7 Elements London

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Happy Monday July 18th 2011

Assignment 3 due

Wed: What is the Art

of the 21st century

Saying?

Today we learn about

the The Elements of

Art and the Principles

of Design

Banksy was here



The Value of Art



Art and Its Reception



Tilted Arc, Richard Serra,

1981, sculpture, steel, New

York City (destroyed).

Art, Politics and Public Space

Alexander Calder, La Grande Vitesse, (The

Great Swiftness) 1969, Grand Rapids,

Michigan

Maya Lin, Vietnam War Memorial,Washington D.C. 1982

Murrah Building Memorial ,

Oklahoma City, 1995



Art and Activism

GUILLERMOGOMEZ-PENA and

COCO FUSCO

"Two Undiscovered

Amerindians Visit

Spain" (1992)

Suzanne Lacy and Leslie Labowicz, In

Mourning and In Rage, performance,

December, 1977.

Krzysztof Wodiczko, Homeless vehicles in New York

City, 1988-89



Thinking about the Value of Art

For the Love of God by Damien

Hirst (2007)

Damien Hirst , The Physical Impossibility of Death in the Mind

of Someone Living, 1992, Tiger shark, glass, steel, 5%

formaldehyde solution



Thinking about

the Value of Art

the most expensive piece of

contemporary art ever created.

Hirst has stated that the skull

(encrusted with 8,601

diamonds, 1,106.18

carats )

W orth $100 million

For the Love of God by Damien Hirst (2007)





So, what makes a

GOOD work of ART

r eally good ?



Composition.



How does an artist

compose a

good composition?



They study the language of artknown as.

The Elements of Art &Principlesof Design



The Formal Elements and Their Design

Line Shape

SpaceLight Color

TextureTime Motion



Characteristics

Varieties of Line

Qualities of Line

Alexander Calder, mobile 1959


Line



Outline and Contour LineContour Wire Sculptures (stabiles) by Alexander Calder

3-dimensional line drawings





Kinetic Mobiles

our eyes follow the moving path

Alexander Calder, mobile, Dots and Dashes, 1959

lines

equivalent to

the linescreated by a

dancer moving

through space



ImpliedLine

Keith Haring, Untitled,

1982

(homage to John

Lennon)





Implied Line of

Sight

Hey, look over there.



Titian, Assumption and Consecration of the Virgin,

Titian, 1516-18

Implied Line

Line of Sight



Titian, Assumption and

Consecration of the

Virgin, Titian, 1516-18




Consecration of the





Consecration of the





Consecration of the





Consecration of the




Classic example of implied line



Qualities of Line

as unique as each of our signatures



Rembrandt,

Three

Crosses,

1653









Matthew Ritchie, "No Sign of the World, 2004, Oil and marker on canvas, 99 x 154 inches



More ELEMENTS of ART.

SHAPEMASS

SPACE



SPACE

3D-Real /Occupying Space 2D-Illusion of Space



Think in terms of geometry

square vs. cube or circle vs. sphere

Shape VS. Mass



Shape VS. Mass

(2-dimensional space) (3-dimensional space)



Background/Foreground relationship is a perceptual issue

Two-Dimensional Space: Figure/Ground Relationship





M.C.Escher:

Master of the

figure/ground

transition

TessellationsWhen one shape transforms into another

Sky, W ater, 1970







Linear

Perspective

A mathematical system used by artiststo provide the viewer with the illusion of

the 3-dimensional world on a 2-

dimensional surface



Accurately representing how we see the world around

us



One-Point Linear Perspective



Who? What? When?

Where is the vanishing point?

Leonardo da Vinci, The Last Supper , 1495-98

Monastery of Santa Maria delle Grazie, Italy



Raphael, School of Athens, Frescoe, Vatican, Rome, 1510



Raphael, School of

Athens, Frescoe, Vatican,

Rome, 1510



Two Point Linear Perspective

Gustave Caillebotte, P lace de lEurope on a Rainy Day ,

1876







Viewpoint

Vantage Point

h



W hen perspective isapplied to organic objects

or humans

Mantegna, The Dead Christ , o/c 1501

Foreshortening



Placement

Size

Position

What Else Can An Artist Do

To Create the Illusion of Space?



Other ways to create the illusion

of space on a flat surface

position

Kumano Mandala, 1300



Hokusai, The Great W ave from 36 Views of Mt. Fuji, 1825



Let there be LIGHT.







Li ht i di t h i



Light indicates emphasis



Using Light in 2D artwork:

Atmospheric

Perspective

distance appears as

haze

Leonardo da Vinci, Madonna of the Rocks,

1495-1508

Hey, do you see the foreshortening?









Using Light in 2D ArtChiaroscuro



Modeling Highlight

Shadow

ToneValue



Placing the Source

Value: gradations of light and dark



Value: gradations of light and dark



to Hatch, orCross-Hatch,that is the question.

Michelangelo,Head of a

Satyr , c. 1620-1630




Line Shape

SpaceLight Color

TextureTime Motion





How do we respond to color?









Symbolic use of color



Symbolic use of color

B i V b l f C l



Basic Vocabulary of Color

The Artists Tool: The ColorWheel

Color Name=

Hue

Primary Colors

= Yellow, Red, Blue

Complementary Colors =

opposites

Warm and Cool colors



Color Temperature: Warm or Cool?

The Artist Romare Bearden loves to juxtapose W&C



Gifford,

October in the

Catskills,

1880,

o/c

S t ti b h d ll f l



Saturation = brightness or dullness of a color

I ntensity of Color

Colors React differently when they are with other colors.



Kind of like humans.





Color Scheme: Complementary



p yDynamic

Eye appeal.



Vincent van Gogh, The Night Café, 1888





Do you See the Afterimage of the Flag?



Do you See the Afterimage of the Flag?



Put the Fish in the Bowl



Red

YellowBlue

GreenPurple

Black

OrangeWhite

Harmonizing Complementary Colors



g p y

George Seurat, A Sunday on La Grande Jatte, 1884

(visit this painting at the Art Institute of Chicago!)





Color Mixing?

Optical Blending?

Chuck Close

Self -P ortrait



Chuck Close



I thought of the gridded

canvas as a golf course. Golf

is the only sport in which you

move from the general to the

specific. In the beginning you

take your first shot, you cant even see the pin. And in a

matter of 3 or 4 strokes,

youre supposed to be in the

cup, a very small, specific

place a very long ways away.

Chuck Close

Chuck Close



Chuck Close



Alex, 1989

Chuck Close



Chuck Close



Chuck Close



Chuck Close, S tanley , 1980-81, oil on

canvas, 104x84´

Texture



Texture

Meret Oppenheim, Fur Lined Teacup, 1937

Actual Texture

Implied Texture



Implied Texture



Chuck Close, Fanny, 1985



Round Fingerprint



Squared Fingerprint



Fingerprint pressed randomly



Jud, 1982



Ti d M ti



Time and Motion



Sassetta,

The Meeting of S aint Anthony and S aint

Paul , 1440

Time Made Visible





Motion

Alexander Calder¶sMobiles

Kinetic sculpture=using actual motion



Calder at the National Gallery of Art, Washington D.C.



Implied

Motion



Principles of Design

Leonardo da Vinci, Illustration

of P roportions of the Human

Figure, 1485-1490



Balance

Symmetrical Balance



Andy Warhol, Soup Cans, 1954



Asymmetrical

Balance

Vermeer, W oman Holding a

Balance, 1664





Proportion and Scale



p

Annie Leibowitz, Wilt Chamberlain and

Willie Shoemaker



Claes Oldenburg and Coojie van Bruggen, Spoon Bridge, 1985



Scale



Slinkachu









Concrete Ocean















Charles Simonds, Dwelling, 1970s





Michelangelo,David , 1502





Michelangelo, P ieta,

1500



Hokusai, The Great W ave, 1823-29

Ancient Greece



Ancient Greece

The Parthenon, 447-438 B.C.E.

Polykleitos,D

oryphoros, 450 B.C.E.

Focal Point



Jacques Louis David, The Oath of the Horatii , 1784

Repetition and Rhythm



Jacob Lawrence , Ironers, 1945



Unity and Variety



Yukinori Yanagi, 'World Flag Ant Farm', (detail)., Ants, colored sand, plastic

boxes, t ubing, Tokyo,1990



Yukinor i Yanagi, 'Wor ld Flag Ant Far m', (detail)., Ants, colored sand, plastic boxes, tubing,

Tokyo,1990







Documents

7 Elements London