YEAR 11 REVISION 2013

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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