Homework 6: self portrait

Artist Statement: http://www.sarahpetruziello.com/bio.html

 

 War Paint, graphite.

1. The first thing I think of when looking at this piece is perhaps someone who is sad or reflective for having to "fight",maybe they are even getting ready for a new "fight", the sort of person who wears their heart on their sleeve,  this is the narrative that comes to mind. As Sarah states in her artist statement, she view self portraits as a in between or reality and surreal, she puts herself into roles like that of an actor and then draws that. With that in mind, I think that this very successful.

2. I think the image is well balance, particularly in it's strong contrast between black and white and the varying values. It's a head on shot of the artist and although it is very simple, I think it is well done and I don't need more information or see more of her. The image does a good job of focusing on her and her expression, so you don't need more.

Howework 5: Deconstrution

                                 Andrew Meyers, Life's Deconstruction Phase #5, bronze.

1. This is a sculpture of a man that has been broken into pieces and then reassembled but not completely.
2.  Here the artist is attempting to "depict a breaking moment that accompany traumatic life events." (http://andrewmyersart.com/portfolio/lifes-deconstruction-phase-5/) Meyers asks his models to break the sculpture while "reliving" a traumatic event in their life or being in the heat of the moment. He reassembles it to create a "new" self portrait.
3. I think the process of these self portraits is very important to the result and meaning. If he had just broken it and then put it back together, that wouldn't have been as impactful. Having the model shatter it, relive the trauma, and then put themselves back together speaks to the overall piece and experience.

                              Mark Chadwick, Fluid Self Portrait, acrylic on canvas, 2012.

1. Chadwick distorts and deconstructs the figure until it is almost unreadable. It has the effect of paint flowing in water, swirling and mixing with other colors to create something new.
2. Chadwick states that this is an experimental painting/self portrait and that he wanted to do something new. But from browsing his gallery, he does this same method with his abstract paintings. The self portrait then becomes abstract as well.
3. It did take me a bit to spot elements of the figure and piece it together in my head because of how abstract it is. But once you read the title, I think it is easy to understand. It seems like a fun experiment.

                         Valarie Brooke, Deconstruction (Self Portrait series), photography.     

1. Brooke deconstructs the figure and space until it all becomes a blur and is unreadable. The end result is a pixelized "mess"  of colors that realies more on you to try and put it together.
2. As her title states, this self portrait series is about deconstructing the figure and the artist. Going through this series of images was fairly difficult, which seems like the point. There were some images, like this one, which you can sort of make out or at least mentally you can piece it together; then there were other which were blocks of color that made no sense which sometimes made me question if it was even a picture of a figure let alone the artist. There is no way of knowing.
3. This seems like an image that may need a bit of an explanation. I can image many people seeing this and having no idea what it is. Once you know it's supposed to be a figure then you can start to figure it out but that doesn't really apply to all the images in her self portrait series. Overall it feels distant and sad, because of the deconstruction and the cold colors.

Homework--9/30

Read AT LEAST 4 artist STATEMENTS from painters doing self-portraits, 2 must deconstruct the frame/ break the surface/ work three-dimensionally. REMEMBER: Self-portraits do not have to be figurative! Or overtly legible! These are introspective moments into another person's self-reflection.

Post link to your favorite along with 2 comments on WHY you find this artist's work is effective/ineffective, one comment on readability (is there a narrative? is that important? what is the first thing YOU see when interpreting this piece? does this piece require a legend or key?), and one comment on formal aesthetic/ composition (what is HAPPENING in frame? is there balance, and if not is this purposeful?).

Your self portrait will require an artist statement as well. This is due next Monday, along with your self-portrait, printed at the beginning of class.

Deconstruction

Zrinco Hatvolic

“Through the Window of My Gods”

Oil on canvas

1.       How

Hatvolic uses deconstruction of images through dream and by using non-traditional ways of painting. He uses his fingers to paint and only uses paint brushes for details.

2.       Purpose

Hatvolic is trying to find an understanding of his past by recreating the past through surrealism. 

3.       How do I read this piece?

I feel like this painting represents either a spiritual birth, (being born again through religion) or if it’s Hatvolic’s memory of his mother giving birth to him. 

Tim Noble and Sue Webster’s

‘Nihilistic Optimistic’

Installation

1.       How

They used material to create a self-portrait

2.       Purpose

The artists found a way to deconstruct the way their mind puts an image together.

3.       How to I read this piece?

I think the installations are amazing, but I wonder if there is a deeper meaning, are we supposed to look at this installation and realize how insignificant we are in the scheme of things. We’re full of life, then we die and we become bits and pieces and are no longer recognizable. 

Nela Hasanbegović, Postscriptum

Duration: 7 Min. 42 Sec.

Color, No Sound, 2009

1.    This is deconstruction of surface, instead of a traditional object as a canvas, Hasangegovic used her body.

2.    This is her family tree, and uses her body and red paint to signify blood and genetics passed through her family tree.

3.    This painting makes me wonder if she is confused about who or what she is.  Is she only a creation of combined personalities and traits passed down from generation to generation (kind of like a robot that was programmed) or is she an individual with unique traits and a unique personality only inspired by her family. 

James Schlavin






Anna Higgie - This piece is deconstructed figuratively. While there is still a representational element in the face the form of the head almost explodes into a geometric form.
I think the artist is referencing thought and perception with this image. The converging lines that enter the eye are duplicated throughout the geometric forms, and the abstraction of shapes reminds me of mathematics and inorganic thought.
I think this piece stands on it's own. While a title might give more context and direction to the meaning of the image, it is not difficult to read and develop a narrative without any direction.


http://bumbumbum.me/2011/03/28/anna-higgie-portrait-deconstruction/





Lorna Barnshaw - This piece is deconstructed mostly in frame. There is some deconstruction of figure in the form of the frame, but chiefly in frame.
This piece seems to convey a lot of sadness, which is developed in the eyes, but which is accentuated in the placement and deconstruction of the frame.
I think that this piece reads very well on it's own. It is a beautiful deconstruction of frame that really conveys the idea of figure in both shape and rendering.

http://beautifuldecay.com/2013/08/22/lorna-barnshaws-deconstructed-portraits-transformed-into-3d-art/





Regardt van der Meulen - This piece is a deconstruction of both figure and frame. It is very close to the line of being unrecognizable as a figure. The construction of this sculpture creates a lovely tension of what exists and what the eye implies. The darkness of the metal as well as the dripping nature give a gloomy dark sense that is mysterious and intriguing which makes it beautiful. While some context (a key) would be helpful, this artpiece is readable in many ways on it's own.

http://www.contemporist.com/2013/02/11/drip-and-deconstructed-sculptures-by-regardt-van-der-meulen/

Homework 5

Deconstruction of Identity

• deconstruction by use of drugs - bath salts to be exact. It looks like it was done in pencil.
• It's a self portrait of an artist by the name of Bryan Saunders. He's trying to convey an altered perception of one's self by outside influences. This is actually only one of many portraits he did while experimenting with different drugs, all of which altered the perception of himself.
• When you see this you might think it was done by an angry child. I feel that the story is essential or else it will be read wrong. It might also be useful to have a picture of the artist next to it to really see what has happened.

 

 



Image Deconstruction

• This was done in watercolor by an artist named Henrietta Harris. She specializes in deconstructed portraits. She distorts the image that she paints.
• Through her images she wants to convey moments when people are lost in thoughts or dreams. Well, that's what I read from the website.
• I'm not exactly sure that's what I see though, I'm having a difficult time interpreting her images. In this painting, specifically, I do feel like this guy is dreaming, however when I see her other works that message doesn't come across as clear.   

 

 

Surface Deconstruction

• Made by Rebecca Stevenson and is constructed of  polyresin and wax. She primarily sculpts human and animal heads. Then she adds flowers or opens up the surface like this one.
• She loves the process of creation and deconstruction, life and decay. That's very obvious, she conveys that well.
• This sculpture doesn't convey decay unlike some others. I do get the sense of deconstruction by the way she takes apart the detailed face. Both aspects of the sculpture are beautiful to me because the deconstructed/decay part doesn't just look decayed, she took her time to deconstruct it beautifully. 

Deconstruction HW Artist/Statement -Jeffrey

For their first solo exhibition in Russia, British artists Tim Noble and Sue Webster have produced a stunning collection of work that best reflects their ongoing fascination with silhouettes and self-analysis.

The central piece is the extraordinary work, Scarlett - a kinetic installation consisting of a worktable (upon which the artists have been working for the last decade) covered with numerous bizarre mechanical toys all of which incessantly move, chatter and jerk. In this powerful installation, innocent children’s playthings from Action Men to Barbie dolls have been transformed into objects of apparent perversion. Simultaneously humorous and disturbing these specially modified toys display a cornucopia of psychological and childhood references – like a laboratory to test out theories about the subconscious pressures and childhood instincts emanating from the unconscious mind.

Another work in the exhibition, Bloody Haemorrhaging Narcissus, is a more characteristic Noble and Webster piece, comprising a sculpture on a tall plinth whose cast shadow creates a silhouette of the artists’ facial profiles. This shocking work is made from a plethora of bright red silicone rubber casts of Webster’s fingers and Noble’s penis in various states of arousal. A variation on this work, The Wedding Cake (2008) is a plaster cast of the same plethora of appendages encased within a sculptural reference from another work, (Untitled) Spinning Heads.

A series of bronze sculptures also in the show are entitled (Untitled) Spinning Heads and (Untitled) Spinning Heads in Reverse. (Untitled) Spinning Heads (2005) is based on Bertelli’s Continuing Profile of Mussolini (1933) – a sculpted profile of Mussolini rotated 360 degrees – the result being more machine-like than human. (Untitled) Spinning Heads in Reverse depicts the artist’s profiles and refers to the famous ‘Rubin Vase’ technique – an optical illusion presenting the viewer with a mental choice of two interpretations, each of which is valid.  You see two vases or you see two profiles of the artists’ faces.

Two further shadow works will also be included in the show, the first a remake of Miss Understood and Mr Meanor, the original of which was destroyed in the infamous fire at Momart’s storage unit in 2004. Two sticks loaded with trash and personal items stand side-by-side and, when light is directed towards the trash, a shadow is cast on the wall behind revealing a perfect silhouette of the artists’ heads in profile and conjuring up the memory of severed heads placed on spikes outside the Tower of London in the Middle Ages. The other shadow work, Rat and Trap, uses the same process to cast a shadow of a single rat precariously walking towards a rat trap.

As a final addition to the show Noble and Webster have chosen to premier the short film Ornament (In Crisis) (1995) in which Tim Noble appears submerged underwater in a fish tank. This work was the first ever collaboration by Noble and Webster and it was also almost their last.

Tim Noble and Sue Webster live and work in London and have been exhibiting their work internationally since the early 1990s. They recently installed their first permanent outdoor public sculpture at the Museum of Contemporary Art, Denver and were included in the exhibition Un Certain Etat du Monde? A Selection of Works from the Francois Pinault Collection at the Garage Center for Contemporary Culture in Moscow.

Deconstruction-Amy Wynia (Homework #5)

Henrietta Harris.  Watercolor and gouach.

  

1. This particular image is deconstructed by creating the loss of identity by having the individual’s face in the painting to fade off in front and away from their body.

2. The artist is signifying that in the precise moment when one becomes lost in thought or memory, an ethereal wind of distortion whirling temporarily through the subjects’ mind.

3. This piece reads that one may lose themselves from time to time in the chaotic day of life but eventually all the pieces will come back together and the individual will have a grasp at what to do next in life’s journey.

Andrew Myers.  Bronze.

1.  The sculpture is deconstructed by the loss of pieces/surface.  The narrative of a hurt man creates a narrative that incorporates deconstruction as well. 

2.  The artist is attempting to show the tragic life events of individuals who suffered through a rough patch.

3.  The reading of this piece is the tragedy that one suffers.  If one was shot in the eye or say something terrible that thought or body part must be erased.  When one breaks down in a panic/stress then they start to fall apart, which makes clear this sculpture pretty well.

Lorna Barnshaw. 3D art prints.

1.  This Barnshaw piece is deconstructed by surface.  The digital imagery is introduced into basic geometry by using a digital filter.  One’s eye is focused on the organic form that is created for the figure to be displayed  

2.  The artist conveys the reflections on technological influences in contemporary culture.

3.  I read the image to be very elegant with the women’s eyes looking off and about.  Following the lines of the surface displays what appears to almost look like an elephant.  The use of guidance in reading would help this art piece to be easier to understand.

Deconstruction HW / Jeffrey Bryant

Metamorphosis - Conte on Charcoal - Isaac McCaslin 

     In this piece I believe the artist is using deconstruction in a formal way in which he is gradaually breaking away from the academic style on the upper left. As the image precedes he breaks down the figure in a way that focuses in  on the important parts of the figure as a character. He finds these distinguishable traits and plays on them, and embodies them to be the character itself. 

     The image at the bottom right corner is the last in the series. Viewing it one can get an essence of the figure that has been broken down. There is now a personality that we can see has been peeled away from the self portrait that is presented in the upper left corner.

Self Portrait (1/2 gram of cocaine) -Brian Lewis Saunders 

     Saunders is an artist who plays with the idea of deconstruction of identity. Saunders specializes is portraiture and repeatedly creates self-portraits that are created in alter states of mind induced by drugs of a variety. 

    This piece is one that is far from the standard self portrait. I like that the rendering is more to capture the mood of the person and is less involved with capturing every wrinkle and shadow. In the piece you can feel the angst that has been created by capturing a pure emotion. I believe his identity is being revealed and it creates a powerful piece by creating this almost "alter-ego"entity. This begins to even start to tell a story for me.

Henrietta Harris

     I like this piece so much because the deconstruction is so obvious, and done so well. It created a smeared effect as the middle portion of the head moves out and off the visual surface. It creates an effect of floating of the canvas and breaking away from frame. As it glides we are still able to capture this figure as a person through the distorted paint. 

Deconstruction Homework

        I found this deconstructed tapestry online from a woman called Marilyn. This was an image of one of her grandchildren, distorted with no real identity aside from a smiling face and long hair. It is in black and white which could be reference to a memory. Aside from that, I can't interpret any more.

    This next image has some very light figurative lines signifying an identity, which is overlaid upon French text, which translated say "Pornography for the plutocrats". This image is very obviously steeped in layers, with the artist's intent being that of a political nature. The medium that the figure is laid upon appears to be a French Newspaper, implying that news and media are the pornography for the upper class, maybe stocks and money. Painting by Guy Denning

    The last artist (Henrietta Harris) in my list uses watercolor and gouache to create realistic figure, that melts apart, with special focus on the face. The figure's head slides off as though his head was some flotsam and a slight tide gently pulled it back to the current. This surreal approach to deconstructing a figure makes it seem as though the identity is loose, not definitive, that what makes a person a character is changing and cannot be definite at any one time.

Self Portraits!!!!!!!!!!!

Hey guys,

I was looking up self-portraits and I found something that I think is super interesting.

Have you heard of Bryan Sauders? ...me neither. Anyway, he does a self portrait everyday to see how his perception of himself changes. He decided to see what would happen when he painted under the influence of various drugs. The results are crazy! Check it out.http://bryanlewissaunders.org/drugs/
 
Amanda :)

Homework-- 9/25

We are starting SELF PORTRAITS. These will be worked on both inside and out of class. REMEMBER: Self portraits do NOT have to be figurative or even representational, they must simply be a piece that give an audience an insight or reflection into you. What is it you are trying to say about yourself? Traditional is fine, but you will be forced to break the surface minimally.

To this point in class we have discussed COLOR (relativity and formal aspects), GROUND, AUDIENCE, NARRATIVE and worked on constructing the FIGURE from life. I will be giving you a few articles to contextualize these concepts and skills for you.

For this next project we are discussing FRAME (and DECONSTRUCTION of FRAME), SURFACE,  and IDENTITY ("spark of life"). This is a complex and very loaded term that can mean many things to many people, so do not freak out if you do not have a solid grasp on exactly what this term means at this point. For our purposes we have been looking at what it is that makes up an image (constructive image building), so now we will be looking at what it is to slice those seams apart.

http://www.walkerart.org/channel/2013/artist-molly-zuckerman-hartung-discusses-her
http://www.brainpickings.org/index.php/2008/11/20/tidying-up-art/ (funny!)

For homework this weekend you will have THREE things to do:

1. Read the following article and watch links. Be ready for a discussion on Monday. If I feel people are not prepared it is my prerogative to give a quiz that will affect your next project grade.

http://www.iep.utm.edu/deconst/
http://mcachicago.org/exhibitions/next/all/301 (watch video!)
http://beautifuldecay.com/2013/01/14/gabriel-pionkowskis-deconstructed-and-reconstructed-paintings/
http://beautifuldecay.com/2012/04/02/valerie-hegartys-deconstructed-paintings/
http://alexameade.com

2. Research "deconstruction" and "identity" (or "self portraiture" if this easier). I want you to find three examples deconstructing different elements: surface/ image/ identity/ narrative/ material, etc. These do not have to be painted or overtly figurative. We are ultimately looking for what a deconstructed self portrait COULD be and how this could be presented. Post these and explain 1) HOW these pieces are DECONSTRUCTED (not simply destroyed) formally 2) what the artist is attempting to say through this deconstruction and 3) how do you read this piece? is a key or legend necessary?

3. Bring in your self portrait projects to work on Monday! You will only have two days to work on them IN CLASS!

Parameters:
~You must have at least four 18"x 24" surfaces to work on (open choice, but be appropriate for acrylic paint), or size equivalent. Think outside the box!
~Must have at LEAST one figurative element done FROM LIFE (no digital translation)
~Must incorporate the use of your acrylic paint made in class. You are not limited to acrylic paint or pure 2-D work, however.

Be creative and purposeful with this project. How do you want to describe you? What is it you want to say? 

These are due Monday, Oct 7 at the beginning of class. If these require mounting or hardware for display you must supply this yourself and be ready to talk at the beginning of class. Remember Scott Anderson is teaching Painting III right before us in the studio, so be considerate and arrange with him if you need to be in there to hang your work. We can also travel around the building, but arrangements must be made with Ellen Peabody in the main office to hang any work in the building, even if for a few hours. There are pretty lights in the third floor hallway. Check it out.

For Wednesday!

Bring in all of your newly made acrylic paints, brushes, rag, and jar for water. We will be working on reflectivity and detail points (portraiture).

YOU MUST WRITE COMMENTS ON ALL OF YOUR CLASSMATES PAINTINGS BY MIDNIGHT THURSDAY! Your second paintings will be posted this week! Do not fall behind!

Homework: FOR MONDAY!

YOUR SECOND PAINTINGS ARE DUE!! We will be having a short crit Monday morning! These should be finished to the best of your ability, but do not overwork your completed areas! Find a balance and step back.

ALSO: We are making acrylic paint on Monday! You need to bring your supplies for this:

~glass/ muller (optional)
~dust mask (if you threw it away get another! I am out)
~gloves (provided)
~palette knife
~paint tubes 
~pigments
~GAC-100 Multi-Purpose Acrylic Polymer 
(I will provide a small amount of this for our demo, but you will need to buy your own. If you want you can get together and buy these collectively if they only have large containers. Artisans, Michaels, craft stores, etc)
~acrylic gel medium (GOLDEN--many consistencies available, will have small amount of regular, self-leveling, and extra heavy to try out in class)
~brushes, rags, cup for water (for painting)

http://www.ehow.com/how_5121453_make-acrylic-paints.html
http://www.goldenpaints.com/technicaldata/faq/iv_choosmed.php

Alise Roybal

oil on canvas board

16"x 20"

Zach Pedroncelli

gouache on paper

15"x 11"

Jeffrey Bryant

oil on canvas

18"x 24"

Rabia Friedman

watercolor on paper

18"x 24"

Nick Fleming

oil on canvas

18"x 24"

Lydia Gosling

oil on canvas

18"x 24"

Lucia Flores

watercolor on paper

8"x 18"

Joe Millard

gouache on canvas

18"x 24"

Jasmen Vivar

oil on paper

18"x 24"

James Schlavin

oil on canvas

18"x 24"

Diego Villegas

watercolor on paper

8.5"x 13"

Cheyne Bishop

oil on canvas

18"x 24"

Charity Delaney

oil on canvas

18"x 24"

Amy Wynia

oil on paper

18"x 24"

Amanda Griego

watercolor on paper

18"x 24"

Aarya Engineer

acrylic on canvas board

20"x 30"

The following 16 posts are from the first figurative painting of the semester. The 9-hour painting had to be done from a live model and minimally 18"x 24". No limits were put on material, compositional, or stylistic choice.

We are continuously looking to build solid images in frame that convey a strong sense of narrative and storyline. Color and formal aspects have been taken into consideration to critically analyze the success of these compositions and outcomes.

You will have one week from today to post your critical feedback to your classmates' images (add via "COMMENTS" under each image). Be considerate and smart with what you have to say: What would YOU do next if it was your painting? Where are the strengths/ weaknesses and most importantly WHY???

Edgar Degas. "After the Bath"

Done well

-There is an excellent use of cool and warm tones to achieve an illusion of depth and a sense of motion in the image
-the background has been painted as a thin wash was which helps bring the figure to the foreground of the painting

Improvement

-some more extreme tones in the hair would help the image feel more exaggerated and thus a little more lifelike





Henri de Toulouse-Lautrec. "Seated Dancer in Pink Tights"

Done Well
-Good application of different stroke types to bring the character off the canvas
-uses of vibrant and dull colors well balanced

Improvement
-could use more cool colors since a majority of the painting feels warm
-perhaps a few hints more of definition on the legs



Camille Pissarro. "The Woodcutter"

Done Well
-expression of paint strokes keeps the painting from being flat and uninteresting
-wide-range palette gives the painting very vibrant presentation

Improvement
-more extreme tones could make painting even more vibrant













Albuquerque, NM Painting
Downtown
This image caught my eye immediately because of its power and cartoonish nature. The image show naturalistic detail is not necessary to create visceral and moving art.

Lydia Gosling - #4

Zin Lim – “Towel Dry” - 12x9 - Oil

Done Well:

-The use of the palate keeping to neutral tones, and greys. I feel that it really complements the figure and posture.  

- I really like that the background is more grey, allowing the body to pop forward with color and focus.

Improvement Suggestions:

- I think that the image looks a little fuzzy, I think with a few spots with more clarity would add greatly to the image.

- I do wish Lim included more of the face and hands so the audience could look at how the artist handled harder subjects.

Lacey Lewis – “Visceral”- 24" x 18" - Oil

Done Well:

-The tonal values of the shadows really accentuates the muscles and ranges of her body, along with the background pulling in the blues, I feel it works nicely.

- The figure itself is positioned really nicely allowing for interesting framing and showing different aspects of the body.

Improvement Suggestions:

- I wish that there were a little more red tones in the skin to contrast more with the shadows and background.

- I feel that the hair could have a little more detail just to show that it’s wispy instead of looking like a solid object.

Kris Lewis - Oil 

Done Well:

- The proportions of the face are really interesting with an artist who elongates features of many of their subjects.  

- The color palate given is really nice with the ranges of reds and browns. I think it adds to the artists direction of making this look a little antiqued.

Improvement Suggestions:

- I feel that the background should be more developed, instead of now where it looks like a figure pasted on to a backdrop.

-The leaves would look more interesting if they were developed more or blurred a little to give the figure more depth in space.

Albuquerque, New Mexico Painting 

-This piece is located on the side of LA Underground. The artist is Gamma, who is a well-known mural artist out of Colorado.  I’ve always been interested in this piece, as I am in love with pseudo-pin-up girls. This painting is really amazing in detail, especially that it’s done in spray-paint. The piece really has an interesting narrative that makes the viewer think that the figure is up to no good, but in a really almost girlish way. I think that this piece really does a wonderful job of representing Albuquerque, New Mexico, showing that we have many great murals, and the native women to the area. There’s just something about this piece that always has me driving slowly past it, I think it’s the use of detail and shading that really catches me.