As we rebel against beauty, the issue of "design" comes in: not design as composition, but design as - I'm sorry! - a judgement call.
My senior art project in college was my hand-built coil ceramics that were totally non-functional, but meangingful - like a sculpture - and completely unique, but the only hint of beauty I could ascribe to them was an earthy but sparkly glaze that a fellow student-gal kindly lent me. I applied it in a couple different hues, to all the pieces. "Rule-wise" there was no glaze required, but something within judged the whole design as insignificant, if it didn't have at least an attempt at beauty.
That's a judgement call, and that's where the Da-Da ists made their departure. They moved into left brain. They made left-brain choices that became so extreme that they could declare that "extremity" is art, that contrast is art, that anything displayed could be art. But I say:
No design. No beauty.
No standards.
Little art.
Showing posts with label art. Show all posts
Showing posts with label art. Show all posts
Friday, September 10, 2010
Friday, September 3, 2010
Vook Rebiew IX
MEANINGFUL AND UNIQUE, BUT NOT BEAUTIFUL.
In his book Whole New Mind (WNM) Dan Pink says (and I'm paraphrasing) that Right-Brain is "meaningful, unique and beautiful". I like this premise, and he elaborates upon it throughout WNM. To me this is the most pure definition of visual art, whether it's 2- or 3-dimensional, and of music, dance, theatre, authorship, calligraphy, flower-arrangement, singing, public speaking, performances, even stand-up comedy. (I heard it said - as a side-bar - that Jerry Seinfeld says "if you work CLEAN, you can work ANYWHERE," and that to me is where "beauty" comes in, added to "unique" and "funny"!)
But back to Right-Brain as a definition. D. Pink, in WNM, says that "intellectual" is not considered Right-Brain, but Left-Brain. And there's obviously a place for "intellectual". However in art, for example in DaDa-ism, which for many is extremely MEANINGFUL, and of course UNIQUE, (that's a given!), I feel they were clearly rebelling against BEAUTY.
To me, it's a question of DESIGN.
Stay tuned.
In his book Whole New Mind (WNM) Dan Pink says (and I'm paraphrasing) that Right-Brain is "meaningful, unique and beautiful". I like this premise, and he elaborates upon it throughout WNM. To me this is the most pure definition of visual art, whether it's 2- or 3-dimensional, and of music, dance, theatre, authorship, calligraphy, flower-arrangement, singing, public speaking, performances, even stand-up comedy. (I heard it said - as a side-bar - that Jerry Seinfeld says "if you work CLEAN, you can work ANYWHERE," and that to me is where "beauty" comes in, added to "unique" and "funny"!)
But back to Right-Brain as a definition. D. Pink, in WNM, says that "intellectual" is not considered Right-Brain, but Left-Brain. And there's obviously a place for "intellectual". However in art, for example in DaDa-ism, which for many is extremely MEANINGFUL, and of course UNIQUE, (that's a given!), I feel they were clearly rebelling against BEAUTY.
To me, it's a question of DESIGN.
Stay tuned.
Tuesday, July 27, 2010
Vook Rebiew
A Whole New Mind, (WNM) by Dan Pink, says, in his introduction, and I quote,
"The future belongs to a very different kind of person with a very different kind of mind -- creators and empathizers, pattern recognizers, and meaning makers. These people -- artists, inventors, designers, storytellers, caregivers, consolers, big picture thinkers -- will now reap society's richest rewards and share its greatest joys."
I've read the book now three times. (I love it.) Mr.Pink does not ignore the Left Brain, but I must say I feel that most arts are always a combination of Left and Right. It's like mastering the scales on the piano, (left brain) so that great music and fun (right brain) can be performed by you on that instrument. Or learning which amounts of water will do what (left brain), with watercolors, so that art, and fun, (right brain) can be produced. What I'm talking about is the combination.
"The future belongs to a very different kind of person with a very different kind of mind -- creators and empathizers, pattern recognizers, and meaning makers. These people -- artists, inventors, designers, storytellers, caregivers, consolers, big picture thinkers -- will now reap society's richest rewards and share its greatest joys."
I've read the book now three times. (I love it.) Mr.Pink does not ignore the Left Brain, but I must say I feel that most arts are always a combination of Left and Right. It's like mastering the scales on the piano, (left brain) so that great music and fun (right brain) can be performed by you on that instrument. Or learning which amounts of water will do what (left brain), with watercolors, so that art, and fun, (right brain) can be produced. What I'm talking about is the combination.
Wednesday, June 10, 2009
Speaking of black and white illustrations, let's talk about black and white in general, and of course we are talking about 2-dimensional black and white. When I was in college it was sometimes referred to as "graphics", or "graphic arts", actually!
One way to address black and white art is to think of etchings, and of woodcuts in particular, for now. Woodcuts are often implemented in a soft pine board, (medium-size, for the sake of handling) with special woodcutting knives, or tools. Sometimes people draw on the board first, to indicate where they want to cut, or remove, material. To remove material (wood) creates the area(s) which will become white, in the print-out. Sometimes people paint first - usually black - onto the pine board, and this will become the indication of where to leave the wood alone, as it represents where the artist wants the black to remain.
Other times, a person will simply start cutting, with one or more tools, and after a while, will take a print, to see how it's coming along: sort of a "from the gut" approach, for black and white.
One way to address black and white art is to think of etchings, and of woodcuts in particular, for now. Woodcuts are often implemented in a soft pine board, (medium-size, for the sake of handling) with special woodcutting knives, or tools. Sometimes people draw on the board first, to indicate where they want to cut, or remove, material. To remove material (wood) creates the area(s) which will become white, in the print-out. Sometimes people paint first - usually black - onto the pine board, and this will become the indication of where to leave the wood alone, as it represents where the artist wants the black to remain.
Other times, a person will simply start cutting, with one or more tools, and after a while, will take a print, to see how it's coming along: sort of a "from the gut" approach, for black and white.
Tuesday, June 9, 2009
Illustration
Another form of 2-dimensional art is illustration. Illustration comes in many forms, including books (and children's books in particular), posters, murals (again), decoration, advertising, poetry, and even mapwork.
Comes to mind the memorable illustrations from my childhood, in Mother Goose: so many poems, and most of them had a skillful and charming line-illustration in accompaniment. There were long, puffy skirts, ruffly, broad-brimmed bonnets, excellent animals, some of whom who talked, pretty English-style trees on the horizon, and of course to top it all off, Mother, with her ringlets, riding on the bridled Goose.
Illustrations can also come in novels, to mark the onset of certain chapters, and can be simple but well-designed graphics in a woodcut style print, in black and white only. This spring I've enjoyed reading the novel "Cross Creek," from the '30's if I remember right, by Marjorie Kinnan Rawlings, (she was the author of "The Yearling"). This book contained a lovely bunch of these black-and-white illustrations, picturing the "swamp" country in Florida, and which additionally kept me enthralled the whole time!
Comes to mind the memorable illustrations from my childhood, in Mother Goose: so many poems, and most of them had a skillful and charming line-illustration in accompaniment. There were long, puffy skirts, ruffly, broad-brimmed bonnets, excellent animals, some of whom who talked, pretty English-style trees on the horizon, and of course to top it all off, Mother, with her ringlets, riding on the bridled Goose.
Illustrations can also come in novels, to mark the onset of certain chapters, and can be simple but well-designed graphics in a woodcut style print, in black and white only. This spring I've enjoyed reading the novel "Cross Creek," from the '30's if I remember right, by Marjorie Kinnan Rawlings, (she was the author of "The Yearling"). This book contained a lovely bunch of these black-and-white illustrations, picturing the "swamp" country in Florida, and which additionally kept me enthralled the whole time!
Sunday, May 31, 2009
MURALS
Most artwork, with the exception of sculpture, is two dimensional, let's face it. We're not talking crafts, now, (though crafts is another of my big loves). Let's talk murals.
Murals are, for the most part, huge, and hugely two-dimensional. They can be indoors or outdoors. They can be painted on with a brush or with spray paint. They can have subjects that are realistic, or decorative, or abstract. Some murals are historic in theme, some seem to be dream-like fantasies (Maxfield Parrish), some are incredible in size and stature (Michaelangelo). They can be advertisements. They can incorporate lettering or calligraphy, or they can consist entirely of such lettering.
If it is an outdoor mural, the artist would want to use non-fading outdoor paint. If it is an indoor mural the artist might want to use non-smelly types of paint!
But in any case only paint is used; no glue-ons, no paste-ons, and nothing that will not last. A mural is meant to "last forever," no matter to what kind of lighting or weather (or kids!) it is exposed.
Murals are, for the most part, huge, and hugely two-dimensional. They can be indoors or outdoors. They can be painted on with a brush or with spray paint. They can have subjects that are realistic, or decorative, or abstract. Some murals are historic in theme, some seem to be dream-like fantasies (Maxfield Parrish), some are incredible in size and stature (Michaelangelo). They can be advertisements. They can incorporate lettering or calligraphy, or they can consist entirely of such lettering.
If it is an outdoor mural, the artist would want to use non-fading outdoor paint. If it is an indoor mural the artist might want to use non-smelly types of paint!
But in any case only paint is used; no glue-ons, no paste-ons, and nothing that will not last. A mural is meant to "last forever," no matter to what kind of lighting or weather (or kids!) it is exposed.
Thursday, May 28, 2009
Gridlock!
Let's take a piece of graph paper. Now, graph paper is not what we normally think of as paper on which we render art, but I want to show you something, and you guessed it, it's regarding two dimensions. (Granted, graph paper particularly screams "two dimensions!")
Think about a repeating pattern of your own choice. It will wind up looking like a repeating pattern on a surface design, or on a piece of fabric. Connecting-tiles comes to mind, or even the lowly linoleum patterns. Design one pattern, or simply pick a very basic design like a music staff, or a simple logo that you are familiar with, or a triangle within a circle, or vice versa, etc.
Now decide how big a rectangle or square you want to use on your graph paper for this repeating design. For example a one-inch square, or a two-inch square, or a rectangle 1"by 2".
Soon you will see, with repeating your "design-logo" throughout the squares or the rectangles you have chosen, what your two-dimensional grid looks like, or your "linoleum," or your surface design on your fabric.
Think about a repeating pattern of your own choice. It will wind up looking like a repeating pattern on a surface design, or on a piece of fabric. Connecting-tiles comes to mind, or even the lowly linoleum patterns. Design one pattern, or simply pick a very basic design like a music staff, or a simple logo that you are familiar with, or a triangle within a circle, or vice versa, etc.
Now decide how big a rectangle or square you want to use on your graph paper for this repeating design. For example a one-inch square, or a two-inch square, or a rectangle 1"by 2".
Soon you will see, with repeating your "design-logo" throughout the squares or the rectangles you have chosen, what your two-dimensional grid looks like, or your "linoleum," or your surface design on your fabric.
Friday, May 15, 2009
Design Collage
Pick a design, or an art-theme for your collage. This is for the deeper thinker. Think "color", as in shades of one color-tone, or one or more color-tones, or, think "consistency", and that would be one that expresses a particular message, be it intellectual property, or certain types of pictures, say, cartoons, or Postage Stamps, or scraps of fabric, or names, or alphabets, or flowers, or animals, or landscapes, or family pix, etc. or any combination thereof.
One time I made a postage stamp "design collage" on a tray. I applied many coates of Mod Podge afterwards, to give it a finished surface.
Another time I collected pix of pretty angels' wings from all different sources, put them all in their own folder (we're talkin hard copy, of course) and when the time was right I assembled them all into one "design collage"; I believe it was on a decoupage plaque I picked up at a thrift store.
One time I made a postage stamp "design collage" on a tray. I applied many coates of Mod Podge afterwards, to give it a finished surface.
Another time I collected pix of pretty angels' wings from all different sources, put them all in their own folder (we're talkin hard copy, of course) and when the time was right I assembled them all into one "design collage"; I believe it was on a decoupage plaque I picked up at a thrift store.
Tuesday, May 12, 2009
The art of COLLAGE is another 2-dimensional art form. It can be virtually any size, but sort of medium-size is a good place to start: just something that feels comfortable to you.
I advise that the first thought be of a BACKGROUND. In my experience this takes care of any last-minute quandaries in your collaging. A background can be painted on in sort of a solid color, or a more-or-less uniform treatment, OR it can be a background of something pasted on, like a map, or a sheet of newspaper, or some wrapping paper, or a piece of stationery, or a magazine page, or any kind of print-out or reproduction that you'd like to use in a background mindset.
I advise that the first thought be of a BACKGROUND. In my experience this takes care of any last-minute quandaries in your collaging. A background can be painted on in sort of a solid color, or a more-or-less uniform treatment, OR it can be a background of something pasted on, like a map, or a sheet of newspaper, or some wrapping paper, or a piece of stationery, or a magazine page, or any kind of print-out or reproduction that you'd like to use in a background mindset.
After that you get to your main concerns, thinking bits and pieces, parts or photos, cut-outs, rip-outs, borders, old things, new things, with a color scheme or not, think stylized scissors or not, and if "scrap-booking" is a word that comes to mind, I admit I am aware of it: if anyone has had fun scrapbooking, think about how we can move on in our journey from there......
Thursday, May 7, 2009
Back to Basics
I'm strictly a 2-dimension type of artist, and, even though one of my majors in college - oh so many years ago - was building with clay, I never figured it counted.
I switched from some 60 years of watercolors, to acrylics a couple years ago, still sticking always to 2 dimensions.
And when I reached an impasse with the larger canvases last fall, I got involved with yes, more 2-dimensional stuff: ceramic tiles, 6" by 6". Joined a ceramics club with their own ceramics studio, and their own kilns, and their own glazes, and since clay was one of my majors in college! - I kind of took ahold : began to even get into abstract ceramic tiles: still 2 dimensions, and still only 6" by 6".
More tomorrow.
I switched from some 60 years of watercolors, to acrylics a couple years ago, still sticking always to 2 dimensions.
And when I reached an impasse with the larger canvases last fall, I got involved with yes, more 2-dimensional stuff: ceramic tiles, 6" by 6". Joined a ceramics club with their own ceramics studio, and their own kilns, and their own glazes, and since clay was one of my majors in college! - I kind of took ahold : began to even get into abstract ceramic tiles: still 2 dimensions, and still only 6" by 6".
More tomorrow.
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