ModernArtistProject Outline

Work Cited/Sources:1)www.youtubetube.com/watch?v=dgkLlsCpuvE

2)www.Kumiyamashita.com/news/

 3)Artistaday.com/?p=12812

 4)Kumiyamashita.com/portfolio/untitled-child

2011 H183, W183, D10cm Carved wood, single light source, shadow

Seattle Post Intelligencer - USA) August 22, 1997 “Building blocks Become poetic when Kumi Yamashita casts shadows” Josslin, Victoria

Outline: Summary of the artist, and her background, her style of art, and the innovations of her artwork.

Slide 1- Light& Shadow series (Veil) 

Slide 2- Continuos piece

Slide 3- Origami piece (Light and Shadow)

Slide 4-Light and Shadow Veil

Slide 5- Short Video

Slide 6- Untitled-Child 

Slide 7- Conversation

Slide 8- Conversation video 

MOMA

Robert Gober: The Heart Is Not a Metaphor

The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999

As a copy of a man's leg and foot, this work is strikingly real: its fleshy waxen skin, clad in leather shoe and in cotton pant and sock, sprouts actual human hair. Exactness like this slides over into the unsettling, a macabre tone amplified by the leg's placement, its owner having presumably collapsed to the floor—and then, too, he has only one leg, which issues from the wall, as if the architecture had eaten him. For some, it may also have a subtle fetishistic eroticism, inasmuch as it focuses on a narrow band of the body where men routinely and unselfconsciously show their nakedness.

Robert Gober

 (American, born 1954)

Titled- Untitled Leg 

Time- 1989–90

Materials- Beeswax, cotton, wood, leather, human hair

Size-11 3/8 x 7 3/4 x 20″ (28.9 x 19.7 x 50.8 cm)

The Museum of Modern Art, New York. Gift of the Dannheiser Foundation. © 2014 Robert Gober

Robert Gober: The Heart Is Not a Metaphor

The Museum of Modern Art, October 4, 2014–January 18, 2015

Gober’s straightforward early sink sculptures gave way in 1985 to a group of distorted sinks whose bodies are variably stretched, bent, multiplied, and divided. The evolution of form registers in the works’ titles: self-evident descriptions become increasingly expressive (The Sink Inside of Me, for example). By the mid-1980s, the artist’s pre-occupation with domestic objects had expanded to include sculptures of furniture such as beds and playpens, as well as an armchair whose slipcover Gober sewed and painted with a floral pattern taken from an embroidery book. Gober’s insistence on and fascination with making sculptures by hand reaches an extreme in Plywood, which was built in the studio from sheets of laminated fir and particleboard.

ORIGINAL PHOTO

Title- Urology Appointment

Date-  2007

Materials- Wood engraving, polymer engraving and letterpress in artist's frame 

Dimensions- Sheet: 2 x 3 1/2" (5.1 x 8.9 cm); frame: 11 x 12 3/16 x 1 1/2" (28 x 31 x 3.8 cm)

Title- Untitled 

Dimensions-  13 1/4 x 16 1/2 x 46 1/8" (33.6 x 41.9 x 117.2 cm)

Materials-  Wood, beeswax, leather, fabric, and human hair

Date- 1991

The Museum of Modern Art, MoMA Highlights since 1980, New York: The Museum of Modern Art, 2007, p. 95

Gober is a contemporary heir of Surrealist artists such as René Magritte and Salvador Dalí, but his images, however bizarre, are quietly plainspoken. The individual components are ordinary, their combination is legible, and the details are precise. In this untitled work, the wax body, truncated at the waist, fits so flush against the wall that one imagines trunk, arms, and head on the other side. Gober has said that the group of body sculptures to which this belongs was inspired by animal dioramas in a natural-history museum—examples of figurative sculpture far removed from the Classical tradition. In them, reality (rather than the ideal) is the goal, as it is here—for example, in the hairs on the exposed skin and the well-worn soles of the figure’s shoes.

This sculpture was made for an installation at a museum in Paris, where it emerged from a wall papered with a forest scene. It was shown together with two similar sculptures, one with naked buttocks printed with a musical score and the other with clothed legs punctured by three drains—a trio of pleasure, disaster, and resuscitation, Gober has said. Removed from this theatrical setting, this sculpture is open to a wealth of diverse readings. Its realism is the departure point for broad avenues of symbolic and psychological meaning.

Citation- www.moma.org./collection/RobertGober  

Observed- Museum of Modern Art

"ART21 ARTIST"

Florian Maier-Aichen

- The artist i choose is named Florian Maier-Aichen he is a landscape photographer based in Cologne, Germany and Los Angeles, USA. He uses a combination of traditional photographic techniques and computer imaging.

His artwork reinterprets landscape photography, he uses obscure angle techniques which are later shot from an aerial view. He manipulates the image,and or photography in which he takes to his advantage. The photo in which he took is in red and the name of the image is called "fantasy". While envisioning this image it's almost like fantasy like because of the deep red and mountains near the water. He is not interested in pure landscape, he loves artwork that makes him feel something which is why he loves the California because of the landscape. He uses infrared film could be historical but also fictional where your in a fantasy and you cannot categorize it. He loves photography because their aren't no mistakes when taking photos, sometimes obscure angles or positions while help the actual photograph. Florian likes to break rules and boundaries and set them to his own limitation, he succeeds this by taking landscape photography of places that are emotional or attract the viewers eyes. He explores different seascapes and areas for his photography and he's taking photos of the present fence instead of the past tense.  

Born- Stuttgart, Germany

About

Florian Maier-Aichen was born in 1973 in Stuttgart, Germany. He studied at Högskolan för Fotografi och Film, Göteborg, Sweden; the University of Essen, Germany; and earned an MFA from the University of California, Los Angeles. Alternately romantic, cerebral, and unearthly, Florian Maier-Aichen’s digitally altered photographs are closer to the realm of drawing and fiction than documentation. He embraces difficult techniques, chooses equipment that produces accidents such as light leaks and double exposures, and uses computer enhancements to introduce imperfections and illogical elements into images that paradoxically “feel” visually right, though they are factually wrong. Often employing an elevated viewpoint (the objective but haunting “God’s-eye view” of aerial photography and satellite imaging), Maier-Aichen creates idealized, painterly landscapes that function like old postcards. Interested in places where landscape and cityscape meet, he chooses locations and subjects from the American West and Europe—from his own neighborhoods to vistas of the natural world. Looking backwards for his influences, Maier-Aichen often reenacts or pays homage to the work of the pioneer photographers of the nineteenth century, sometimes even remaking their subject matter from their original standpoints. Always experimenting, he marries digital technologies with traditional processes and films (black-and-white, color, infrared, and tricolor), restoring and reinvigorating the artistry and alchemy of early photography. Maier-Aichen’s work has appeared in recent major exhibitions at Museo Thyssen-Bornemisza, Madrid, Spain (2008); the Museum of Contemporary Art, Los Angeles (2007); and the Whitney Biennial (2006). Florian Maier-Aichen lives and works in Cologne, Germany, and Los Angeles.

Citation -> "http://www.art21.org/artists/florian-maier-aichen?expand=1"

                   "ARTIST AT WORK"

Florian Maier Aichen's Description- 

"For me, it was more like trying to find a way to do landscape photography and get a result that might be detached from the present—slightly historical, maybe even slightly leaning towards the future—and also kind of abstract. With infrared film it looks like it could be early color photography. It looks historical, but also almost like a little bit of science fiction or—at least—fiction."

"I like photography as a set of rules. Maybe the only way that I break them is that I take apart the photograph after it has been taken. But in terms of presentation, I still like the photograph to be framed. I like it to be matted so that people read it as a photograph and not as a painting or a drawing." 

-Florian Maier-Aichen

"Dada Project"

"Between World Wars"

Artist- Marcel Duchamp

Name- L.H.O.O.Q.

Date-1919

Period- Dada Movement

The Dada Movement roughly began in the year 1915, The Dada Movement was a direct reaction to the absurdity of World war 1.The Dada Movement was art with a rebellious and attitude criticizing society through it's view. The artwork was created by a mirror effect of the world around them. During this time period art broke away from its traditions and beauty. Since the war was going on the world made no sense; so the artist took upon themselves to create artwork that reflected on the world which made no sense. This intriguing type of Artwork was usually made by cheap uncollectible materials. The subject and characteristics of Dada was usually humor and/or Irreverence. Their were no beliefs or rules during this movement, These artist's went beyond boundaries and twisted reality with their unique/Bizarre art. As you can see in this painting the famous original painting done during the renaissance period during the early 1500's. Marcel Duchamp took it upon himself to add his dadaism style; adding a Mustache and Goatee to Mona Lisa making it very intriguing to the eye.

Artist- Marcel Duchamp

Name- Fountain

Period- Dada Movement

Date- 1917

This artwork done by Duchamp would be evidently clear that it was made during the Dada period, The position of the urinal is in a bizarre position laid on its back instead of it's normal position upright. The Dada Movement was the definition of unusual, fascinating, and refreshing artwork that reflected the inner and outer skirts of what was going on around them. Like Duchamp Dada Artists purposely made controversial Artworks like this urinal. Viewing this piece must make everyone wonder what was going through the mind of Marcel when creating this. "The Gift" By Man Ray which is another Artwork done during this period.  Man Ray alters an actual iron he then transforms it into a useless and dangerous object which contradicts its purpose of the object. While viewing both pieces i do believe that's what both artist where trying to achieve; they were altering normal objects and making them into useless objects contradicting it's purpose.

Artist- Jacob Lawrence

Name- Migration Series 

Date- 1940's

Period/Art Type/Influences- Social Realism/ Harlem Renaissance

During the 1940's Jacob Lawrence explored the labor of the southern us and "New Negro Movement".  In his migration series his art depicted not only the labor of African Americans but also African americans moving north to find better housing systems and freedom. He has a brilliant use of color, In these paintings he uses bright red/orange, In the third painting he also uses a contrast of light and shadow with the sky and figures. The figures he draws are in flattened angular forms, what's also unique about his art is the arrangement of colors he uses to have the viewer look throughout the painting instead of one spot. Jacob Lawrence was inspired by artists like "Goya", and Orozco, his artwork was also influenced by the Harlem Renaissance and the African American History.

Impressionism and Post Impressionism Art Movement

Name- "Wheat field with crows"

Artist- Vincent Van Gogh 

Period- Impressionism

Date- 1890

Type- Landscape Painting

Objective(Subject)- Auvers-Sur-Oise, Wheat

Impressionism is an Art movement of the 19th century which began during the mid and late 1800's. Impressionism paintings is based on what the eye see's rather than what the mind know's, In other words it's direct eye observation of everyday things, situations, events or life in general. Impressionist paintings are objective and less emotional, They are created Pictorially by the strokes of the paint which gives it a spatial effect. Usually when viewing an Impressionist painting; because of the color's, lighting, and brushstroke technique the painting itself expresses it's modernity. This time period allowed artists the show the world in their perspective such as this painting by van gogh. You can clearly see the crows, the sky, and grass with the wheat fields. This painting was created with the fluidity of brush strokes and the true bold pure colors such as that yellow that make up the wheat, the dark green to make up the grass and that dark blue sky also add on to that everyday life scenery. This painting is more focused on the light, the atmosphere and also the movements of the crows flying over the wheat fields as they truly are make this painting stand out as a Impressionist painting.

Name- "The Starry Night"

Artist- Vincent Van Gogh

Period- Post Impressionism 

Date- 1889

Like Impressionism the Post Impressionist Movement began during the mid and late 1800's. The artist's believed in the free interpretation of nature, not to see things as they are like the impressionist paintings but rather to see through them, to a significance in a reality deeper than superficial appearance like said in the lecture. Post impressionist paintings tend to have a symbolic meaning or content attached to them and they also have a sense of structure and formal order. The stars and waves which are the winds and clouds all seem to be put in a specific order rather than where they actually are viewed. The expressive use of color such as blue create the dark scenery of night and the significant bright yellow stars express that broader touch of the stars lighting up the night. Their are a lot of lines, and waves which create rhythm and that extraordinary insight swell as mysterious visionary. The form of structure, and formal ordering of the stars and scenery give this painting not only the Post impressionist feel but that artificial look as well. 

"Morning on the Seine near Giverny"

Artist- Claude Monet

Date- 1897

Period- Impressionism

Impressionism paintings are based on what the painter is observing, the painting is constructed on what is being viewed in its natural setting with no supernatural characteristics. The objective of Impressionist painters are on everyday events and situations of modern life naturally without any added superstition. Also the painting's itself have a more natural look. One of the main characteristics in the Impressionistic era was that the painters paid attention to the light and the atmosphere. As seen in the painting "Morning on the Seine near Giverny" this scenery is in seine of a river. It must have been raining or  cloudy because Claude emphasizes in the atmosphere with those grey and dull colors. If you pay close attention to the river you can actually see the sky/clouds reflected on the river. Claude uses the same color as the sky to show that reflection of light which was used in the Impressionism period quite often. Claude uses a very natural green to the trees which give it a more naturalistic view, overall this painting has a gloomy feel due to the colors.

Museum Artwork

-Tobias and the Angel

-Giovanni Battista Caracciolo 

-Italian, Naples 1578-1635

-Oil on canvas 

During the time of the baroque period many of the paintings used contrast as shown in  "Tobias and the Angel". Contrast which are the dark values in the background of the painting were used significantly during this era, also body movements and gestures were a big significance to the painting. Also the lighting used in contrast to the dark background darkens the mood of the painting as well as increases its dramatic scene. Both the contrast as well as the gestures intensify/increase the drama and sense of emotion in the painting. The light upon the figures with the darkened background and the bright red robe deeply express the event in which is taking place. The story of this painting states "In the apocryphal book of Tobit in the old Testament, Tobias is shown with the fish whose gail would heal his father's blindness. His companion, wearing a traveler's hat, is the archangel Raphael. Caracciolo, one of the leading figures of Neapolitan painting, combined the dramatic lighting and realism of Caravaggio's work with the balletic poses of his Mannerist training. The result is a work of uncommon elegance and expressive power, inaugurating the great age of the Baroque painting in Naples.

-Private collection

-I.2012.59

-Madonna and Child Enthroned with saints

-Raffaello Sanzi

-1504

As shown on the gallery label of this beautiful painting it says "Raphael painted this altarpiece around 1504/5 for the small Franciscan convent of Sant' Antonio in Perugia. It hung in a part of the church reserved for the nuns, who are thought to have insisted on some of its conservative features, such as the elaborately clothed Christ Child. By contrast, the grave male saints are among the earliest evidence of Raphael’s study of the work of Leonardo da Vinci and Fra Bartolomeo in Florence". Renaissance paintings were completely different from the Baroque paintings which use contrast, most renaissance paintings had more light and soft quality feel to their paintings. During the renaissance symbolism was used quite often in paintings, also a new culturally artistic term and movement called Humanism was introduced. It was the introduction of paintings that focused more on humans and their values. The body movements and gestures in this painting have a more humanism feel to it. The colors are much more bright and vivid, the halo's around their head are a bright gold as well. The formal element with the colors Red and yellow are used through out the painting to catch the eye and interest's of the audience visualizing this wonderful piece. The deep rich colors used within the painting bring out the emotions and elements of symbolism as well as humanism in this painting. This painting also has atmospheric perspective as you see in the background with the mountains and light blue sky which creates that illusion of depth feeling.