ART 213 Midterm Study Slidehow #1

Mid-Term Study Slideshow #1
ART IN CONTEXT
ART 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 Tennessee
Knoxville worked with legendary set designer
Bob Cothran to install this realistic and
“scientific” display in the Hodges Library on the
UTK 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.

What is Art?
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.

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
Adrian Piper, Self-Portrait Exaggerating
My Negroid Features, pencil drawing, 1981
Robert Longo, Leap Into The Void, Charcoal drawings, 2004

The Technologies of Art Production: PAINTING
ENCAUSTIC PAINTING: Pigment suspended in heated beeswax
Egypto-Roman Funerary Masks, encaustic on wood
Faiyum, 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.
Giotto
The Lamentation
Fresco
c. 1305.

OIL PAINTING:
Pigment suspended in linseed oil
and thinned with a solvent like turpentine.
In the high European tradition, oil paint
is applied in thin transparent glazes that
build up and create luminous surfaces
like this one.
Jaques Louis-David,
Napoleon Crossing the Alps
Oil on canvas
1800.

Kehinde Wiley,
Officer of the Hussars
Oil on canvas
2007
When an artist chooses
oil paint, they may enter
into a well-developed
European tradition of
representation.

The Technologies of Art Production
Oil paint is uniquely suited to
capturing the luminosity of
human flesh.
Lucian Freud,
Naked Portrait with Reflection
Oil on canvas,
1980

The Technologies of Art Production
Acrylic: Pigment suspended in an
acrylic polymer (plastic) emulsion
Robert Shimomura,
"Classmates"
acrylic on canvas, 2008

James Greene
Custer, SD
Acrylic on canvas
2010

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 a
surface 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 into
a metal plate and ink is
scraped into these etched
grooves. The ink is then
wiped off the surface.
When the intaglio is
pressed, the paper is
traditionally wet.
The wet paper grabs the
Ink out of all the
grooves in the plate.
Intaglios have distinct
embossments.

LITHOGRAPHY
Invented on purpose by German
playwright AloysSenefelder in 1796
A slab of limestone is drawn upon with
grease pencil. The image is then
chemically etched in the stone, allowing
the 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 of
printing in Europe and the US until
mechanical plate lithography
replaced it in the early 20th Century.

SILKSCREEN PRINTING
The matrix is a piece of nylon
fabric stretched over a screen
frame. A stencil is made on the
mesh, which the ink is pushed
through to create flat areas of
color.
Andy Warhol elevated this cheap
commercial technique to the level
of fine art.

INKJET PRINTING
The 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

James Greene “Valuistics: The Making Of” (Installation view) silkscreen on pink foam insulation, dimensions vary, 2006.
PRINTSTALLATION: A new genre where printed multiples are used to redefine a large space.

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 that
used a lens and a dark space to create an upside-down
image of reality. It would eventually be combined with
the use of film and mechanized during the industrial revolution to
become what we think of when we think of a camera.

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

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).

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

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 and
low levels of sand. High plasticity, high fire.
Porcelain ceramics are among the strongest
and most luminous.

STONEWARE:
Clay containing less Kaolin than porcelain
and 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 glazes
for their terracotta dishes and containers.

PRIMATIVE
GAS
RAKU
ELECTRIC
KILN VARIETIES

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 and
constructing, 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.

Earthwork: When the artist uses only the earth as their medium.
Kinetic sculpture: Where the sculpture literally moves.

PUBLIC COLLABORATIVE SCULPTURE
When the art is the result of an
agreement with various
government bodies.
The result is a public art experience
that the entire community shares.

Technologies of Art Production: NEW MEDIA
SOUND ART: Speaks for itself. Sound pieces need
not have an accompanying visual element.
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.

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 termdescribes 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.

CaiGuoQiang: 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 Noise
Video, sound, motion sensors and rear-projection screens, 2008.

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ART 213 Midterm Study Slidehow #1

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