.' (p15)
'Works of art always form part of a whole cultural structure being both expression of religious belief, moral codes, aesthetic preferences, and of its social system with its ranks, marginalizations and exclusions, as well as being a means of maintaining and perpetuating them.' (p16)
It is clear that the context an artist finds them self in will influence their approach to art and their subject matter. It is also easier for us to create a frame of reference or try to understand art, if we are able to understand that context.
'Most large scale works of art were crated for a purpose, whether religious, social, political or exceptionally to express and artist's inner vision.' (p14)
'However accessibly their formal qualities may be to us, however engaging in their subject matter, works of art cannot be properly or fully understood unless related to their original context - to the beliefs, hopes and fears of the people by whom and for whom they were made, which may differ widely from those prevalent nowadays in the West.' (p15)
'Works of art always form part of a whole cultural structure being both expression of religious belief, moral codes, aesthetic preferences, and of its social system with its ranks, marginalizations and exclusions, as well as being a means of maintaining and perpetuating them.' (p16)
It is clear that the context an artist finds them self in will influence their approach to art and their subject matter. It is also easier for us to create a frame of reference or try to understand art, if we are able to understand that context.
Changes to status or training of artists
'...since the sixteenth century...painters and sculptures assumed a status superior to that of ...the so called decorative arts.' (p3)
'But painters appear to have learnt the effects of mixed and juxtaposed colors less from theories than by practice, by studying the works of others and especially by handling pigments in the studios of their teachers who imparted the manual and other skills passed on from one generation to the next.' (p13)
'...until the nineteenth century, large scale art works...were commissioned by patrons ... When freed from the direct control of patrons, artists still had to respect the view of potential purchasers...' (p16)
'Women remained, nevertheless, a tiny minority among professional artists and those who attained distinction tended to be regarded as prodigies' (p19)
It is notable that the view of artists has changed in the centuries and our definitions of what constitutes art has played a role in this. Even though education and training has improved, the practice of skills and techniques still comes down to the individual artist and what they intended the work for. And as money makes the worked go round, many working artists are still in a position where they need to consider what sells.
'But painters appear to have learnt the effects of mixed and juxtaposed colors less from theories than by practice, by studying the works of others and especially by handling pigments in the studios of their teachers who imparted the manual and other skills passed on from one generation to the next.' (p13)
'...until the nineteenth century, large scale art works...were commissioned by patrons ... When freed from the direct control of patrons, artists still had to respect the view of potential purchasers...' (p16)
'Women remained, nevertheless, a tiny minority among professional artists and those who attained distinction tended to be regarded as prodigies' (p19)
It is notable that the view of artists has changed in the centuries and our definitions of what constitutes art has played a role in this. Even though education and training has improved, the practice of skills and techniques still comes down to the individual artist and what they intended the work for. And as money makes the worked go round, many working artists are still in a position where they need to consider what sells.
Development of materials and processes
'The production of any artifact is dependent on both manual skill and technical knowledge...there is tension between ends and means, between the idea in the maker's mind and the skill needed to express it and give it form.' (p2)
'Carvers are restricted by the natural characteristics, shape and consistency of their materials and the efficiency of tool with which they fashion them.' (p3)
'Artists in the West have continued to use and exploit oil paint to the present day. There was, in fact, no other medium as satisfactory ... until ... acrylics.' (p7)
We see that an artist needs to find a definite balance between their ideas/ voice and the materials or tools used to execute it.
'Carvers are restricted by the natural characteristics, shape and consistency of their materials and the efficiency of tool with which they fashion them.' (p3)
'Artists in the West have continued to use and exploit oil paint to the present day. There was, in fact, no other medium as satisfactory ... until ... acrylics.' (p7)
We see that an artist needs to find a definite balance between their ideas/ voice and the materials or tools used to execute it.
Styles and movements
'Painters in the West, from the fifteenth to the id-nineteenth century, aimed for versimilitude, an appearance of visual truth'. (p12)
'An individual style ... is sometimes merely a set of mannerisms - quirks in the manipulation of media or in the rendering of detail, preference for a particular colourscheme, and so on ... It can convey or at least imply artist's whole outlook and range of response, their view of themselves and of the human condition - all can be sense in the way a subject is rendered, sensuously or cerebrally, emotionally or dispassionately.' (p13)
As mentioned before, the brain works by making connections and creating a frame of reference from your own experiences. It is easier for us to relate or understand an artwork if we can compartmentalize or group it. Style is one way for us to make sense of what we are viewing. Another way of creating context.
'An individual style ... is sometimes merely a set of mannerisms - quirks in the manipulation of media or in the rendering of detail, preference for a particular colourscheme, and so on ... It can convey or at least imply artist's whole outlook and range of response, their view of themselves and of the human condition - all can be sense in the way a subject is rendered, sensuously or cerebrally, emotionally or dispassionately.' (p13)
As mentioned before, the brain works by making connections and creating a frame of reference from your own experiences. It is easier for us to relate or understand an artwork if we can compartmentalize or group it. Style is one way for us to make sense of what we are viewing. Another way of creating context.
Inside and outside influences
'Yet art is constantly regenerated like the living organisms of social and cultural structures which are always subject to modification, as a result either of internal growth or of external pressures.' (p2)
'Images have been drawn and painted conceptually (according to what the mind knows) and perceptually (according to what the eye sees at a particular moment).' (p9)
This category is very closely related to context, style and movement. It involves that which is affecting the artist. It is important to understand that as our world changes, that which influences us will too. Off course our emotional state and own interpretations of our surroundings also continue to evolve and this is evident in how our interpretations of what constitutes art continues to change. In a world that is becoming ever more International the lines between cultures can become blurred at times.
'Images have been drawn and painted conceptually (according to what the mind knows) and perceptually (according to what the eye sees at a particular moment).' (p9)
This category is very closely related to context, style and movement. It involves that which is affecting the artist. It is important to understand that as our world changes, that which influences us will too. Off course our emotional state and own interpretations of our surroundings also continue to evolve and this is evident in how our interpretations of what constitutes art continues to change. In a world that is becoming ever more International the lines between cultures can become blurred at times.
Critics, thinkers and historians
'The categorization of styles has, however, been the work not of artist but of writers who have tried to impose a semblance of order on the manifold of infinitely diverse expressions of creative activity ...The names given to historical styes often have no more than a chronological significance.' (p13)
'Histories of art inevitably reflect the minds and feelings of their authors, who have been almost as diverse as the artists about whom they write ... For works of art are more than aesthetically pleasing objects, more than feats of manual skill and ingenuity ... they help us to understand our own human nature'. (p21)
All art is subjective. Again, critics and viewers create a frame of reference or context for viewing work, but it is essentially also personal.
'Histories of art inevitably reflect the minds and feelings of their authors, who have been almost as diverse as the artists about whom they write ... For works of art are more than aesthetically pleasing objects, more than feats of manual skill and ingenuity ... they help us to understand our own human nature'. (p21)
All art is subjective. Again, critics and viewers create a frame of reference or context for viewing work, but it is essentially also personal.
Art Gallery Visit
Art works
Choose two or three works of art to examine very carefully; allow yourself to notice everything about them. Try making a list in your learning log of the colour, pigments, materials, subject and technique.
Choose two or three works of art to examine very carefully; allow yourself to notice everything about them. Try making a list in your learning log of the colour, pigments, materials, subject and technique.
The Gallery
In April I visited the Hong Kong Visual Arts Center which is situated in Hong Kong park. It is a historic building that houses multi-directional art spaces, including learning, experiencing and creating. It hosts several exhibitions during the year, generally featuring local artists or Asian artists. The artist featured during my visit, was local born artist Mo Kwok. |
About the Gallery Space
How do they complement the experience of seeing the works?
There is also a woman handing out stickers with a catch phrase featured in the art 'You are Art'. It was nice to get this kind of souvenir. The space in general is well kept and clean.
Are there too many or too few works in each room?
As is the case with many places in Hong Kong, space is limited. The different gallery rooms aren't very large, but they did well in still spacing pieces and not making the area feel cluttered.
Is the lighting good?
The space is bright with many large windows spilling in natural light. All walls and areas are kept white and this also helps to bounce natural light around the room. As I was there in the afternoon, there was not much need for artificial lights.
Can you get close enough to the works of art to study them properly?
There are no restrictions around any of the art and viewers are free to investigate and take photos.
Can you sit down?
There are no seating areas in the spaces, as there would not be any space for it. The space consisted of four viewing rooms, so it doesn't take very long to view the exhibition.
Can you easily get back to revisit earlier parts of the gallery or exhibition or do you feel propelled along from beginning to end? There is only one way in and out, so you have to view everything as you walk and the backtrack.
Think about the information you’re given in the gallery itself (as opposed to a guidebook that you have to pay for). Is there information on every piece of art?
Next to every piece of art there is a description of the art work. The description provides the name and material use, but the artist has also added a brief description of the meaning or inspiration behind the work which was interesting to read. At the gallery itself they did not provide a pamphlet or guidebook. It would have been good to have some information on the artist, but there is a short description given on the website, here.
Think about how the gallery designer and curator have solved particular display problems. Can you think of different answers? there were combinations of installations, sculptures and paintings. As the gallery walls are set in this space and cannot be moved, I imagine that the curator would have had to examine the area and space, to make sure that all pieces will fit in the area. Especially when putting together installations and placing sculptures, they would need to consider how to display it to make viewing easy. There was also one display featuring neon lights, for this they would have to make sure that thee is a power supply and that the natural light does not interfere with the display. They placed it down the end of a corridor, away from the windows and that would have been the best solution. As can be seen from the floor plan below, my annotations also point out that each room had a theme or connection. This helps to tie pieces together and in a way almost represents a journey that they want you to take.
How do they complement the experience of seeing the works?
There is also a woman handing out stickers with a catch phrase featured in the art 'You are Art'. It was nice to get this kind of souvenir. The space in general is well kept and clean.
Are there too many or too few works in each room?
As is the case with many places in Hong Kong, space is limited. The different gallery rooms aren't very large, but they did well in still spacing pieces and not making the area feel cluttered.
Is the lighting good?
The space is bright with many large windows spilling in natural light. All walls and areas are kept white and this also helps to bounce natural light around the room. As I was there in the afternoon, there was not much need for artificial lights.
Can you get close enough to the works of art to study them properly?
There are no restrictions around any of the art and viewers are free to investigate and take photos.
Can you sit down?
There are no seating areas in the spaces, as there would not be any space for it. The space consisted of four viewing rooms, so it doesn't take very long to view the exhibition.
Can you easily get back to revisit earlier parts of the gallery or exhibition or do you feel propelled along from beginning to end? There is only one way in and out, so you have to view everything as you walk and the backtrack.
Think about the information you’re given in the gallery itself (as opposed to a guidebook that you have to pay for). Is there information on every piece of art?
Next to every piece of art there is a description of the art work. The description provides the name and material use, but the artist has also added a brief description of the meaning or inspiration behind the work which was interesting to read. At the gallery itself they did not provide a pamphlet or guidebook. It would have been good to have some information on the artist, but there is a short description given on the website, here.
Think about how the gallery designer and curator have solved particular display problems. Can you think of different answers? there were combinations of installations, sculptures and paintings. As the gallery walls are set in this space and cannot be moved, I imagine that the curator would have had to examine the area and space, to make sure that all pieces will fit in the area. Especially when putting together installations and placing sculptures, they would need to consider how to display it to make viewing easy. There was also one display featuring neon lights, for this they would have to make sure that thee is a power supply and that the natural light does not interfere with the display. They placed it down the end of a corridor, away from the windows and that would have been the best solution. As can be seen from the floor plan below, my annotations also point out that each room had a theme or connection. This helps to tie pieces together and in a way almost represents a journey that they want you to take.
About the works
The exhibition was called The Testament of a 90s Baby. Being born in 1993, Mo Kwok uses her experiences of politics, religion and her travels to create pieces that will help the viewer consider current world systems. Issues concerning pain, poverty and injustice. The works comprised of paintings, sculptures, photographs and neon light installations. Exhibit Images |
Classical Canon
The term ‘canon’ – in art and literature – refers to a body of works traditionally accepted as being of particular value. Canonical essentially means a 'classical' ideal or works created in a classical tradition.
Make some notes on how your chosen gallery reflects the notion of a western canon.
The Western cannon represents great art works that have shaped and influenced how we view art today. The most notable period being during the Renaissance. Philosophers looked at the artists aesthetic, fine skills as well as their ability to seek truth in their current society. This means that their intellectual approach had just as great an impact on their work as their techniques or fine skills. It is a standard used in art to find a place for art when defining it. Though this canon has sparked many debates due to it's bias, it is still widely used in education to help classify and distinguish art.
How the gallery addressed the concept of 'the western canon' is a difficult question to answer a this is Asia and the gallery tends to feature the work of Asian artists. The gallery states that their vision is to 'To take art enthusiasts on a journey of the visual arts and power the creative development of our city.' (VA!) I would imagine that the gallery uses their vision as a guide to determine which artists will be featured in their gallery. It is clear that their vision is related to 'their city', Hong Kong, but that the journey of arts is just as important. The History of Hong Kong is one rife with Western influence which can be seen in the cuisine, architecture and certainly the art. Many students from Hong Kong study abroad and bring their Western experiences with them. Mo Kwok, as seen in her bio, is no exception. It is evident that her studies and travels abroad have allowed her to explore western art and consider the influences of classical art. This gives her a voice for her generation, as she considers the aesthetics and meanings of her pieces. I'm sure she would have worked with the gallery to emphasis her vision for the exhibition and that they would have worked together to incorporate the western canon. If I had to guess, I would say that that included decisions on what works to include, creating a flow for the show in order to tell a story or create a particular mood. Considering how best to 'frame' the essence of her work and the impact that she would like to make on the audience. These decision would already be evidence of following a classical ideal or tradition.
As a viewer I experienced evidence of the canon through the subject matter used. By recognizing traditional techniques and most importantly through the artist having a intellectual voice that speaks to her current society.
Useful reading:
The definition of Art
The Western Canon
The term ‘canon’ – in art and literature – refers to a body of works traditionally accepted as being of particular value. Canonical essentially means a 'classical' ideal or works created in a classical tradition.
Make some notes on how your chosen gallery reflects the notion of a western canon.
The Western cannon represents great art works that have shaped and influenced how we view art today. The most notable period being during the Renaissance. Philosophers looked at the artists aesthetic, fine skills as well as their ability to seek truth in their current society. This means that their intellectual approach had just as great an impact on their work as their techniques or fine skills. It is a standard used in art to find a place for art when defining it. Though this canon has sparked many debates due to it's bias, it is still widely used in education to help classify and distinguish art.
How the gallery addressed the concept of 'the western canon' is a difficult question to answer a this is Asia and the gallery tends to feature the work of Asian artists. The gallery states that their vision is to 'To take art enthusiasts on a journey of the visual arts and power the creative development of our city.' (VA!) I would imagine that the gallery uses their vision as a guide to determine which artists will be featured in their gallery. It is clear that their vision is related to 'their city', Hong Kong, but that the journey of arts is just as important. The History of Hong Kong is one rife with Western influence which can be seen in the cuisine, architecture and certainly the art. Many students from Hong Kong study abroad and bring their Western experiences with them. Mo Kwok, as seen in her bio, is no exception. It is evident that her studies and travels abroad have allowed her to explore western art and consider the influences of classical art. This gives her a voice for her generation, as she considers the aesthetics and meanings of her pieces. I'm sure she would have worked with the gallery to emphasis her vision for the exhibition and that they would have worked together to incorporate the western canon. If I had to guess, I would say that that included decisions on what works to include, creating a flow for the show in order to tell a story or create a particular mood. Considering how best to 'frame' the essence of her work and the impact that she would like to make on the audience. These decision would already be evidence of following a classical ideal or tradition.
As a viewer I experienced evidence of the canon through the subject matter used. By recognizing traditional techniques and most importantly through the artist having a intellectual voice that speaks to her current society.
Useful reading:
The definition of Art
The Western Canon
Portraits
When you look at a portrait, try and find out something about the sitter so that you can judge how the artist has interpreted their character. Focus on two or three personalities. As well as looking at how the artist has portrayed the sitter, think about where the picture was originally displayed. How big is it? Who was it for? Who would have seen it?
The painting Three Kings And A Ghost features portraits of three political leader, Barack Obama, Vladimir Putin and Xi Jinping. The artist seems to be pointing out the growing relationship between Jinping and Putin (read more here) and the decline in their relationships with the US. This is evident in their expressions, as well as their placements in the portrait. The likenesses are of a slightly caricature nature, though still recognizable. Capturing the correct expressions for each character would have been most important here as this is what tell the story about their relationships. This was done quite well. Obama has clearly been left out and pushed out of the relationship, leaving him isolated and upset. His sadness has been over exaggerated a bit, almost giving it a school yard feel. Jinping seems to be leading the pack and appears confidence about his new found 'bromance' with Putin. Putin almost has a slightly scheming expression on his face, as though this relationship is all part of a bigger plan. Between the two of them there is also a sense of joy in the fact that they are pushing Obama out.
How big is it?
It is about 60x85cm, painted with acrylic and oil on canvas
Who was it for?
I would assume it is for the Chinese audience. The artist, being from Hong Kong, but studying in America would like other locals to be aware of the Chinese leader's relationship with Putin and how their relationship with the US has taken strain. It is not necessarily clear whether sh considers this positive or negative, it appears to be more creating an awareness and allowing the audience to make up their own mind about what that could mean for Hong Kong.
Who would have seen it?
Mostly Hong Kong locals, but potentially also expats and tourists from other countries. I think the artist is aiming it more towards the local community, so it is a fitting venue for the exhibition.
How big is it?
It is about 60x85cm, painted with acrylic and oil on canvas
Who was it for?
I would assume it is for the Chinese audience. The artist, being from Hong Kong, but studying in America would like other locals to be aware of the Chinese leader's relationship with Putin and how their relationship with the US has taken strain. It is not necessarily clear whether sh considers this positive or negative, it appears to be more creating an awareness and allowing the audience to make up their own mind about what that could mean for Hong Kong.
Who would have seen it?
Mostly Hong Kong locals, but potentially also expats and tourists from other countries. I think the artist is aiming it more towards the local community, so it is a fitting venue for the exhibition.
Inspired by Mo Kwok's painting of the three political leaders I chose to use them us the subjects for my portraits as well. Being a politician is a difficult job and one where you often have many who hate you or disagree with what you do. Politician portraits are also often serious by nature. I wanted to firstly challenge the viewers response to the well known leader by setting aside their opinions of them and second challenge the traditional politician's portrait.
Whenever I look at photographs of others or people I know, I find myself most drawn to ones where people respond naturally and smile from within. I suppose this is a way of connecting to something deeper and innocent, something we all have in common. It makes me experience the moment of joy with them. I recreated portraits for Obama, Putin and Jinping while laughing to connect with that joy and set aside opinions for a moment. I first worked with a base layer of watercolours using blue and brown. Once dry I used pens or charcoal to enhance features. I wanted to use water colour as it is also quite expressive and lends an additional energy to the portraits. In the Obama portrait I used a liquid ink pen, for Putin, brown charcoal and for Jinping a ballpoint pen. I wanted to see how it created different effect or detail. |
Self Portraits
An artist’s self-portrait is historically fascinating as well as being personally significant. Go online and compare the self-portraits of Dürer, Rembrandt, van Gogh and Munch. Amongst more modern works look at self-portraits by Lucian Freud, Bruce Nauman, Cindy Sherman, Sam Taylor-Wood and Sarah Lucas. What new problems arise when an artist decides to portray themselves?
Dürer started creating self portraits at the age of 13. With each portrait created he grows in elegance and stature. He clearly seems to have an obsession with his likeness and possible an inflated ego. He has clearly been influenced by the religious themes of his time and has made himself appear almost evangelical. He clearly wanted to create an elevated image of himself in society. '...he took up the hieratic frontal pose normally reserved for kings and for Christ' (p456)
|
Rembrandt became a highly commissioned artist during his time. Commissions and popularity truly gauged an artists' status at that time. He understood his success and status and show this in the many portraits he created of himself. His poses are always fairly diplomatic and confrontational, showing the viewer that he is a serious artist and scholar, which is to be respected. 'Most were probably made as studies of character and expression (p594)
|
Van Gogh was a tormented artist during his career. 'Each of his paintings became a cry of anguish as he struggled to release his violent, frustrated passions.' (p718) I think many of his self portraits stem from his yearning to understand himself. He created several self-portraits and in most of them there is a great sense of sadness or even anxiety. It is evident in his expressive strokes and contrasting colours choices that he had a great energy and intensity.
|
Munch lived in a time when death and sickness was a common part of life. He himself lost family members to sickness and suffered from depression. 'a world of brooding introspection and neurotic obsessions' (720) He painted a number of self portraits and he generally tried to provoke the viewer through them. It was also a way for him to explore is own emotion and place in society. He was not overly concerned with critics and their opinions of what art should be.
|
As an expressionist artist, Freud specialized in painting portraiture. Mostly of family and friends, but he also painted many images of himself, often with a focus from the shoulders up. He remarked that the self portraits helps him to understand his sitters and what they are experiences. It is also possible that they allowed him to explore his own features and inner workings, as he considered himself a good artist and attractive man.
|
Bruce Nauman is a performance artist and videographer. This is a self portrait photograph of him as a fountain from the series Eleven Colour Photographs. It is a play on the traditional naked sculpted statues. It shows how the artist has now become the art. He is also using it as means to help his audience question the definition of what constitutes art. A nod to Duchamp's notorious Fountain.
|
Cindy Sherman is a contemporary photographer who turned the camera on herself to create a series of role playing fantasy images that highlight our fascination with Hollywood, fashion and self interest. She uses her self portraiture to 'signify various concepts of public celebrity, self confidence, sexual adventure, entertainment, and other socially sanctioned, existential conditions.' (The Art Story Foundation, 2017)
|
Using installations, sculptures and photographs, Sarah Lucas creates satirical pieces that question culture, sexuality, and gender stereotypes. She often likes using objects in her work, as we see with the use of fried eggs here covering her breasts. As a viewer it makes me question my relationship to body image and how women are viewed. As the eggs are an object, it is almost like a metaphor for breasts being 'objectified'.
|
Sam Taylor Johnson is a photographer and filmmaker. Here self portraits and work in general tries to answer the question of our relationship with our self and that which surrounds us. The setting, objects and poses that she uses is specifically symbolic. In this image the Hare represents lust. this is her exclamation of holding on to her lust for life after her battle with cancer. (Taylor-Jonnson, 2001)
|
It is clear to see how the circumstances or trends within a particular time period influences art. Self portraits are no different. Most of these artist have taken influences or trends from their surroundings to influence or inspire their portraits. As we see the progression of technology evolve, so does the representation of self, as is clearly evident by the diverse array of images featured above. The challenge for any artist when creating a self portrait will be to consider what they want their portrait to say about themselves. will you attempt to capture your character, your ideals or to represent a metaphor for how your surroundings shape who you are. Then there are also the decisions of what medium you will use, as even that will impact how your work is received.
Self Portrait from the gallery visit:
Self Portrait from the gallery visit:
On the right is a self portrait of Mo Kwok from my gallery visit to her exhibition. She has worked with mixed media on canvas and has chosen to represent herself with expression, focus more on character. The open mouth and what looks like an empty speech bubble next to her show that she is speaking, or about to speak. This is suited to the theme of her exhibition as she is highlighting what influenced her and what her take is on her travels and life in Hong Kong. There could be several interpretations to the empty speech bubble. Either her current surroundings has left her speechless, or she is struggling to find the words and this needed to paint it. It could also be a way of getting the viewer to fill in the blank.
|
I have actually painted many portraits of myself, mostly working in oils. While I was doing my painting course I was meant to create self portraits and also to paint figures. I used myself as a model in most of my paintings as it was simply easier. I really wanted to create a portrait using watercolours as I hadn't yet. In keeping with my previous them of laughter, I created a self portrait of myself mid laugh. I was originally going to keep the same colour palette, but then decided to bring in other colours to add more vibrancy. I personally preferred the blue-brown palette I had used before. I used the same technique as before. First I create a sketch, then I apply the watercolours, focusing on areas with shadows or more details. Once dry I used a ball point pen to create the additional lines and details. I am happy with the expression that I captured and I think the emotion comes across. I am just not sold on the colours. |
The female nude
Go online and research some of the most famous female nudes such as Titian’s Venus of Urbino, Velásquez’s Rokeby Venus and nudes by Ingres, Manet and Gauguin. Then compare the way in which women artists have portrayed their own bodies and those of other women. You might want to consider some twentieth-century women performance artists such as Marina Abramović in this regard. Also think about the rare instances where women have created well-known images of male nudes such as Sam Taylor-Wood’s video portrait of the sleeping David Beckham.
This painting is based on an earlier work of Giorgione, the Sleeping Venus. Titian has created a more seductive interpretation of the female nude here, as the woman is seductively staring out and inviting the viewer in. there is a warmth and a softness to her flesh and Titian is clearly celebrating her form and femininity. Her placement in an interior with a child and maid-servant in the background has lead viewers to believe that the image symbolizes married life. (p491) As a viewer I feel that the woman is romanticized and presented poetically. It fells like I stumbled upon a moment of intimacy which was not actually meant for my eyes, and yet I can't stop looking.
|
The Rokeby Venus was commissioned by Gaspar Mendez, an aristocrat. During this time it was still controversial to paint nudes, unless commissioned by influential nobles or royalty. We see the goddess of love lounging with her back to the viewer and looking into a mirror held by her son, cupid. Velasquez was potential also influenced by the work of Giorgione and Titian when painting this. He however chose not to expose her chest which brings a modesty to the image. (Collins, n.d.) The female is depicted with a soft glow and her skin illuminates the canvas. As a viewer again I get a sense of intimacy and the romanticizing of the female form.
|
In Ingre's interpretation of the lounging female, we again see the woman lounging in an interior and peering over her shoulder, potentially waiting for her lover. Scholars that have studied the image believe the Oriental fabrics and jewelry to mean that the woman was a concubine in a Harem. Again, there is a sensuality about the woman. Her soft curves and glowing skin creates a romanticized image of her. You can view an interesting analysis here.
|
Olympia was one of Manet's most controversial and mocked paintings at the time. He broke many conventions when painting and this is why he was one of the leaders of the Modernist movement. He has chosen to depict this lounging prostitute with a smaller less voluptuous figure than how women were portrayed by other artists which he was reacting again. Her gaze is confrontational and he has aimed to take the romance out of the portrayal. (p709)
|
Gauguin, a European impressionist artist, left Europe and settled in Tahiti. He was inspired by the serenity and purity of the people 'uncorrupted by civilization and modern urban life'. (p719) He generally captured the women in an androgynous way, taking away the curvy female form accepted in Europe. He showed them in a primitive environment with a a focus on lines and colours. Probably his way of showing that they were unspoiled.
|
Abromavic is a performance artist from Yugoslavia. She uses her performance pieces to test the limits of the human body and mind, pushing the boundaries between audience and performer.
The performance piece shown left was done at the Municipal Gallery of Modern Art, Bologna. One of the doorways was narrowed and on either side of the doorway there was a nude male and female. As people approached the doorway, they would have to squeeze between the two to get to the other side. This is where they would have to make a decision on whether they would face the male or the female. This piece would challenge the audience to question their own perceptions and comfortability with nudity. Having the two figures opposite each other and facing each other makes them seem equal, however, making the viewer choose who to face, provides one with more importance. It ultimately becomes a question of intimacy. Looking down when you pass through means your avoiding eye contact as you see the person being naked, while looking up and making eye contact means you see the person and acknowledge them. The fact that they are exposed does not take away their humanity. |
As is the case with most female nudes, male nudes also tend to celebrate the form and sensuality of the figure. With this video recording of David Beckham by Sam Taylor Wood the purpose is no different.
The close placement of the camera to his face, provides a sense of intimacy, allowing the viewer to feel like they are in bed with him. It also reminds us of his strong facial features and muscular torso which again plays on the sensuality of his form. The viewer is likely to feel a sense of calm and longing while watching him sleep. |
Whether then or now, it seems the portrayal of the female form in nudity is a fascinating and controversial one. The depiction of the female form seems to change as peoples perceptions of perfection and sexuality changes. Artists tend to use their artistic voice to challenge stereotypes or perceptions by not just painting nudes, but by using symbolism to tell stories of the figure. Looking at portraits, whether nude or not, a viewer is always challenged to ask questions about what they see. Who are they looking at? What is being said about their character? And ultimately this provides them with a sense of intimacy with the subject.
'Nineteenth century depictions of women, whether they emphasize passivity, frailty or sexual modesty demanded of upper class wives and daughters - the opposite of the gender characteristics ascribed to men - or the receptive sexuality of working class women, all effectively mark the divisions of gender and social class set by men.' (p18)
Female Nude from my Gallery Visit:
Female Nude from my Gallery Visit:
With this painting Kwok has made use of a well-known painting, The Dance I (1909) by Henri Matisse. When interpreting the original, you can see how the female form has been depicted loose and free, with very little detail. This adds to the free and playful motion created by the females moving in the picture. Many have also commented on the fact that there lack of clothing and circular movement implies a sense of ritualistic behaviour, potentially a form of worship. Kwok has maintained the loose form of the females in her rendition. Some of the woman even have less details than in the original. Considering the idea of rituals, it makes sense to incorporate the wi-fi sign here, allowing the viewer to question their own addictions to social media. It again brings out the contrast of that which begins playful, but leads to something darker.
Religious paintings
During your gallery visit, take a look at one or two religious paintings. Concentrate on how the human form is represented in religious images.
How are the main subjects dressed?
The main subject is Jesus and he is dressed in a blue robe. In many Catholic images he appears in a blue robe.
How are they posed?
His pose is also similar to that used in catholic images. His right hand is raised which in the Christian doctrine meant a sign of blessing. (See Interesting article here) In the other hand He is holding a glass of water. The artist has added this in, as it is not part of the traditional image. There are images of him clutching scripture, but normally the hand is free. It is likely that the glass represents water, which could refer to a classic biblical scripture where Jesus says: “Come, everyone who thirsts, come to the waters;" (Isaiah 55:1)
What are their facial expressions like?
The expression is similar to the traditional image. He appears calm and there is a hint of sadness. The artist has also chosen to paint one eye in black and white.
Do they look like you might imagine people to have looked in biblical times or are they idealized figures?
The artist has chosen to mimic the portrayal of Jesus to a popular and well known image of Jesus used in Catholicism. This will make it easily recognizable for viewers. There has however always been debates about the depiction of Jesus and what a more historically correct image of him would look like. Read an interesting article here.
The figure in this image is thus portrayed as an ideal. It is a recognizable image used by the Catholic church. One that represents their views of Christ. He is shown to be meek, white and royal, all elements that far remove him from the Bible's depiction of who He was.
Further notes on the image:
This is a mixed media collage, where some of the images have been painted and others produced digitally. It is titled, 'Our Father in Heaven'. The artist further notes that the colour of prayer is rainbow, Matthew 6: 9-13. This is where Jesus teaches his disciples how to pray.
In the image we see many different elements:
- Bookshelf - this could be symbolic of knowledge and keeping yourself informed. Otherwise you become an ignorant onlooker.
- Jesus holding a glass of water and wearing hipster style glasses - He was sent to make God relate-able to the people. Here the artist is also making him relate-able to an audience today.
- Hong Kong buildings covered in money - The artist may think that Hong Kong has become obsessed with money and that this has now become their 'god'
- Wolf howling at the moon - A wolf's cry can either be a warning to other animals or a way of calling other members of the pack together. In this case it is probably the artist way of calling together the people of Hong Kong. It may also serve as a warning or reminder that they should consider what is important.
- Rainbow colours coming from the wolf's howl - This referes back to her statement of prayer being the colour of the rainbow. In the Heavenly Father Prayer there are many facets, calling for God's will, daily bread, forgiveness, deliverance, glory
- The silhouettes of figures on a hill - This could be the 'pack' coming together because of the wolf's cry. The artist's way of showing that there needs to be unity.
The main subject is Jesus and he is dressed in a blue robe. In many Catholic images he appears in a blue robe.
How are they posed?
His pose is also similar to that used in catholic images. His right hand is raised which in the Christian doctrine meant a sign of blessing. (See Interesting article here) In the other hand He is holding a glass of water. The artist has added this in, as it is not part of the traditional image. There are images of him clutching scripture, but normally the hand is free. It is likely that the glass represents water, which could refer to a classic biblical scripture where Jesus says: “Come, everyone who thirsts, come to the waters;" (Isaiah 55:1)
What are their facial expressions like?
The expression is similar to the traditional image. He appears calm and there is a hint of sadness. The artist has also chosen to paint one eye in black and white.
Do they look like you might imagine people to have looked in biblical times or are they idealized figures?
The artist has chosen to mimic the portrayal of Jesus to a popular and well known image of Jesus used in Catholicism. This will make it easily recognizable for viewers. There has however always been debates about the depiction of Jesus and what a more historically correct image of him would look like. Read an interesting article here.
The figure in this image is thus portrayed as an ideal. It is a recognizable image used by the Catholic church. One that represents their views of Christ. He is shown to be meek, white and royal, all elements that far remove him from the Bible's depiction of who He was.
Further notes on the image:
This is a mixed media collage, where some of the images have been painted and others produced digitally. It is titled, 'Our Father in Heaven'. The artist further notes that the colour of prayer is rainbow, Matthew 6: 9-13. This is where Jesus teaches his disciples how to pray.
In the image we see many different elements:
- Bookshelf - this could be symbolic of knowledge and keeping yourself informed. Otherwise you become an ignorant onlooker.
- Jesus holding a glass of water and wearing hipster style glasses - He was sent to make God relate-able to the people. Here the artist is also making him relate-able to an audience today.
- Hong Kong buildings covered in money - The artist may think that Hong Kong has become obsessed with money and that this has now become their 'god'
- Wolf howling at the moon - A wolf's cry can either be a warning to other animals or a way of calling other members of the pack together. In this case it is probably the artist way of calling together the people of Hong Kong. It may also serve as a warning or reminder that they should consider what is important.
- Rainbow colours coming from the wolf's howl - This referes back to her statement of prayer being the colour of the rainbow. In the Heavenly Father Prayer there are many facets, calling for God's will, daily bread, forgiveness, deliverance, glory
- The silhouettes of figures on a hill - This could be the 'pack' coming together because of the wolf's cry. The artist's way of showing that there needs to be unity.
I liked Kwok's idea of creating a collage, as there are so many interesting ways of creating a composition and telling a story this way. I kept with the idea of creating awareness of issues in Hong Kong, in particular the people's fight for democracy. During October/ September 2014, protesters mobilized to fight for Democracy, urging Beijing to grant them free elections in 2017. As I live in Hong Kong I was able to walk the streets during what they called 'Occupy Central', a peaceful protest where students filled the streets of downtown Hong Kong Island. You can read more about the event here.
The collage is made up of images from the event, including an illustration. These were photographs that I printed and then covered with adhesive paper, then I soaked the images in water allowing me to remove the paper and just having the black imprints of the photo left. I then filled the spaces above using markers and liquid pens to add further symbolism.
What can be seen in the image:
- Background colours of red and yellow - the colours of communist China
- Communist symbol - contrast to democracy
- Images from the protest, including umbrellas - as it was also referred to as the 'umbrella revolution'. People being tear gassed by police, protesters showing that they are 'silenced, posters from the protest blaming the government leader which the people feel are controlled by China and an illustration of the fight for freedom.
- Drawing of iconic Hong Kong buildings to further establish setting
- Barriers and a no umbrella sign reminiscent of the scenes during Occupy Central
- Chines Characters showing Freedom
- Buddha declaring peace
- Hipster Jesus showing that we are silenced - He is also symbolic as in the Christian Faith He also represents Freedom, but many choose not to have it. I used the catholic halo to make him recognizable.
- Money flying away - Hong Kong is a cash cow for China and they will never give it up.
- Revolution fist - which says that that fight will continue.
The collage is made up of images from the event, including an illustration. These were photographs that I printed and then covered with adhesive paper, then I soaked the images in water allowing me to remove the paper and just having the black imprints of the photo left. I then filled the spaces above using markers and liquid pens to add further symbolism.
What can be seen in the image:
- Background colours of red and yellow - the colours of communist China
- Communist symbol - contrast to democracy
- Images from the protest, including umbrellas - as it was also referred to as the 'umbrella revolution'. People being tear gassed by police, protesters showing that they are 'silenced, posters from the protest blaming the government leader which the people feel are controlled by China and an illustration of the fight for freedom.
- Drawing of iconic Hong Kong buildings to further establish setting
- Barriers and a no umbrella sign reminiscent of the scenes during Occupy Central
- Chines Characters showing Freedom
- Buddha declaring peace
- Hipster Jesus showing that we are silenced - He is also symbolic as in the Christian Faith He also represents Freedom, but many choose not to have it. I used the catholic halo to make him recognizable.
- Money flying away - Hong Kong is a cash cow for China and they will never give it up.
- Revolution fist - which says that that fight will continue.
Inspired by looking at Guernica by Picasso during my assignment, I decided to create the above piece. Guernica really draws on the idea of cubism by its use of geometric shapes and I wanted to play with that idea. As mush of the research we had done so far was about portraits, I created a geometric style interpretation of my husband and I. Working from a photograph and I ad to decide where to plot and shape line. Some angles and facial features had to be changed or enhanced slightly to give it proper effect. I worked with a pencil and ruler, creating various lines to interpret areas of light and shadow. I quite like it. Even though it is a linear interpretations which should be flat, it isn't. There is a great sense of depth and even expression to it which quite surprised me. It is a bit of a tedious process though, but the end result is worth it. I imagine it would look even more spectacular if painted, though waiting for layers to dry would take a very long time.