Wild Horses

Glenn Brown, Wild Horses, 2007

In Wild Horses, Glenn Brown distorts Jean Baptiste-Greuze’s Innocence (c.1790), a portrait of a young woman with a cherub-like face, draped in a swath of fabric tenderly cradling a lamb in her arms. Brown transforms the seemingly romantic image of purity and youth into a contemporary representation of the bizarre and the fantastic; the woman’s eyes have no pupils and her flesh morphs into swirling brushstrokes of acid yellow, and the lamb is displayed as vivid red with green eyes. By recontextualizing and mutating the original image, Brown’s masterful technique imbues it with another reading, inviting the viewer to examine the medium, the subject and the notion of beauty.






via http://www.flagartfoundation.org/exhibition/67/description

This link gives you a really close look at Glenn Brown's swirling technique. 

Jean Baptiste Greuze, Innocence, 1970

Appropriation and 'Fair Use'

The fair-use defense is built into copyright law to allow creative people to build on others’ work without having to obtain permission.  This defense is complicated because the court is required to consider four separate factors on a case-by-case basis to decide whether a particular use is fair.

Despite the lack of clear instructions on how to compare these factors, courts usually rely most on the first factor (“the purpose and character of the use”) and the fourth factor (“the effect of the use upon the potential market for or value of the copyright”).

The first and fourth factors, and some discussion of how courts evaluate each one, are outlined below:

“The purpose and character of the use.”  Copyright law specifically grants more leeway to nonprofit or educational uses, but even commercial uses can be fair. One of the key questions that artists will usually face is whether their work is transformative.  “Transformative” means more than simply taking another piece of work and casting it in a new medium; it requires using it for a different purpose or to view the original in a different light. Parody has often proven to be a successful fair-use defense, and it requires a critique of the specific, original work – use of the work as a more general satire receives less protection under the fair-use test.

“The effect of the use upon the potential market for or value of the copyrighted work.”  One question that courts ask is whether the consumer audience will substitute the new work for the original. If not, the use may be fair.  Another that courts will ask is whether this sort of copying harms the original artist’s ability to license the work.  Bear in mind that certain kinds of harm to the market for the original can still be fair, like the reduction in sales that may result from a scathing criticism or parody.

via http://www.onlineartrights.org/issues/sampling-and-appropriation/basics

Glenn Brown: Further research links

To prepare for the Glenn Brown Sac ensure you carefully read all the 4 handouts I have given you.

You must choose 2 artworks to discuss in your written report.

I advise you to use "The Loves of Shepherds". You must choose one other. Make sure you can find some commentaries that relate to the 2nd artwork you choose. Glenn Brown often works in series so many commentaries or ideas can be interlinked.

The Tate Gallery has a good online resource of Brown's paintings via this link.
Serpentine Gallery also has an informative resource about Glenn Brown's art via this link

Van Dyck, Cornelis van der Geest, 1620

Check out some of these other links as well.
Nerdist
Parkett Magazine article
Ludwig catalogue
Dark Star, 2003

You should also consider the copyright law in respect to appropriation
The Art Newspaper
Law on the Web
Appropriation in Contemporary Art

Velazquez, Pope, 1650

Glenn Brown, Sex, 2003

Glenn Brown, Nausea, 2008

Frank Auerbach, Head of J.Y.M., 1

Glenn Brown, The Day the World Turned Auerbach, 1992

powerpoint for art movements research

This is the link to the Powerpoint to finish off your research.

https://docs.google.com/presentation/d/1BQmPQOAeWF0PvJEQDsa-gj8mZA5FO6elFTkuNWo1lxg/edit?usp=sharing

Unit 4 Art - Discussion and Debate

Carefully view and study the presentation via the link below.
This introduces the art issue on "art and originality" we will be discussing and debating over the next month.

It is important to read the commentaries of others to establish your own point of view.
You must explore a range of different opinions about the artist's work and the issue of originality in contemporary art. By referencing the opinions of others you will be asked to establish you own points of view.
For homework divide a page into 2 columns with 'for' and 'against' as the headings.
While reading and viewing the prezi presentation record notes of key differing viewpoints. Ensure you record the details of who wrote the commentaries and where and when they were published or sourced.

Click the LINK below to start your research
http://prezi.com/mjd3ymnuqk2z/?utm_campaign=share&utm_medium=copy&rc=ex0share

Monday YEAR 12 ART THEORY

Sorry I am unwell today.
Please use today's session to research Egon Schiele's and Del Kathryn Barton's work using the Cultural Framework. 
Remember you need to provide evidence of your research. Keep a bibliography of the sites you use.

Links for research
Schiele
1. Essay about Egon Schiele's women
2. Fin de siecle Vienna cultural environment
3. About Turn of the Century Vienna
4. Interesting essay about Modernist youth culture
Barton
1. Art and Australia article on Del Kathryn Barton 
2.Article from Art Collector Magazine
3. Interview from Dumbo Feather Magazine

Use this table to plan dot points of comparison and contrast for your SAC on the 27th May.

CULTURAL FRAMEWORK	Egon Schiele Artwork TITLE: DATE: MEDIUM: SIZE:	Focus points: Cultural influences + issues raised in the works? Compare /contrast the impact of time, place, and events on the selected artworks.  How does the time and place impact on the artists approach to making art? Are they similar or different? Can there be any comparisons or traces made between turn-of-the-century Viennese Society and today’s culture?	Del Kathryn Barton Artwork TITLE: DATE: MEDIUM: SIZE:
	Record differences here	Record similarities in the middle column	differences

YEAR 12 ART HOMEWORK

Homework tasks

1. Complete the formal comparison task between Schiele and Barton. You began this in class. I will collect this at the beginning of Term 2.
2. I will post an example on the middle weekend of the holidays if you would like to check you're on the right track. (updated 7th April SEE FURTHER BELOW ON THIS POST FOR MY EXAMPLE)
3. Download and read through some of the info in the Egon Schiele book online. Familarise yourself with more of his artworks. Egon Schiele book online download
4. View the 30 min artscape video on Del Kathryn Barton. Make notes of the commentaries for future reference. 

EXAMPLE OF COMPARING THREE GIRLS AND PLEASE...DON'T...STOP USING THE FORMAL FRAMEWORK

Composition – Negative Space

‘Please...Don’t....Stop’ by Barton shares a similar composition to Schiele’s ‘Three Girls’ in the way that they are both cropped to create an enclosed, almost claustrophobic  sense of negative space. This framing device which cuts off the heads and lower legs of the girls’ bodies propel a confronting gaze on their sexuality as well as their intimate unity.  The negative spaces that Barton has placed between the bodies make them appear more fragile and isolated as opposed to Schiele’s reclining models which merge as one intimate bundle of flesh and fabric.

Line

Barton harnesses a similar graphic, ornamental, angular line to Schiele which he learned from involvement with the Viennese Secession style. However, while her sensitive spidery line scrawls over the girls contours in jagged shimmers of detail, Schiele’s line is much more loose and free-flowing. As a result Barton’s figures are infused with a rigid, manicured form and discomforting posture whereas Schiele’s girls possess a relaxed, seductive grace.

Colour and texture

The use of complementary colour in the ‘Three Girls’ clothing exudes a flamboyant, aggressive energy. The way they have been painted with rough swirling brushstrokes create dynamic movement and implied texture to further enhance this expressive quality of aliveness, rawness. The skin is blemished with vigorous, imperfect flourishes of warm reds and sickly ochres, a characteristic that  upon first glance seems to separate the two artists, as Barton’s skin is porcelain white which is contrasted against elaborately decorated patterns. Although, on closer inspection Barton has tarnished her girls with subtly flushed checks that at once appear like smeared make-up and subtle bruises of the flesh. In contrast to the vibrant complementary clashes of colour in the ‘Three Girls’, the dominant colour in Barton’s painting is a suffocating monochromatic pink which creates a mood of delicacy and youthful femininity.

Style

Both artists utilise an expressive angular linear style of depicting the human form to emphasise the bony structure beneath the flesh. Schiele’s girls’ knees and elbows are nobly and awkward as are the protruding rib cages and elongated limbs of Barton’s adolescents.

Other formal qualities of note that could be discussed

·         Emphasis – Barton emphasises the eyes and enlarges the heads – why? Schiele elongates the limbs....

·         Techniques – Barton’s use of wet media is significant– (watercolour, ink, gouache) Gives the appearance of the bodies a wet, glistening quality. Translucent, ghostly, full of feeling – wetness associated with pain or emotion. Schiele’s technique is rougher, brushstrokes are direct and expressive, mottled....