Art As A World Phenomenon - Lecture notes - art notes - Lecture notes, lectures 1 - 10 PDF

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What is Art?  Many purposes  Made from almost anything  Communicates sensations, ideas and emotions by visual means  A form of language  Can help us see the world in new and exciting ways Fine Art and Graphic Art  Fine Art o Painting, drawing, sculpture, prints o Sometimes aesthetically pleasing o Often made for a single patron  Graphic Art o Books, poster, advertising, television, social media, etc. o Communication is essential o Reproducible, intended for a large audience The Visual World  Art is part of a wider context  Visual culture: includes all of the images we encounter  Art reflects the visual culture in which it was created, not just creative achievement of its maker. Where is Art?  Found in many places o Coffins, books, contemporary media  Public and private places  Museums o Collect, exhibit, preserve o Offer educational programs and cultural events Art and Creativity  Artists: trained and untrained  People responded to images and seek to express themselves visually  The role of creativity in our own lives Who makes Art?  A single individual or many people  Famous or anonymous  Can be affected by training (or lack of) o Master/ student, guilds academics o Naïve or “outsider” artist The Power and Value of Art  Value o Sale price o Ceremonial, spiritual, or political value  Admired for beauty or skill involved in its creation  Can communicate about the human condition to viewers

Censorship of Art  Art can be censored for many reasons: o Challenges those in power o Considered pornographic o Offends religious beliefs o Represents values others do not share 01/21/16 Studying Art: Content  All visual communication has a message (content)  Three types of content o o o  Subject matter o May be visually apparent o Given by the title chose by the artist o Told to us by critics and scholars  Sometimes the subject matter is not clear  Representational: depicts objects or people that we can recognize  Non-objective: depicts subject matter that is un recognizable  Abstraction: artist emphasize, distort, simplify, or arrange the formal elements of an artwork 

Context o Society that produced the artwork o Economics and religion o Detail of the patron o Status of the artist

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Formal analysis o Elements (vocabulary)  Color, form, line, mass, shape, space, texture, time and motion, value volume  Principles (grammar):  Balance, contrast, emphasis, focal point, pattern, proportion, rhythm, scale, unity, variety

Chapter 1.1 Line, Shape, and the Principle of Contrast  Elements: vocabulary  Principles: grammar  Two-dimensional art: has height and width, but not depth

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The most fundamental element of art Definition and functions of line o Connect two points o Defines boundaries between planes o Defines shapes o Directs the viewer’s eye o Conveys movement and energy Regular lines o Express control and planning- predictable and orderly Lines to express freedom and passion o Lines can be irregular o Free and unrestrained lines seem passionate or emotional Regular and irregular line o Most works use both George bellows Woodstock road Implied line Line and implied by a series of marks Gives the impression of a line where there is no continuous mark Directional line o Line used to direct a viewer’s attention Communicative Line o Vertical lines: strength and energy o Horizontal lines: calmness and passivity o Diagonal lines: action, motion, and change Contour Line o Contour: the outer edge or profile of an object o Can suggest a volume in space by showing the changes in a surface Shape o Two dimensional area with boundaries defined by lines or suggested by changes in color or value Geometric and organic shapes o Two types:  Organic shapes: made with unpredictable, irregular lines  Geometric shapes: mathematically regular and precise Implied shape o Shapes where no continuous boundary exists Contrast o Two noticeably different states of an element o Strong differences can be visually effective o Examples include:  Regular, and irregular line  Geometric and organic shape  Opposites

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Positive and negative shape o Positive shape: defined by surrounding empty space (negative space) o Often represented by black and white and other opposites

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Three-dimensional works of art: o Have height, width, and depth o Have 4 visual elements:  Form, volume, mass, texture Form o Two-dimensional object=shape o Three-dimensional object=form  Volume: the amount of space a form occupies  Mass; the volume is solid and occupies space o Geometric form  Regular forms, readily expressible in words or mathematics  Cubes, spheres, cylinders, cones pyramids, etc. Organic Form o Organic: irregular and unpredictable  Most things in the natural world o Living things (and their form) change constantly o Can be used for expressive effect Form in Relief and in the Round o Relief: sculpture with forms projecting from a flat surface  Designed to be viewed from one side o In the round: can be seen from all sides Imperial Procession Volume o The amount of space occupied by an object o Solid objects have volume; so do objects that enclose an empty space Open volume o When artists enclose a space with materials that are not completely solid Mass o Mass suggests that something is solid and occupies space o Mass can suggest weight but it does not necessarily imply heaviness Texture o The tactile sensation when we physically encounter an object o We rely on tactile impressions o Looking at a surface, we can imagine its texture without actually touching it Subversive Texture o Contradicts tactile experience o Invites viewers to reconsider preconceptions

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Techniques to imply o Value  Lightness and darkness  Can produce a sense of solidity and influence mood  Tools for creating depth  Chiaroscuro  Italian for “light-dark” o Chiaro=light o Oscuro=dark  Applying value to 2D artwork to create the illusion of depth  Renaissance artist used five areas: o Highlight, light, core shadow, reflected light, and cast shadow.  Hatching and Cross-Hatching  Hatching: close, parallel lines  Cross-hatching: a variant of hatching with crossing lines  Express value and create form and depth o Space  Techniques for creating a sense of depth and the illusion of space:  Size, overlapping, and position  Alternating value and texture  Changing brightness and color  Size, overlapping, and position  Comparative sizes of shapes often suggest that the larger object is closer  Overlapping shapes: the shape in front seems to be closer  A shape lower in the picture plane also appears to be closer  Alternating value and texture  Creates the illusion of 3 dimensions in 2D art  Artists intersperse value and visual texture to create a sense of rhythm  Brightness and color  Lighter areas seem closer  Darker areas recede  Intense green will appear closer that a darker green o Perspective  Common way to suggest the illusion of depth  Atmospheric perspective o Distant objects lack contrast, detail, and sharpness of focus, because air is not completely transparent o Far away objects take on a blue gray middle value

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Isometric perspective  Diagonal parallel lines in a work give a sense of depth  From the Greek meaning “equal measure”  Used by artist in china for millennia Linear perspective  Mathematical system using lines to create depth  Based on observation of space in the real world  Developed with knowledge acquired over centuries One-point perspective  A single vanishing point  Has limitations-the scene must be directly in front of the artist and receding Two-point perspective  Uses two separate vanishing points  Relies on horizon line Multiple-point perspective  Vanishing points away from the horizon line for extreme angles  Three- point perspective: a vanishing point is placed above or below the horizon line Foreshortening  When rules of perspective are applied to represent unusual point of view  Has the effect of grabbing our interest  Used with yy

Color and Light  We cannot perceive color without light  White light can be separated into the visible spectrum using a prism  Each color has a different wavelength Color and pigment  Visible color in objects are the colors that are reflected back  Other colors of the spectrum are absorbed by the object  Reflected color excites nerve cells in our eyes and is interpreted by our brain Subtractive color  Mixing colored light: additive o (adding colors=lighter)  mixing pigments: subtractive color o (adding colors= darker)  in pigment mixtures, more of the spectrum is absorbed (or subtracted) Color Wheels  produced since the 18th century by scientists and color theorists  “maps” important color relationships  different color relationships  different color wheels for pigment (subtractive) and light (additive) Dynamics of color

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two aspects of color that can be seen by looking at color wheels o complementary color  opposites on the color wheel  mixing the creates gray (or black)  side by side, they intensify one another  wavelengths are very different; creates the illusion of vibrating edges o analogous color  next to each other on the color wheel  similar in wavelength  create color unity and harmony subjective perceptions of color o our experience of color is subjective varying from person to person o interpretations and associations are influenced by culture, personal, experience. Key characteristics of color o Hue  Hue: general classification of a color as seen in the visible spectrum  Hues: red, yellow, blue, green, orange, and violet  Seen as an ideal version of that color o Value  Relative lightness or darkness compared to another hue  Tint: a lighter value  Shade: a darker in value o Chroma  A color in its purest state=highest level of chroma  The strength or weakness of a color  Sometimes describes as a saturation, chromaticness, or intensity o Tone  The weaker chromatic state if any hue  Color that is almost gray: tone  Dulled from its brightest state  A tone (low chroma) may be similar in value to a hue at its most intense o Sensation of color  Some colors are associated with emotional states  Color temp: based on associations with warmth and coolness  Can affect the way we see o Temperature  We associate color with temperature based on previous experiences  Relative to colors nearby  Communicated physical and emotional states Interpreting color o Color and cultural beliefs about color affect how we think and feel o Color can effect human behavior o Traditional symbolic values

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The psychology of color o Color can alter feelings and reactions o Some reactions are culturally based others are universal o Red=passion or anger o Green= restfulness but also decay and illness Expressive aspects of color o Artist sometimes want viewers to feel and artwork o Color can relate to emotions o Color can engage the viewer and suggest meaning  Matisse Time and motion o Most traditional media are static o Artist have found ways to imply time and motion o New technology and media (film and video) allow artists to capture time and motion Art and Time o Any artwork that deals with events must show how time goes by o Artists visually communicate the passage of time The passage of time o Artists often seek to tell a story  Story can be contained in on image  Some artists examine cycles of time The attributes of Time o Time based arts such as film, embody 6 basic attributes of time:  Duration  Tempo  Intensity  Scope  Setting  Chronology o Motion  When object changes location or position  Directly linked to time  Artist can create the illusion of motion and the passage of time o Implied motion  Used in static works of art  No actual motion visual clues imply motion  Balla o The illusion of motion  An illusion of motion created through visual tricks  Our eyes are tricked into seeing motion as time passes, even though no actual motion occurs o Stroboscopic motion

Two or more repeated images in quick succession  Appear to fuse together  Basis for early attempts to show moving images  Advanced forms have been developed to stream digital video o Actual motion  Art the changes in real space and time  Kinetic art (a work that contains moving parts)  Performance art  Artists intention is to create an experience rather than an object o Time and motion in photography  Photographers are concerned with motion and time  They move around their subject, choosing the best position for the shot  Photographs capture a moment in time o Natural processes and the passage of time  Some artists use biology and organic materials to indicate the passage of time in their artwork (bioart)  Organic materials grow and degrade so work by “bioartists” is always changing Scale and perception  We perceive scale in relation to our own size  Artists often try to work in correct proportions  Can also use discordant proportions to express meaning  Scale o Artist make conscious choices about scale to communicate a message o They will also consider the cost, time, and location available  How does scale affect meaning? o Works of massive or impressive scale are considered monumental o Usually indicates heroism or other epic virtues  Hierarchical Scale o Deliberate use of size to communicate importance o Almost always, larger means more important  Distorted scale in art o Artists may deliberately distort scale to create an abnormal effect  Proportion o Relationships between the sizes of different parts of work o Can enhance expressive and descriptive characteristics  Human proportion o Ancient Egypt used the palm of the hand as a unit of measurement o Ancient Greeks used idealized proportions as a mathematical basis for beauty  Golden section o A proportional ratio of 1:.618 o Occurs in many natural objects o Real human bodies do not have these exact proportions 

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o Creates a logarithmic spiral Proportional rate o Golden rectangles have proportions of 1:1.618 o Nested rectangles  Shorter side of the outer rectangle becomes the longer side of the smaller one  Result is an elegant spiral shape

Emphasis and shape  The principle that draws attention to particular content o Subordination is the opposite  Focal point: specific place of visual emphasis  Usually accentuate concepts, themes, or ideas the artist wants to express  Emphasis o And entire work, a board area within a work of art, multiple areas, and specific points can be emphasized o Broad emphasis  Emphasizes and entire work as a whole  Encompasses a large area  Can also occur when there are multiple element that do not dominate  Focal points o A tool artists use to give specific emphasis to an important feature in a work o The place in an area of emphasis that draws our eye  Subordination o Emphasis that draws attention away from a particular part of a composition o Can also involve deliberately reducing the impact of certain details  Direction, dramatic contrasts, and placement relationships organize a work and draw attention o Contrast  Positioning elements that are very different next to one another  Areas of varied value, color, or size o Line  An effective way to focus attention in an artwork o Placement  The placement of elements controls rhythm and creates multiple focal points Pattern and Rhythm  Pattern and rhythm create both order and dynamism  Patterns: created by the recurrence of an art element  Rhythm: repetition of pattern  Pattern o Use of repetition in a work o Can impose order on a work

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o Alternating patterns can make a work more lively o Field the area covered by a pattern Motif o A repeated visual unit or design o Can represent ideas, images, and themes o Can create a strong unified designed Rhythm o Gives structure to the image o Guides the eyes from one point to another o Occurs when there are at least two points of reference in an artwork Simple repetitive rhythm o Artists create repetition by using the same, shape, color, size, value, line, or texture over and over again o Regularity communicates reassurance o Incorporated into architectural designs as a sign of stability and durability Progressive rhythm o Repetition the regularly increases or decreases in frequency creates a progressive rhythm Alternating rhythm o Multiple rhythms can become complex o Can add unpredictability and visual excitement Rhythmic design structure o How artists divide visual space into different sections to achieve different kinds of effects

Artworks communicate visual ideas Interpreting those ideas involves analysis (how the work was created, its subject matter, and its meaning—or content There are a number of ways in which we can analyze art Types of analysis o Formal  Analyzing the elements and principles used by the artist  Line, shape, form, mass, volume, color, texture, space, time and motion, and value  Contrast, balance, unity, variety, rhythm, emphasis, pattern, proportion, and scale o Stylistic  Style: specific characteristics that make art works look the way they do  Can be individual or shared  Used to categorize or identify artworks o Iconographic  Identifies and interprets the symbolic meanings of elements in artworks

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 Reveals previously unsuspected insights into content  Images that represent concepts or ideas Contextual  Studies particular time and culture that an artwork might reflect  Both artists and viewers play roles in analysis  Various contexts can be considered: religious, historical, biographical (religious, historical/social, biographical)  considers the religious context of an artwork  identification of narratives, key symbolism, and important figure  considers historical events and the ay they appear in an artwork  considers whether the artist’s personal experiences and opinions may have affected the making or meaning of the artwork feminist  considers the role of women in an artwork as subjects, creators, patrons, and viewers  intentions of an artist  perspective of a viewer  interpretation of a critic gender studies  expands the considerations raised by feminist analysis  explores way in which an artwork reflects experience based on a person’s gender Robert Mapplethorpe psychological  considers the state of the artist’s mind when creating an artwork

Chapter 2.1 Drawing  the depiction of shapes and forms on a surface primarily with lines  an outlet for artistic energy and ideas  basis of all visual communication  Functions of drawing o A fundamental artistic skill o Used to some degree in every medium o Artists draw for many reasons  As an end in itself  To think  To prepare and plan for other works  Materials of drawing: dry media o Artist can use dry or wet media o Dry media have unique and versatile properties  Dry Media: Silverpoint

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o Uses hard silver wire to draw images o Can create fine detail o Usually drawn on wood primed with bone ash o Because silver tarnishes, image becomes darker over time o Popular in the Italian renaissance Dry media: pencil o Modern pencils created from solid graphite discovered in the mid-1500s o Different degrees of hardness  B pencils: softer and darker  H pencils: harder and lighter Dry media: color pencil o Manufactured like graphite pencils, but contains more wax and pigment o Harder to erase or alter Dry media: o Samples from cav...