Abstract Art

Abstract Art Flores

Original Abstract Painting 23
Clayton Kashuba
40" x 30"
Acrylic

 1. Many hard lines of various shades of blues in order to create a pattern.

2. Acrylic was used effectively to make the lines and pattern. Colors are excellent choices, can't see any other color being used for this piece.

3. My response is that it is non-narrative because it resemble a pattern and can't read much from it.

4. No Artist Statement

5. I like the image just the way it is, I wouldn't change a thing, can't make it better.

Abstraction 4
Mark Webster
12"x 12"
Oil

1. Various colors used to create this image, that resembles an explosion in a grassy field.

2. Oil was used effectively in this image. Majority of the colors such as the blue, red, and green were good choices, however questioning the yellow usage.

3. My response to this image that it looks like there is an explosion (red) in a grassy field (green) and the blue symbolizes the blue sky. I'm not sure how the yellow works, guessing it could symbolize the shining of the sun.

4. No Artist Statement

5. Maybe add a light orange or gold to the yellow to add contrast.

Garden Bliss
Youssef Rami
36" x 24"
Oil

1. Various colors to create character and style to the image of what seems to be maybe some clouds.

2. Oil was used in this piece very effectively, by adding contrast between colors and the whole.

3. My response to this image is that I like how the colors come together to add character and personality to the image.

4. No Artist Statement

5. Maybe add like one or two more colors to the piece, like a shade of yellow.

Abstract Art (Dixon)

Lee Pina, watercolor/acrylic

1) How would you describe the image/object being presented? What movement/aesthetic is this work (or artist) most closely associated with? what/when/where is (was) this movement in a nutshell?
I saw it like the texture on a dragonfly's wings. Considering I searched Google for abstract art, I would say that this is abstract. The artist's other pieces on their page were of similarly vague images. Abstract art is one of the more modern movements, and is still very alive today.

2) What are the tools/materials being used? Are these the most effective use of these items? Is this piece strongly built/composed FORMALLY?
It is a painting in watercolor and acrylic paint, at least that's what her statement said. I'm not sure how much of each is used in this piece, though. I think the Pina used the materials really well in showing lots of bursts of color as well as using texture from paper or fabric to their advantage. I think the fact that the major lines that can be read go diagonal is strong because diagonals are generally strong in things like photographs. It would have been very different had they gone exactly vertical or horizontal.

3) What is your response to this piece? Is it narrative/non-narrative --EXPLAIN!!
I was drawn to this piece because of the weaving of bright colors and that the texture was very interesting. You could probably think up a narrative for any piece, but I'd go ahead and say this piece is non-narrative because there are no recognizable figures or shapes.

4) Is there an artist's statement/explanation for the work? Do you agree with/understand the artist's intent? Was this your original read? "I paint because there are no words. While texture and color are the core of my work, I am exploring what can be created from ‘no-thing’, without an end in mind. I want to create an internal experience, an expression of feeling … mine and yours!" -Lee Pina This doesn't change my read because I could tell that it was more of a color and texture study, I mean, that's what I was drawn to.


5) What constructive criticism could you give to improve/strengthen the piece?
I'd say it'd be nice to have some of the colors mix together less because there are some areas that are a bit muddled.

Lucie Beardwood, mixed media

1) How would you describe the image/object being presented? What movement/aesthetic is this work (or artist) most closely associated with? what/when/where is (was) this movement in a nutshell?
At first, I saw it as just a mixture of colors, but I feel like the purple could be an eye. With that, I could see the blue on the left as another eye and the border of light and dark gray just under it as the muzzle of a wolf. Once again, I was just looking through abstract art.

2) What are the tools/materials being used? Are these the most effective use of these items? Is this piece strongly built/composed FORMALLY?
This piece was made with "mixed media", but that definitely includes some paint, probably acrylic or oil. I think whatever paint was used well. There are placed where texture appears due to the use of dry brushing. I think it has a pretty strong composition with how some of the more prominent colors have some characteristics of the rule of thirds.

3) What is your response to this piece? Is it narrative/non-narrative --EXPLAIN!!
Even though I can kinda see a wolf or person in the image, I think that's just because I've been watching a show with those elements in it. I'd say that this is non-narrative because there aren't any recognizable things in it.

4) Is there an artist's statement/explanation for the work? Do you agree with/understand the artist's intent? Was this your original read?
Yes, the artist says, "My work is process based and is intrinsically linked with my interest in duality, specifically in achieving a balance between the two states of chaos and order." This kind of goes with my initial read in that it did feel quite chaotic, although I'm not sure if I see the "order" in it.

5) What constructive criticism could you give to improve/strengthen the piece?
I think it works well enough. I'm not a big fan of abstract art in that I prefer images with figures, but I think this ones does alright.

Wassily Kandinsky, Yellow and Blue, 1866-1944

1) How would you describe the image/object being presented? What movement/aesthetic is this work (or artist) most closely associated with? what/when/where is (was) this movement in a nutshell?
I feel like I can almost see a face in the yellow figure, or perhaps a perfume bottle. As far as I could tell, Kandinsky is known for abstract art.

2) What are the tools/materials being used? Are these the most effective use of these items? Is this piece strongly built/composed FORMALLY?
There wasn't anything that said what was used, but I'd say paint of some kind. Yeah, I think whatever medium was used well in that the colors are very vibrant.

3) What is your response to this piece? Is it narrative/non-narrative --EXPLAIN!!
I think the colors are nice, but I'm not a fan of abstract, and this painting just doesn't hold my attention for more than a minute or two. I think it's non-narrative.

4) Is there an artist's statement/explanation for the work? Do you agree with/understand the artist's intent? Was this your original read?
On the site I found it on, there was no artist statement.

5) What constructive criticism could you give to improve/strengthen the piece?
Considering it's apparently a famous piece, I think it's safe to assume that it's perceived as a "good" image. I don't have any criticism for it.

Abstract Art - Sullivan

"Zambezi", Frank Stella. 1959, enamel on canvas.

1) How would you describe the image/ object being presented? What movement/ aesthetic is this work (or artist) most  closely associated with? What/when/where is (was) this movement in a nut-shell?

This image is a series of white inward-pointing V shapes on a black background. The artist, Frank Stella, is associated with minimalism and post-painterly abstraction. This piece is minimalist; minimalism originated in America following World War II, and focuses on simplistic, spare design featuring repetition.

2) What are the tools/ materials being used? Are these the most effective use of these items? Is this piece strongly built/ composed FORMALLY?

This painting is enamel on canvas--the canvas provides the thin stripes of white. I think this was an excellent use of the materials, and I think the composition is effective as well--the lines draw the eye to the center.

3) What is your response to this piece? Is it narrative/ non-narrative--EXPLAIN!!

My response to this piece is narrative, but that's because this is not the first time I've seen it. This painting is (or was) on display at the San Francisco Museum of Modern Art. I went there on a class trip in high school, so when I look at this piece, I remember that field trip. I particularly remember a photograph I took of my sister in front of this piece. She was leaning in to inspect the painting more closely, and in that photograph, she became part of the piece. 

This is the photograph.

4) Is there an artist's statement/ explanation for the work? Do you agree with/ understand the artist's intent? Was this your original read?

I did not find an artist's statement or explanation.

5) What constructive criticism could you give to improve/ strengthen the piece?

I would not give any. I would certainly not make this myself, but that is because I'm not interested in this particular movement.

Mark Rothko. (Could not find title, year, materials.)

1) How would you describe the image/ object being presented? What movement/ aesthetic is this work (or artist) most  closely associated with? What/when/where is (was) this movement in a nut-shell?

This image is a series of black rectangles of varying sizes, with subtle gray borders. There is a white rectangle at the very top.

The artist, Mark Rothko, is associated with color field painting--arguably, he is the best-known artist in the movement. Color field painting was a subset of abstract expressionist painting; it began in the 1950s and continued into the 60s. Its artists were focused on the use of color and color only to convey feelings.

2) What are the tools/ materials being used? Are these the most effective use of these items? Is this piece strongly built/ composed FORMALLY?

I wasn't able to find information about the materials Rothko used for this particular piece--I assume some kind of paint, probably oil paint, and canvas. I think his use of materials and composition were effective.

3) What is your response to this piece? Is it narrative/ non-narrative--EXPLAIN!!

My response to this piece is to try to guess what emotions Rothko wanted it to evoke. The dark values and lack of color make me think that he wanted to convey depression or grief. This response is completely non-narrative; this image doesn't make me come up with any kind of story.

4) Is there an artist's statement/ explanation for the work? Do you agree with/ understand the artist's intent? Was this your original read?

I was not able to find any sort of artist's statement of explanation.

5) What constructive criticism could you give to improve/ strengthen the piece?

Color field painting is really not my thing, so I think most of the criticisms I might offer are a matter of personal taste. However, I would like to see a wider range of values, more different greys, etc. 

Robert Delaunay, oil on canvas, 1912.

1) How would you describe the image/ object being presented? What movement/ aesthetic is this work (or artist) most  closely associated with? What/when/where is (was) this movement in a nut-shell?

This image consists of overlapping, colorful circles and semicircles. Delaunay is most closely associated with Orphism, an short-lived art movement that took place from around 1912 to 1914. Orphism sought to convey meaning through pure form and color. It was focused on sensation and its meanings, rather than representing real-world objects.

2) What are the tools/ materials being used? Are these the most effective use of these items? Is this piece strongly built/ composed FORMALLY?

Apparently this is oil on canvas, but it has a somewhat watercolor-like look in some places, which I think is cool. I think the color choices are excellent and the composition is strong.

3) What is your response to this piece? Is it narrative/ non-narrative--EXPLAIN!!

This is pure abstraction--I cannot find any recognizable forms in this image, or even something that suggests a real object, so it's very hard for me to impose narrative on it. Instead, I find myself thinking about the feelings that the colors evoke.

4) Is there an artist's statement/ explanation for the work? Do you agree with/ understand the artist's intent? Was this your original read?

I wasn't able to find one.

5) What constructive criticism could you give to improve/ strengthen the piece?

If it were my painting, I would alter the placement of lights and darks a little bit for a better balance. On the whole, though, I don't think it needs to be changed.

Abstract Artists (thompson)

Robert Delaunay (1885-1941)

 

Silmultaneous Contrasts: Sun and Moon(1913)
by Robert Delaunay
oil on canvas 53 in (134.5 cm)
MoMA, New York

My first response to this piece was thinking that it was a bowl of fruit. I almost dared to say that is was narrative. The artist was a pioneer after cubism, who's intent was to bring bright and bold colors to the monochromatic tones of cubism. Compositionally daring, this piece shows subtle intent with the mark-making.

Joan Miró (or Miro) (1893-1983)

The Hunter (Catalan Landscape)

Date:Montroig, July 1923-winter 1924

Medium:Oil on canvas

Dimensions:25 1/2 x 39 1/2" (64.8 x 100.3 cm)

Miro was a Spanish painter involved in early surrealism. This piece reads as a human matter to me, maybe simply because of the flesh tones.

 

Damien Hirst 1991

The Physical Impossibility of Death in the Mind of Someone Living 

The fermaldehyde worked against this piece, the tiger shark had to be replaced. Probably an example of a narrative modern piece that is famous for being poorly constructed.

Elder Drawing- (Martinez)

Story of the face.

 When you look at her, you can see she knows.

The crown of grey shows the wisdom she has learned over the past five centuries.

Her brown spots across her face are the road maps of the hardships her has survived.

Her skin,

So withered it’s like taunt paper,

So fragile it feels so brittle when you touch,

Her skin that has the constant glow

But is actually from always cooking and feeding you.

Her eyes,

The real depth of who she is in the eyes.

Her eyes that are honest,

Her eyes that always are kind,

Her eyes that are so brittle.

So hurt from the past, yet healed from the now with kindness

Her mouth,

So thin and delicate,

But yet always so blunt in calling me on my bullshit and tellin it straight.

So many wrinkles is such a small area.

The origin of all the good advice,

The funny lessons to be learned

and the adversity she would rather I didn’t have.

Stripes Narrative- (Martinez)

Stripes

                For the beginning of the assignment I didn’t have any idea about what I was going to do or how I wanted the final piece to come out. I decided to start with the smallest figure that had a yellow and black fabric over a solid green cloth, I like this figure because it looked so cute, but the thing about this assignment that got to me right away was the folds, and the designs of the fabric. The designs were crazy hard to copy especially when the fabric is all bunched up and this little figure fooled me into thinking that it was easy since it was smaller but the design was the hardest thing so to keep it balanced and to show a little design but not all messy I just did less of the design in the bunches. It was also a little larger then I had anticipated but it was closer to the right side of the paper.

                The next figure was a larger figure that was left of the little yellow guy. This figure was way easier to draw, even though it came out bigger in my picture. It has a meshier fabric that bunched in a way that was more of white and shadows in the little folds. The red dot fabric underneath was jus placement of white dots but another thing that I had a little of confusion for me was seeing in color but drawing in just black and white. I decided to have both of the figures surrounded in black so as to bring out the white of the fabric around the head area; I wanted the black to bring in the depth of the closeness of the two figures.

                In the end the piece turned out to be something of a mother and a daughter or adult and child, the fact that the figures are kind of placed on top of each other gives the intimate relationship, that there is one larger then the other gives dominant or authority attitude. In the end I love the end results.

Abstract Art-Marquez

 Clyfford Still

"PH-160" 

Oil on canvas 

1957
"Color is an integral part of the conception. The works are conceived in color and do not exist amply with out it. Each picture tales on the color is demands."

 1) How would you describe the image/ object being presented? What movement/ aesthetic is this work (or artist) most  closely associated with? What/when/where is (was) this movement in a nut-shell?
This image shows a blossoming of blue somethings on a white plain. Clyfford Still was associated with the abstract expressionist movement which focused more on the act of painting rather than the image's content of it.

2) What are the tools/ materials being used? Are these the most effective use of these items? Is this piece strongly built/ composed FORMALLY?
The paint used to create this image uses very expressive brush work and is strong in that it conveys the emotional or mental state of the artist. This is effective because of the nature of the abstract expressionist movement which focused on the act of painting as expression. The strongest aspect of this painting is the activation of the edge of the canvas. the blue blobs go off the edge and make for a strong and interesting image.

3) What is your response to this piece? Is it narrative/ non-narrative--EXPLAIN!!
I feel a strangeness from this piece. Typically I find blue to be a pleasant color to look at but this hue of blue gives off a toxic vibe that makes it seem unsettling. This feeling is strengthened because the narrative I see when I look at this image I see the outlines of blooming flowers.

4) Is there an artist's statement/ explanation for the work? Do you agree with/ understand the artist's intent? Was this your original read?
I agree with the artist's statement. I feel that this painting would not be the same without the sickly blue color. The whole image depends upon the blue otherwise it wouldn't have as much life and visual interest.

5) What constructive criticism could you give to improve/ strengthen the piece?
More painterly brushwork. 

 Georgia O'Keefe
"The Black Iris"
1926

7x9in Oil on canvas.

 1) How would you describe the image/ object being presented? What movement/ aesthetic is this work (or artist) most  closely associated with? What/when/where is (was) this movement in a nut-shell?
Going off the title of the piece it would be safe to say that the image is an abstracted version of a "Black Iris". This artist is most closely associated with the American Modernist movement which surrounded the idea of human progression and manipulation of the environment to benefit human kind.

2) What are the tools/ materials being used? Are these the most effective use of these items? Is this piece strongly built/ composed FORMALLY?
Oils on canvas were used to paint this image and the nature of oil paint was effective in getting the smooth blends between colors in this image. The composition of this image is strong, the slightly off center vertical division of the image makes for an interesting element as well as the red half circle.
3) What is your response to this piece? Is it narrative/ non-narrative--EXPLAIN!!
This piece has a sinister feeling that emanates from it. The red half circle looks like an angry eye staring at the viewing while at the same time the frilly linear elements soften the image. A narrative for this image could be associated with being watched or being up close and personal with a bird of prey.

4) Is there an artist's statement/ explanation for the work? Do you agree with/ understand the artist's intent? Was this your original read? I couldn't find anything that pertains to this work specifically but this quote from O'Keeffe can be applied to it.

"From experiences fo one kind or another, shapes and color come to me very clearly-Somtimes I start in very realistic fashion and as I go on from one painting after another of the same things it becomes simplified til it can be nothing but abstract-but for me it is my reason for painting I suppose" -Georgia O'Keeffe, 1957

I can definitely see how her practice relates to this painting. I can see how at one time this piece could have looked like an iris and evolved away from realism to abstraction through the painting process.

5) What constructive criticism could you give to improve/ strengthen the piece?
It's perfect, don't mess with Georgia. 

    

Kim, Ik Mo
Untitled 7804, Paint on canvas, 1000x700 cm.
2007 

1) How would you describe the image/ object being presented? What movement/ aesthetic is this work (or artist) most  closely associated with? What/when/where is (was) this movement in a nut-shell?

A patchwork of brush strokes. This artist is contemporary/modern which really doesn't have a solid definition based on Google searches.

2) What are the tools/ materials being used? Are these the most effective use of these items? Is this piece strongly built/ composed FORMALLY?

Brushwork is prominent in this piece as is the materiality of the paint. Each brush stroke is obvious and intentional and the liquid quality of the paint is used to add to the image in the form of drips and smears.

3) What is your response to this piece? Is it narrative/ non-narrative--EXPLAIN!!

This image is playful. It look to me like the artist is putting paint on the canvas as a catharsis or in a playful manner. This painting reads largely as non-narrative how ever it doesn't seem like a far stretch to say that it can be water crashing onto rocks or something similar.

4) Is there an artist's statement/ explanation for the work? Do you agree with/ understand the artist's intent? Was this your original read? The artist has a background in printmaking and a curator on Google Art Project said this series of paintings was the artist's divergence from the strict processes of printmaking. I can definitely see that. Print making has a very specific set of steps that must be followed in order to get a certain result. This painting is a mish mash of different painting techniques and looks to be a release of tension. However some of the brushstrokes and color fields look very similar to the way printing ink is rolled onto a surface with a brayer.

5) What constructive criticism could you give to improve/ strengthen the piece?

 bigger brush marks.

Abstract Art (Banach)

Clyfford Still

Abstract Expressionism

http://www.abstract-art.com/abstraction/l2_grnfthrs_fldr/g040a_still_1957-d.html

1957-D No. 1

1957 - Oil on Canvas

113 x 159 in.

1. I would describe this as an abstract painting with an intense feel. The use of black with a bright color adds to the intensity of the image. Clyfford Still is most closely linked to Abstract Expressionism. The irony of this, is that he spent most of his life criticizing and rejecting this movement. Abstract Expressionism - is an art movement developed in the 1940's in New york that is derived from the emotional intensity and self-denial the work portrays; it is neither especially abstract nor expressionism. Additionally, it has an image of being rebellious, anarchic, highly idiosyncratic, and, some feel, nihilistic.

2. The tools used are oil paints and canvas. He used much impasto (thick, textural paint). I think he used these tools very effectively to created his intense strokes that almost look like rips. Any thinner it would not look as effective. I definitely think it is built strongly, as it's incredibly striking, and formally as well. The use of color and shape are great, albeit missing formal line which is okay.

3. My response to this piece is surprisingly a positive one. I've never been too keen on abstract art in general, but for some reason this one speaks to me. I want to say it is non-narrative because no defined object or scenario is clearly visible, however, I create a narrative when I see it. So does that make it narrative? Hmmmm. I almost think this looks like melted wax on a wood plank or something slowly encompassing a surface.

4. Statement: "Each painting is an episode in a personal history, an entry in a journal," and "My work in its entirety is like a symphony in which each painting has its part." The titles of his paintings, which contain dates, letters, and numbers that signify the order in which they were created, support this explanation." - I agree that there is a personal effect to the imagery, thus supporting the idea of the journal entry. Yes, this was my initial reaction.

5.  Constructive criticism would be too maybe use more shades or tones of the selected color to add more expression.

Wassily Kandinsky

Abstract
http://www.abstract-art-framed.com/wassily-kandinsky.html

The Last Judgement

Oil on Canvas

1912

1. I would describe this painting as being on the cusp of abstract and having a recognizable image. Although there is no defined image, I got a sense of narrative upon first glance. Kandinsky was a pioneer of and part of the early Abstract art movement. This movement began in the early 1900's throughout. In a nutshell, this movement is the depiction in a painting that does not represent a person, place, or thing in the natural world. The subject of what you see is based on colors and shapes, etc.

2. The tools being used are oil on canvas. I think he effectively used his tools to capture the spirit of the image. It almost look watercolor-esque when you first glance, which I think is a great manipulation of the tools. Formally, I do believe this piece is built strongly. The use of line and shape and color are well thought out.

3. My response to this piece is the feeling of happiness! There is a sense of child like behavior going on in the piece and it makes me thing of being young. I think this piece does not have a distinct narrative, but that someone can come up with one on their own. Mine is of kids in a car at an amusement park!

4. Kandinsky is said to have been able to see music and hear color. I think this statement is heavily depicted in his work. After reading about this I do get a sense of music notes and fluidity that comes from sound.

5.  The only criticism I can think of, is to apply heavier coats of the paint and see how it manipulates the image read.

Jackson Pollock

Gestural Abstraction (Action Painting)

http://www.abstract-art-framed.com/jackson-pollock-paintings.html

Enchanted Forest

Oil on canvas

1947 - 221.3 x 114.6 cm

1. I would describe this piece as what I consider the epitome of abstract art. You can clearly tell there is no defined image or attempt at one. Jackson Pollock was best know for his drip method that represented the Gestural Abstract Movement that took place in the early 1940's c. NYC. This movement emphasizes the process of making art, often through a variety of techniques that include dripping, dabbing, smearing, and even flinging paint on to the surface of the canvas. 

2.  The tools being used are oil on canvas, and for the aesthetic of Jackson Pollock I would say he used his material effectively. You get to see what paint does when there is no structure. I do not think these images are constructed formally however.

3. My response to this piece is positive. I like street style art and this reminds me of it for the non formality. I do not believe there is a narrative, but i feel that the artist was expressing emotion with each drip of paint. The act was more important the the outcome, to me.

4.  Some of the inspiration for his paintings came from the Native American sand art he saw as a child and his own method of working resembled a form of ritualised dance around the canvas which was laid out flat on the floor. After reading this, yes I do see where he is coming from!

5. Honestly, I think these types of paintings have so much going on that it is hard to critique a certain element. I would maybe like to see more color?

Abstract Art ( sager )

Pamela Harris 2012 22 inch X 22 inch
 This artist used pastel, charcoal on paper.
 I like the colors used. I see this as narrative. The placing of different colored marks, over and over, remind me of a tornado, which doesn't agree with the long and drawn out artist statement. I would like to see this artists drawings of structured pieces. 



Paul Lorenz 2010 12" X 16" X 2"
This artist used graphite and oil on panel
I do not see narrative is this piece, to me it looks like a piece of paper that had been waded in a ball for a long time and then flattened. This artist statement is very interesting. ( Abstraction is not a style, but a state of mind...a way of thinking about action, time and circumstance, confidence, and risk taking, boldness and subtlety, solid and void. )  With this thought, I would not change a thing on this image.

Pasquale Cortese 2013 9" X 12"
This artist used pen and ink on paper
I do not agree with the artist statement as grace and energy. I would not would not like this piece hanging on my wall, for it gives me negative feelings. I do not see this image as narrative. Worm colors would make a difference on how I would view his work.

Hwk 4/16: WATERCOLOR & ABSTRACT ART

Hwk 4/16: watercolor & ABSTRACT ART 

http://m.wikihow.com/Approach-Watercolor-Painting-As-a-Beginner

http://www.watercolorpainting.com/watercolor-tutorials.htm

http://www.handprint.com/HP/WCL/water.html

"What is Abstract Art?" 

Definition:

(noun) - Abstract art can be a painting or sculpture (including assemblage) that does not depict a person, place or thing in the natural world -- even in an extremely distorted or exaggerated way. Therefore, the subject of the work is based on what you see: color, shapes, brushstrokes, size, scale and, in some cases, the process (see action painting). Abstract art began in 1911 with such works as Picture with a Circle (1911) by the Russian artist Wassily Kandinsky (1866-1944).

Wassily Kandinsky (Russian, 1866-1944). Picture with a Circle (Bild mit Kreis), 1911. Oil on canvas. 54 11/16 x 43 11/16 in. (139 x 111 cm). Georgian National Museum, Tbilisi.

© 2009 Artist Rights Society (ARS), New York/ADAGP, Paris

7 Design Principles!! Look at these!
http://www.squidoo.com/the-basics-on-art-composition

Probably the most coherent definition is the least academic one: 
http://en.wikipedia.org/wiki/Abstract_art

To understand abstract art, we must have CONTEXT and know how it came to be and what it is NOT: 
http://www.artsicle.com/blog/understanding-abstract-art (you MUST read this site!)

There is no SET aesthetic or parameters, but rather, an absence of representative (figurative) depiction. Here is an article to discuss the birth of the movement :
http://www.vulture.com/2013/01/saltz-on-inventing-abstraction-at-the-moma.html#

This site is links to famous abstract artists and images of their works (CHECK IT OUT!!):
http://www.abstract-art-framed.com/famous-abstract-artists.html

Examples from the "FIGURATIVE ABSTRACTION" assignment:

HOMEWORK for MONDAY: 

Find at least three different examples of abstraction and post them to the blog (make sure to LABEL images). FOR EACH ANSWER THE FOLLOWING QUESTIONS:

1) How would you describe the image/ object being presented? What movement/ aesthetic is this work (or artist) most  closely associated with? What/when/where is (was) this movement in a nut-shell?

2) What are the tools/ materials being used? Are these the most effective use of these items? Is this piece strongly built/ composed FORMALLY?

3) What is your response to this piece? Is it narrative/ non-narrative--EXPLAIN!!

4) Is there an artist's statement/ explanation for the work? Do you agree with/ understand the artist's intent? Was this your original read?

5) What constructive criticism could you give to improve/ strengthen the piece?

Hwk: 4/14

Wednesday is a work day for our "Observation & Abstraction". Please bring ALL materials for painting with watercolor or goauche  (paint, brushes, etc) and working achromatically (NO COLOR--open media). You will ALSO need EITHER a full color photo OR an object to work from for this project, as well as a minimal 18"x 24" piece of watercolor paper (you can divide in half for your two observational drawings) and an 18"x 24" piece of yupo (you can divide in half for your abstracted images). This is all the paper you will need for your final projects.

We will begin with our experimentation in watercolor and discussion of abstraction. I will provide the scratch paper for our experimentation in working with watercolor and yupo. I suggest you bring in a sketch pad for further exploration.

"Ada"-Karina Smigla-Bobinski

Karina Smigla-Bobinski,  ‘Ada’, a large helium filled ball covered in charcoal nubs. The piece floats gently in space until interacted with by viewers, who can toss the ball against the walls, creating scratchy drawings on the surface of the gallery space. During the course of the exhibition, the walls  evolve into a dense collection of scribbles.

Oil Pastels

Hwk 4/9: OIL PASTELS!

Poetic Color DUE next Monday!! Remember this is about COLOR and READ.

https://www.youtube.com/watch?v=VgMGG_HR8qc

FIGURATIVE ABSTRACTION

Drawing II-­‐ OLIVER Assignment 9
(Due: Monday, 4/28)

   Figurative Abstraction

For this project you must complete TWO SEPARATE IMAGES (each piece minimally 18"x 24"). OPEN media/ OPEN surface (support)

You may choose from any of the following approaches to developing your figure studies, or modify these ideas according to your own inspiration. Include an IDEA SHEET response for each image:

1. Colored Silhouette: Cut out your study and adhere it to a contrasting colored ground. Add colored pencil/other media to enhance sections and fill in segments with solid or semi-­‐transparent color.
2. Free-­‐form collage: cut out figures; adhere together in a mass or inter-­‐ connected sequence. Adhere to a background or simply leave as free-­‐form. Add watercolor or other information to different sections to the free-­‐form collage suggesting a progression of emotion or evolution-­‐ shift color from warm to cool, bright to dull, dark to light, etc.
3. Contrasting Pattern: Using one of your studies, cut patterned paper and collage onto sections within the figure, outside of the figure, or both. Also, consider creating patterns with colored pencil, marker, watercolor, etc.
4. Interior VS Exterior: Using brown paper or Watercolor paper, work up a densely rich background using collage, watercolor, or other drawing media. Adhere a cut-­‐out figure-­‐study to the ground, then create a strongly contrasting quality within the figure-­‐ warm vs. cool, dark vs. light, bright vs. dark, horizontal vs. vertical, etc
5. Fluid Vibrancy: Using a watercolor study, wet paper with spray bottle. Touch liquid watercolor in a variety of colors in different sections of the study. Let dry, then use marker/colored pencil to add exciting patterns, designs, and textures to the colored areas.
6. Rhythm: Using Graphite Paper over brown paper or watercolor paper, overlay a figure study, transferring it to the blank paper. Repeat, shifting the drawing several times in parallel or diagonal steps across the paper, creating a sense of motion, an ‘echo’, or a rhythmic effect. Enhance with shifting color, texture, value, pattern, etc.
7. Dark and Moody: Enhance any of your drawings with India Ink wash and brush. Add pattern, line, or value with variations in ink. Add color washes to grey areas to create subtle shifts in color
8. Stripes/Strata: Over the top of a selected figure study, draw horizontal lines all the way across the page covering the entire paper, varying each ‘stripe’ in thickness and regularity. Treat each segment with different color, texture, pattern, etc. varying the positive/figurative areas from the negative/background areas, creating a stratification/cross-­‐section of layered horizontal lines over the entire image.
9. Reverse/Symmetry: Draw a line down the center of a large piece of paper. Cut out a figure. Turn it upside-­‐down (optional). Trace its’ silhouette on one side of the paper, touching the center line and the edge of the paper with the outline you draw. Then, flip the cut-­‐out to the opposite side and adhere symmetrically. Work with color, pattern, collage or other media to create two very different sides to this ‘butterfly’, yet strive to retain visual balance.

Idea Sheet Instructions
After you complete each Drawing, you must write one page of responses to your work. You may type and print this page or neatly and LEGIBLY write by hand your responses to the following questions:

1. What methodology/ means of abstraction did you choose? 
2. What materials did you use? What was the process of making this piece?
   
3. Is this TRULY abstract? Does is negate figuration? If so, go directly to question #4. If not, how do you read this figure?
   
4. What does this piece mean to you?
   
5. How do you READ/ RESPOND to this piece?
   
6. Describe at least one way you could expand upon, change, or use this work in a new way. 
   

OBSERVATION & ABSTRACTION

Drawing II- OLIVER

Assignment 8

(Due: Monday, 4/28)

Observation &  Abstraction

For this next project, you will be creating four drawings based on a single image or object. This photographic image or OBJECT should be a visually complex “Natural Object”, or “Living Organism” of some kind, with a full range of color and high-resolution detail when printed. It is encouraged that you consider this image not only for its initially interesting visual content, but also for its potential for abstraction. Please NOTE: To begin this project you will have an in-class assignment, Monday, 4/14, to explore working with these materials and paper surfaces before delving into your final four images. Please come prepared!

MateMaterials:

·              OPEN CHOICE—achromatic drawing (graphite/ ink/ marker/ etc)

·               Watercolor/related tools

·               Rubbing Alcohol

·               Drawing Paper  11”x 11” (can be half of your watercolor sheet)

·              Watercolor Paper 11”x 11”

·               Two sheets Yupo Synthetic Paper 11”x 11” (one sheet cut in half)

Preparatory Studies (IN CLASS: Wednesday 4/16)

    1. Achromatic Experiments: On each sample piece of Drawing paper and Yupo, create 7-step value scales (1” square) using a range of values and mark-making techniques. Thoroughly fill the remainder of the sample paper with marks, blends, textures, erased areas, small drawings, etc, demonstrating a full range of experiments with your drawing materials.

2 2. Watercolor Experiments: On each sample piece of Strathmore Watercolor and Yupo, create color wheels using the full range of colors available to you in your watercolor kit. .). Thoroughly fill the remainder of the sample paper with marks, blends, textures, erased areas, small drawings, etc, demonstrating a full range of experiments with your drawing materials.

Final Projects (DUE: 4/28):

Measure out and tape a .5” border on all 4 sheets of paper so you are left with a 10”x10” working surface. Grid photo image using transparency paper.

1.              “Observational Achromatic Drawing” on Heavy-weight Drawing Paper

2.              “Observational Watercolor” on Strathmore WC Paper

3.              “Abstracted Achromatic Drawing” on Yupo (based on Stonehenge piece)

4.              “Abstracted Watercolor” on Yupo (based on WC paper piece)

THINGS TO CONSIDER:

Your Observational pieces need to be as accurate and detailed as possible: think scientific illustration, encyclopedia quality. Your Abstracted pieces, while not having a specific guideline of a ‘style’ or ‘look’ to depend upon, must nevertheless show clear evidence of thoughtful consideration, careful attention to detail, and craftsmanship. In other words, the goal of “abstraction” does not justify a sloppy, rushed, or low-quality piece. Please strive for excellence in all four pieces.