NON-Photo+BREADTH

[|Paintings That Shouldn't Work] an article about Elizabeth Condon's work.

Robert Rauschenberg was born in Port Arthur, Texas, in 1925. Like many artists of his generation he served in the military during the 1940s and used the G.I. Bill to attend college. He studied art at Black Mountain College near Asheville, North Carolina, where he worked under Josef Albers and met other progressive artists who greatly shaped his artistic identity, including John Cage and Merce Cunningham. Rauschenberg was keenly interested in the iconography of American popular culture. He eschewed the emotional style of the Abstract Expressionists without losing the latter’s expressiveness by developing a style that stressed collage and used atypical materials like house paint, as well as techniques such painting with a tire dipped in ink. He expanded his collages by incorporating three-dimensional objects, which he referred to as “combines.” This groundbreaking technique contributed to the course of modern art and creative expression. The works are sometimes called Neo-Dada. Rauschenberg’s fascination with popular imagery and his anything goes aesthetic indisputably influenced Pop Art, which would mimic the look of popular culture as opposed to Rauschenberg’s more subjective renderings. Rauschenberg used images of current events gathered from magazines and newspapers for his 1964 collage Retroactive 1 (1964).

A large press photograph of John F. Kennedy speaking at a televised news conference was the source for this screen print on canvas. He juxtaposed the image of Kennedy with another photo silkscreen of a parachuting astronaut. The overlapping, and seemingly disparate, composition creates a colorful visual commentary on a media-saturated culture struggling to come to grips with the television era. “I don’t want a picture to look like something it isn’t. I want it to look like something it is. And I think a picture is more like the real world when it’s made out of the real world.” “A pair of socks is no less suitable to make a painting with than wood, nails, turpentine, oil, and fabric.” --Robert Rauschenberg in Susan Hapgood’s Neo-Dada, Redefining Art 1958-1962, p.18

Sources: Susan Hapgood, Neo-Dada Redefining Art 1958-62, (New York: The American Federation of Arts in association with Universe Publishing, 1994). Christos M. Joachimides and Norman Rosenthal. American Art in the 20th Century: Painting and Sculpture, 1913-1993, (Munich: Prestel-Verlag, Munich, 1993). Links: Guggenheim Collection: http://www.guggenheimcollection.org/site/artist_works_133_0.html PBS American Masters: Robert Rauschenberg: http://www.pbs.org/wnet/americanmasters/database/rauschenberg_r.html Retroactive I, 1964 Helen Frankenthaler

It was not uncommon for scholars to use the allusive side of paintings to make political statements, especially statements of political protest.
 * [[image:http://depts.washington.edu/chinaciv/painting/4pmbniz1.jpg width="517" height="612"]]Yuan Dynasty Scroll Painting**

"FIND and COMBINE"
A Breadth Project for all students DUE MONDAY, October 17 Requirements: COFFEY will demo: Photo Silkscreen burning and printing, Photo Transfer methods.
 * 1) Size: 18" x 24" or larger
 * 2) Surface: any sturdy surface, heavy paper, cardboard, wood, or canvas
 * 3) Must be a Social or Personal Commentary; choose an issue from the brainstorm sheet which you feel strongly about. This will be your theme.
 * 4) Collect at least 3 found objects related to your theme. These can not be 2-dimensional, but also not too 3-dimensional! They will be attached to your surface, incorporated into your piece. Super glue, hot glue, industrial thread may be needed. Base your choices, also, on their physical incorporatability.
 * 5) Collect at least 3 newspaper articles, magazine, LASER PRINTOUTS of online articles, or other __2-D written words__ which relate directly to your theme.
 * 6) Create a photo silkscreen to use, to incorporate over and in between in your composition.
 * 7) Use at least one photo transfer, either your photo or a found photo (must be printed on the laser printer, or a xerox or magazine print. NO inkjet prints!!)
 * 8) In the spirit of Rauschenberg, and the methods of Condon, combine these items, while incorporating other drawing, painting, or photo media into your image. Consider repetition, balance, emphasis, contrast!

E. Condon, //Cadeques//, 2010 E. Condon, //Notes on a Landscape 25, 2011, Ink brush on vellum// R. Rauschenberg, //Retroactive I//, 1964

"MY LIFE" Breadth 4 - DUE TUESDAY, SEPT. 20
Principle Addressed: Figure/Ground Relationships
 * Convey the story, either fictional or real, of your life throug[[image:pchsapsa2011/MY_LIFE_Melissa_Schade.jpg width="470" height="284"]]h a self portrait, where the only line work and value in the piece is made of of TEXT.
 * Your handwriting must be the major element of line and value.
 * An altered surface will be your starting point.
 * Drawing with light graphite will outline the placement of your face.
 * The india ink / text will create ALL value and line, and edges of planes.

**__READ pp. 460-461 in The Visual Experience text, including the Artist Biography on Picasso. Answer these five questions on this wiki. (Sign your name!)__**

 * 1. What is the difference between the traditional illusion of depth in realistic paintings and Cubism's representation of space?**


 * 2. Can you determine what is in the foreground, middle, and background of Les Demoiselles d'Avignon?**


 * 3. How is the space both 2-D and 3-D?**


 * 4. Picasso was enamored with the African masks on display in Paris at the time. He owned some masks and kept them in his studio. Where can you detect the influence of African masks in Les Demoiselles d'Avignon?**


 * 5. How do these portions of the canvas relate to the painting's overall composition?**

__Answer the FIVE questions underneath the images....below.__

 * //Still Life: The Table.// Georges Braque. 1928**


 * //Still Life with Chair Caning.// Pablo Picasso. 1912.**
 * //Guitar and Violin.// Picasso. 1912.**
 * 6. How have these artists made us curious?**
 * 7. How have these examples achieved "visual puzzle" qualities?**
 * 8. How do these images seem to show more than one view (ambiguous) at once?**
 * 9. Do we know more about the subjects because of the cubist style?**
 * //Las Meninas (The Ladies in Waiting).// Diego Velazquez. 1651 //The Meninas After Velazquez.// Pablo Picasso. 1957**
 * 10. Research Velazquez' painting, above. Now compare and contrast Velazquez' piece with Picasso's version.**
 * What do they have in common? In what ways do they differ? What was each artist's goal?**

**1.) The difference between the traditional illusion of depth in realistic paintings and Cubism's representation of space is that Cubism's of representation depth is that there is none. It is all very flat and in your face. Kind of like a table top with images cut out and pasted onto it, there is no appearance of space like in realistic paintings.**

**2.) In Les Demoiselles d'Avignon, all I can tell is what is in the foreground (the women and some fruit). As for the background and middle, I really can't make out much besides that it almost appears to be some sort of curtain-like fabric in the background.**

**3.) The space of Cubistic paintings is 2-D because there is very little value on the figures themselves sometimes. In some images they are flat and outlined with only little value in areas that need it to stand out, such as the face or behind the figure.** **But, Cubism is also 3-D in a way because some pictures CAN be realistic in the way they are painted. Although they are shattered and broken up, the values on the objects themselves (and the area around them) are represented with a realistic light source (or the fact it even has a light source if you consider the Cubistic pieces that don't have much value such as Les Demoiselles d'Avignon).**

**4.) In Les Demoiselles d'Avignon, you can see some of Picasso's influence by tribal African masks in the faces on the women on the right. Their eyes are squinted and styled in a way much similar to the masks of African tribes would have.**

**5.)**

**6.) The artists have made us curious by making us wonder what the original items in their paintings were before they broken them up and scrambled them together.**

**7.) These examples have achieved a "visual puzzle" quality because it looks like ever part of the image was pieced together like a puzzle. The original item seems to have been broken apart with a hammer, only to have been sporadically pieced together, as if the artist was blindfolded or had no idea what it originally even looked like.**

**8.) These images seem to show more than one view at once because the artist has places many different poses of the object into the painting, but all smushed together.**

**9.) I feel we haven't gained any more knowledge of the object from Cubism. We all know an object has many sides and what they should look like from each angle.**

**10.) //Las Meninas// and //The Meninas After Velazquez are different in the style, the representation of every being in the room, the position of te canvas (from vertical into horizontal positioning), and Piccasso added things to his version. On the left side of his picture, there were no windows or an additional door in the original Las Meninas and the ceiling on his variation of the painting is much, much lower.//** **//Though, the similarities in the painting is that the composition has remained much the same (given the fact he changed the canvas position). All of the people are standing in the correct spots as they should be.//**

//**- Ashley Gioiosa**//

**1.) The difference between the two is that in cubism there is the slightest bit of depth, if any at all. Most of the time there isn't any depth or there is just the slightest overlapping of objects that would suggest it. In cubism in stead of using depth it uses more of a figure ground use of space. In a realistic piece it does show depth and it brings you into the moment.**


 * 2.) In Les Demoiselles d'Avignon in the foreground there is some fruit in a bowl (apple, grapes, a pair and a banana I think). In the middle ground there is a group of women (consisting of 5) and in the back ground there is a white sheet, and I think the brown area is another sheet or a wall. **

**3.) The space of Cubistic paintings is 2-D because there figure ground is, more often then not, the main principle in a cubistic piece. Also the little would also suggest that it is a 2-D principle based piece of art. ** **Cubism is also 3-D in a way because some of the bits a pieces do show the realistic side of art. If you look at each individual section some times you are able to pin point which way the light source, if any, is coming from. Also sometimes figure ground isn't really the focal principle in a cubism piece. In ****Les Demoiselles d'Avignon you can see a foreground middle ground and background. Also the layering of some part overlapping others showing that they is a little depth. **


 * 4.) In Les Demoiselles d'Avignon, you can tell that Picasso was influenced by African tribal masks which is evident by the style and coloring of the masks. You can also tell that the traditional realistic style has influenced the piece because of the traditional fruit and the subject(s) (the women) and also the sheet draped around them. **


 * 5.) I think that the size of the canvas relates to the composition because it makes the women quite a bit larger than life so it just shoves the fact that the women are ugly in you face. If the piece was smaller the composition/meaning would be as strong as it is. **

**6.) The artists have makes us look at everything that one item is. By showing us the different sides of a single or group of object(s) they let us see what we know is there but what we aren't used to seeing in a piece. This also slightly confuses the eye so we're curious as to what the object really is so we look at each selection and try to figure it out. They also use the power of ugliness and how even though its ugly it can still be beautiful at the same time. And most of the time things can't be ugly and beautiful which is why this makes us curious because we wonder how that could be.**


 * 7.) These examples have achieved a "visual puzzle" quality because it looks like different parts of one image. The piece all together looks like someone was trying to put a puzzle together but forced the pieces to fit and I think that definitely gives it a puzzle type feel. **

**8.) Well if we look at each individual section we can see the different positions of one object which is how we can tell that there is more then one view that we are seeing.**


 * <span style="color: #00ff00; font-family: 'Comic Sans MS',cursive;">9.) I think we know more now because ever though we know that there are many sides to an object we don't see that in a piece of art we only assume because that's what our minds tell use to do. Now we see every side right in front of our faces and we now have to train our minds to figure out our 'see' the object for what it is not what we perceive it to be. **

<span style="color: #00ff00; font-family: 'Comic Sans MS',cursive;">**10.)**

<span style="color: #00ff00; font-family: 'Comic Sans MS',cursive;">//**~Camyn Callison**//

<span style="color: #ff00ff; font-family: 'Comic Sans MS',cursive;">﻿1. Cubism is dealing with more shape and

Breadth 2- on other page -Surreal Interiors (pen and ink)

Breadth 1 - on other page - GIANT HAND (pastel)