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Have You Seen This Thursday - 3rd 9-weeks

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Have You Seen This Thursday - 3rd 9-weeks

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For this quarter's art-sharing requirement, we will ask that you share your own work.  In your discussion, please be prepared to answer the following questions:
1. What has your process of reviewing and refining looked like? Share with us the process of how you've selected ideas, skills, processes and techniques.

2  Tell us about your  acquisition of skills and your development as a visual artist.

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I am planning on creating a two dimensional piece of the purgatory and the method I am going to use is pastel colors to illustrate the undefined path of the souls.

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How to Make a Hot Air Balloon | DIY Mini Hot Air Balloon Project

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Make a hot air balloon from birthday candles and trash can liners in this easy science project. Watch in amazement when it really flies!

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Diana Gelman is a mixed media artist (fun and whimsical), layering together images, designs and colors.  She often combine paint with college elements, integrating the paint and collage to form a cohesive complete whole.  Much of her artwork is about the glories of gorgeous food.  She has been exploring the concept of food popping off the canvas with an innovative series of pop art pieces as well as inspiring scenes from Nature, and interesting people and children. She has shown her work extensively with the Visual Arts Alliance of Houston and was awarded the Frank Garriet’s Purchase Prize from the Beaumont Art League’s 2014 National 52nd Annual Juried Exhibition and the Juror’s Choice award in the Sugarland Art Center 2016 Juried Competition.

“I have always loved food.  I started cooking when I was very young.  In fact, a neighbor hired me as a caterer when I was about 13.  I always felt the need to create things and turned to food as a creative outlet.  In College, I was encouraged by an academic advisor to go into Dietetics, since options for a career in Food were fairly limited then.  I earned a Master’s Degree in Nutrition and became a registered, Licensed Dietitian.   I had many jobs as a Dietitian and often managed to add creative elements to my work, since I enjoyed that so much.  I worked at a Diet program at Duke University when we lived in North Carolina, during my husband’s medical training.  While there, I initiated a low-fat, low-calorie cooking school for our patients since there were such limited resources on the subject at the time.”

https://houstonphotojourney.com/2017/07/18/diane-gelman-visual-artist-at-the-silos-sawyer-yards-in-houston-texas/

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Yoko Ono, Japanese Ono Yōko, in full Yoko Ono Lennon, (born February 18, 1933, Tokyo, Japan), Japanese artist and musician who was an influential practitioner of conceptual and performance art in the 1960s and who became internationally famous as the wife and artistic partner of musician John Lennon.

Ono was born into a wealthy family in Japan and grew up mostly in Tokyo, where she attended an exclusive school. As a child she wrote poetry and plays and received classical training in piano and voice. In 1952 Ono became the first woman admitted to the philosophy program at Gakushūin University in Tokyo, but, after about a year there, she joined her family in the New York City area, where her father, a bank executive, had been transferred. For the next three years, she studied writing and music at Sarah Lawrence College in Bronxville, New York, though she struggled to find an artistic niche and never graduated.

Cut Piece

https://vimeo.com/106706806

Performed on March 21, 1965 at Carnegie Recital Hall, New York.

Yoko Ono sits motionless on the concert hall stage, wearing her best suit of clothing, with a pair of scissors placed on the floor in front of her. inviting the audience to come up on stage - one at a time - and cut a bit of her clothes off which they were allowed to keep, covering her breasts at the moment of unbosoming.

Ono debuted Cut Piece in Kyoto, in 1964, and has since reprised it in Tokyo, New York, London, and, most recently, Paris in 2003. It is the realization of what she calls a “score,” a set of written instructions that when followed result in an action, event, performance, or some other kind of experience. As with most of her work—which also encompasses music, poetry, film, sculpture, installation, paintings, and events—the participation of others is often key. Equally conceptual and physical, Cut Piece relies upon audiences’ willingness to interpret and follow the instructions outlining their role. Though participatory art is now more common, Ono was among its pioneers. In works like Cut Piece, she invites viewers to become agents in the creation of art.

In her score for Cut Piece, Ono writes: “Cut Piece First version for single performer: Performer sits on stage with a pair of scissors in front of him. It is announced that members of the audience may come on stage—one at a time—to cut a small piece of the performer’s clothing to take with them. Performer remains motionless throughout the piece. Piece ends at the performer’s option.” In a second version, Ono amended the instructions slightly, indicating that “members of the audience may cut each other’s clothing. The audience may cut as long as they wish”.

Cut Piece has inspired numerous (often conflicting) interpretations, including those offered by the artist herself. In 1967, for example, she described it as “a form of giving, giving and taking. It was a kind of criticism against artists, who are always giving what they want to give. I wanted people to take whatever they wanted to, so it was very important to say you can cut wherever you want to. It is a form of giving that has a lot to do with Buddhism.…A form of total giving as opposed to reasonable giving….”

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Chell Vassallo is a self- taught representation artist focused on narrative and social archetypes. Her work is part of private collections is brazil, argentina, UAE, netherlands and USA. she has lived in Brazil but is currently residing in Houston TX.

“  folktales, myths, legends, proverbs and all sorts of stories have been shared in every society not only to entertain but also to educate and preserve the culture. They reflect society’s attempt to give form and shape to its hopes and fears, and answer to it’s questions, expressing the culture’s belief system. The world is uring to review not only our dialogue among communities but also within our own conscience. The destruction of natural resources is forcing human being to critically analyze its primal needs and adjusts their behavior. And mythological archetypes are useful tools to guide us in the journey of self consciousness ”

Beyond the limits of consciousness

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Chang is an artist who is interested in cities and emotional health. When people feel fear, anxiety, or confusion, they often try to hide it from others. “Before I Die” is a  public display of anonymously submitted secrets to collecting a community's dreams and aspirations for their built environment to encouraging others to cry in public. A lot of media makes people depressed because it highlights the extremes and turns us against one other. The Before I Die project teaches people that our commonalities far outweigh the differences. We want to love and be loved. We want to be valuable to others. We want to feel inner peace. We want to see our children thrive. No matter the languages, the responses strike the same universal problems: anxiety about loss, desire for meaning, a need for forgiveness, a hope for a fresh start. By creating this interactive piece, it gives a chance for people to move on.
http://candychang.com/work/before-i-die-in-nola/

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Sophia Ebel Initial Idea slide #2

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Sophia Ebel Initial Idea slide 1

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Create a new document and edit with others at the same time -- from your computer, phone or tablet. Get stuff done with or without an internet connection. Use Docs to edit Word files. Free from Google.

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Finalizing your Process Portfolio Screens - Suggestion for 

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Finalizing your Process Portfolio Screens - Suggestion for 

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Excellent example of Criteria C - development of ideas, intent and purpose

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Excellent example of Criteria C - development of ideas, intent and purpose

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Snook's Copy - Angelica Masters Example of Criterion C (excellent)

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For Sophia - thinking about the portrait idea  we talked about yesterday

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For Sophia - thinking about the portrait idea  we talked about yesterday

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What if the lines were map routes? Life's Journey: A person is the sum of all the routes they've traveled

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Demi Barnes, a student aged 15 from the UK, created a wedding dress using over 1,500 genuine divorce papers for a fashion and design project in 2013. Initially, though, she had designed the dress in using magazines instead of divorce papers. She realized that divorce papers would better materialize the type of ironic statement she wished to convey to her audience and give her idea a deeper meaning, much like the type of refinements we do in our classroom. Demi was inspired by the TV Show called Big Gypsy Wedding in creating the base design for her dress. She wished to create a grand, fanciful dress to depict how a wedding dress is supposed to symbolize a happy beginning. However, in using the divorce papers to actually create the artwork, Demi reflects the idea of how rushed marriage does not lead to the happy ending everyone strives for in today's society. Subsequently, she also reveals how, since marriage is such a big factor of life, is often rushed into and glamorized for reasons no other than the aesthetic, thus exploring an idea of the artificiality in weddings.

https://www.bbc.com/news/av/uk-22345932/wedding-dress-made-of-divorce-papers-for-gcse-project

https://www.dailymail.co.uk/news/article-2319102/The-divorce-dress-Schoolgirls-incredible-design-annulment-papers-set-copied-major-designers.html

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For our weekly "Have You Seen This Thursday" presentations, I would like you to consider how artists present their artwork for exhibition.  Consider how exhibition choices impact the experience the viewer has.  

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For our weekly "Have You Seen This Thursday" presentations, I would like you to consider how artists present their artwork for exhibition.  Consider how exhibition choices impact the experience the viewer has.  

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“HOME” at the MFAH: Mondongo’s “Polyptych of Buenos Aires”

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Mondongo, an Argentinean artist collective, used hand-modeled clay to create a monumental work of art inspired by the van Eyck brothers’ “The Ghent Altarpiece.” On view in the exhibition “HOME—So Different, So Appealing,” on view at the Museum of Fine Arts, Houston, through January 21, 2018. www.mfah.org/home

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Check out these options for displaying the hands.

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Established in 1988, the Tory Folliard Gallery is Wisconsin's leading gallery in contemporary art. The gallery specializes in the exhibit and sale of emerging and established artist with an emphasis on Midwest artists. Our mission is to provide museum-quality art to our clients.

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https://www.scarlettraven.com/paintings

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Sophia - Some thoughts about they journey of life

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Sophia - Some thoughts about they journey of life

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"The beginning of existence"
migration
heredity impacts the route
Sometimes it's actually necessary overcome heredity to move forward

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For Ryan: "Human connection is an energy exchange between people who are paying attention to one another. It has the power to deepen the moment, inspire change and build trust."

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For Ryan: "Human connection is an energy exchange between people who are paying attention to one another. It has the power to deepen the moment, inspire change and build trust."

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For Sophia - Check out this arist's documentation of a journey of her life.  Very poetic...

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For Sophia - Check out this arist's documentation of a journey of her life.  Very poetic...

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A Brief String of Visual Metaphors and Expressive Pictorial Descriptions

I've held on and let go countless times,
And the balance between the two has always found its place.
I've found myself blindsided by what later seemed obvious,
And soared high above snakes who have slithered below.
I've scrawled out magic memories in the form of scribbles
That leapt from the page and took form as a lump in my throat.

I've walked on tightropes with my mouth erased,
And painted it onto another to speak for me.

I've seen faces in all of the trees around me,
And heard the applause of their dry leaves when it rained.

I have floated through time, ventured in space,
And walked in places it seems that time has forgotten.
I've been lost and have lost. I've come back from the void
To a place that was familiar but suddenly not the same.
I've shed tears in the happiest of moments,
And stood stoic in sadness, been numbed by betrayal.

I've stowed away life lessons in my thinking cap,
And found most answers in my unconscious riffs.
I've wandered aimlessly with beings great and small,
Adventured with creatures sensitive and fierce.
I've laughed with them in the shadows,
Howled with them in the light.
I've held signs in crowds, roared among the tribe.

In the most silent of moments, I've heard truth speak.
I've hibernated for what seemed like eternity,
And then awoke to shout from the mountaintops.
I've shared strides with characters from all walks of life,
And journeyed with those who defy gravity.
I've danced with fire spirits. I've bonded at bonfires,
Lifted by the power of human connection.

I've lost my breath under powerful waves,
and reached the surface thankful for air.

I've sung with clowns and clones and wind in the branches,
Flown with birds and planes and cats.

I've felt the heaviness of darkness,
And have reached out to the most colorful of lights.

I've witnessed dry fields turn to flames, then black.
And in those fields, I've run through grass tall and green again.

I've traveled to worlds that have only machines,
And to worlds where no machines have ever existed.
I've listened to the tales of wise monkeys,
And swam in the veins of their ancestors.

I've grown roots and floated from limbs.
I've seen devastation, witnessed growth and renewal.
I've watched the sleeping breath rise and fall quietly
in the chest of the ones that I love and have grown old with.
I've been rescued and nuzzled with those whom I've rescued
Who remind me to rest, to play, to listen and hold true.
I've visited the spirits of those who've passed on,
And met new souls that possess magnetic energy.

I've been lifted up and loved, sung harmonies on long road trips,
And been comfortably quiet in shared spaces.
I have fallen, I've been broken.
I've risen, and I've healed.
I have been powerful and powerless,
Larger than life and microscopic.
Often times, I've been invisible.
Some adventures have been heavy,
Some have been as thin as air,
And most have defied the boundaries
Of the years that define my lifetime.

And so I will continue to paint what life shows me...

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Describing Life's Journey and Experiences Through Art

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A Brief String of Visual Metaphors and Expressive Pictorial Descriptions I've held on and let go countless times, And the balance between the two has always found its place. I've found myself blindsided by what later seemed obvious, And soared high above snakes who have slithered below.

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Mindful: Exploring Mental Health Through Art on Contemporary Craft

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One in four adults lives with a mental health condition, yet this common illness often remains hidden behind a wall...

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Hans Haacke was born in Cologne, Germany, in 1936, just a few years before the outbreak of what would become the Second World War. from 1956 to 1960, he studied at the Staatliche Werkakademie in the town of Kassel, Germany, where he was a student of Stanley William Hayter, an English painter and printmaker. From 1961 to 1962 he tsidied on a Fulbright grant at the Tyler School of Art at Temple University in Philadelphia. In 1965, he moved to New York, where he has lived ever since.

He actively resists being photographed and has given only a few interviews, believing, as a ture Conceptualist, that his work should stand on its own, and that he, as a artist should not be an object of interest.

Haacke’s 1969 work News originally consisted of a teleprinter connected to a live feed of political and economic news transmitted from a wire services commonly employed by newsrooms around the world. The machine, which bore the logo of United Press International, would split out lines of news items onto long, narrow spools of paper, which were then cut and affixed to the gallery walls. In later installations, museums allowed the paper to gather into a pile on the floor, to dramatic effect. News was first shown in a 1969 exhibition at the Howard Wise Gallery in New York and later that year in a large group exhibition. Haacke aimed to bring the outside world directly into the gallery, not through engaging the body of the viewer through architectural space nor through a fairly didactic treatment of language or a deadpan depiction of the everyday, but through a constantly spooling machine that recorded current events as they happened.

ACADC packet 2018

http://art-sheep.com/hans-haacke-news-1969-2005/

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2)Function, Purpose and Context: Kultur terror is an anti-American and pro-axis poster that depicts America as a destructive creature.Created in 1943, the poster served primarily as social activism to lure citizens to fight against the Allied powers since Norway had been occupied by Germany in 1940. With control over Norway and other european countries, Germany sought to increase its military power in order to win World War II. With the loyal contributions of the Norwegian artist, Damsleth, the hate for Allied powers increased.

3) Harald Damsleth was able to persuade people into believing that the Allied powers were the enemy by illustrating their flaws. In this anti-American poster, Damsleth depicts America’s hypocrisy by adding numerous motifs that represent all the corruptness that the country possesses. The audience is lured by the fact that America values beauty pageants , jingoism, materialism and commercialism. More ways in which Americans are being degraded is that they are labeled as gangsters, “animalistic”, violent, and greedy. With this much negative aspects of Americans, Damsleth labels Europe as the innocent and gullible party that needs to realize the need to fight for themselves, because if they do not then the monstrous America will destroy their lands.

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Harald Damsleth (August 16, 1906 – March 1, 1971) was a Norwegian cartoonist, illustrator and ad-man. He is best known for his posters for Nasjonal Samling (NS) during World War II.During his younger days, Damsleth was primarily a professional in the field of advertising. He worked for several advertising agencies in Oslo before taking over Myres reklamebyrå and in 1939 Heroldens annonsebyrå. In addition to advertising, he drew book covers, postcards, posters for the Norwegian Mountain Touring Association and more. However, Damsleth did nurture antipathies for socialism, and was a Norwegian nationalist. His illustrations were inspired by the Norwegian scenery and healthy, blonde people (Arne Skouen Once described him as a "specialist on Aryan facial traits"), though these ideals were not atypical for the time. On the other hand, he was to a degree inspired by modernist art. He was involved in Federal Landslaget for some time, and joined Nasjonal Samling, the Norwegian Fascist Party, already in 1933, its foundation year. He did not actually pay the membership fee until 1939, but upon the German invasion of Poland that year, he invigorated his support for the party, and paid the fees for the years 1933 to 1939.

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https://larryswritings.weebly.com/image-analysis.html Dutch Version

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For some reason this never loaded so I’m posting it again.

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https://docs.google.com/presentation/d/1V-V95QtdLaxCjbRrCpbyMoEueCOT4OzRKOkg2xOvaWk/edit#slide=id.g42ae2ff327_0_5

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https://docs.google.com/presentation/d/10Vz-pYrG5PZKyGUCd5Brp1i4zet0LjAk8Y8cygdmDTs/edit#slide=id.g41622260fb_0_0

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Process Portfolio Criteria B (Critical Investigation) leads to Criteria A (Development of Skills, Techniques and processes)

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Process Portfolio Criteria B (Critical Investigation) leads to Criteria A (Development of Skills, Techniques and processes)

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Process Portfolio - evidence of critical investigation and experimentation

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Created in 2005 banksy created “flower bomber”,features a man dressed up in what we associate with traditional riot gear, with a bandana covering the majority of his face, and a backwards hat. His stance is one of a person about to chuck a Molotov cocktail. However, instead of a weapon, he holds a bunch of flowers (which are the only part of the mural to appear in color.) This piece is located on a wall on the side of a garage in Jerusalem on the main road to Beit Sahour, Bethlehem. By substituting the malov tov instead for flowers shows that he is advocating peace in a area that is full of aggression. he work also carries the message that peace comes with active hard work. The bouquet of flowers in this work, in addition to symbolizing peace, life, and love, may also be understood as commemorating lost lives in an age old religious conflict. This is also a great example of most of banksy’s art since he is an artist who tackled controversial issues.

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Michelangelo did a fresco painting of God creating Adam.

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https://docs.google.com/document/d/1wsDhxXTbPQdXk3kfvUGOxjDgzPpfgNMmRc3YSpAZERo/edit?usp=sharing

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How and what

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For Kendell...check out this article about how greek sculputures were "composites".  This contributes to the idea of perfection, yet it's not real and unattainable.  

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For Kendell...check out this article about how greek sculputures were "composites".  This contributes to the idea of perfection, yet it's not real and unattainable.  

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“They had a view that perfection doesn’t exist in nature. Perfection is what art gives to nature. The idea of a sculpted body was design. It didn’t take inspiration from one model, but from several models; the arm of one, the head of another, and not only male but female bodies. The biggest compliment you could pay a young man of the time was to say he resembled a statue or sculpture.”

Bronze figure of Aphrodite. Image from the Trustees of the British Museum.

And it’s not that far removed from many of the images that we are bombarded with in modern culture that have been “designed” or touched up and resized. Jenkins says the exhibition will allow visitors to consider how these artworks have shaped the way we think about and look at ourselves.

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RAGING debates about body-image issues and the magic measurements that define the perfect physique have been going on for centuries.

As far back as Ancient Greek and Egyptian societies, in the times when myths and legends were born, artists have created impossibly high ideals for the beautiful body. And as our culture has changed over time, so too have the physical goals that humans strive to achieve.

Technology, the digital age and social media may have accelerated the pace of change, but it hasn't changed the substance of the question: what is a beautiful body?

The Ancient Greeks revered naked, athletic, well-defined perfection but knew this was unlikely to exist in the real world. So their artists merged what they considered the ideal features from different bodies - often male and female - into the one form to create the perfect specimen.

These ancient and exquisite physical examples are among the highlights of Bendigo Art Gallery's latest exhibition, The Body Beautiful in Ancient Greece, on loan from the British Museum.

The exhibition is yet another coup for the regional gallery which has made a name for itself for its groundbreaking Bendigo International Collections series.

The Body Beautiful in Ancient Greece, featuring more than 100 treasures from the British Museum's famous Greek and Roman collection, has been shown in venues in Europe, Asia and the Americas and will have its final showing in Bendigo before returning to display in London.

This is the first time the British Museum has toured an exhibition to a regional Australian venue.

Among the treasures carefully unpacked in Bendigo for the exhibition which opened on Saturday, is one of the more iconic images of Ancient Greece art - that of the chiselled young athlete Discobolus (the discus thrower).

The sculpture is a Roman copy of the Greek sculpture made by Myron in the fifth century BC. Other priceless exhibitions being shown are a bronze figure of Jupiter from the first or second century AD, the marble head from a colossal statue of Herakles (117-118 AD), and a marble statue of Sokrates (200BC-100AD).

Speaking to Weekend from London, exhibition curator Ian Jenkins says many of the artworks have shaped the notion of body image from ancient times.

"Right back to Ancient Greek times, artists have been redefining the notion of the body beautiful and the ideal body shape for women and men,'' he says. "The Ancient Greeks invented the notion of the ideal body, using the human form as an object of sensory delight and as an expression of the intelligent mind.

"They had a view that perfection doesn't exist in nature. Perfection is what art gives to nature. The idea of a sculpted body was design. It didn't take inspiration from one model, but from several models; the arm of one, the head of another, and not only male but female bodies. The biggest compliment you could pay a young man of the time was to say he resembled a statue or sculpture."

And it's not that far removed from many of the images that we are bombarded with in modern culture that have been "designed" or touched up and resized. Jenkins says the exhibition will allow visitors to consider how these artworks have shaped the way we think about and look at ourselves.

Spread across eight spaces, the exhibition explores the male body beautiful (Herakles) and the female body (Aphrodite): superman, athletes, the human face, and the representation of human experiences such as sex and desire, birth, marriage and death.

Jenkins says interest in the human body as art is as strong now as it had been throughout history, as evidenced in current trends in popular culture, such as the boom in tattoos, piercings and body art.

"There's a huge and seemingly insatiable interest in body culture and that's just one way in which this exhibition captures the imagination of people all around the world. The human body is what we all share and what unifies us in our curiosity," he says.

This innate curiosity is a thread that has sewn together vastly different periods of history. One of the earliest artworks celebrated for its human beauty was the bust of the ancient Egyptian pharaoh's wife Nefertiti, whose symmetrical face conformed with the early ideals of beauty.

A thousand years after the body beautiful of the Ancient Greek artists, the Renaissance period from the 1400s to 1600s saw a shift from chiselled physiques to pale-skinned, voluptuous, full-figured female shapes. It was followed by the Baroque period when Reuben and Rembrandt painted voluptuous female figures. Even today, the description Rubenesque is given to women who are larger than average.

LaTrobe University art and body image expert Gillian Shepherd says the different periods of Western art each had a different emphasis when it came to thinking about what made a have different emphasis on the beautiful body.

While Ancient Greece focused more on the male form, coming forward through the centuries the focus had switched to the female body, where it remains today.

"No Ancient Greek artist would have gone after an image of Rembrandt or Reuben of a very well-covered lady with dimpled flesh,'' she says.

The Victorian era of the mid to late 1800s saw voluptuous figures give way to women with tiny waists (and crushing corsets) flaunting the bustled fashion of the day with layered petticoats and hoops to accentuate the bottom.

A few decades later came the 1920s flapper era of boyish looks and hidden curves before the curvy feminine figure returned mid-century as the popular "perfect body" that women aspired to and men admired.

In this era of Hollywood golden girls and voluptuous busty, hourglass figures, style icons including Marilyn Monroe Grace Kelly and Elizabeth Taylor became stars and continue to influence fashion today.

The 1960s saw an obsession with the Twiggy look, a thin almost androgynous body type that for most was unattainable and a body-type that made somewhat of a comeback on the catwalks of the world during the 1990s when the heroin chic/emaciated look was popular among waiflike models such as Kate Moss.

But it was the 1980s, the decade of the rise of the supermodels that had many women questioning their body shape. The tall, slender silhouettes strutting in fashion parades and peering off the pages of magazines and television screens intensified the body image debate.

The intense scrutiny continues today with the likes of the Duchess of Cambridge Catherine Middleton, Michelle Obama, Princess Mary of Denmark, and Sarah Jessica Parker being revered for their physiques and women the world over wanting to look like them.

Recent decades have again seen the rise of artists creating an artificial body beautiful using technology.

"In some ways it has come full circle to modern art. As in ancient cultures, in modern society there is such a big debate about models looking beautiful and the perfect body," Shepherd says. "We still apply a lot of that idealism in the human body in public culture today."

The Body Beautiful in Ancient Greece exhibition opens at the Bendigo Art Gallery runs until November 9. bendigoartgallery.com.au

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RAGING debates about body-image issues and the magic measurements that define the perfect physique have been going on for centuries. As far back as Ancient Greek and Egyptian societies, in the times when myths and legends were born, artists have created impossibly high ideals for the beautiful body.

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Brooklyn-based artist Kip Omolade creates large-scale oil paintings of chrome masks, depicting not only the subtle details of female faces, but incorporating the reflected environment of each piece. The series, entitled Diovadiova Chrome, makes reference in part to historical African sculptures, while exploring contemporary aspects of identity, luxury, and immortality. Each piece begins as a mold and cast taken from an actual model which is then utilized as source material for Omolade's towering paintings which can measure several feet tall.

" Diovadiova Chrome portraits historically connect to ancient, realistic African sculptures such as Benin ivory masks and Ife bronze heads," shares Omolade in his artist statement. "The oil paintings are psychological studies that investigate immortality, the universal masks we all wear and contemporary notions of beauty and luxury. The labor-intensive process involves making a mold and cast of each model's face, reworking the cast plaster sculpture, producing a version in resin and adding a chrome layer with artificial eyelashes. The final sculpture then serves as a model for the hyper-realistic oil painting. This technique maintains the likeness qualities of portraiture while re-presenting a mask that serves as a conduit between the spiritual and natural world."

The term Omolade uses to describe the series, Diovadiova, is a word he derived from a combination of the Italian word " Dio" meaning god, and the historical meaning of the word " diva " which is goddess.

Omolade first began his art career working as a graffiti artist while interning at Marvel Comics and The Center for African Art and went on to earn a BFA from the School of Visual Arts. His work was most recently included in the Re:Semblance exhibition at the Redbull House of Art in Detroit and last year's FREAK OUT! show at Zhou B Art Center. You can follow more of his work on Instagram. (via Creator's Project)

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Hyperrealistic Oil Paintings of Vivid Chrome Masks by Kip Omolade

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Brooklyn-based artist Kip Omolade creates large-scale oil paintings of chrome masks, depicting not only the subtle details of female faces, but incorporating the reflected environment of each piece. The series, entitled Diovadiova Chrome, makes reference in part to historical African sculptures, whi

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Brooklyn-based artist Kip Omolade creates large-scale oil paintings of chrome masks, depicting not only the subtle details of female faces, but incorporating the reflected environment of each piece. The series, entitled Diovadiova Chrome, makes reference in part to historical African sculptures, while exploring contemporary aspects of identity, luxury, and immortality. Each piece begins as a mold and cast taken from an actual model which is then utilized as source material for Omolade's towering paintings which can measure several feet tall.

" Diovadiova Chrome portraits historically connect to ancient, realistic African sculptures such as Benin ivory masks and Ife bronze heads," shares Omolade in his artist statement. "The oil paintings are psychological studies that investigate immortality, the universal masks we all wear and contemporary notions of beauty and luxury. The labor-intensive process involves making a mold and cast of each model's face, reworking the cast plaster sculpture, producing a version in resin and adding a chrome layer with artificial eyelashes. The final sculpture then serves as a model for the hyper-realistic oil painting. This technique maintains the likeness qualities of portraiture while re-presenting a mask that serves as a conduit between the spiritual and natural world."

The term Omolade uses to describe the series, Diovadiova, is a word he derived from a combination of the Italian word " Dio" meaning god, and the historical meaning of the word " diva " which is goddess.

Omolade first began his art career working as a graffiti artist while interning at Marvel Comics and The Center for African Art and went on to earn a BFA from the School of Visual Arts. His work was most recently included in the Re:Semblance exhibition at the Redbull House of Art in Detroit and last year's FREAK OUT! show at Zhou B Art Center. You can follow more of his work on Instagram. (via Creator's Project)

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Hyperrealistic Oil Paintings of Vivid Chrome Masks by Kip Omolade

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Brooklyn-based artist Kip Omolade creates large-scale oil paintings of chrome masks, depicting not only the subtle details of female faces, but incorporating the reflected environment of each piece. The series, entitled Diovadiova Chrome, makes reference in part to historical African sculptures, whi

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Check out this Comparative Study's layout and design.  Your presentation should be visually appealing.  

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Check out this Comparative Study's layout and design.  Your presentation should be visually appealing.  

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Critical Investigation Leads to Personal Artwork development

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Critical Investigation Leads to Personal Artwork development

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Critical Investigation Leads to Personal Art-making

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Created in 1961, consists
of a wall-mounted square covered
in oil, watercolor, pencil, paper, fabric, newspaper, printed paper, printed reproductions, wood, metal, tin, and four metal clipboards on canvas.  Street sign says “ONE WAY,” with an arrow that points to rope that is attached to a small brown suitcase. Inside the suitcase, there are stamps (numbered 1−4), an inkpad, four notebooks, pencils, and four small “readymades,” which, over time, have included objects such as a photograph, flashlight, and handkerchief. The contents of the suitcase change over time because viewers are invited to take an object and leave one behind. Instructions written by Rauschenberg (and translated into ten languages) appear inside the lid, entreating visitors as follows:
“Objects 1, 2, 3, or 4 may be taken if a new object is put in its place. Please stamp the new object with the correct number, and trace or draw it into the book of the same
number, and sign your name.” Brings art and life closer together in two ways. First, uses everyday materials, which has not been assimilated into a unified work of art, but looks as though it had been found on the street. Each part remains discrete and unique— the materials appear straightforward and unchanged from how they appear in the world. Second,
Black Market invites viewers to complete the artwork through their interaction with the metal clipboards or through their participation in the trade of objects in the suitcase. The work is thus ongoing, its materials constantly change through the participation of viewers who have been empowered to do more than just passively view the work. The title references the illegal, underground systems of trade. The art has “smuggled” everyday materials into the museum, and through the exchange of objects in the suitcase, it invites viewers to “smuggle” their personal items into the museum. However, Black Market ceased to be an interactive artwork, as viewers are no longer invited to take objects from the suitcase and add their own, nor are they permitted to touch the parts of the wall-mounted part of the Combine.

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Chiho Aoshima
"City Glow, Rebirth of the World Series"
2005
5 Large Screen Animation
7 minutes and 7 seconds
Currently at MFAH

Some Links to Consider
https://www.mfah.org/art/detail/8450
Page on MFAH about basic information concering City Glow.

http://glasstire.com/2007/02/08/chiho-aoshima-city-glow-at-mfah/
Article concerning City Glow; critiquing it.

https://youtu.be/5427YXnyKXY
Link to information about the exhibit it was originally in.

https://youtu.be/WoAeTMElkb
Short clip someone took of the animation.

The process of City Glow
City Glow is a 7 minute, 7 second long animation made primarily by Chino Aoshima (she had help with an animation team.) The animation spanned across five, large screens at the museum I saw it at, and is therefore meant to be viewed on a large scale. The animation is made through a couple of steps:
1. The sketch is the first step in Chiho's animating progress which is usually a painting she has done.
2. The scanning is the second step. Chiho will take the painting, scan it, and save it in a digital format on the computer.

3. Now comes the animation. After selecting the artworks she wants to animate, she and her team of animators begin the process of 3D modeling the artworks using a KaiKai Kiki. This program converted the drawings into vector format which allowed for the animation of the piece.

4. Dancers were used in motion capture studios to add movement to the vector formats. (5:41 in video)

5. The final step is in part piecing all of the layers of art vectors onto a large landscape and then rendering the animation.

Function, Purpose, Context: City Glow
I believe that City Glow has a social function which is evident in its address to the destruction of nature due to civilization. When an artwork has a social function, it means that the piece serves as a means in addressing aspects of the collective life of a people. For Aoshima, her people are the Japanese. Japan is infamous in its technological advancement, growth of civilization, and overall industrial revolution. It is obvious that throughout history, more and more of nature has been sacrificed for the sake of technology, and it doesn't happen solely in Japan. In fact, perhaps it can be said the whole world is infatuated with the idea of urbanization. Therefore, the purpose of this piece is to depict the consequences of a growing, ruthless civilization and is thus persuasive. The argument made within the piece presents the idea that humans should begin to realize the consequences of their actions, especially with industry and building. She advocates for the rights of nature and how beautiful it is by itself, and that how, eventually, no matter what is done, nature will reclaim what was once hers.
Formal Analysis

Throughout the duration of the video, the once prominent paradise seen in the day slowly turns into a landscape filled with tall, winding skyscrapers. As night falls, the faces become demonic and monstrous which is symbolic for the destructive manners of civilization. There is a sense of color play throughout the animation, again seen through the slow change of morning to night. There is change from bright, almost neon colors to dark and rich tones as the time of day shifts. The overall style of the animation could be defined as cute due to the personifcation of the skyscrapers. By this I mean how the buildings are given faces which have large, eyes, small noses, small mouths, and long lashes. These characteristics, along with the almost child like rendition of reality, amplify the cute factor of the animation. This is actually a specific approach to the art's persuasive purpose; lure the audience in under the pretense of a cute artwork and capture them in the negativity of the meaning. Many people have problems with the confrontation of negativity, and thus, presenting her idea in this way, Aoshima almost assures that she will grab and retain her audience's attention. Another interesting portion of the piece is the pacing of the animation. The change from paradise to underworld is drastic yet subtle. Every movement in the animation is deliberately slow in order to emphasise the fact that a change such as urbanization does not happen overnight. In fact, it happens so slow that many do not realize what is happening until the damage is done.

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Let's talk about your comparative study's strength.  There may be a need to look at one more artist/artwork. Check out this artist.

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In 2012 Matika Wilbur sold everything in her Seattle apartment and created Project 562 which reflects her commitment to visit, engage and photograph all 562 plus Native American sovereign territories in the United States.

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For Ryan - Material that further explains Magritte's context and his purpose for using surrealism

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For Ryan - Material that further explains Magritte's context and his purpose for using surrealism

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Surrealism uses visual imagery from the subconscious mind to create art without the intention of logical comprehensibility. Many Surrealist artists and writers regard their work as an expression of the philosophical movement first and foremost, with the works being an artifact. During Magritte's life however he had a rather turbulent relationship with the movement.

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For Ryan - Material for further study of "The Lovers II" by Magritte

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For Ryan - Material for further study of "The Lovers II" by Magritte

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In your CS, you must tell us about the function and purpose of this artwork. Check out what this article says.

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As one of the leading figures of the surrealist movement of the early 20th century, Rene Magritte has lent his talents and artistic genius towards a movement that has forced us to consider things in a new light and question our presuppositions of what art should be. From his compelling meditations on humanity, such as The Son of Man or his cheeky observations on art itself, such as The Treachery of Images, Magritte's vision has captivated our imaginations and surrealist love for almost a hundred years.

An interesting element of his work is the utter humanity of his subjects - from what interests us on a primal level (forcing us to pay attention and consider the visceral scenario and narrative of The Menaced Assassin, for instance) to the loneliness and distance implied by works such as A Friend of Order. Magritte constantly begs us to question not only individual experience but a collective human narrative.
This cannot be more obvious than in his two works, The Lovers, and The Lovers II. With these two beautiful (and haunting) images, Magritte offers us a shocking commentary on a surrealist love and romance while still somehow offering a strange type of intimacy and even romance. By using his surrealism as a vehicle, we are able to consider something that should be warm and comforting from a different, defiant angle, enabling us a more profound view of love itself.

The Birth of a Surrealist love

Inspired by the impressionists that came before him, Magritte had studied for a time at the Académie Royale des Beaux-Arts in Brussels, where he played a rather rebellious role: being uninspired and bored with the instruction he received and desiring a change. His life would change significantly in 1922, when he finished his mandatory military service and met his future wife and surrealist love Georgette Berger. Soon after, in 1927, he would live in Paris and establish a working relationship with the leading figures of the surrealist movement - including Dali, among others. With this collaboration, Magritte's art blossomed into his idiosyncratic style we know and love to this day.

The Lovers (1928)

Housed in the illustrious Australian National Gallery, this painting depicts a man and a woman close together and fashionably dressed - as if they're posing for a family portrait. The background is a lovely pastoral, featuring rolling, grassy hills and an abundance of trees. The sky is blue and the clouds are thin, giving us a very obvious feeling of comfort and beauty. This is the perfect day for two lovers to be captured in an image.
Most obviously, however, is the stark white hoods covering their heads, completely obscuring their faces and giving their features a surrealist love image. They almost look like ghostly silhouettes. This juxtaposition of a serene, lovely setting and framing combined with the almost torturous imagery of the hoods immediately concerns and shocks - it's not every day we see people, apparently happily and willingly, choosing to cover their entire head with what looks like a sack used by a kidnapper.
The apparent inspiration for this piece, and the partner piece, The Lovers II, was from the story ' Fantomas,' which is a series of pulp thrillers that initially appeared in 1912. In this work, the lead character - The Phantom - is continually disguised with a black hood covering his head, with eye-holes cut out. The visual imagery is indeed similar and the connections to the series is appropriate.
Not only does the piece visually resemble the thriller series, but the idea of a masked hero, something that both inspires and bolsters us, but also distances and unsettles us, is very apparent in the final work. We see the happy couple leaning into each other on a beautiful day, yet with the crippling drawback of their hoods. Why are they wearing them? What can it mean? Magritte was famous for not lending his own interpretations to his work, so we can only draw upon our own ideas and feelings for an answer.

The Lovers II (1928)

The companion piece is much the same, but more intimate and more interesting and disturbing than its partner - in this version of the 'story,' the man and woman, identically garbed to the original, lean in for a loving embrace - a kiss, albeit, through the same hoods as before. Unlike the pastoral scene of the previous painting, a much more abstract background is given. The blue background seemingly over top of a 'frame,' suggesting that this piece is inhabiting a more conceptual space than a literal one. Instead of a scene in what could be real life, this piece depicts a scene that looks more akin to a family photo inside a picture frame; once again giving us an intimate glimpse of a couple in surrealist love, but still providing the stark contrast with the hoods. As if we're not supposed to be looking at this private picture. As if we've picked up a portrait on someone's mantelpiece and are shocked at what we see.
Both pictures inhabit the same liminal space of intimacy and publicity, encouraging us to both be interested and inquire about the people in the painting, but just be off-putting enough to make us rethink ourselves.

An unorthodox blend of ideas

So what then do these paintings tell us? What do they convey and what should we be asking of them? By taking an intimate act - involving a couple that truly seems to love each other, acting as if they are not restricted by their unfortunate coverings - and placing a barrier in front of it, we can consider these paintings to be a kind of commentary on romance itself. Perhaps the paintings, by covering their subjects, are implying that no matter how much you pose, no matter how much you actually love each other, no matter how picturesque the setting is, there will always be a distance between you and the one you love. There is always a distance, no matter how intimate you are, and that is one of the tragedies of being human.
It could also be a commentary on how we, the audience, view voyeuristic subject matter such as this. Perhaps, for instance, that the hoods are there merely for our personal detriment - saying, in effect, that the surrealist love of these two individuals is not for us to see or even for us to understand. That love, viewed from the outside, is inherently distant and, at times, bizarre. That surrealist love is ultimately an extremely private thing, no matter how much we gussy it up with beautiful scenery and lovely wooden frames and will always remain something out of the subjective grasp of those viewers not included.
Perhaps even the companion pieces could be seen in a more grim light, signifying the dark and the hidden aspects of relationships that the participants themselves are blind to. When the two individuals in the pieces embrace or kiss, they cannot see the other in a literal sense: both of their heads are fully covered by a (presumably) opaque hood. We always have troubles deciphering the true intentions, feelings, and secret fantasies of those in our lives and this is made readily apparent by the inclusion of a literal blinder. After all, we can only truly know ourselves and never our partners (or anyone else). Love, enigmatic Rene Magritte 's interpretation, becomes an almost labyrinthine trap, with these paintings serving to illustrate how we blind ourselves willingly to its true nature.

The Surrealist Love

Whatever Magritte 's intent, and whatever the interpretation of the viewer for The Lovers I & II, it is easy to recognize the power that the surrealist frame lends to Magritte's amazing portraits. Without the elements of the surrealist movement backing his artistic vision, the paintings themselves would be much less striking and thought-provoking.

By simply being shocking initially, we are immediately caught off-guard and must ask ourselves questions. Why do they have hoods covering their heads? Why do they seem completely comfortable with it? Why do they look like everyday portraits? Surrealism blends the everyday with the bizarre, and this is very apparent with Magritte's entire oeuvre, let alone these specific pieces.

At the end of the day, The Lovers I & II, provide their own contexts and ask us to make sense of them. By offering a downright disturbing twist on an otherwise classic and beautiful set of scenes, we are confronted with our own doubts and insecurities. It is important to confront these images and make sense of them to ourselves - the essence of interpretation in a nutshell. Magritte, with these masterpieces, takes one of the most primal human urges, surrealist love, and companionship, and purposefully mars their beauty with obfuscation and irreverence. It is up to us to determine what is meant (or not meant!) by the pieces themselves, and this onus is one of the loveliest, challenging, and interesting aspects of the surrealist movement as a whole. After all, what better way to ponder the intricacies and idiosyncrasies of surrealist love than with a hood over your head?

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The Surrealist Love and Bizarre Romance of Rene Magritte - Musart Boutique

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As one of the leading figures of the surrealist movement of the early 20th century, Rene Magritte has lent his talents and artistic genius towards a movement that has forced us to consider things in a new light and question our presuppositions of what art should be.

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https://www.youtube.com/watch?v=j24uh8cZ3wA

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Have You Seen This Thursday Requirements 2018/19

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Have You Seen This Thursday Requirements 2018/19

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With the HYSTT posts this year, there are a few different requirements:
1. Present the artist and their artwork. Post an image of the work and a link to information.
2. Discuss the function, purpose and context. Answer the questions: "What did the artist do?", "What impact did it make on society?"
2. Lead us through formal analysis of the work. Answer the question: "How did the artist do it?"

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Twin artists making art about CONNECTION

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Viewing art doesn't usually require signing a safety waiver before the seeing, but then most sculptures don't thrillingly bridge the divide between art and spectator like the latest incarnation of Mike and Doug Starn's Big Bambú project, This Thing Called Life, now at the Museum of Fine Arts, Houston.

For five summers in a row, the MFAH has presented a large-scale immersive installation inside the Caroline Wiess Law Building, an offering that has quickly become the coolest annual art tradition for many Houstonians. But this year's piece from acclaimed contemporary artists, Mike and Doug Starn, might be the most ambitious yet, as the twin brothers seem to have grown a vast bamboo forest for us to explore.

And yes, the Museum is requiring visitors to read the guidelines for experiencing the installation and sign a waiver before making that journey into This Thing Called Life.

A bamboo tsunami

Life rises from the floor of Cullinan Hall, like a bamboo tsunami 30 feet into the air, creating a bridge onto the second floor the balcony of the Upper Brown Pavilion. Explorers may enter the piece from the second floor, traversing the bridge and then walk through the tree tops, following the bamboo road as it gently spirals down to the floor. Those who have any fear of heights, balance or some mobility issues, can still experience the enormity and beauty of the piece by roaming through it from the ground.

Throughout their artistic career, which began in childhood working on each other's paintings, the Starns have focused on themes of interconnectedness, especially in nature and in human relationships. The Big Bambú series began a decade ago as a sculptural exploration of some of those ideas, which led to ever evolving manifestations of the work for institutions like the Metropolitan Museum of Art in New York, the Museo d'Arte Contemporanea, Rome, and the Naoshima Museum, Japan.

Interconnections

"The original idea for Big Bambú had nothing to do with bamboo. It was about these interconnected elements that create the structure of life," explained Mike Starn at a recent "Conversations with the Director" program with the Starns and MFAH director Gary Tinterow.

"The Bambú series was born from our own personal philosophy of how things grow, whether we're talking about a culture, person or family. It's through random occurrences, trajectories from history, politics or fears and hopes," continued Doug Starn. "All these things interconnect and we all live with that and travel forward in life through all these interactions."

No two installations are the same and each is created by the Starns and a team of artist/rock climbers specifically for the space it inhabits. According to the MFAH, Big Bambú installations have been experienced by more than two million visitors in the last 10 years.

Life Journey

This Houston installation consists of approximately 3000 lashed-together poles of bamboo selected from a farm in Georgia. For all the Big Bambú installations, the brothers work with specially trained rock climbers who do much of the construction. Fifteen artists/climbers, including four local climbers, have worked on building and ensuring the safety of This Thing Called Life since April 30.

Traveling forward through this Life, calls for rubber-soled shoes, no bare feet, heels, or flip-flops, and being able to walking without assistance. You also need to travel sober, and mindful of swinging cameras and phones for all the selfies we'll no doubt be taking. However, carrying a sense of wonder while walking is certainly allowed and encouraged.

Warnings aside, one of the most remarkable, and seemingly intentional, aspects of Big Bambú is how wild and precarious the installation looks, yet how stable and safe it feels while on the journey from air to ground. Big Bambú gives us a new perspective on both the forest and the trees. And for a few minutes, as we glimpse other sojourners walking the pathway ahead and behind us, we might even feel a slight vibration from those invisible ties - made visible through art - that bind our lives together.

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The ticketed exhibition Mike + Doug Starn: Big Bambú This Thing Called Life remains on view (and ready to climb) at the Museum of Fine Arts, Houston through September 3, 2018.

Museum of Fine Arts, Houston

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Climb aboard this stunning and sticky new exhibit at Museum of Fine Arts, Houston

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Viewing art doesn't usually require signing a safety waiver before the seeing, but then most sculptures don't thrillingly bridge the divide between art and spectator like the latest incarnation of Mike and Doug Starn's Big Bambú project, This Thing Called Life, now at the Museum of Fine Arts, Houston.

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Digital Name Tag directions

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Create an IB Learner Profile Name Tag (digital)

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Summarization - included in an introduction 

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Summarization - included in an introduction 

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More possibilities for organizing your comparaisons

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More possibilities for organizing your comparaisons

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More possibilities for organizing your comparaisons

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More possibilities for organizing your comparaisons

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From the rubric:

The student should display an effective identification and critical analysis of the connections, similarities and differences between the selected artworks, objects and artifacts.

At the highest level of achievement, the work critically analyses the connections, similarities and differences between the selected pieces. These connections are logical and coherent, showing a thorough understanding of how the pieces compare

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Dustin Yellin: A journey through the mind of an artist

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Dustin Yellin makes mesmerizing artwork that tells complex, myth-inspired stories. How did he develop his style? In this disarming talk, he shares the journey of an artist -- starting from age 8 -- and his idiosyncratic way of thinking and seeing. Follow the path that leads him up to his latest major work (or two).