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ART 101: ,[object Object],Introduction to Art ,[object Object],The Technologies of ,[object Object],Art Production,[object Object],James Greene  |  Visiting Assistant Professor  |  1110 CAC |  greenjam@gvsu.edu,[object Object]
The Technologies of Art Production:  DRAWING,[object Object],Cave Drawing, Lasceaux, France 15,000-10,000 BC. Pigment, charcoal,[object Object]
The Technologies of Art Production:  DRAWING,[object Object],Leonardo Da Vinci, ,[object Object],Madonna and Child with St. Anne and Infant St. John the Baptist,[object Object],charcoal, white lead, ,[object Object],1505-07,[object Object]
The Technologies of Art Production: DRAWING,[object Object],Kathe Kollwitz, Self-Portrait, Charcoal, 1928,[object Object]
The Technologies of Art Production: DRAWING,[object Object],Robert Longo, Shark #7 from Leap Into The Void, Charcoal drawing, 2004,[object Object]
The Technologies of Art Production: PAINTING: Encaustic,[object Object],ENCAUSTIC PAINTING: Pigment suspended in heated beeswax,[object Object],Egypto-Roman Funerary Masks, encaustic on wood,[object Object],Faiyum, c. 160-170 AD. ,[object Object]
The Technologies of Art Production: PAINTING: Tempera,[object Object],TEMPERA PAINTING:,[object Object],Pigment suspended in a mixture of ,[object Object],water and egg yolk.,[object Object],Gentile deFabriano, ,[object Object],Adoration of the Magi, ,[object Object],Tempera on wood panel, ,[object Object],1423.,[object Object]
The Technologies of Art Production: PAINTING: Fresco,[object Object],Fresco Painting: ,[object Object],Pigment suspended in wet, fresh ,[object Object],plaster applied to walls or ceilings. ,[object Object],Giotto,[object Object],The Lamentation,[object Object],Fresco,[object Object],c. 1305.,[object Object]
The Technologies of Art Production: PAINTING: Oil,[object Object],OIL PAINTING:,[object Object],Pigment suspended in linseed oil ,[object Object],and thinned with a solvent like turpentine.,[object Object],In the high European tradition, oil paint,[object Object],is applied in thin transparent glazes that,[object Object],build up and create luminous surfaces,[object Object],like this one.,[object Object],Jaques Louis-David, ,[object Object],Napoleon Crossing the Alps ,[object Object],Oil on canvas,[object Object],1800.,[object Object]
The Technologies of Art Production: PAINTING: Oil,[object Object],Kehinde Wiley, ,[object Object],Officer of the Hussars ,[object Object],Oil on canvas,[object Object],2007,[object Object],When an artist chooses,[object Object],oil paint, they may enter ,[object Object],into a well-developed ,[object Object],European tradition of ,[object Object],representation.,[object Object]
The Technologies of Art Production: Oil,[object Object],Oil paint is uniquely suited to,[object Object],capturing the luminosity of,[object Object],human flesh.,[object Object],Lucian Freud, ,[object Object],Naked Portrait with Reflection ,[object Object],Oil on canvas, ,[object Object],1980,[object Object]
The Technologies of Art Production: PAINTING: Acrylic,[object Object],Acrylic:  Pigment suspended in an ,[object Object],acrylic polymer (plastic) emulsion,[object Object],Robert Shimomura, ,[object Object],"Classmates" ,[object Object],acrylic on canvas, 2008,[object Object]
The Technologies of Art Production: PAINTING: Acrylic,[object Object],James Greene,[object Object],Custer, SD,[object Object],Acrylic on canvas,[object Object],2010,[object Object]
Technologies of Art Production: PRINTMAKING,[object Object],Prints are derived from a matrix, or a mother image. This can be a block of wood, a metal plate, ,[object Object],a slab of limestone, a nylon mesh screen or another material. The matrix gets between the work and the artist, but it allows for the creation of multiples.,[object Object]
Technologies of Art Production: PRINTMAKING: Relief Printing,[object Object],An image is carved into a,[object Object],surface like a block of wood,,[object Object],a linoleum panel, or rubber. ,[object Object],Whatever surface area is left ,[object Object],gets inked and pressed into ,[object Object],paper.,[object Object],For each color, a different ,[object Object],block must be used.,[object Object],This woodcut print used ,[object Object],three blocks.,[object Object]
Technologies of Art Production: PRINTMAKING: Relief Printing,[object Object]
Technologies of Art Production: PRINTMAKING: Relief Printing,[object Object],Tom HuckBeef Brain Buffet, 2002Woodcut, ,[object Object],Edition of 25,[object Object],52 x 38 inches,Published by Evil Prints,[object Object]
Technologies of Art Production: PRINTMAKING: Relief Printing,[object Object],Tom Huck carves a wood block for a relief print,[object Object]
Technologies of Art Production: PRINTMAKING: Intaglio,[object Object],INTAGLIO PRINTING,[object Object],An image is etched into,[object Object],a metal plate and ink is,[object Object],scraped into these etched,[object Object],grooves. The ink is then,[object Object],wiped off the surface.,[object Object],When the intaglio is ,[object Object],pressed, the paper is,[object Object],traditionally wet.,[object Object],The wet paper grabs the,[object Object],Ink out of all the ,[object Object],grooves in the plate.,[object Object],Intaglios have distinct,[object Object],embossments.,[object Object]
Technologies of Art Production: PRINTMAKING: Intaglio,[object Object],Drawing through “Hard Ground” ,[object Object],using an etching stylus,[object Object],Intaglio scrapers, stylus,[object Object]
Technologies of Art Production: PRINTMAKING: Lithography,[object Object],Invented by German playwright,[object Object],Aloys Senefelder in 1796 as a way,[object Object],to cheaply publish music.,[object Object],A slab of limestone is drawn upon with,[object Object],grease pencil. The image is then,[object Object],chemically etched in the stone, allowing,[object Object],the printing of multiples.,[object Object],This process is still used on a large ,[object Object],scale using aluminum or polyester ,[object Object],plates instead of stones.,[object Object]
Technologies of Art Production: PRINTMAKING: Lithography,[object Object],A Litho stone is drawn on with a greasy crayon or liquid medium.,[object Object]
Technologies of Art Production: PRINTMAKING: Lithography,[object Object],Nitric acid is mixed with gum arabic and applied to the drawing.,[object Object]
Technologies of Art Production: PRINTMAKING: Lithography,[object Object],After etching, the stone (or plate) is rolled up with ink.,[object Object],The ink sticks to the drawn area and does not stick to the un-drawn area.,[object Object]
Technologies of Art Production: PRINTMAKING: Lithography,[object Object],After inking, a piece of paper is laid over the inked image and sent through a press. After printing, the printed paper is removed from the stone.,[object Object]
Technologies of Art Production: PRINTMAKING: Lithography,[object Object],Multiple color “runs” can be printed in sequence to make multi-color lithos. ,[object Object],Beauvais Lyons, Micropterus trichopilaris, 3-color litho, 2009.,[object Object]
Technologies of Art Production: PRINTMAKING: Lithography,[object Object],LITHOGRAPHY,[object Object],Was the most popular form of,[object Object],printing in Europe and the US until,[object Object],mechanical plate lithography,[object Object],replaced it in the early 20th Century. ,[object Object]
Technologies of Art Production: PRINTMAKING: Silkscreen Printing,[object Object],The matrix is a piece of nylon ,[object Object],fabric stretched over a screen,[object Object],frame. A stencil is made on the,[object Object],mesh, which the ink is pushed,[object Object],through to create flat areas of ,[object Object],color. ,[object Object],Andy Warhol elevated this cheap,[object Object],commercial technique to the level,[object Object],of fine art.,[object Object]
Technologies of Art Production: PRINTMAKING: Silkscreen Printing,[object Object],Ink is pushed through a nylon mesh screen in which a stencil has been made.,[object Object],Silkscreen can be easily applied to t-shirts, hats, signs, etc.,[object Object]
Technologies of Art Production: PRINTMAKING: Inkjet Printing,[object Object],The fastest and most ubiquitous commercial method today.  Who knows what will replace it?,[object Object],It is used by the best selling painter in the US.,[object Object],Thomas Kinkade, Make A Wish Cottage, oil on inkjet print on canvas, 2005 ,[object Object]
The Technologies of Art Production: PHOTOGRAPHY,[object Object],The first European drawing of a CAMERA OBSCURA. 1544,[object Object]
The Technologies of Art Production: PHOTOGRAPHY,[object Object],18th Century innovations to the camera obscura.,[object Object],The Camera Obscura was a drawing instrument that,[object Object],used a lens and a dark space to create an upside-down,[object Object],image of reality. It would eventually be combined with ,[object Object],the use of film and mechanized during the industrial revolution to become what we think of when we think of a camera.,[object Object]
The Technologies of Art Production: PHOTOGRAPHY,[object Object],The first permanent photograph was an image produced in 1826 by the French inventor,[object Object], NicephoreNiepce. However, because his photographs took so long to expose (8 hours), ,[object Object],he sought to find a new process. ,[object Object]
The Technologies of Art Production: PHOTOGRAPHY,[object Object],Louis Daguerre took the first ever photo of a person in 1839 when, while taking a daguerreotype of a Paris street, a pedestrian stopped for a shoe shine, long enough to be captured by the long exposure (seven minutes). ,[object Object]
The Technologies of Art Production: PHOTOGRAPHY,[object Object],Matthew Brady, The Dead in Front of Dunker Church, Antietam, Maryland, 1862.,[object Object]
The Technologies of Art Production: PHOTOGRAPHY,[object Object],In 1884, George Eastman developed the technology ,[object Object],of cellulose film to replace photographic plates, leading to the ,[object Object],Eastman-Kodak technology used by film cameras today.,[object Object]
Technologies of Art Production: CERAMICS,[object Object],PORCELAIN: ,[object Object],Clay containing high levels of KAOLIN and,[object Object],low levels of sand. High plasticity, high fire.,[object Object],Porcelain ceramics are among the strongest ,[object Object],and most luminous.,[object Object],The Scarf Dance, 1901-02 ,[object Object],Designed by Leonard Agathon Van Wydeveld,,[object Object],made by Sevres Porcelain Manufactuary.,[object Object]
Technologies of Art Production: CERAMICS,[object Object],STONEWARE:,[object Object],Clay containing less Kaolin than porcelain,[object Object],and more sand. Strong, sturdy and not porous. Used in most everyday dishes, mugs, cups, etc. High fire.,[object Object]
Technologies of Art Production: CERAMICS,[object Object],TERRACOTTA,[object Object],Ancient Greeks used black glazes for their red terracotta dishes and containers.,[object Object],EARTHENWARE: ,[object Object],Clay containing more sand little kaolin.,[object Object],Fired vessels are fragile and porous unless glazed. ,[object Object]
Technologies of Art Production: CERAMICS,[object Object],PRIMATIVE,[object Object],GAS,[object Object],RAKU,[object Object],KILN VARIETIES,[object Object],ELECTRIC,[object Object]
Technologies of Art Production: SCULPTURE,[object Object],Relief sculptures are similar to 2D works in that their 3D forms are raised from a flat background. ,[object Object],In low relief or bas-relief, the forms project only lightly from the background. ,[object Object]
Technologies of Art Production: SCULPTURE,[object Object],In high relief, figures project ,[object Object],at least half their natural depth.,[object Object]
Technologies of Art Production: SCULPTURE,[object Object],Freestanding sculptures have fronts, backs sides and tops. They invite the viewer to ,[object Object],walk around, underneath, or even inside them.,[object Object], ,[object Object]
Technologies of Art Production: SCULPTURE,[object Object],Subtractive Process:  such as carving, ,[object Object],unwanted material is removed.,[object Object]
Technologies of Art Production: SCULPTURE,[object Object],Additive Process:,[object Object],such as modeling, casting and,[object Object],constructing, material is added,,[object Object],assembled, or built up to ,[object Object],reach its final form.,[object Object]
Technologies of Art Production: SCULPTURE,[object Object],Ron Mueck Untitled (Big Man) pigmented polyester resin on fiberglass, 2000,[object Object]
Technologies of Art Production: SCULPTURE,[object Object],Ron Mueck Untitled (Self Portrait) pigmented polyester resin on fiberglass, 1997,[object Object]
Technologies of Art Production: SCULPTURE,[object Object],Ron Mueck, A Girl, pigmented polyester resin on fiberglass, 2002,[object Object]
Technologies of Art Production:,[object Object],SCULPTURE,[object Object],Casting:,[object Object],The Lost-Wax Technique ,[object Object],is used to create ,[object Object],BRONZE CASTINGS like this. ,[object Object],Auguste Rodin’s The Thinker, 1902.,[object Object]
Technologies of Art Production: SCULPTURE,[object Object],Assemblage: Found objects are CONSTUCTED into a finished work.,[object Object],Deborah Butterfield, Untitled, Driftwood, Wire, 2006.,[object Object]
Technologies of Art Production: SCULPTURE,[object Object],Kinetic sculpture: When the sculpture literally moves.,[object Object],Alexander Calder,[object Object],Untitled,[object Object],Fabricated Steel,[object Object],1977,[object Object],Shown in the atrium of the,[object Object],National Gallery of Art,[object Object],Washington DC,[object Object]
Technologies of Art Production: SCULPTURE,[object Object],Earthwork: When the artist uses only the earth as their medium.,[object Object],Robert Smithson, Spiral Jetty, Black rock, salt, installed in Great Salt Lake, Utah, 1976,[object Object]
Technologies of Art Production: SCULPTURE,[object Object],Nature Sculpture: When the artist uses only things found in nature as their medium.,[object Object],Andy Goldsworthy, Rowan Leaves Around a Hole, leaves, 1987,[object Object]
Technologies of Art Production: SCULPTURE,[object Object],Nature Sculpture: When the artist uses only things found in nature as their medium.,[object Object],Andy Goldsworthy, ,[object Object],Woven Bamboo…Windy, bamboo, 1987,[object Object],Andy Goldsworthy Ice Egg, Ice, 1990,[object Object]
Technologies of Art Production: SCULPTURE,[object Object],PUBLIC COLLABORATIVE SCULPTURE,[object Object],When the art is the result of an agreement with various  government bodies. The result is a public art experience that the entire community shares.,[object Object],Christo & Jeanne- Claude The Gates, New York City, Central Park  1979-2005.,[object Object]
Technologies of Art Production: NEW MEDIA: Video Art,[object Object],Bill Viola, Going Forth By Day, 2002. Video/sound installation in five parts, Dimensions variable. Solomon R. Guggenheim Museum ,[object Object]
Technologies of Art Production: NEW MEDIA,[object Object],VIDEO ART: An artist or artists produce(s) a work that ,[object Object],exists primarily as a video. A watershed moment for artists ,[object Object],came in 1967 with the invention of the Sony Port-A-Pack.,[object Object],Nam Jun Paik,[object Object],TV Cello ,[object Object],Video/Performance,[object Object],1970,[object Object]
Technologies of Art Production: NEW MEDIA,[object Object],SOUND ART: Speaks for itself. Sound pieces need not have an accompanying visual element. ,[object Object],Hugo Ball Performing,[object Object],Karawane,[object Object],Nonsense Poem,[object Object],at ,[object Object],Cabaret Voltaire,[object Object],1916,[object Object]
Technologies of Art Production: NEW MEDIA: Performance,[object Object],Performance: ,[object Object],Performance art can be any situation that involves four basic elements: time, space, the performer's body and a relationship between performer and audience.  ,[object Object],A piece of performance art may or may not have similarities with theatre.  ,[object Object],Performances are often documented with video and audio, blurring the boundaries between sound art, video art and performance art. ,[object Object],Jeffery Byrd performing Holy Ghost, 2004.,[object Object]
Technologies of Art Production: NEW MEDIA: Performance,[object Object],STELARC ,[object Object],Performing with,[object Object],Movatar ,[object Object],Inverse Motion Capture System,[object Object],1997,[object Object]
STELARC performing with Exoskeleton, 2002.,[object Object]
Technologies of Art Production: NEW MEDIA: Virtual Reality,[object Object],Virtual Reality: Using a combination of video and sound, or a digital video-game interface, artists create ,[object Object],virtual situations that take over the viewer’s senses. This can be delivered via a computer screen or created ,[object Object],within a space that responds to the viewer’s presence using motion-sensing devises. ,[object Object],Janet Cardiff and George Bures Miller, The Killing Machine, 2007. ,[object Object]
Technologies of Art Production: NEW MEDIA: Installation Art,[object Object],Installation Art: This blanket termdescribes an artistic genre of site-specific, three- dimensional works designed to transform the perception of a space. The genre incorporates a very broad range of everyday and natural materials, which are often chosen for their evocative qualities. Many installations are site-specific in that they are designed to only exist in the space for which they were created.,[object Object],Walter De Maria, ,[object Object],The New York Earth Room,[object Object],Long-term installation at141 Wooster Street, ,[object Object],New York City,[object Object],1977,[object Object]
Technologies of Art Production: NEW MEDIA: Installation Art,[object Object],Cai Guo Qiang: Head On   ,[object Object],99 stuffed wolves, plexiglass, monofilamentDeutsche Guggenheim, Berlin, Germany 2006,[object Object]
Technologies of Art Production: NEW MEDIA: Installation Art,[object Object],Christopher Baker: Hello, World! Or, How I Learned to Stop Listening and Love the Noise,[object Object],Video, sound, motion sensors and rear-projection screens, 2008.,[object Object]

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Lecture #3 The Technologies of Art Production

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  • 63.
  • 64.
  • 65.