Monday, April 30, 2007
Graffiti ARt photos by Alex Torres
I Think this relates to the drawing class because a number of students are interested in pursuing tagging or graffiti art.
Speed Painting by NEXX
http://www.youtube.com/watch?v=8K_NQe57C-k
Lost-John Locke-Photoshop speed painting
Lost-John Locke-Photoshop speed painting
Wolfflin's Ten Ideas
In Art History Wolfflin's ten ideas can help see art more intellectually. Criticism can be more into depth. His main ideas is the Painterly and Linear catagories that works of art may be placed into. Some art-works can be both but in earlier years we see very distinct differences. High Renaissance art, for example, is linear while Caravaggio of the Baroque style is painterly. Take a look at the picture above and see if it helps.
Delia Brown
Delia Brown D'AMELIO TERRAS | |
| Delia Brown is best known for a very particular brand of genre painting, one that depicts a commodity-filled good life lived flashily and strenuously. Her vivid renderings of the young, sexy, and indolent making the most of their fleeting moment in the sun has often made her work seem like the painterly equivalent of a Bret Easton Ellis novel. The series of ten drawings on display in this small and engaging exhibition, by comparison, is decidedly less showy, its intent more obscure. Using white gouache, graphite, and colored pencils on paper in a selection of muted colors—mustardy beige, powder-room mauve, stone gray—Brown illustrates the fictional story of Felicity and Caprice, a young artist and her wealthy, older benefactor. Made with an expert hand and an enticingly impersonal style, these soft-focus, anatomically correct drawings are reminiscent of cult illustrations such as those found, for instance, in Dr. Comfort’s The Joy of Sex. Indeed, Brown clearly enjoys flirting with bad taste: Felicity Walking in on Caprice at Her Toilette (all works 2006–2007) depicts a tense, shrewish locking of feminine gazes in front of a gilded bathroom mirror, while Felicity Struggling with a Drugged Caprice knowingly riffs on the sort of pulpy '80s miniseries in which the viewer could never be sure whether an encounter between women would end in a fight, a fuck, or raised glasses of Cristal. While Brown might seem to be trying her hand at a contemporary version of Hogarth’s eighteenth-century sequential series, wherein a harlot’s rise always ends with her well-deserved fall, what is eminently intriguing about “Felicity and Caprice” is its position as a morality tale with no discernable moral—a skillfully drawn, willfully opaque series of disjointed scenes that embraces both the everyday and the melodramatic. |
Check these Final Projects
School of Visual Arts
Foundation Drawing
Final Projects
Monday, April 30, 2007
Instructor:Amy Wilson
Freshman Class
Photos taken by Alexandra Torres
Foundation Drawing
Final Projects
Monday, April 30, 2007
Instructor:Amy Wilson
Freshman Class
Photos taken by Alexandra Torres
BFA Advertising and Graphic Design Department student Anthony DeFranco recently invited all of New York City to join him in Union Square Park for a celebration of the arrival of spring. On Saturday, March 24, DeFranco organized BubbleBath, a community event in which the public was called to blow bubbles throughout the park, transforming the stretch of downtown Manhattan into a soap-bubble filled oasis.
Several hundred people participated in the event, with the first 400 to arrive receiving free bottles of bubbles custom designed by DeFranco. The project is part of his departmental thesis, created under the guidance of faculty member James Victore, and also includes a logo, t-shirt design and Web site. “It was truly one of the greatest experiences of my life,” says DeFranco. For more information on the event, visit www.bubblebathnyc.com; photos are available on Flickr.
Image: Anthony DeFranco, photo from BubbleBath, 2007. (1)
1)http://intranet.adm.schoolofvisualarts.edu/VABriefs/images/articles/bubbles_275x183.jpg
News from MYSVA
The Lower East Side’s newest gallery, launched by faculty member Amy Smith-Stewart (MFA Fine Arts Department), recently opened its inaugural exhibition, which features work in a variety of media by several members of the SVA community. Kate Gilmore (MFA 2002 Fine Arts), Marilyn Minter (MFA Fine Arts Department faculty), Mika Rottenberg (BFA 2001 Fine Arts) and Elif Uras (BFA 2001 Fine Arts) are among the nine artists taking part in “Foam of the Daze,” which is on view through Sunday, May 20, at Smith-Stewart, 53 Stanton Street.
Moving several blocks west, alumnus Lori Earley (BFA 1995 Illustration) is set to open “Anima Sola” at Opera Gallery, 115 Spring Street, April 28 – May 19. Early will be showing her oil paintings, which take classical portraiture as a starting point and then gently distort the image into a fantasia of eerie beauty. The gallery will hold an opening reception on Saturday, April 28, 6 – 9pm.
Image: Kate Gilmore, Baby, Belong to Me, 2006/2007.
1)http://intranet.adm.schoolofvisualarts.edu/VABriefs/. The Visual Arts Briefs.mysva.com. In A Daze.
Sunday, February 25, 2007
Moma: Mediums vs. Artists, pictures
Jackson Pollock "Untitled" 1950
Paul Sietsema Taxi Driving 2003
The Measurement and Constrution
Paul Sietsema Taxi Driving 2003
The Measurement and Constrution
Moma: Mediums vs. Artists
A range of modern works from modern masters, up-and-coming artists, and pioneers of art were executed in the second floor of the Museum of Modern Art on February 24, 2007. The artwork was highly performance art originating in the early twentieth century and reaching it's highest in 1970's. The exhibition illustrated the preparation of the actions that take place when creating works of art: for example, drawings, sculptures, and paintings. Drawing has been captured as an activity using a range of mediums focusing only on the role of the paper and exploiting all it's physicality. Out of about forty artists including Giuseppe Penone, Paul Sietsema, and Christo, the Jackson Pollock "Untitled" made in 1950 and the Sol Lewitt " Plan for Wall Drawing", dated 1969 were demonstrated as really taking drawing into a new level.
Jackson Pollocks, Untitled, ink on paper c. 1950 drawing defines the performance of ink and how it is captured by the paper and spread throughout. He "emphasizes the performative role of the object it parodies". The ink could be interpreted as an enigmatic force that has a life of it’s own. The line work is bold and concentrated. A couple of lines spread outward from bigger, black, centered spots of ink. There is not one subject that is well defined to be illusionistic but the ink itself is clearly defined as a substance with highly distinctive physical properties: it is able to transform and react by it’s molecular weight.
The ink and pencil on paper, Plan for Wall Drawing from Sol Lewitt, American born 1928, was made for an Art Workers Coalition as a donation, but also it’s very significance comes from the detailed concentration the artist provided in the drawing. It illustrates mathematical, conceptual, and drawing skills and how these all together create a strong and well defined proposal for an actual 16’ 8”x3’ drawing, with 9H graphite sticks. The concept dealt with the basic directions that lines could be drawn. Each of the four sections had lines super-imposed on one another (vertical, horizontal, diagonal left to right 45 degrees drawn as lightly and as close together as possible (1/16)). Lewitt goes on to talk about the tonality of the drawing and how it should be equal but how in some cases the properties of the wall dictate the darkness of the lines. He uses an example: a trace off grease or foreign substance that goes off to change the final drawing. “The pressure exerted by the draftsman is not always equal,” he says, “nor the distance between the lines” because of the same reason accounting for darker lines.
In conclusion, these artists have shown the purpose of the actual process of drawing and how itself is an aesthetic process. These artists don’t label a formal subject but instead use their mediums as their own way of illustrating drawing, sculpture and painting. Through seeking tactile concepts, they are allowing these works to be timeless and constructive. Jackson Pollock was successful portraying the role of the ink in “Untitled”1950, by capturing the idea that ink spreads and is tactile. The process of creating a work of art in a gallery is captured in Sol Lewitt’s piece “The Plan for Wall Drawing” by being so detailed and exact. He also acknowledges the properties of the wall and it’s effect that it has on the outcome of the drawing.
Jackson Pollocks, Untitled, ink on paper c. 1950 drawing defines the performance of ink and how it is captured by the paper and spread throughout. He "emphasizes the performative role of the object it parodies". The ink could be interpreted as an enigmatic force that has a life of it’s own. The line work is bold and concentrated. A couple of lines spread outward from bigger, black, centered spots of ink. There is not one subject that is well defined to be illusionistic but the ink itself is clearly defined as a substance with highly distinctive physical properties: it is able to transform and react by it’s molecular weight.
The ink and pencil on paper, Plan for Wall Drawing from Sol Lewitt, American born 1928, was made for an Art Workers Coalition as a donation, but also it’s very significance comes from the detailed concentration the artist provided in the drawing. It illustrates mathematical, conceptual, and drawing skills and how these all together create a strong and well defined proposal for an actual 16’ 8”x3’ drawing, with 9H graphite sticks. The concept dealt with the basic directions that lines could be drawn. Each of the four sections had lines super-imposed on one another (vertical, horizontal, diagonal left to right 45 degrees drawn as lightly and as close together as possible (1/16)). Lewitt goes on to talk about the tonality of the drawing and how it should be equal but how in some cases the properties of the wall dictate the darkness of the lines. He uses an example: a trace off grease or foreign substance that goes off to change the final drawing. “The pressure exerted by the draftsman is not always equal,” he says, “nor the distance between the lines” because of the same reason accounting for darker lines.
In conclusion, these artists have shown the purpose of the actual process of drawing and how itself is an aesthetic process. These artists don’t label a formal subject but instead use their mediums as their own way of illustrating drawing, sculpture and painting. Through seeking tactile concepts, they are allowing these works to be timeless and constructive. Jackson Pollock was successful portraying the role of the ink in “Untitled”1950, by capturing the idea that ink spreads and is tactile. The process of creating a work of art in a gallery is captured in Sol Lewitt’s piece “The Plan for Wall Drawing” by being so detailed and exact. He also acknowledges the properties of the wall and it’s effect that it has on the outcome of the drawing.
Wednesday, February 7, 2007
The Papermill in NYC
Warrington Colescott made in dieudonne image from www.dieudonee.org. Probable cost - Eleven Million Dollars.
Hey this book reminds me of the one I made.
ART VS. LIFE
It is just me or does everything revolve around itself. Ever since school at SVA started I've felt that I was some sort of test monkey. Drawing class revolves around every other class. But as I questioned more teachers they say it was just a coincidence. It is ok because if we're learning about Giotto in the Early Renaissance we are actually learning about the technique in painting and looking at the poetry and writtings of that time in English. Either that or that what my advisors said was all coming true. Do art schools really narrow you down completly to only art, leaving out sports, and clubs? I've tried looking for sports clubs in New York City that offers soccer for women online but they all seem overly complicated. NYU has sports teams, why can't SVA. And what clubs do we have, does it really have to be only the Art club? Are we prone to just give up or it is a fight for the fittest?
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