Pussy Willow by Strumpet & Pink
photo © Luciano Filetipublished in Design Behind Desire for THE CURATED COLLECTION™, Farameh MediaThursday, February 2, 2012
'Tire-toi une bûche' -Julie Tremblay and Appareil Architecture
I'm very interested in the idea of creating a place for the viewer of the art that is its own reality, and changes within itself...
from Decadent Pigeons Take Over Barcelona
Collaboration between photographer Lisa Klappe and visual artist Joachim Van Den Hurk.
Question: how do animals work in art?
Kate MccGwire
Sluice, 2009 © Kate MccGwire
Site Specific installation
Pigeon feathers, felt, glue and polystyrene
4.5 x 2.5 x .5 m.
Photo © Francis Ware
Site Specific installation
Pigeon feathers, felt, glue and polystyrene
4.5 x 2.5 x .5 m.
Photo © Francis Ware
More: http://www.yatzer.com/The-feather-explosions-of-Kate-MccGwire
So aside from the fact that I want to stare at the feather explosions for hours, I want to put my face on that green wall and touch it in general and then create some representation of it. It's awesome.
Notice: choice of the environment in which art is displayed.
Rogelio Manzo
This guy is kind of hit or miss with me. But these pieces are definite hits. I think it's how some feature just sears across your visual field- the head of the man, the nakedness of his skin, the mouth of the woman. They're very human to me.
Follow-up post to Jenny Saville
I'm pretty sure that the idea of "every choice matters" is going to be hammered into our heads through the entirety of this semester in surface.
And I was looking at Saville's work, specifically the drawings, and noticing how her choices in where she shows detail and where she lets simple line do the work of telling where there is form is very effective. We can feel where the figures is heavy, not only physically in the here-and-now, but over time, in the life of the person. The movement of the arms is not distracting- we can feel the lightness of the past-limbs, and they come clearly from the here-and-now arms. The torso is not overworked, but we believed the unfinished-ness of it is purposeful.
I love figure- it's something that crops up a lot in my work, and I think that at least for a good number of years it is going to feature prominently in what I do. But something that is very easy to do, especially with the figure when you get excited about every inch of it, is to work out every bit, just because you can. And it looks good- there's nothing inherently wrong with it, but I need to start making conscious choices about the mood I'm trying to present, the feelings I get from the model, the pose, the composition, and then translate into how I handle the figure. After all, what's the point of drawing a beautifully-rendered, accurate figure when we have photography? (Besides the point of making studies, which of course is very important.)
That is all.
And I was looking at Saville's work, specifically the drawings, and noticing how her choices in where she shows detail and where she lets simple line do the work of telling where there is form is very effective. We can feel where the figures is heavy, not only physically in the here-and-now, but over time, in the life of the person. The movement of the arms is not distracting- we can feel the lightness of the past-limbs, and they come clearly from the here-and-now arms. The torso is not overworked, but we believed the unfinished-ness of it is purposeful.
I love figure- it's something that crops up a lot in my work, and I think that at least for a good number of years it is going to feature prominently in what I do. But something that is very easy to do, especially with the figure when you get excited about every inch of it, is to work out every bit, just because you can. And it looks good- there's nothing inherently wrong with it, but I need to start making conscious choices about the mood I'm trying to present, the feelings I get from the model, the pose, the composition, and then translate into how I handle the figure. After all, what's the point of drawing a beautifully-rendered, accurate figure when we have photography? (Besides the point of making studies, which of course is very important.)
That is all.
my infatuation with Jenny Saville continues
JENNY SAVILLE
Rosetta 2, 2005-2006
Oil on watercolor paper, mounted on board
99-1/4 x 73-3/4 inches (252 x 187.5 cm)
Some of her drawings, which I haven't really looked at up until now. I love her line-quality, and the impermanence of the figures. (I have such an art-crush on this woman.)
Jenny Saville, Reproduction drawing II (after the Leonardo cartoon), 2009-2010
Time
signed and dated 'Saville 2010' (lower left)
charcoal on paper
66 7/8 x 52¾in. (170 x 134cm.)
Executed in 2010
Question: How do I create the sense of time in a two-dimensional space? How can I play with time? How do I make it seem fleeting, immeasurable, etc?
Thought: Because we all have bodies, we understand time in relation to the body very well and very automatically.
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