Mini artcyclopedia by carol kinney

Mini ARTcyclopedia

By Carol Kinney ART387BE November 8, 2013

Decorating the Environment: Private Spaces Definition: A visual image that beautifies an area that is generally used by one person, or a relatively small amount of people, such as a home or yard. The image or collection of images, make a statement about the person or persons using the space (Adams 29).

Comment: A common decoration of a private space might include a painting or sculpture. However, the private space itself may provide the statement, such as Australian architect Harry Seidler’s Julian Rose Home (Figure 1.1) does.

Harry Seidler , a celebrated Australian architect, reflects modernism in his designs, and draws his inspiration from art, history and/or geometry, which can be seen at the Julian Rose House.

Seidler’s designs represent a strong collaboration of his own vision as an artist and the desires of the owner of the space, to achieve private spaces that are not only functional as living space, but is an artful statement to the space that it inhabits.

In Seidler’s Julian Rose House, the structure is not intrusive. Rather, it becomes part of the scenery and landscape, in part due to the natural textures of wood, colorless frame and clear, shiny glass. These elements allow the homeowner to become part of the scenery and landscape while inviting viewers to participate in the artful architecture and their daily lives. In a sense, the inhabitant become performance artists.

Source: Furuto, Alison. "Architecture, Art and Collaborative Design: Harry Seidler Exhibition" 08 Jan 2013. Web. 01 Nov 2013.<http://www.archdaily.com/? p=315464>

Figure 1.1 Seidler,Harry, Julian Rose House, Washroonga, Sydney, Australia, 1949-1950, Steel, timber infill. Source: Photography by Max Dupain. <www.archdaily.com/315464>.

Decorating The Environment: Public Spaces 

Definition: A visual image, or collection of images that beautify a space in which can and will be seen by a large amount of people, and which reflects a message about the area in which it is displayed (Adams 29-30).



Comment: The message of the image may reflect a period in time that is important to the public space. Burr C. Miller’s 1907 Bronze sculpture of General Nicholas Herkimer (Figures 1.2 and 1.3) that is on display in Myers Park in Herkimer, NY not only tells the tale of the town’s namesake’s heroic efforts in the American Revolution, but also tells of the town’s pride in itself, as a community.

Miller’s image of Herkimer tells the historical story of General Herkimer’s perseverance at the Battle of Oriskany during the American Revolution, despite having his “leg shattered by a bullet (Slaski).” Unable to walk, Herkimer kept charge of his men at the base of a base of a tree and never gave up his post.

Miller’s sculpture “was the only one of 400 pieces in bronze to receive an honorable mention” at a Paris art exhibition in 1907.” The town chose Myers Park for the sculpture because of the central location in the village and served as a small burial ground. Because it was a place visited by many, it was an image that would serve as a frequent reminder of history. Today, the site is a park and continues to serve it’s original purpose as a public space art piece.

The bronze sculpture sits upon a large boulder that was taken from the battlefield at Oriskany, NY, and reflects the town of Herkimer’s link to the past and the battle. The marriage of the sculpture and the base tells all who view it that the town is proud of it’s namesake and heritage. That the town also placed a large flagpole that flies the American Flag near the sculpture further conveys this message. Not only is the town proud of it’s namesake, but proud of all from the town who have died fighting for their country.

Sources: Slaski, Lisa. Installation of the Gen. Nicholas Herkimer Monument, Herkimer, NY. 2007. Herkimer County USGenWeb Project.Web. 01 November 2013.

Figure 1.2 Miller, Burr c., Gen. Nicholas Herkimer Monument, 1907, Bronze. Source: <Revolutionaryday.com/nyroute5/herkimer>.

Figure 1.3 Miller, Burr C,, Gen. Nicholas Herkimer Monument, 1907, Bronze.

Source: <www.flicker.com/photos/stefnoble/2566706>.

Recording the Past Definition: Art that captures a moment or period in time that reveals to the viewer a message about that time, as seen by or interpreted by the artist (Adams 31-37).

Comment: Like Millerâ&#x20AC;&#x2122;s bronze sculpture of General Herkimer, John Paul Strainâ&#x20AC;&#x2122;s Southern Hospitality (Figure 1.4)tells a story of the past, as he interprets it.

John Paul Strain shares his “passion for history” in his watercolor paintings of early American history.

Strain chooses “watercolor gouache, which allows [him] to paint with great detail, clarity, and brilliant colors.” so that the viewer is transported back in time and feels emotional impact of the historical event.

Southern Hospitality is historical depiction of General Stonewall Jackson and Colonel Turner Ashby at Jackson’s Headquarters in Romney, Western Virginia on January 14, 1862 as interpreted by Strain. The makeshift headquarters was the home of John Baker White. Strain shows that despite the circumstances, happiness and appreciation can be found.

Source: Strain, John P. Home Page. n.d. Web. 01 Nov 2013 <johnpaulstrain.com>.

According to history, winter weather was harsh on the horses and the advancing “enemy” was closing in on Jackson and his troops on this date.

Strain’s painting depicts the general’s need to rest his horses and his troops.

Source: The Daily Dispatch: January 14, 1862, Electronic resource. n.d. Web. 01 Nov 3013 <www.perseus.tufts.edu/hopper/text?doc=Perseau %3Atext%3A2006.05.0373>.

Figure 1.4 Strain, John Paul, Southern Hospitality, 2001-2012, watercolor gouache. Source: <www.johnpaulstrain.com>

Religious Art Definition: Visual images that depict spiritual â&#x20AC;&#x153;beliefsâ&#x20AC;? in relation to the past, present, and or future (Adams 37).

After traveling to Haiti in 1989, Sister Helen David Brancato, a catholic nun, painted Crucifixion-Haiti (Figure 1.5) in honor of a woman who was featured in the news who had just lost family members in a ferry boat accident.

The curators of the Museum of Contemporary Religious Art included this piece in a Good Friday exhibit after the massive earthquake devastated Haiti in 2010 to reiterate the spiritual struggles and perseverance that Brancato depicted are timeless to the Haitian people.

Source: Museum of Contemporary Religious Art. Ed. Terrance Dempsey. 24 Feb 2010. Web. 01 Nov 2013. <mocra.wordpress.com/category/staff-membercommentary/page/2/>.

Figure 1.5 Sr, Brancato, Helen David, Crucifixion-Haiti, 1997, mixed media.

Source: www.slu.edu/mocra/mocra-past-exhibitions/good-friday-the-suffering-christ-in-contemporary-art

Political Art

Definition: Visual images that makes a political statement about a person, theory or worldview (Adams 43).

Jon McNaughton’s The Forgotten Man (2010, Figure 1.6) paints a political view that President Obama is an ineffectual leader of the United States. McNaughton’s painting shows the president disrespectfully standing upon the United States Constitution, money carelessly going to waste on the ground while the economy is bankrupting ordinary citizens.

The past presidents’ poses, expressions and actions are McNaughton’s way of showing which presidents would be horrified, complacent or in agreement with President Obama’s political tactics.

McNaughton makes no effort to hide his view of the current president and his policies.

Source: Religion and Politics: Fit for Polite Company. “The Art of Jon McNaughton, the Tea Party’s Painter.” 25 July 2012. Web. 02 Nov 2013.

Figure 1.6 McNaughton, Jon, The Forgotten Man, 2010, non specified painting. Source: <jonmchaughton.com/content/ZoomDetailPages/TheForgott enMan.html>.

Images that Protect, Heal or Destroy Definition: Art that is associated with healing or protection, or which is thought to have healing powers. Conversely, art can be associated with the destructive forces in the universe. (Adams 45). However, this art is not just a depiction of protection, healing or destruction, but rather it is thought that the art is symbolic of one of these traits, or can even bring about the action.

Comment: There is often an air of mystery surrounding the work of art that â&#x20AC;&#x153;cannot be explained (Adams 45)â&#x20AC;? by scientific reasoning and is believed to have a lasting physical affect on the viewer.

Protective Art: Keith Lobue’s Telling the Bees (2004, Figure 1.7) is a contemporary amulet whose “title refers to the old folk practice of telling a hive of bees of a loved one’s death; it was believed that the bees were attendant to the soul of the departed.”

Notice that the shape of the work is a cross that is associated with Christianity.

Source: Lobue, K. Jewels. nd. Web. 03 Nov 2013.

Amulet: “A device” that is made to protect, but is not thought of to be magical.

Charm: A made object that is “believed to protect from had luck, sickness and misery, but protection is not its primary function” The primary function is to bring good luck, health and happiness.

Talisman: A made object that is thought to have a “magical protection and power” to it.

Source: Paine, S. as quoted by Art Propelled. Amulets, Talismans and Charms. 16 Apr 2009. Web. 03 Nov 2013. <artpropelled.blogspot.com/2009/04/ amulets-talismans-and-charms.html>.

Figure 1.7 Lobue, Keith, Telling the Bees, 2007, mixed recycled medium. Source: Lobue, K. Jewels. nd. Web 03 Nov 2013 <www.lobue-art.com/telling.html>.

Images that Destroy and Heal â&#x20AC;&#x153;No one shall be found among you who makes a son or daughter pass through fire, or who practices divination, or is a soothsayer, or and augur, or a sorcerers, or one who casts spells, or who consults ghosts or spirits, or who seeks oracles from the dead. For whoever does these things is abhorrent to the Lord . . . The Lord your God does not permit you to do so.â&#x20AC;? Deuteronomy 18: 10-12a, 14b NRSV.

Based upon strong religious convictions to not associate with any such image, these have not been included in this ARTcyclopedia.

It is the hope that the definitions will be sufficient.

Images that Warn Definition: Unlike images that protect, heal or destroy, where the work of art may actually hold a power within itself, images that warn are not powerful to change the viewer in themselves, but serve as a vehicle for a message to the viewer that is interpreted by the artist or that is commissioned by a group of people with an agenda.

The message is designed to cause the viewer to take action against an issue, lest something bad should happen (Adams 46).

In Looking at Art, Adams discusses how art is often used as a powerful tool to send a message to the viewers about the consequences of not adhering to the prophetic warnings found in the work (46).

Picasso’s Guernica (Figure 1.8), is not blatant (it contains no words as some Images the warn do) in its message, but the intent of Picasso was to warn viewers of the “tragedies of war and the suffering it inflicts upon individuals, particularly innocent civilians. (pablopicasso.org).”

Picasso based the piece upon his own experiences with World War II and the Spanish Civil war.

Ultimately, the “tour” of Guernica served Picasso’s intent by telling the world about the atrocities that were happening in Spain.

Source: Picasso, Pablo. Guernica, 1937. Pablo Picasso. n.d. Web. 05 Nov 2013 . <www.pablopicasso.org/guernica.jsp>.

Figure 1.8 Pablo Picasso, Guernica, 1937, oil on canvas. Source: Picasso, Pablo. Guernica, 1937. Pablo Picasso. n.d. Web. 05 Nov 2013. <www.papblopicasso.org/guernica.jsp>.

Advertising Images Definition: Art that utilizes popular cultural icons to convey a message to the viewer. It is also art that transforms the icons into something that is different from the original commercial intent.

Comment: In order for the image to be considered art, the content and intent of the work must be equally weighed. A mere advertisement is not art unless the artist has created the work to make a statement about an aspect of the human condition or society (Adams 48-49).

Alex Ross has made a name for himself in drawing comic books. So much so that his work has been elevated to the point where his artistry has been compared to Norman Rockwell and Andy Warhol, especially in his portrayal of popular icons.

Ross’ Uncle Sam #3 (Figure 1.9), originally part of a comic book series that depicted the patriotic icon as homeless, dejected and worn down by society, to tell the viewer how Ross views the political climate in society.

The original Uncle Sam was used by the United States Government to encourage young men to join the armed forces out of sense of patriotism. This is what makes Ross’ Uncle Sam #3 art, in that he took a pop culture icon and ironically twisted the intended meaning to symbolize the polar opposite.

Source: Bacon, J. “Comics: The Art of Alex Ross at the Norman Rockwell Museum.” Forbidden Planet.12 Feb 2013. n. pag. Web. 05 Nov 2013 <www.forbiddenplanet.co.uk/blog/2013/comic s-the-art-of-alex-ross-at-the-norman-rockwellmuseum/>.

Figure 1.9 Ross, Alex, Uncle Sam #3, 1997, painted gouache. Source: Alex Ross. Art for Sale.2013.

Web. 05 Nov 2013 <www.alexrossart.com/artfor sale.casp?sc=ARUS1&page=1>.

Line Definition: The most basic of all elements of art and is used by artists to â&#x20AC;&#x153;controlâ&#x20AC;? the viewerâ&#x20AC;&#x2122;s motion of sight (Adams 51-52).

Comment: A line is also defined as a mark that is longer than it is wider, and can also be used by artists to define movement, mass, pattern, and other elements crucial to understanding the work of art. A line does not have to be straight, but can follow any path that is inspired by the artist (Adams 52-57).

Ian Davenportâ&#x20AC;&#x2122;s Puddle Painting:Anthracite Black (2009, Figure 2.1) shows how movement is developed by curving straight lines.

The curvature at the bottom suggests that the lines are cascading downward toward a perpendicular area.

Figure 2.1 Davenport, Ian, Puddle Painting: Anthracite Black, 2009, acrylic paint on stainless steel, mounted on aluminum panel. Source: <www.paulkasmingaller.com/artists/iandavenport/5>.

Shape

Definition: Adams discusses that the basic elements of art such as “open spaces (53, 63-64)” lines, color, and “linear perspective (64) allow the artist to define shapes of the art itself and the shapes of objects within the art. Shape is the converse of space in that shape has no open space.

Figure 2.2 Wirkkala,, Tapio, Leaf Platter, 1951, laminated birch wood. Source: <www.artmuseumgr.org/art/collection-highlights>.

For example, Tapio Wirkkala’s Leaf Platter (1951, Figure 2.2) embraces shape as a whole. Not only is the work itself a shape that the viewer can identify because it has no open space within the art, but the way that Wirkkala utilizes the natural color and lines of the medium to define the object helps give context to the shape.

There is no question that this is a leaf, rather than a football.

Complementary Colors Definition: “Colors opposite each other on the color wheel (Adams 59).”

Comment: Colors that work well with each other when placed next to or near each other.

Notice how The Alphabet , an origami sculpture by Byriah Loper (Figure 2.3) resembles Runge’s color sphere in Figure 2.4 (c.f. Adams 61).

Loper’s placement of reds and purples next to greens, and blues next to yellows (and so forth) created a work of art that is pleasing to the viewer’s eye.

Figure 2.3 Loper, Byriah, The Alphabet,2012, folded paper. Source: Alice. “Interlocking Origami Stars and Prisms by Byriah Loper.” 03 Jan 2013. Web. 06 Nov 2013. <www.mymodernment.com/profiles/blogs/byriah-loper-origami-art>.

Figure 2.4 Image. Runge’s Color Sphere. Google. Web. 06 Nov 2013.

Source: <www.artexpertswebsite.com>.

Light and Dark Definition: The addition of white, black or gray shading to a hue in order to achieve reflection, shadow, or “shading (Adams 61).” The way that light and dark is used can present clues to the viewer about the content of the work, by using shading to indicate emotion, time of day or shadows.

Kenneth M. Adams’ Mountainside in Shadow (circa 1920, Figure 2.5) is a good example of how the addition of black, white and grey to the brilliant hues provides context for the viewer.

The lighter shades, achieved by adding white to the blues, greens and yellows, may show reflection, perhaps of the moonlight shining off early morning dew. Grey added to the same hues highlight shadows, and black added to those same hues indicates a night sky, shadows and formations of lines and shapes.

Figure 2.5 Adams, Kenneth M, Mountainside in Shadow, circa 1920, oil on canvas. Source: <www.encore-editions.com/kenneth-m-adams-mountainside-in-shadow--2/print>.

Texture

Definition: The appearance of the surface feel of a work of art, i.e. smoothness, roughness, shininess, graininess, etc. (Adams 62-63).

This striking photographic art piece by Martin P. Collins (Figure 2.6) shows how the artist achieves different textures by using light, lines, layering and shading.

The work appears to have the texture of wrinkled paper, soft billowy clouds and the sensation of burning fire all at the same time. While this is a picture, the use of textures and color trick the viewer into believing that it is a painting.

Figure 2.6 Collins, Martin P., The Princess and the Pea-Windchimes, 2011, Edition of 5, Photo print form digital negative, lamda process. Source: martinpcollins.com/AAA2011001.html>

Space and Illusion Definition: The use of “air space (Adams 63)” and, shading and shapes to make the objects within the work of art appear differently to the viewer. For example, a flat painting that has no quality of depth may appear to have movement or a “three-dimensional” quality to it.

Susanne Song’s use of shading and shape in Flatout (Figure 2.8) to give the illusion that there is a threedimensional, folded rectangle in front of and atop the floor. It also fools the viewer into thinking that it is possible to walk through the piece.

Figure 2.8 Song, Susanne, Flatout, 2010, Acrylic on wall and floor.

Source: <suzannesong.com/work/installations/view/49>.

Linear Perspective Definition: The “system of constructing a visual context that permit[s] . . .

Illusion of three-dimensional forms on a flat surface (Adams 64).”

Comments: The way that the artist uses lines indicates a point of view and or motion for the viewer. For example the movement of lines tell the viewer whether the subject of the work is coming or going, seen from above or below, and so forth and allows the viewer to insert themselves into the work from the artist’s intended place within the work (in front of, behind, above or below).

Another element of liner perspective comes from eastern cultures that incorporates “scale” into the work of art (Adams 66).

The “position of the viewer” is important in order to achieve the intended perspective of the artist. If the viewer is not in the intended line of sight, the presence or lack of presence of a horizon line and vanishing point can skew the perspective for the viewer.

Figure 2.9 Romare Bearden, City Lights, 1979-1980, watercolor on canvas.

Source: <octobergallery.com/2012/11/03/small-but-smuptuous-the-watercolors-of-romare-bearden>.

Vanishing point

Horizon Line

Consider Romare Beardenâ&#x20AC;&#x2122;s watercolor, City Lights (Figure 2.9). Bearden uses the horizon line, a vanishing point and position of viewer to carefully provide context for the piece.

The position of the viewer should be in front of the vanishing street so that the viewer can picture themselves walking upward on the street, being immersed in the excitement of city life at night. If the viewer is standing too far left or too far right, then the allure of the painting may be missed.

Architecture as Form and Function Definition: The combination of design and usefulness of a building or structure. It is not just a work of art outside and/or inside, but can and should be used by humans for housing, business, transportation or entertainment (Adams 67).

Figure 2.10 Frank Gehry, Guggenheim Museum Bilbao, 1997, Architecture. Source: <www.guggenheim.org/bilbao>

Just as Seidlerâ&#x20AC;&#x2122;s Julian Rose House (Figure 1.1) was designed to combine art and function, so does the Frank Gehryâ&#x20AC;&#x2122;s Guggenheim Museum Bilbao (Spain, Figure 2.10). This fully functioning art museum creatively uses lines, shapes, color and texture to mirror both its function and the reputation of the Guggenheim name within the art world.

2D Art

Definition: Two-dimensional or 2D art is art that can only be examined head on, such as a painting, drawing or picture. The viewer has no ability to walk around the art and observe other sides of the work; there is only one side to it (Adams 57).

Farbstudi Quadrate (Figure 2.11) by Wassily Kandinsky is just one of thousands of examples of 2D art. It is a painting that cannot be viewed unless the viewer is in front of it. It has no sides or back for to examine.

Figure 2.11 Kandinsky,Wassily, Farbstudie Quadrate, c. 1913, Painting.

Source: <kandinskypaintings.org>.

3D Art Definition: As opposed to 2D art, 3D art requires the viewer to examine multiple sides of the work in order to gain the full impact and context that was intended by the artist (Adams 57). Typical examples of 3D art include sculpture, pottery, and fashion. It is important to note that not all 3D objects are art; the object must have elements, such as the ones in this Artcyclopedia, in order for the work to be considered art.

In this metal sculpture titled The Book of Life (Figure 2.12) by David Kracov, the viewer cannot appreciate the fullness of it without viewing it from all angles; the viewer would not be able to read the words on the pages or uniqueness of each butterfly.

Figure 2.12 Kracov, David, The Book of Life, c. 2012, Metal sculpture.

Source: <www.davidkracov.com/sculptures.html>.

2D-3D Art

There is an exception to the rules of 2D versus 3D art, and that is 2D art that appears to be 3D. A pop cultural marriage of 2D and 3D art, has been around for centuries as trompe-lâ&#x20AC;&#x2122;ceil (Fr. deceive the eye) is sweeping many parts of the world.

This art is 2D in the sense that it is completely flat and only one side can be viewed, yet at the same time the objects appears to leap out at the viewer. This affect allows the viewer to become part of the work.

While this new form of street art is not featured in most museums, there is something to be said for the ability of these artists, not just in the level of skill that is required to achieve these results, but also that these artist engage viewers , and bring art to where the masses are instead of relying upon the masses to find their way into a museum.

Notice how the woman standing on the left side of the bowl appears to be as much a part of the 2D drawing as the dog on the right side of the bowl, yet only one is actually part of the original art. It is a true deception of the eye in regards to perspective.

This drawing (Figure 2.13) by Eduardo Relero in Argentina, is just one example of this marriage between 2D and 3D art.

Figure 2.13 Eduardo Relero, Untitled , 2003, Argentina,, Street Art. Source <www.enderin.com/artworks/3d-street-art-illusions-by-eduardo-relero>

Source All sources are cited within the body of this ARTcyclopedia, with the exception of the textbook by Adams.

Adams, Laurie S. Looking at Art. Upper Saddle River, New Jersey: Prentice Hall, 2003. Print.