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.