1. Finish your Narrative project. Figure out where and how to display it (wall? floor? installation space?), and bring any necessary supplies.
2. Work on your Collaboration project.
3. Bring in your Narrative project AND your in-class figure drawings, we'll be looking at both.
Wednesday, February 24, 2010
Wednesday, February 17, 2010
More Collaborations
Newton and Helen Mayer Harrison (often referred to simply as "the Harrisons")
Gilbert & George
Homework + supplies due 02.24.10
1. Work on your Narrative project (due 03.03.10). Bring in progress next week: materials tests, sketches, and the beginnings of your final piece. This is due in 2 weeks, so get as much done as possible.
2. Meet with your partner, and get started on your Collaboration.
3. Supplies: Bring in materials to work on your Collaboration. After that, you have the option of working from the models again, or working on your Narrative. Bring necessary supplies for whichever you decide.
2. Meet with your partner, and get started on your Collaboration.
3. Supplies: Bring in materials to work on your Collaboration. After that, you have the option of working from the models again, or working on your Narrative. Bring necessary supplies for whichever you decide.
Monday, February 15, 2010
Homework + supplies due 02.17.10
Hope you all had a wonderful snow day.
Homework reminder is below, plus some additional notes.
-Norene
1. Finish "Slash: Paper Under the Knife" analyses and post to blog as comments here: http://drawings10.blogspot.com/2010/02/field-trip-slash-paper-under-knife-at.html.
*These must be posted by Wednesday morning at 9am! If you have problems posting them as comments, email them to me. Either way, they are due Wed. 9am.
2. Three sketched ideas for Drawing Narrative. Bring in text or other documentation.
3. Collaboration project.
*Please bring materials to get started with your drawings.
4. Supplies: 4 sheets of good quality rag paper, pencils, charcoal, conte, white chalk or white conte, erasers -- black and white drawing media. We will be working from the model.
Homework reminder is below, plus some additional notes.
-Norene
1. Finish "Slash: Paper Under the Knife" analyses and post to blog as comments here: http://drawings10.blogspot.com/2010/02/field-trip-slash-paper-under-knife-at.html.
*These must be posted by Wednesday morning at 9am! If you have problems posting them as comments, email them to me. Either way, they are due Wed. 9am.
2. Three sketched ideas for Drawing Narrative. Bring in text or other documentation.
3. Collaboration project.
*Please bring materials to get started with your drawings.
4. Supplies: 4 sheets of good quality rag paper, pencils, charcoal, conte, white chalk or white conte, erasers -- black and white drawing media. We will be working from the model.
Monday, February 1, 2010
Homework + supplies due 02.10.10
1. Finish "Slash: Paper Under the Knife" analyses and post to blog as comments here: http://drawings10.blogspot.com/2010/02/field-trip-slash-paper-under-knife-at.html.
2. Three sketched ideas for Drawing Narrative. Bring in text or other documentation.
3. Collaboration project.
4. Supplies: 4 sheets of good quality rag paper, pencils, charcoal, conte, white chalk or white conte, erasers. We will be working from the model.
2. Three sketched ideas for Drawing Narrative. Bring in text or other documentation.
3. Collaboration project.
4. Supplies: 4 sheets of good quality rag paper, pencils, charcoal, conte, white chalk or white conte, erasers. We will be working from the model.
Drawing Narrative (due 03.03.10)
J. M. W. Turner, "The Slave Ship" or "Slavers Throwing overboard the Dead and Dying — Typhoon coming on," 1840 For this first long-term assignment, you will create a large-scale narrative drawing based on a literary text (poem, short story, novel, song) or event. Including the actual text is optional, and you can use any drawing medium.
This is an ongoing process, and progress will be reviewed in class each week. You will start with sketches, flesh out your ideas, experiment with scale and media, and then start working on your finished piece. You must bring in documentation of your progress each week. If the piece is too big to carry to class, bring photos or other documentation.
References
Pieter Breugel the Elder
Artemisia Gentileschi
Alessandro Allori
Rembrandt
Mark Tansey
Robert Colescott
Daniel Clowes
Chris Ware
Kara Walker
Marjane Satrapi
Art Spiegelman
Field Trip: "Slash: Paper Under the Knife" at MAD
"Slash: Paper Under the Knife"
Museum of Arts & Design
www.madmuseum.org
2 Columbus Cir
New York, NY 10023
(212) 956-3535
student admission is $12
Directions
N, R, Q or W to 57th Street and 7th Avenue
In-class Assignment
The exhibition is located on the 4th and 5th floors of the museum. There are eight categories of work (see curatorial essay below and wall text in the exhibition). Choose three different pieces from three different categories to analyze, then answer the following questions about each piece:
1. Describe the piece (scale, media, installation, composition, etc.). Include title, year and artist.
2. Describe the content as you see it -- is it political or does it address more formal concerns?
3. Why do you think the artist chose to work with paper?
4. What aspects of drawing are in the work?
5. Briefly put this piece in context with the rest of this artist's body of work (using additional research).
*Once you are finished, post your answers as comments to this blog post.
Curatorial essay
SLASH: PAPER UNDER THE KNIFE
“What kind of act is it to cut through a surface? Potentially savage, vicious and even violent, it could also be a kind of surgery or suture—a sign of healing and reparation to come. . . But a cut is also a break, a release, a change, a sudden movement that is transformative -— metamorphosizing from one state to another, . . . the cut that binds by being the cut that releases and frees.” (1) The relationship between the techniques of cutting, tearing, and rending and sublimated violence is obvious, recalling Picasso’s familiar injunction that “every act of creation is first of all an act of destruction.”
Slash: Paper Under the Knife highlights work by fifty-two artists—painters, designers, sculptors, filmmakers, architects, installation and performance artists, and photographers—hailing from sixteen countries. The exhibition and accompanying publication offer a survey of two- and three-dimensional works that have been made in the past five years. Many of the artists featured work in multiple mediums, among which one is paper. Several themes link certain works to others in the exhibition. These themes are not intended to be hard and fast categories, offering oversimplified explanations as to the content and meaning of the works, but rather are a way to suggest aesthetic and intellectual relationships among works that may evoke and even provoke thoughtful consideration of their significance.
Cutting as Gesture: Drawing with the Knife
A significant number of artists featured in Slash: Paper Under the Knife studied traditional fine arts and used paper primarily as a ground for preparatory drawings and sketches or for printmaking. These artists discovered the potential of paper as a medium unto itself, along with the gratifying way in which cutting, tearing, or burning captures the dynamism of a painterly gesture in real space and time. The artworks in this category range from the weaving together of subtle layers of cut lines to the expressive interventions of form, color, and line in space. These artists replace pencil, brush, or engraving tool with knives or scissors and project two-dimensional line into the third dimension.
Cutting at Topography: Exploring Landscape
Paper is a highly flexible and versatile material in which to explore landscapes, both real and imagined. These artists approach it from diverse points of view, which include alterations to existing documents, such as maps— eradicating or deconstructing the “truth” they record—or creations of otherworldly and fictional three-dimensional geographies.
Form and Space: Slicing Architecture
Architect Frank Gehry is quoted as saying, “Paper is structure. If I can make it out of paper I know I can build it.” Several of the artists in Slash: Paper Under the Knife establish a visual and intellectual dialogue with architecture —as form, as space, and as social and cultural environment.
Corporeal Concerns: Revealing the Body
The human figure has functioned in the work of many artists using cut paper. The physical properties of paper—its flexibility, thinness, and fragility—are metaphors for the skin that covers our bodies.
Dissecting the Past: Myths and Memories
Paper is used with language to record our histories, thoughts, concerns, and aspirations. Paper is also used as a raw material for artists who address topics that revolve around our pasts—our beliefs, cultural mythologies, and personal memories.
Culture Clashes: Politics on the Edge
Politics, violence, warfare, racism, and power are issues that have engaged artists for centuries. Today, paper is being used by artists to create provocative and powerful statements of their personal concerns and aspirations.
Shredding the Word: Books and Language
The artists in this section respond to paper as a carrier of the written word, using their knives and scissors to transform one form of an artifact into another that carries new information and meaning.
The Moving Image: Paper and Action
With the invention of the movie camera, cut paper moved into a new role—that of actor in animated stop-action films. The low-tech, yet time-consuming nature of the technique of stop-action animation gives these videos a directness and immediacy not found in other moving pictures.
The artists chosen for Slash: Paper Under the Knife reveal the intelligent and passionate exploration of one of the most available and ordinary of materials. Importantly, they underscore the truth that any material, regardless of inherent value, is limitless in its potential when transformed by a creative individual. The exhibition documents an extraordinary moment, when paper has re-emerged as a valuable ally for artists whose intentions and practices vary dramatically. Cut paper today is a global phenomenon that adds another layer of material meaning to the worlds of contemporary art, craft, and design.
(1) Bruce Ferguson, “Outside of Sculpture, Outside of Drawing and Outside of Time,” in Andreas Kocks: Unframed/Paperworks, exh. cat. (New York: Jeannie Freilich Fine Art, 2007), 43.
--David Revere McFadden, Slash: Paper Under the Knife, Museum of Arts and Design, October 7 2009-April 4, 2010, exh cat. (Italy: 5 continents editions, 2009), 10-44
Museum of Arts & Design
www.madmuseum.org
2 Columbus Cir
New York, NY 10023
(212) 956-3535
student admission is $12
Directions
N, R, Q or W to 57th Street and 7th Avenue
In-class Assignment
The exhibition is located on the 4th and 5th floors of the museum. There are eight categories of work (see curatorial essay below and wall text in the exhibition). Choose three different pieces from three different categories to analyze, then answer the following questions about each piece:
1. Describe the piece (scale, media, installation, composition, etc.). Include title, year and artist.
2. Describe the content as you see it -- is it political or does it address more formal concerns?
3. Why do you think the artist chose to work with paper?
4. What aspects of drawing are in the work?
5. Briefly put this piece in context with the rest of this artist's body of work (using additional research).
*Once you are finished, post your answers as comments to this blog post.
Curatorial essay
SLASH: PAPER UNDER THE KNIFE
“What kind of act is it to cut through a surface? Potentially savage, vicious and even violent, it could also be a kind of surgery or suture—a sign of healing and reparation to come. . . But a cut is also a break, a release, a change, a sudden movement that is transformative -— metamorphosizing from one state to another, . . . the cut that binds by being the cut that releases and frees.” (1) The relationship between the techniques of cutting, tearing, and rending and sublimated violence is obvious, recalling Picasso’s familiar injunction that “every act of creation is first of all an act of destruction.”
Slash: Paper Under the Knife highlights work by fifty-two artists—painters, designers, sculptors, filmmakers, architects, installation and performance artists, and photographers—hailing from sixteen countries. The exhibition and accompanying publication offer a survey of two- and three-dimensional works that have been made in the past five years. Many of the artists featured work in multiple mediums, among which one is paper. Several themes link certain works to others in the exhibition. These themes are not intended to be hard and fast categories, offering oversimplified explanations as to the content and meaning of the works, but rather are a way to suggest aesthetic and intellectual relationships among works that may evoke and even provoke thoughtful consideration of their significance.
Cutting as Gesture: Drawing with the Knife
A significant number of artists featured in Slash: Paper Under the Knife studied traditional fine arts and used paper primarily as a ground for preparatory drawings and sketches or for printmaking. These artists discovered the potential of paper as a medium unto itself, along with the gratifying way in which cutting, tearing, or burning captures the dynamism of a painterly gesture in real space and time. The artworks in this category range from the weaving together of subtle layers of cut lines to the expressive interventions of form, color, and line in space. These artists replace pencil, brush, or engraving tool with knives or scissors and project two-dimensional line into the third dimension.
Cutting at Topography: Exploring Landscape
Paper is a highly flexible and versatile material in which to explore landscapes, both real and imagined. These artists approach it from diverse points of view, which include alterations to existing documents, such as maps— eradicating or deconstructing the “truth” they record—or creations of otherworldly and fictional three-dimensional geographies.
Form and Space: Slicing Architecture
Architect Frank Gehry is quoted as saying, “Paper is structure. If I can make it out of paper I know I can build it.” Several of the artists in Slash: Paper Under the Knife establish a visual and intellectual dialogue with architecture —as form, as space, and as social and cultural environment.
Corporeal Concerns: Revealing the Body
The human figure has functioned in the work of many artists using cut paper. The physical properties of paper—its flexibility, thinness, and fragility—are metaphors for the skin that covers our bodies.
Dissecting the Past: Myths and Memories
Paper is used with language to record our histories, thoughts, concerns, and aspirations. Paper is also used as a raw material for artists who address topics that revolve around our pasts—our beliefs, cultural mythologies, and personal memories.
Culture Clashes: Politics on the Edge
Politics, violence, warfare, racism, and power are issues that have engaged artists for centuries. Today, paper is being used by artists to create provocative and powerful statements of their personal concerns and aspirations.
Shredding the Word: Books and Language
The artists in this section respond to paper as a carrier of the written word, using their knives and scissors to transform one form of an artifact into another that carries new information and meaning.
The Moving Image: Paper and Action
With the invention of the movie camera, cut paper moved into a new role—that of actor in animated stop-action films. The low-tech, yet time-consuming nature of the technique of stop-action animation gives these videos a directness and immediacy not found in other moving pictures.
The artists chosen for Slash: Paper Under the Knife reveal the intelligent and passionate exploration of one of the most available and ordinary of materials. Importantly, they underscore the truth that any material, regardless of inherent value, is limitless in its potential when transformed by a creative individual. The exhibition documents an extraordinary moment, when paper has re-emerged as a valuable ally for artists whose intentions and practices vary dramatically. Cut paper today is a global phenomenon that adds another layer of material meaning to the worlds of contemporary art, craft, and design.
(1) Bruce Ferguson, “Outside of Sculpture, Outside of Drawing and Outside of Time,” in Andreas Kocks: Unframed/Paperworks, exh. cat. (New York: Jeannie Freilich Fine Art, 2007), 43.
--David Revere McFadden, Slash: Paper Under the Knife, Museum of Arts and Design, October 7 2009-April 4, 2010, exh cat. (Italy: 5 continents editions, 2009), 10-44
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