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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