YEAR 11 UNIT 2 EXAM REVISION 2014

ART MOVEMENTS AND STYLES

ART ELEMENTS AND PRINCIPLES

CULTURAL AND FORMAL FRAMEWORK

Birth of Venus and Propped

Sandro Botticelli
Birth of Venus, 1485
Oil on canvas
172.5 x 278.5cm

Links
1. About the painting and influences
2. Uffizi Museum info
3. Humanism and Neoplatonism

Jenny Saville
Propped, 1992
Oil on canvas

213.5 x 183cm


Links
1. Article 1
2. Independent newspaper article on Saville - Propped
3. Re-invention of the beautiful
4. "Branded"

"Propped was the last piece I did for my degree show. And the quote is from a French feminist writer. I wanted the idea of a female body that is put on a pedestal to look at, to observe and it is almost like a bird the way I have painted it with the heel shoes and the connotation that brings in the language of women as birds or chicks."

Jenny Saville

The French text carved in reverse, to imply the self scrutiny of looking into a mirror, translates, 

“if we continue to speak in this sameness, speak as men have spoken for centuries, we will fail each other again”

By Feminist writer, Luce Irigaray

"There was "immense conviction" in making these pictures, she says, and an element of self-loathing. "There is in everybody. We are taught to judge ourselves from a very young age, to groom ourselves." And this creates a neurosis for women, she says. "You see this dichotomy in women's magazines all the time: an article on breast cancer - empowering; an article on skin products that make you look younger - neurotic."

Jenny Saville talking to Suzie Mackenzie in The Guardian, Saturday 22 October 2005

"More influential, more enduring in her work, is the experience of sitting in on plastic surgery operations. You realise something about the flesh, she says, when you see a surgeon put his hand through a woman's breast. Or smell the burning of a facial peel. You realise that the flesh is everything. "It's all things. Ugly, beautiful, repulsive, compelling, anxious, neurotic, dead, alive." And it is nothing. "Eventually we expel ourselves. We rust away. Our own body rejects us. I don't find that tragic."

Jenny Saville talking to Suzie Mackenzie in The Guardian, Saturday 22 October 2005

YEAR 11 REVISION 2013

Click here to access year 11 revision 

Goya and Holzer

Francisco Goya
The Third of May, 1814
Oil on canvas

268 cm x 347 cm

1. website information 1
2. met museum
3. info site 3
4. Romanticism in Spain

Jenny Holzer
Torso, 2007
10 double-sided, curved electronic LED signs with red and blue diodes on front and blue and white diodes on back Text: U.S. government documents
219.2 x 146.8 x 73.4 cm (86.3 x 57.8 x 28.9 in)

Information link

"Jenny Holzer’s words ask us to consider our thoughts and actions in the world. This essentially humanist and philosophical project encourages us to seek self enlightenment through examining our prejudices, false beliefs, fall back positions, and habits, to reach a new level of tolerance, understanding and self awareness"

- Juliana Engberg, ACCA’s Artistic Director.

Comparing Sandro Botticelli and Jenny Saville - The Nude

Sandro Botticelli
Birth of Venus, 1485
Oil on canvas
172.5 x 278.5cm

1. About the painting and influences
2. Uffizi Museum info

Jenny Saville
Propped, 1992
Oil on canvas

213.5 x 183cm



1. Article 1
2. Independent newspaper article on Saville - Propped
3. Re-invention of the beautiful
4. "Branded"

Comparing Russell Drysdale and Gerda Steiner & Joerg Lenzlinger: the environment

In order to research for your interpretation and comparison of Deserted Out-Station and The Water hole access the links below.

Russell Drysdale
http://www.abc.net.au/arts/drysdale/themes/essay1.htm
http://www.abc.net.au/arts/drysdale/paintings/24.htm - about Deserted Out-Station
http://www.hyperhistory.org/images/assets/pdf/drysdalepdf.PDF - access page 2 and 3 for CULTURAL INFORMATION



Gerda Steiner and Joerg Lenzlinger

Education 1 
Education 2
http://www.steinerlenzlinger.ch/stomachj_pipedreamsthewaterhole.html

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....

notes from our discussion about basquiat's artwork notary

Year 11 2013

Click here to download your Basquiat Assignment

Year 12 2013

download this

examples of comparing from exam see question 3 and 4

documents for year 12 art revision

STYLISTIC MOVEMENTS OF ART

ELEMENTS & PRINCIPLES - VISUAL ANALYSIS

COMPARISON OF BOSCH & PICCININI

THE CONTEMPORARY FRAMEWORK

WANGECHI MUTU ISSUE

documents for year 12 theory

SAC Task

The 4 Analytical Frameworks

The Contemporary Framework information

Comparison Table of "Garden of Earthly Delights" and "Protein Lattice"

BOSCH
Bosch (some info)
The Complete Paintings -  Bosch (TASCHEN TEXT ONLINE)
A more in-depth overview of Bosch
Interpretation of "The garden of earthly delights" (contribute your ideas in dot points)

PICCININI
The artistic experiments of Patricia Piccinini
Challenging modern life, opinions and emotions with art
EVOLUTION exhibition resource
PICCININI at South Australia Art Gallery

Jean Michel Basquiat (born 1960 - died 1988)

Use the links below for your research on Basquiat:

Good Luck!

http://www.basquiat.com/artist.htm#

Go to the essay section to read info on 5 of Basquiat's paintings.

http://www.brooklynmuseum.org/exhibitions/basquiat/street-to-studio/

This website is fun and interactive and has info on 6 paintings

http://www.youtube.com/watch?v=wuZZ3gY2_9I&feature=related

You can watch "The Radiant Child" documentary on Basquiat. It's on youtube in 7 parts. It has lots of great real footage of him.

http://www.studio-international.co.uk/painting/basquiat.asp

http://purple.niagara.edu/cam/special/Art_of_80s/Artists/basquiat.html

Hieronymus Bosch (born 1450 approx - died 1516, Dutch)

Formal Interpretation (pay close attention to creative descriptive language and art terms)
elements / principles / materials / techniques /style / symbols

• The Garden of Earthly delights was painted with oil on wood panels in the form of a triptych between 1490-1510. 
• Unsettling inversions of SCALE dominate the center and right panels. What meaning does this create? 
• Bosch's style was said to be influenced by the RENAISSANCE in the way he paid such careful attention to detail and the realistic portrayal of the world around him. eg. His beastly, devil-like creatures are constructed from close observation of parts of real animals. He has been recognised as a fore-runner to the 20th century movement of SURREALISM. 
• Bosch arranges objects and figures vertically to imply some depth to the scene. They reduce in scale to give the feeling of them receding into the distance. 
• Bosch's application of oil paint was revolutionary for his time. He applied rough layers of paint in a style that came to be called IMPASTO. 
• The composition of the central panel is symmetrically balanced. The complementary colours of red and green dominate this panel and draw emphasis to the red fruit as an important symbol of meaning. 
• The bright colours and repetitious detail of carefully painted flesh provide a beautiful feast for the eyes. Bosch employs repeated tiny dot shapes to also create pattern evoking 'a luscious jewel-like surface'.