Portraits are not the only things that can be distorted for an emotional effect. Also, landscapes can be distorted by color or shape for an emotional effect. Sometimes, even new worlds will be created by an artist to portray a certain feeling or purpose. I found all these samples by doing a quick google search. Its amazing the imagery you will find in surreal photography. Some of its created with photoshop, some in the darkroom, and some with clever forced perspective. (Some of you who are painting and trying to create new worlds, may want to do some searches to get inspiration before you create your worlds.) Lighting can be used in artwork to create a wide range of emotion. It could set a calm tone/feeling or one of anxiousness or terror and a wide range in-between. Light can be used naturally with a VISIBLE light source in the piece (window, fire, candle flame, sun, sun rays, electric light, etc.) Light can be used SUPERNATURALLY within the piece. Having the light shining from an inanimate object or a person/ animate object within the piece. As you are creating your work, consider using distorted imagery to enhance an emotional effect. Nothing you have to do has to be completely photorealistic! Deb Weiers--artist on instagramOne of my favorite artists that I follow on instagram is Deb Weiers: @debweiersart . She creates beautiful "wonky faces" as she calls them. Mostly she does human portraits, but I love how she distorts her animals as well. Check out some of her recent work. She uses ink, mixed media, collage, acrylic, and drawing media. The last photographs shows her process for her larger work.
Below are two choices for artists that you can watch this week. Both use MULTIPLE layers and various mixed media. Pay attention to the process that your selected artist uses. How could they document the process if they were submitting an AP portfolio?
choice #1: Arturo Herrera
The link to the art 21 video is here: https://art21.org/watch/art-in-the-twenty-first-century/s3/arturo-herrera-in-play-segment/
From Art 21: “Being Latin American, you are made up of so many fragments from different cultures,” says Arturo Herrera. For the Venezuela-born artist, collage is the natural expression of his mixed identity. Herrera’s collages combine cartoon elements with abstract shapes to explore the interplay of childhood memories and adult desires. In his Berlin studio, he photographs elements of his own drawings and then develops the film canisters in various liquids, which seep in and alter the film. “I think there is a potential for these images to communicate different things to different viewers in a very touching way,” he explains. “But that experience is not a public experience, it is very private, and very personal.” Choice #2: Julie Mehretu
Here is the art 21 link to Julie Mehretu's video: art21.org/watch/art-in-the-twenty-first-century/s5/julie-mehretu-in-systems-segment/
From art 21: “Trying to figure out who I am and my work is trying to understand systems,” says Julie Mehretu, shown working with her assistants in Berlin on seven large canvases for a show at Deutsche Guggenheim. “The thing that keeps me going is the painting,” she says, “and in getting lost in doing that a language is invented.” Mehretu’s abstract compositions reference modernist architecture, Google Maps, Coliseum-like buildings, and defaced structures. Mehretu is also shown working on the biggest project of her young career: a 21 by 85 foot long mural commissioned by a major financial institution in Lower Manhattan, to be completed during the most severe financial crisis since the Great Depression. Characterizing the task before her as “absurd,” she wonders “can you actually make a picture…of the history of capitalist development?”
For the Hot off the Press assignment, you need to include a MINIMUM of 3 layers of surface manipulation in the background. One of those layers should include newspaper.
In the video below, I go over several sample ways you can create surface manipulation on your background. Skill 3.B Daily Video 3 Login to AP classroom and watch the Skill 3.B Daily Video 3. Be sure to have your visual journal ready to write down notes while watching the video. Next get out the AP rubric and review row B. We will go over samples of good and bad row B in order to compare how we are thinking about our own work and how we are going to both WRITE about and have VISUAL EVIDENCE for our practice, experimentation, and revision within our sustained investigation. Link to sample portfolios: https://apcentral.collegeboard.org/courses/ap-drawing/portfolio/past-exam-questions 1. To sign up for AP Classroom: https://myap.collegeboard.org/login (To enroll in this section online, sign into https://myap.collegeboard.org and enter the section join code)
2. Once you have signed up, click "go to AP classroom" 3. Now, take 15 minutes to explore the student resources in order to view the AP Art and Design digital exhibitions. 4. Finally, click on "course skill 3" in order to view the video: Skill 3.A Daily Video 1
Kiki Smith
Text from Art 21 site: https://art21.org/watch/art-in-the-twenty-first-century/s2/kiki-smith-in-stories-segment/
Kiki Smith was born in 1954 in Nuremberg, Germany. The daughter of American sculptor Tony Smith, Kiki Smith grew up in New Jersey. As a young girl, one of Smith’s first experiences with art was helping her father make cardboard models for his geometric sculptures. This training in formalist systems, combined with her upbringing in the Catholic Church, would later resurface in Smith’s evocative sculptures, drawings, and prints. The recurrent subject matter in Smith’s work has been the body as a receptacle for knowledge, belief, and storytelling. “Basically, I think art is just a way to think,” remarks Kiki Smith, “it’s like standing in the wind and letting it pull you in whatever direction it wants to go.” Adept in bronze, wax, textiles, and printmaking, the segment follows Smith on a journey through a diversity of narrative subjects including witches, saints, death, animals, family members, domestic objects, and dolls. Smith explains her relationship to meaning in her work: “I’d rather make something that’s very open-ended that can have a meaning to me, but then it also can have a meaning to somebody else who can fill it up with their meaning.” Louise Despont
Text from Art 21 site: https://art21.org/watch/new-york-close-up/louise-despont-drawing-from-life-in-bali/
Louise Despont was born in 1983 in New York; she lives and works in New York and in Bali, Indonesia. Since discovering the potential of working with pencil and architectural stencils on paper, Despont has adopted an intuitive process in which she allows her drawings to develop as she creates them, resulting in an almost devotional object comprised of dense colors and shapes. Having collected images for many years, Despont complements her broad visual references with her interest in energy and spirituality. How deeply can a place permeate an artwork? A native New Yorker now working in Bali, Louise Despont shares how her adopted island home shapes her intensive practice, informing the devotional, meditative, and fragile elements of her drawings. “I know that the most important thing to make good work is time and space,” says the artist, “and living in Bali, that’s where I was going to have the most of it.” While the spirituality of Bali aligned with Despont’s aesthetic, the tropical climate made her drawings vulnerable—a problem she solved with a dehumidified case. The artist herself was in a vulnerable place when she first arrived on the island in 2016, at the time of film; a long-standing relationship ended after they had moved to Bali together. “I wasn’t sure how I could make the work not being in love,” she says, but she soon found that her drawing practice sustained her. “Me in the studio with paper was there whether or not I was in a relationship.” For her 2016 exhibition at The Drawing Center in New York City, Despont created an immersive drawing that imagines energy as a physical body, documenting its lifecycle from embryo to “a return to formlessness.” Conceptual artist Aaron Taylor Kuffner‘s gamelatron—a robotic version of the traditional Balinese orchestra, the gamelan—transformed the space into a sanctuary, and gave viewers the opportunity to, as Despont puts it, “travel through the drawings in their mind.” |
Fun SitesMarilyn Maker
Silk- Interactive Art Tessellate Jackson Pollock (splatter painter) Build Your Wild Self Mondrimat Mr. Picassohead Mandala Maker Art Games Bomomo Art Pad The Color Test Getty Games Archives
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