The document summarizes an art exhibition featuring five artists who use figurative representations in unconventional ways. The exhibition, titled "Figuratively Speaking", was held at the Art Gallery at Eissey Campus in Palm Beach State College from September 14 to October 8, 2010. It featured works by Angela Dicosola, Rebeca Gilling, Teresa Pastoriza, Moria Holohan, and Jessica Rebik representing the human figure through personal interpretations. Brief descriptions of each artist's figurative works and artistic statements are then provided.
VDIS10015 Developing Visual Imagery - Lecture 2Virtu Institute
In this lecture we will discuss how to develop and refine
drawing and other visual representation tools that can be
used to create original imagery. We will look at different
ways of creating image as well as ways to improve our
skills. These skills are physical but also cognitive tools for
professional practice. Our focus is on the development of
drawing rather than a particular level of drawing technique.
VDIS10015 Developing Visual Imagery - Lecture 2Virtu Institute
In this lecture we will discuss how to develop and refine
drawing and other visual representation tools that can be
used to create original imagery. We will look at different
ways of creating image as well as ways to improve our
skills. These skills are physical but also cognitive tools for
professional practice. Our focus is on the development of
drawing rather than a particular level of drawing technique.
Source of subject Art Appreciation
Explanation:Sources of Art Subjects:
1. Nature-animals, people, landscapes. These 3 are the most common inspiration and subject matter for art.
2. History- artists are sensitive to the events taking place in the world around them. the dress, the houses, the manner of living, the thoughts of a period are necessarily reflected in the work of the artist.
3. Greek and Roman Mythology-these are the gods an goddess. its center is on deities and heroes
4. the judaeo christian tradition- religion and art, The Bible, the apocrypha, the rituals of the church
5. Oriental sacred texts-the countries of the orient, especially china, japan, and india, have all produced sacred texts of one kind or another, and these inspired various kinds of art. most fruitful have been the texts and traditions of Hinduism and Buddhism.
An actual work of art, whether a painting or a building, is a primary source. A primary source is "first-hand" information, sources as close as possible to the origin of the information or idea under study. Primary sources are contrasted with secondary sources, works that provide analysis, commentary, or criticism on the primary source. In literary studies, primary sources are often creative works, including poems, stories, novels, and so on. In historical studies, primary sources include written works, recordings, or other source of information from people who were participants or direct witnesses to the events in question. Examples of commonly used primary sources include government documents, memoirs, personal correspondence, oral histories, and contemporary newspaper accounts.
Books written by the artist, such as a journal/diary/autobiography/letters are examples of primary sources. Newspaper and magazine articles written by someone who attended an opening or a talk by an artist would be primary sources. Books and articles written by friends and associates during the artist's lifetime would also be primary sources.
Four Sources of Inspiration for Creating Art
Ordinary Experience
Most of children's spontaneous drawing fall in this category, often including some aspects of #3 below.
Natural and Constructed Environment
Observational work fall's in this category
Inner Feelings and Imagination
Expressive and imaginative work is in this category
Quest for Order
Careful and deliberate designs, patterns, and so on fit this category.
Order is generally found in all art work, whether it is figurative, narrative, or totally abstract in nature. Even chaos when it has been produced intentionally, might be interpreted as a form of order.
Knowing these lists helps us keep children on task and involved in meaningful learning activity. Our motivational questions may help inspire fresh ideas.
Knowing these lists allows us to give variety and balance to our planned art activities for children. We can help inspire children to follow their natural inclinations.
Solo exhibition: Rumination on Dante, Scripture and Human Suffering ~
I am compelled by Biblical narrative expressed in a contemporary idiom. I often work with images of pilgrimage, lamentation, absolution and rebirth. Such images flesh out parable and reveal to me the ancient archetypes once again reborn in our world of dissonance and division. These sacred texts, in all of their consuming drama, are played out in our most inward journeys. Christ and Judas abide within each of us. I need to be vulnerable to the synchronistic entrance of the spiritual, for the spirit uses sentient forms as metaphor.
APPENDIX A
“A Blank Stare or Active Engagement? Toward a Christian Approach to the Arts”
By
C. Scott Shidemantle, Ph.D.1
Introduction
I remember one of the first times that I visited the Carnegie Art Museum in the Oakland section
of Pittsburgh. As I browsed the various rooms, observing people looking pensively at the
various works of art hanging on the walls, this question went through my mind: “What am I
supposed to do while I’m here? Should I just sit and contemplate each piece with a blank stare
like many of the other people in the room seemed to be doing? And, if so, what should I
contemplate? Should I contemplate the brush strokes? Should I try to get into the head of the
original artist who produced the piece? Should I focus on how the artwork ‘makes me feel’?” I
felt like I needed some guidance! These questions became even more profound when I began to
add to them the issue of whether or not my Christian faith should or should not interact in some
way with my experience with the arts.
Perhaps you have had similar experiences. The purpose of this brief essay is to give some
reflections on what art “is” and what art “does,” and to propose some ideas on how you as a
Christian might engage art meaningfully—beyond simply the “blank stare” approach.
Situating Art in the Cultural Mandate
After creating Adam and Eve, God instructed them to, “Be fruitful and increase in number; fill
the earth and subdue it. Rule over the fish of the sea and the birds of the air…” (Genesis 1:28
NIV). This “filling” of the earth with humans, and cultivating the creation by drawing out its
potential through developing it, is called by theologians “the Cultural Mandate.”
What is the “Cultural Mandate”? Simply put, it is the call on all human beings to link together
with shared values to communally cultivate God’s creation in God-honoring ways.
Generally speaking, how does the Cultural Mandate relate to “art” and the call to some to be
artists? We might say that art, and the call to be an artist, is “creational.” That is, God built into
particular humans the ability to create “art” as one of the means by which we create and sustain
human culture. In fact, we find that in the subsequent chapters of Genesis, where the playing
out of the Cultural Mandate is portrayed, there are references to individuals who initiated various
types of artistic expression. For example, there are Jubal (the father of music; Genesis 4:21) and
Tubal-Cain (the father of metal working; Genesis 4:22). Behind the first of these two individuals
we can perhaps picture in our minds groups of humans gathered together to hear music played on
lyre and flute for the first time and being drawn together by that shared experience. This shared
experience served to forge a “link,” or a shared “culture,” between those humans.
1 C. Scott Shidemantle (Ph.D. Trinity Evangelical Divinity School, Th.M.
1. Figuratively Speaking Five artists who use the human figure to convey meanings in fresh, unexpected ways are featured in the exhibition ―”Figuratively Speaking” at The Art Gallery at Eissey Campus, Palm Beach State College, Sept. 14 – Oct. 8 2010. The five invited artists—Angela Dicosola of Ft. Lauderdale, RebecaGilling and Teresa Pastoriza of Miami, MoriaHolohanof Palm Beach Gardens and Jessica Rebik of Dubuque, Iowa—represent the figure or resemblance of the figure through their personal interpretation.
2. Rebeca Gilling My work is about creation and destruction, the human struggle for survival and the inevitable end- Death. There are brief, quiet times where my subconscious mingles with and titillates my conscious mind. Enthralled by these moments, various images spring in and out of my brain. I gather some of these images and then assemble them to create clay figures. I am playing with the juxtaposition of biblical creation of man versus the creation of life through genetic engineering. I exploit human mutations and deformities. I hybridize nature’s specimens, commenting on the contemporary issues of our genetic future. These characters are generated and simultaneously sacrificed to be displayed in similar manner of ‘Cabinet of Curiosities’; where in life mutants were regarded as monsters not to be looked at but in death they are to be displayed and coveted. In my work, I am a mad scientist. In my work, I am playing God.
3. In a Bed of Roses (male and female birds copulating)Hand built and glazed clay
6. It Takes Two to Tango (the two scorpions)Hand built and glazed clay
7. Jessica Rebik My objective as an artist is to express the emotional and psychological states that define us as human through painting. Using the convention of figurative realism as a bridge, I connect the subject’s state with the viewer, hoping to create empathy. Raw vulnerability and the quiet intensity of internal conflict are experiences familiar to all, yet not often shared or openly acknowledged—even to our selves. By exposing this, and other private psychological states, I confront my own conflicts and remind the viewer of his/her own.
11. TerePastoriza In this work, I explore the concept of balance in the context of the human experience. We are physical as well as spiritual beings and, as such, must learn to successfully navigate these two realms. It is the challenge of our existence to achieve and sustain a balance that will allow us to immerse ourselves in the things of the world without losing our selves to it. For millennia, thinkers and mystics alike have examined the notion of equilibrium and the consequence of attaining it. Aristotle defined virtue as the mean between two extremes. He described courage, for example, as the mean between foolhardiness and cowardice. Buddha found enlightenment in practicing neither indulgence nor depravation, but rather in what he later taught as the middle way. In this series of drawings and other works I wish to express that our individual, as well as, our collective well being depends on seeking a balance. Once we find it we must tend to its precarious nature.
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15. Angela DiCosola My visually narrative sculptures and installations trigger awareness and contemplation of gender specific behavioral traits and psychological states. The work thematically references Western culture- our attraction to the Collectible, and to what is considered Kitsch as well as influenced by medieval art, particularly that of Animalia Grotesque. Through the traditions of slip casting and found-object art, the work’s symbolism and imagery metaphorically integrates cultural norms with humankind’s concepts of nature.