Week4 2 D Media

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    Week4 2 D Media - Presentation Transcript

    1. ELEMENTS AND PRINCIPLES: A SUMMARY
      • What is the form of this work? How does the artist use the formal elements?
        • What is it made of and how is it organized?
        • Elements of Art (line, shape, value, color, texture, space, time/motion)
        • Principles of Design (unity/variety, repetition, harmony, balance, scale and proportion, rhythm)
          • Does this work seem unified and is there enough variety to sustain interest?
            • How is the composition balanced?
            • What is the focal point or points and how did the artist create them?
            • What roles do proportion and scale play?
            • Is there significant use of rhythm or repetition?
      • What is the content of this work?
        • Is there a recognizable subject – a story, a person, a place or an event?
        • If so, how is the subject treated?
      • What feelings or associations does this work evoke to me?
    2. Vincent Van Gogh, Bedroom at Arles #3 , 1889.
    3.  
    4.  
    5. 2-D Media
    6. 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
    7. Hall of the Bulls (left wall), Lascaux, Dordogne, France, ca. 15,000–13,000 BCE. Largest bull approx. 11’ 6” long.
    8. Spotted horses and negative hand imprints, wall painting in the cave at Pech-Merle, Lot, France, ca. 22,000 BCE. Approx. 11’ 2” long.
    9. Arborglyphs
    10. paintings made by Tehuelches natives. 13,000 to 9,500 Years ago Cueva de las Manos
    11. Maarten Vanden Eynde Contemporary Cavedrawings, Los Angeles, 2007
    12. Courthouse Wash, in Arches National Park, Moab, Utah - is the only example of the Barrier Canyon Style attributed to Archaic culture that inhabited the area seasonally between 5,500 BC and AD 1
    13. (AD 1 to AD 1275)
    14.  
    15. Ute Rock Art, carved by Native Americans around 1650 to 1850 AD
    16. Banksy, “early man venturing towards the out-of-town hunting grounds”
    17.  
    18. Keith Haring
    19.  
    20.  
    21. Jean-Michel Basquiat, Francesco Clemente, and Andy Warhol “ Origin of Cotton”, Oil on Canvas with acrylic and silkscreen, 50x71”, 1984
    22. Jean-Michel Basquiat In Italian , 1983. Acrylic, oil paintstick, and marker on canvas mounted on wood supports, two panels.
    23. Julie Mheretu, Untitled , 2000, Ink, Colored Pencil and Cut Paper on Mylar, 18x24”
    24.  
    25. Silverpoint/Metalpoint
    26. Leonardo Da Vinci Study of horses c. 1490 Silverpoint on prepared paper, 250 x 187 mm Royal Library, Windsor
    27. Leonardo da Vinci Angel for the Madonaa of the Rocks 1483-85, Metalpoint with white chalk
    28. Graphite
    29.  
    30.  
    31.  
    32. Audrey Kawasaki, 'Uria' 11.25"x18" oil and graphite on wood
    33.  
    34. Glexis Novoa, Safe and Quiet, 2002, Graphite on Wall and Canvas
    35. Matthew Ritchie, Eschaton , 2002, Vinyl decal on wall, approx. 38x72 feet
    36.  
    37.  
    38.  
    39. 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”
    40. Robin Rhode, He Got Game , 2001
    41. 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
    42. Richard Long, A Line Made by Walking England, 1967
      • “Art is conceptual entertainment. Regardless of how radical it is, it has a great penetration on the market.”
        • Santiago Sierra
    43. Santiago Sierra, Line of 250cm Tattooed on Six Paid People , 1999 In Havana the artist offered volunteers $30, if they agreed on having a horizontal line tattooed on their back, thus alluding to the fact that people in the third world are ready to sacrifice their health for a minimal amount of money.
    44. Santiago Sierra, Linea de 160 cm tatuada sobre cuatro personas remuneradas (160 cm line tattooed on four people), 2000. Four prostitutes addicted to heroin were hired for the price of a shot of heroin (about $67) to give their consent to be tattooed.
      • Interviewer : “Your work has also been called amoral.”
      • Santiago Sierra : “It’s possible to have dignity in society, but it costs money. A person without money has no dignity. Whenever you pay for your dignity, you put your body and your time in the hands of a third party.”
      • ENCAUSTIC FRESCO TEMPERA OIL WATERCOLOR GOUACHE ACRYLIC BLURRING THE BOUNDARIES
      Painting
    45.  
    46. Painting
      • ENCAUSTIC
      • FRESCO
      • OIL
      • WATERCOLOR
      • ACRYLIC
      • Glazing
      • Wax + Pigment
      • Wet Plaster + Pigment
      • Oil + Pigment
      • Water+Binder+Pigment
      • Water+Polymer+Pigment
      • Transparent Layers of Paint
    47. 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
    48. JASPER JOHNS, Flag, 1954–1955, dated on reverse 1954. Encaustic, oil, and collage on fabric mounted on plywood, 3’ 6 1/4” x 5’ 5/8”. Museum of Modern Art, New York
    49. Tony Scherman Nights with Jack 2001 encaustic on canvas 60" x 80"
    50. Tony Scherman, Kurt C, series: The Junkies , encaustic on canvas , 60" x 72" , 2007-08
    51. Fresco
      • Fresco secco – dry fresco – requires binder
      • Buon fresco – paint made of pigment and water is appliet to wet lime plaster.
    52. 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.
    53. Landscape with swallows (Spring Fresco), from Room Delta 2, Akrotiri, Thera (Cyclades), Greece, ca. 1650 BCE. Fresco, approx. 7’ 6” high. National Archaeological Museum, Athens.
    54. 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.
    55. Interior of the Sistine Chapel (view facing east), Vatican City, Rome, Italy, built 1473.
    56. MICHELANGELO BUONARROTI, ceiling of the Sistine Chapel, Vatican City, Rome, Italy, 1508–1512. Fresco, approx. 128’ x 45’.
    57. DIEGO RIVERA, Ancient Mexico, from the History of Mexico fresco murals, National Palace, Mexico City, 1929–1935. Fresco.
    58. GIOTTO DI BONDONE, Madonna Enthroned, ca. 1310. Tempera on wood, 10’ 8” x 6’ 8”. Galleria degli Uffizi, Florence.
    59.  
    60.  
    61.  
    62. Making a Canvas
    63. ALBRECHT DÜRER, The Great Piece of Turf, 1503. Watercolor, approx. 1’ 4” x 1’ 1/2”. Graphische Sammlung Albertina, Vienna.
    64. 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
    65.  
    66. 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”)
    67.  
    68. John Singer Sargent, Claude Monet Painting in a Garden Near Giverny , 1885, Oil on canvas 21 1/4 x 25 1/2 in.
    69. JACKSON POLLOCK, Number 1, 1950 (Lavender Mist), 1950. Oil, enamel, and aluminum paint on canvas, 7’ 3” x 9’ 10”. National Gallery of Art, Washington
    70. Glazing
    71.  
    72.  
    73.  
    74. Sculpture and Painting
    75.  
    76. PABLO PICASSO, Les Demoiselles d’Avignon, June–July 1907. Oil on canvas, 8’ x 7’ 8”. Museum of Modern Art, New York
    77. Donald Judd "Nimetu" 1968
    78. DONALD JUDD, Untitled, 1969. Brass and colored fluorescent plexiglass on steel brackets, ten units, 6 1/8” x 2’ x 2’ 3” each, with 60 intervals.
    79.  
    80. Collage and Painting
    81. KURT SCHWITTERS, Merz 19, 1920. Paper collage, approx. 7 1/4” x 5 7/8”. Yale University Art Gallery
    82. Wangechi Mutu
    83. David Thorpe Kings of The Night 1998, Paper Collage 149 x 168cm
    84. Painting and Popular Culture
    85. Andy Warhol; paintings on display in Bonwit Teller Windows, Fifth Avenue, New York, 1961
    86. Takashi Murakami
    87. Takashi Murakami, Kaikai & Kiki, (2000), Time Bokan – pink, (2001), and Jellyfish Eyes (2001) at Museum of Contemporary Art, Tokyo, 2001,
    88.  
    89. Takashi Murakami
    90. Takashi Murakami
    91. Painting and Fashion Mark Ryden
    92. Natalie Portman, Interview Magazine July 2004 Balthus
    93.  
    94.  
    95. Painting and Motion
    96.  
    97.  
    98. Printmaking
    99. Relief Intaglio Lithography Screen Print/Stencil
      • The number of copies that are printed from the original plate is called
        • A) a number.
        • B) a monotype.
        • C) a collage.
        • D) an edition.
      • How large is the edition of a print that is numbered 15/25?
        • A) 15
        • B) 25
        • C) 60% of the original
        • D) 15 inches by 25 inches
        • E) 30
      • RELIEF
        • Woodcut
        • Wood Engraving
        • Linocut
      • INTAGLIO
        • Engraving
        • Drypoint
        • Mezzotint
        • Etching
        • Aquatint
      • LITHOGRAPHY
      • SCREENPRINTING
      • MONOTYPE
      • THE COMPUTER AND PRINTMAKING
    100.  
    101.  
    102.  
    103. ALBRECHT DÜRER, The Fall of Man (Adam and Eve), 1504. Engraving, approx. 9 7/8” x 7 5/8”. Museum of Fine Arts, Boston
    104. ALBRECHT DÜRER, Knight, Death, and the Devil, 1513. Engraving, 9 5/8” x 7 3/8”. Metropolitan Museum of Art, New York.
    105. 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.
    106. 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).
    107. Jake and Dinos Chapman “ Insult to Injury” 2003 Francisco de Goya 'Disasters of War' Portfolio of 80 etchings reworked and improved 37 x 47 cm
      • Francisco Goya What is all the Noise About? etching from Disasters of War  
      • Jake and Dinos Chapman Insult to Injury 2003
    108. Jake and Dinos Chapman
    109. Jake and Dinos CHAPMAN “Great Deeds Against the Dead” 1994 Mixed media 277 x 244 x 152.5 cm
    110.  
    111.  
    112.  
    113. Henri de Toulouse-Lautrec La Goulue , 1891.
    114. Henri de Toulouse-Lautrec Ambassadeurs: Aristide Bruant 1892.
    115.  
    116.  
    117. 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
    118. Jasper Johns Numbers , 1967 Lithograph on Angoumois paper 28 x 23 1/2 inches Edition of 35
    119. Andy Warhol, "Green Car Crash (Green Car Burning 1)" 1963, synthetic polymer, silkscreen ink and acrylic on linen
    120. Andy Warhol Orange Disaster , 1963 silkscreen 30 1/6" x 30 1/8"
    121. Andy Warhol (American, 1928-1987) - 1963, Silkscreen ink on synthetic polymer paint on two canvases,
    122. Edward Ruscha. (American, born 1937). Standard Station . 1966. Screenprint, composition: 19 5/8 x 36 15/16" (49.6 x 93.8 cm); sheet: 25 5/8 x 39 15/16"

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