Tuesday, October 23, 2012
Monday, October 22, 2012
To achieve these sublime qualities, Kent uses woodcuts. This media is well suited to his subtlely stark images, because of the sharp contrast between black and white. He uses the carving to create a lot of light, as in the third image with the illuminating sun. I find his prints to be more successful for what I am interested in than his paintings, precisely because of these qualities. His paintings, in color, seem to be more interested in the beauty and transcendence in nature, and less in a sort of extreme mythological view of humanity.
Daubigny was an established and progressive landscape painter and printmaker during the nineteenth century. While his most famous work was very traditional he also supported and experimented with the emerging impressionist style. And with this style in mind he would become prolific in etching and woodcarving. In 1851 he published his first two etchings. He approached his etchings as studies and as finished work but remarked that he viewed his etchings as a more widely accessible commodity rather than made for a specific audience.
Sunday, October 21, 2012
In this image, titled Your House is My Castle (2005) the artist, wearing a false beard, is looking out from the window of a slanted building. The image recalls classical motifs with the depiction of beautiful countryside and architecture- however Kelm adds that hint of strangeness that throws the image off balance.
|Ambassadeurs: Aristide Bruant dans son cabaret 1892|
|Jane Avril 1893|
Robert Indiana, born Robert Clark, adopted the last name Indiana to strengthen his identity to the midwest. His text work is inspired by road and establishment signs that break up the characteristically flat midwestern landscape, and he uses his text to do the same in societies' flat habits. Best illustrated by the post-stamps and city sculptures, the bright colors and bold letters of the word LOVE interrupt a passerby. Robert Indiana also made work where EAT and DIE were paired together, but interestingly, the optimistic words such as LOVE, HUG, and HOPE have been more successful. Other works such as painting the letter "M" on the Milwaukee Bucks basketball court and the Taipei 1011-0 (below) brightly colored numbers also insert text into routine like signs, but I find them to be less successful because they seem disconnected.
The optimism, simplicity, and ubiquity of LOVE create a positive, globally connected feeling. It seems that Indiana has caught onto this, as demonstrated by his HOPE fundraising for the Obama campaign and his Peace Paintings after 9/11. From a printmaking perspective, I find two things very intriguing: 1) LOVE began as a holiday card and transitioned from digital to traditional as well as cheesy to fine art. But I wonder- were the silkscreens and aquatint etchings necessary? I don't think so- what's the point? Is not it successful as a card or post-stamp? 2) LOVE is a printerly sculpture by its' ability and encouragement to be reproduced. How do relate printmaking to the sculptural object?
Wednesday, October 17, 2012
Tuesday, October 16, 2012
|Franzi Reclining 1910|
|Weisses Haus in Dangast 1908 OIL PAINTING|
|Junges Madchen / Young Woman 1913|
Männerbildnis / Portrait of a Man 1919
Krankes Madchen / Sick Young Girl 1913
Blake's works were almost all based on narrative, primarily being illustrations or illuminations of written works. Blake made use of monotypes and monoprints, and also hand colored a large amount of his work. Much of his work is tied to the mythology that he had created, in which human creativity is essentially God itself. Below is a hand colored engraving titled Albion Rose, featuring Albion, a character in his works that represents the perfect man.
Blake produced mainly etchings and engravings, focusing on relief etching, a process that he invented, in creating his illuminated books. In this method, the images were painted on using a ground, including the words of his poems and the accompanying illuminations, and then the negative space would be dissolved in the acid, leaving a relief surface. An example of one such etching (hand colored) can be seen below.
Blake was trained as an engraver, and although he is better known for his relief etching, most of his commercial work was done in engraving. Some of his personal work, such as the illustrations for “The book of Job”, a series of 22 prints illustrating the biblical Book of Job, was produced through engraving. One of these engravings is pictured below.
His invention of relief etching is the work that he is most known for, as it is the most innovative. While he made a good deal of work in engraving, his training in engraving was of a style that had become old fashioned, and so his engraving was less well received than a lot of his other works. Still, he is one good example of a historical printmaker who used printmaking as a tool rather than a process, using etching, engraving, and painting, together with his mastery of the English language in order to achieve his conceptual goals. Thus, he cemented his place in the canon of both English Literary and Western Visual history.
Monday, October 15, 2012
Corinne Wasmuht was born in 1964 in Dortmund, Germany and currently lives in Berlin. She is a contemporary artist that has been creating work since the 90s and continues to create work today. As such, she faces issues like globalization, economic crisis, proliferation of technology, modern warfare- all of the concerns that we feel today about the changing world can be considered influential on her life and work. Her current work is centered on creating an atmosphere that underlines that feeling of “information overload” resulting from today’s profusion of mass technology and media. Wasmuht’s paintings of overlapping images confuse orientation and clarity, and the sheer scale of them allows the audience to become completely enveloped by the realm that she has created. The non-hierarchical composition becomes fragmentary, as if one is constantly receiving bits of information and collaging them together in a jumbled incoherent mix.
The content of her work is seemingly at odds with her method of painting: a painstaking application of luminous glazes to create multiple layers that visibly illuminate the paneled wood on which she works. However, this method allows Wasmuht to create an ambiance of “electronic” light with images that seem to be illuminated from behind as if they were being projected, similar to the way a television or computer screen appears. This method also permits the viewer to see how slowly and deliberately she has worked on each image, making detailed and acute decisions that affect each image and the entire painting. I see this process as being one of her greatest strengths and her most successful artistic practice, because it allows her to communicate with the audience the intentionality behind her painting and create a sort of “alternative world” of technology and information that one can get lost in. I believe Wasmuht’s least successful method of working comes from her practice of limiting the images in her composition to being only those of which she has photographed herself and digitally transmitted. In this way, her hand is there at the beginning, and she limits her ability to allow for a moment of zero manipulation where it is only about gathering the images as they are, already transmitted in their own unique way.