LONG-FORMAT FIGURE STUDY
Saturday, May 4, 2013
The following posts are for the LONG POSE FIGURE STUDY project. This was an experimental drawing done with paint. Painting completed over 5 sessions with static model. Parameters for project:
1. Must be 18" x 24" or larger
2. Must use COLOR
3. Must be done in PAINT (choice of medium and ground left to individual students)
4. Must turn in COMPLETE COMPOSITION and statement on final day of class.
4. Must turn in COMPLETE COMPOSITION and statement on final day of class.
5. Must be done from life. Model static for 13.75 hours.
The following 17 posts are the projects presented with critiques from the class.
I am missing names for three of you, please comment with your name so I can give you a grade!!
CRITIQUES DUE: 5/9 (12 AM)
I am missing names for three of you, please comment with your name so I can give you a grade!!
CRITIQUES DUE: 5/9 (12 AM)
Thursday, May 2, 2013
"I use the camera to describe sensations using only vintage cameras in small format.
The small scale of my works creates a personal intimacy with the subject. The images
of my Nightworks project are a tribute to the shadows and light of a city after dark.
The vertical bar dividing each 11x14 composition is achieved by using a half-frame camera and the separation foregrounds the temporal and spatial movements that I experience when making work – the time spent between shots. Some of the pairings document only a split second difference or a minor shift in the camera angle, while others represent larger periods of time and/or longer distances of travel between exposures. Each diptych catalogues not only the subjects I choose to photograph but also my travel through urban space as subject.
This lends a filmic quality to the work, especially when exhibited as a horizontal axis as each image on the page is part of its own series. The work is sold in various formats, each image is sold separately or as part of a series.
It never truly gets dark in a large city and from a plane, the light emanating from the ground is invariably made up of the orange arterial threads of roadway; testament to the fact that even while we’re sleeping we’re still in motion. Meanwhile, down on the ground a quick glimpse, at the end of the day, into the approaching night - to the bridges, the tunnels, buildings, windows and doors lit in ethereal techicolour. The images are stolen moments and missed opportunities, declined invitations, snapshots of a world going by. "
Although this is a statement for photography, it is my favorite artist statement that I have read.
I love how she includes her process and her explanation of the use f a diptych I enjoy the concept of how she portrays both her subjects along with her travels in one work of art.
The last paragraph is my favorite part of the statement because it really brings all of her work together. Her concept, ideas, and style are all captured in the few sentences at the end. The eeriness and mystery presented in her work is all highlighted in this paragraph.
The vertical bar dividing each 11x14 composition is achieved by using a half-frame camera and the separation foregrounds the temporal and spatial movements that I experience when making work – the time spent between shots. Some of the pairings document only a split second difference or a minor shift in the camera angle, while others represent larger periods of time and/or longer distances of travel between exposures. Each diptych catalogues not only the subjects I choose to photograph but also my travel through urban space as subject.
This lends a filmic quality to the work, especially when exhibited as a horizontal axis as each image on the page is part of its own series. The work is sold in various formats, each image is sold separately or as part of a series.
It never truly gets dark in a large city and from a plane, the light emanating from the ground is invariably made up of the orange arterial threads of roadway; testament to the fact that even while we’re sleeping we’re still in motion. Meanwhile, down on the ground a quick glimpse, at the end of the day, into the approaching night - to the bridges, the tunnels, buildings, windows and doors lit in ethereal techicolour. The images are stolen moments and missed opportunities, declined invitations, snapshots of a world going by. "
Although this is a statement for photography, it is my favorite artist statement that I have read.
I love how she includes her process and her explanation of the use f a diptych I enjoy the concept of how she portrays both her subjects along with her travels in one work of art.
The last paragraph is my favorite part of the statement because it really brings all of her work together. Her concept, ideas, and style are all captured in the few sentences at the end. The eeriness and mystery presented in her work is all highlighted in this paragraph.
Wednesday, May 1, 2013
Best Artist Statement - Yvonne Ganderty HW
Guy Laramee Artist Statement
The erosion of cultures – and of “culture” as a whole - is the theme that runs through the last 25 years of my artistic practice. Cultures emerge, become obsolete, and are replaced by new ones. With the vanishing of cultures, some people are displaced and destroyed. We are currently told that the paper book is bound to die. The library, as a place, is finished. One might ask so what? Do we really believe that “new technologies” will change anything concerning our existential dilemma, our human condition? And even if we could change the content of all the books on earth, would this change anything in relation to the domination of analytical knowledge over intuitive knowledge? What is it in ourselves that insists on grabbing, on casting the flow of experience into concepts?
When I was younger, I was very upset with the ideologies of progress. I wanted to destroy them by showing that we are still primitives. I had the profound intuition that as a species, we had not evolved that much. Now I see that our belief in progress stems from our fascination with the content of consciousness. Despite appearances, our current obsession for changing the forms in which we access culture is but a manifestation of this fascination.
My work, in 3D as well as in painting, originates from the very idea that ultimate knowledge could very well be an erosion instead of an accumulation. The title of one of my pieces is “ All Ideas Look Alike”. Contemporary art seems to have forgotten that there is an exterior to the intellect. I want to examine thinking, not only “what” we think, but “that” we think.
So I carve landscapes out of books and I paint romantic landscapes. Mountains of disused knowledge return to what they really are: mountains. They erode a bit more and they become hills. Then they flatten and become fields where apparently nothing is happening. Piles of obsolete encyclopedias return to that which does not need to say anything, that which simply IS. Fogs and clouds erase everything we know, everything we think we are.
After 30 years of practice, the only thing I still wish my art to do is this: to project us into this thick “cloud of unknowing.”
RESPONSE:
- I really liked this artist statement because it was so personal. I could really understand the artist's mindset and world view, and I find this fascinating and alluring when finding art styles I like. I like art with cultural connotations and important messages.
- I also appreciated that you could see his own progression of thought and changing of views as he progressed as an artist. He shares many of the same ideas as me.
- It was a little bit long, I would take some of the content out so it would be more concise.
The erosion of cultures – and of “culture” as a whole - is the theme that runs through the last 25 years of my artistic practice. Cultures emerge, become obsolete, and are replaced by new ones. With the vanishing of cultures, some people are displaced and destroyed. We are currently told that the paper book is bound to die. The library, as a place, is finished. One might ask so what? Do we really believe that “new technologies” will change anything concerning our existential dilemma, our human condition? And even if we could change the content of all the books on earth, would this change anything in relation to the domination of analytical knowledge over intuitive knowledge? What is it in ourselves that insists on grabbing, on casting the flow of experience into concepts?
When I was younger, I was very upset with the ideologies of progress. I wanted to destroy them by showing that we are still primitives. I had the profound intuition that as a species, we had not evolved that much. Now I see that our belief in progress stems from our fascination with the content of consciousness. Despite appearances, our current obsession for changing the forms in which we access culture is but a manifestation of this fascination.
My work, in 3D as well as in painting, originates from the very idea that ultimate knowledge could very well be an erosion instead of an accumulation. The title of one of my pieces is “ All Ideas Look Alike”. Contemporary art seems to have forgotten that there is an exterior to the intellect. I want to examine thinking, not only “what” we think, but “that” we think.
So I carve landscapes out of books and I paint romantic landscapes. Mountains of disused knowledge return to what they really are: mountains. They erode a bit more and they become hills. Then they flatten and become fields where apparently nothing is happening. Piles of obsolete encyclopedias return to that which does not need to say anything, that which simply IS. Fogs and clouds erase everything we know, everything we think we are.
After 30 years of practice, the only thing I still wish my art to do is this: to project us into this thick “cloud of unknowing.”
RESPONSE:
- I really liked this artist statement because it was so personal. I could really understand the artist's mindset and world view, and I find this fascinating and alluring when finding art styles I like. I like art with cultural connotations and important messages.
- I also appreciated that you could see his own progression of thought and changing of views as he progressed as an artist. He shares many of the same ideas as me.
- It was a little bit long, I would take some of the content out so it would be more concise.
Artist Statement HW 4/30/13
Artist statement by Alex Hall (alexhallart.com) :
"My new series “Relativity” depicts individuals floating in time and
space. I chose to paint the figures with no distinct faces so they would
relate to every man and every woman. This particular series is a very
honest representation of where I am currently in my own life. Having
recently graduated college and being thrown off my feet into the real
world, I was extremely overwhelmed. I still was not sure what path to
take or which way to go in life. I began to realize that most people are
familiar with this feeling of uncertainty. With that idea, I sought out
to create a series that was a visual representation of an emotion that
has been universally felt by all people: A sense of uncertainty, and
ultimately struggling to achieve a balance in life."
This artist statement pertains to a body of work and explains the theme of the work. I find this effective because Hall explains what is going on in the series of work along with why he paints this body of work. The audience is the viewer of his work. He stated that he chose to paint the figures with no distinct faces to have a universal meaning, where anyone could relate to the paintings. Since he describes what is going on in the images, it is not necessary to have to see the image before reading the statement, although it is helpful.
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