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  • 1991
  • Camera Obscura Image of the Empire State Building in Bedroom, 1994
  • Camera Obscura Image of Times Square in Hotel Room, 1997
  • He created the first permanent photograph, of a pigeon house and barn as seen from his window, in the summer of 1826. [1] The photograph was made using a camera obscura and a sheet of pewter coated with bitumen of Judea, an asphalt that when exposed to light, hardened permanently. This first photograph was captured during an eight hour exposure, taking so much time that the sun passed overhead, illuminating both sides of the courtyard.
  • Exposure times were several minutes making the streets seem deserted because everyone walking and riding by in carriages were moving to fast to register on the film.
  • This photograph is famous because this man stopped to have his boots polished and is the only person to clearly be recorded during this exposure.
  • He wrote “I have a photographic gun which has nothing murdurous about it, and which takes a picture of a bird flying or an animal running in less than 1/500th of a second. I do not know whether you can imagine such a speed, but it is something surprising.” The gun took 12 images a second. It had a lens in the barrel and a cylindrical breech within which was a sensitive plate which revolved when the trigger was pressed. The rotating plate was treated with gelatin silver bromide emulsion and stopped 12 times behind the lens while the shutter let in light for 1/720th of a second.
  • Overview of lecture: Photography and the ‘avant garde’ become linked. Photographers begin to reject the world as a subject and see the literal act of recording as limited.

2d 3d Media 2d 3d Media Presentation Transcript

  • Drawing
    • A mark-making process used to produce a line-based composition
    • Dry Media:
      • Pencil Metalpoint Charcoal Chalk and Crayon
    • Liquid Media:
      • Pen and Ink Brush and Ink
    DRAWING
  • Hall of the Bulls (left wall), Lascaux, Dordogne, France, ca. 15,000–13,000 BCE. Largest bull approx. 11’ 6” long.
  • Spotted horses and negative hand imprints, wall painting in the cave at Pech-Merle, Lot, France, ca. 22,000 BCE. Approx. 11’ 2” long.
  • Arborglyphs
  • paintings made by Tehuelches natives. 13,000 to 9,500 Years ago Cueva de las Manos
  • Maarten Vanden Eynde Contemporary Cavedrawings, Los Angeles, 2007
  • (AD 1 to AD 1275)
  • Ute Rock Art, carved by Native Americans around 1650 to 1850 AD
  • Banksy, “early man venturing towards the out-of-town hunting grounds”
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  • Silverpoint/Metalpoint
  • Leonardo Da Vinci Study of horses c. 1490 Silverpoint on prepared paper, 250 x 187 mm Royal Library, Windsor
  • Leonardo da Vinci Angel for the Madonaa of the Rocks 1483-85, Metalpoint with white chalk
  • Graphite
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  • Glexis Novoa, Safe and Quiet, 2002, Graphite on Wall and Canvas
  • Matthew Ritchie, Eschaton , 2002, Vinyl decal on wall, approx. 38x72 feet
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  • Vik Muniz, Cathedral de Leon , from the series, “Pictures of Chocolate”, 2003, Cibachrome Photograph, 40x30” Vik Muniz, from the series “Pictures of Earthworks”, 2002, Toned Gelatin Silver Print, 40x50”
  • Robin Rhode, He Got Game , 2001
    • Nature has always been recorded by artists, from pre-historic cave paintings to 20th century landscape photography. I too wanted to make nature the subject of my work, but in new ways. I started working outside using natural materials like grass and water, and this evolved into the idea of making a sculpture by walking.
      • Richard Long
  • Richard Long, A Line Made by Walking England, 1967
    • ENCAUSTIC FRESCO TEMPERA OIL WATERCOLOR GOUACHE ACRYLIC BLURRING THE BOUNDARIES
    Painting
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  • Painting
    • ENCAUSTIC
    • FRESCO
    • OIL
    • WATERCOLOR
    • ACRYLIC
    • Glazing
    • Wax + Pigment
    • Wet Plaster + Pigment
    • Oil + Pigment
    • Water+Binder+Pigment
    • Water+Polymer+Pigment
    • Transparent Layers of Paint
  • Encaustic Fayum (or Fayoum) mummy portrait of a young woman with a gilded wreath Encaustic on wood Ancient Egypt, Roman Period A.D. 120-140
  • Tony Scherman, Kurt C, series: The Junkies , encaustic on canvas , 60" x 72" , 2007-08
  • Fresco
    • Fresco secco – dry fresco – requires binder
    • Buon fresco – paint made of pigment and water is appliet to wet lime plaster.
  • Fowling scene, from the tomb of Nebamun, Thebes, Egypt, Dynasty XVIII, ca. 1400–1350 BCE. Fresco on dry plaster, approx. 2’ 8” high. British Museum, London.
  • LEONARDO DA VINCI, Last Supper (uncleaned), ca. 1495–1498. Fresco (oil and tempera on plaster), 29’ 10” x 13’ 9”. Refectory, Santa Maria delle Grazie, Milan.
  • Interior of the Sistine Chapel (view facing east), Vatican City, Rome, Italy, built 1473.
  • MICHELANGELO BUONARROTI, ceiling of the Sistine Chapel, Vatican City, Rome, Italy, 1508–1512. Fresco, approx. 128’ x 45’.
  • DIEGO RIVERA, Ancient Mexico, from the History of Mexico fresco murals, National Palace, Mexico City, 1929–1935. Fresco.
  • GIOTTO DI BONDONE, Madonna Enthroned, ca. 1310. Tempera on wood, 10’ 8” x 6’ 8”. Galleria degli Uffizi, Florence.
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  • Methods of Applying Paint
    • Grisaille – (gree-Zye) “gray” –colored glazes over a monochrome under-painting (similar to hand coloring a black and white photo)
    • Glazing – thin, transparent layers of paint
    • Alla Prima – “all in one go” – one sitting
    • Impasto – thick paint (“paste”)
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  • John Singer Sargent, Claude Monet Painting in a Garden Near Giverny , 1885, Oil on canvas 21 1/4 x 25 1/2 in.
  • ALBRECHT DÜRER, The Great Piece of Turf, 1503. Watercolor, approx. 1’ 4” x 1’ 1/2”. Graphische Sammlung Albertina, Vienna.
  • Walton Ford, “Falling Bough”, 2002 Watercolor, gouache, ink and pencil on paper, 60 3/4 x 119 1/2" Courtesy Paul Kasmin Gallery, New York
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  • Printmaking
  • Relief Intaglio Lithography Screen Print/Stencil
    • RELIEF
      • Woodcut
      • Wood Engraving
      • Linocut
    • INTAGLIO
      • Engraving
      • Drypoint
      • Mezzotint
      • Etching
      • Aquatint
    • LITHOGRAPHY
    • SCREENPRINTING
    • MONOTYPE
    • THE COMPUTER AND PRINTMAKING
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  • ALBRECHT DÜRER, The Fall of Man (Adam and Eve), 1504. Engraving, approx. 9 7/8” x 7 5/8”. Museum of Fine Arts, Boston
  • REMBRANDT VAN RIJN, Christ with the Sick around Him, Receiving the Children (Hundred Guilder Print), ca. 1649. Etching, approx. 11” x 1’ 3 1/4”. Pierpont Morgan Library, New York.
  • FRANCISCO GOYA, The Sleep of Reason Produces Monsters, from Los Caprichos, ca. 1798. Etching and aquatint, 8 1/2” x 6”. Metropolitan Museum of Art, New York (gift of M. Knoedler & Co., 1918).
  • Jake and Dinos CHAPMAN “Great Deeds Against the Dead” 1994 Mixed media 277 x 244 x 152.5 cm
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  • Henri de Toulouse-Lautrec La Goulue , 1891.
  • Henri de Toulouse-Lautrec Ambassadeurs: Aristide Bruant 1892.
  • Jasper Johns Two Maps II , 1966 Lithograph printed on white Japan, laid down on black Fabriano 25 3/8 x 20 1/4 inches Signed, dated, annotated and numbered in white crayon Edition 30
  • Andy Warhol, "Green Car Crash (Green Car Burning 1)" 1963, synthetic polymer, silkscreen ink and acrylic on linen
  • Andy Warhol Orange Disaster , 1963 silkscreen 30 1/6" x 30 1/8"
    • Chapter 9
      • PHOTOGRAPHY
        • The Still Camera and Its Beginnings
        • Documenting
        • Photography and Art
      • FILM
        • The Origins of Motion Pictures
        • Artists and Film
      • VIDEO
      • THE INTERNET
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  • Camera Obscuras by Abelardo Morell
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  • Johannes Vermeer, Woman with a Lute near a Window Year: early 1660s 51.4 x 45.7 cm
  • Joseph Nicéphore Niépce , 1826
  • Louis Daguerre View of the Boulevard du Temple, 1839
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  • LOUIS-JACQUES-MANDÉ DAGUERRE, Still Life in Studio, 1837. Daguerreotype.
  • JOSIAH JOHNSON HAWES and ALBERT SANDS SOUTHWORTH, Early Operation under Ether, Massachusetts General Hospital, ca. 1847. Daguerreotype.
  • Daguerreotype of Emily Dickinson, c. 1846-47
  • Chuck Close, Kate, 2003 ,Daguerrotype, 8 1/2 x 6 1/2 in.
  • Positive/Negative
    • Daguerreotype = positive image
    • Calotype = paper negative
    • Collodian – Glass Negative
    • Film
    • 1888 – Eastman (Kodak)
    • Photo exposure times decrease through photo history.
  • Tintypes - a very underexposed image is produced on a collodion photographic emulsion on a dark metal backing; thus viewed the image appears as a positive.
  • 1842, Cyanotype Process
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  • Chronophotographic Gun-1881
  • EADWEARD MUYBRIDGE, Horse Galloping, 1878. Collotype print. George Eastman House, Rochester, New York.
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  • EUGÈNE DURIEU and EUGÈNE DELACROIX, Draped Model (back view), ca. 1854. Albumen print, 7 5/ 16” x 5 1/8”. J. Paul Getty Museum, Los Angeles.
  • JULIA MARGARET CAMERON, Ophelia, Study no. 2, 1867. Albumen print, 1' 11" x 10 2/3". George Eastman House, Rochester, New York.
  • TIMOTHY O’SULLIVAN, A Harvest of Death, Gettysburg, Pennsylvania, July 1863. Negative by Timothy O’Sullivan. Original print by ALEXANDER GARDNER, 6 3/8" x 8 3/4". The New York Public Library
  • Terminal, 1892. Alfred Stieglitz .
  • "The Steerage" 1907 photograph by Alfred Stieglitz.
  • Edward Steichen, 1905
  • Edward Steichen, 1904
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  • Ansel Adams, “Aspens, Dawn, Autumn, Dolores River Canyon, Colorado”, 1937
  • Farm Security Administration (FSA) - 1935-1944
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  • Internet and Conceptual Art Mike Parr's Aussie, Aussie, Aussie, Oi, Oi, Oi , 2003. “ democratic torture”
    • Chapter 11
    • METHODS AND MATERIALS OF SCULPTURE
      • Modeling Casting Carving Assembling
    • Expanded Field - Installation
  • Modeling
    • Additive process
    • Play Dough
  • Warrior Vase, from Mycenae, Greece, ca. 1200 BCE. Approx. 1’ 4” high. National Archaeological Museum, Athens.
  • Casting
    • Involves a mold of some kind – into which liquid or semi-liquid material is poured and allowed to harden
  • Rachel Whitread, House, 1993. Whiteread sprayed concrete on the inside of all the walls of a Victorian era house in a block that was to be torn down to make space for a public park. The walls were then removed, leaving just the shell of the house, or the shell of the negative space formerly created by the walls.
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  • Marc Quinn Self 82" by 25" by 25" blood/stainless steel, Perspex, refrigeration equipment 1991
  • “Good art is an object or a situation that allows you to feel or think something new.” - Marc Quinn
  • Prosthesis, 2000
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  • Carving
    • Subtractive process
  • Processional frieze (detail) on the terrace of the royal audience hall (apadana), Persepolis, Iran, ca. 521–465 BCE.
  • GIOVANNI PISANO, The Annunciation and the Nativity, detail of the pulpit of Sant’Andrea, Pistoia, Italy, 1297–1301. Marble relief, approx. 2’ 10” x 3’ 4”.
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  • MICHELANGELO BUONARROTI, David, 1501–1504. Marble, 13’ 5” high. Galleria dell’Accademia, Florence.
  • ANTONIO CANOVA, Pauline Borghese as Venus, 1808. Marble, life-size. Galleria Borghese, Rome.
  • Janine Antoni. Gnaw (detail) , 1992.
  • Giuseppe Penone Versailles Cedar, 2002-03, Cedar Wood, 600x170 cm
  • Assembling
    • Individual pieces or segments or objects are brought together to form a sculpture
  • David Smith, Cubi XIX, 1964. Stainless steel.
  • Damien Hirst, For the Love of God , 2008
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  • Sculpture and the Expanded Field
  • Lick and Lather«, 1993 by Janine Antoni. 14 portrait busts, cast of a model of the artist herself and mounted on look-a-like ancient classical pedestals. Seven statues were cast in white soap, and the other seven in brown chocolate, and then reshaped by the rather subjective acts which engaged her tongue passing over, and the frothing up of bubbles, fizz, effervesce…
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  • Downscaled and Overthrown«, 2008 by Shahryar Nashat. "Public Figures" 1998-1999 Installation view at Metrotech Center Commons, Brooklyn, New York Fiberglass/resin, steel pipes, pipe fittings, 10 x 7 x 9 feet
  • Unpainted Sculpture Charles Ray 1997 fiberglass, paint
  • Damián Ortega, 2002
  • Do-Ho Suh"Seoul Home/L.A. Home/New York Home/Baltimore Home/London Home/Seattle Home“, 1999, Silk, 149 x 240 x 240 inches
  • Katharina Grosse, 2008
  • RICHARD SERRA, Tilted Arc, 1981. Cor-Ten steel, 12’ x 120’ x 2 1/2”. Installed Federal Plaza, New York City by the General Services Administration, Washington D.C. Removed by the U.S. Government 1989.
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  • Robert Smithson, Spiral Jetty, 1970
  • Nancy Holt, Sun Tunnel –1976 Nancy Holt – Ventilation IV: Hampton Air, 1992
  •