How to Talk About Water Using the Elements of Art
Analyzing the Elements of Fine art | Five Ways to Think About Space
Welcome to the sixth piece in our 7 Elements of Fine art series, in which Kristin Farr matches videos from KQED Art School with work from The Times to help students brand connections betwixt formal art instruction and our daily visual civilisation.
Here are the other lessons in the series: shape , form , line , color , texture and value .
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How does the transformation of space back up communication of an creative person'south intentions?
Space is the area in which an artwork is organized, and encompasses both what is inside and what is immediately outside, or around, the piece of work. Infinite can be filled on a page, a sail, in a room or outdoors, and it is inherent in any physical artwork.
The use of space and the mode it is transformed play a role in conveying a creative message. To brainstorm to sympathise this chemical element, watch the video at the elevation of this post. Then practice exploring it further with the five ideas below.
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one. Two-Dimensional Works and the Element of Space
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After you've watched the video at the elevation of this post, endeavor finding some of the elements you learned almost by looking through just ane collection of images, The Times's Year in Illustration 2017.
For example, Antonio De Luca, a Times fine art manager, said about the image higher up, "Jody Barton's drawing uses the desktop's white negative infinite to extend the artwork's narrative." How? How does the paradigm contribute to the ideas in the article?
Which of the other pieces in the drove utilize the chemical element of space in interesting ways? How?
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2. Site-Specific Artwork
Paradigm
Site-specific art is created for 1 particular infinite and tin't be realized in the same mode anywhere else. Artists build immersive environments and structures of many different scales to create site-specific artwork.
The British sculptor Anish Kapoor evokes emotional reactions through his utilize of space, filling and transforming it to create an immersive feel. For case, "Memory," the work pictured above, is described by the Times critic Ken Johnson this way:
The Anish Kapoor exhibition at the Guggenheim Museum consists of just one piece of work, only it's a doozy. Viewable only from three partial perspectives, "Memory" is an enormous egg-shaped book of Cor-Ten steel, wedged into a boxy side gallery like a dirigible that drifted off form and got stuck.
When you approach it from the gallery's main entryway, all you see is a curved, heavily ribbed section, its rusty, flanged parts held together by heavy bolts. It evidently fills the gallery from floor to ceiling and wall to wall. Only you lot cannot enter this way, and then you lot go around through rooms property the permanent drove and enter a dimly lighted infinite with a square hole in the wall. From the side you tin meet steel plates sloping away from the edges of this aperture, but from straight on only an ambiguous blackness is visible. Information technology could be paint on a wall or a window onto endless dark. But you understand that you are looking into the pitch-black interior of the sculpture, and since you tin can't see more than a few anxiety of the inner surface, the space seems limitless, as in the light and space works of James Turrell, only dark.
Mr. Johnson goes on to describe his own emotional response to this fabricated dark void.
More poetically, the thought of memory — or, possibly more appropriately, amnesia — is evoked by the virtually absolute darkness and seeming limitlessness of its interior. It could exist read it as a cosmic infinite into which all individual and collective memories eventually disappear, like raindrops falling into the ocean.
How exercise Anish Kapoor and other artists use calibration and space to evoke feelings of memory? View the Times slide show of more sculptures past Mr. Kapoor and notice how he plays with depth and fills infinite in different means. Remember: In sculpture, positive space is the area the objects occupy, and negative infinite is the areas between and around.
• What are your firsthand thoughts and reactions to these artworks?
• How does Mr. Kapoor juxtapose the positive and negative, both emotionally and physically, with the use of color and dimension?
The German language painter Katharina Grosse is another artist who takes on large-scale space, pushing paint and pigment beyond apartment, two-dimensional infinite and into iii dimensions. She often covers geometric forms with paint, and she painted an entire abandoned armed services structure at the Rockaways in Queens using an industrial pigment sprayer.
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In "A Fiery Splash in the Rockaways and Twists on Film at the Whitney," the Times writer Robin Pogrebin quotes the curator Klaes Biesenbach equally he describes this special project:
"Here's a very beautiful constitute object," said Mr. Biesenbach, who has a firm in the Rockaways. "It has history every bit being a military machine fortress, equally being ecologically inverse because of the hurricane. Now information technology'southward being restored to its natural habitat."
The site-specific artwork past Ms. Grosse was just temporary and part of a restoration project after Hurricane Sandy that would soon see the battered building torn down — but not before the artist turned it into a sunset-colored surreal artwork. View MoMA'southward video beneath about this projection and see the building before and afterward Ms. Grosse painted it.
How was the infinite transformed from its previous aesthetic? The layers and history of a edifice create significant and a forced dialogue. How does the artist emphasize the space and its history in this project?
The French artist JR is known for his large-calibration photographic wheat-pasted works on buildings, bridges and other massive structures. See the Times slide show "'Unframed,' a JR Installation on Ellis Island" for more images of his artwork in multiple rooms of the historic and derelict infirmary.
For a site-specific project on Ellis Isle, he juxtaposed archival images of immigrants with the layered history of the isle's Immigrant Hospital. Using figures who take come dorsum from the past to reinhabit a space, JR increased their calibration, emphasizing the lives and history of the 12 one thousand thousand people who passed through Ellis Island. And for a slice at the Usa-Mexico edge, a photograph of a trivial boy with night hair and curious optics peers carefully over the barrier wall that separates Tecate, Mexico, from San Diego Canton. Rising upwards almost 70 feet, his hands seemingly grip the barrier tightly, as if he were holding onto his mother'southward body.
Equally you read about and look at these pieces, consider how site specificity, the creation of an artwork for a particular space, affects its message.
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3. State Art
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Ugo Rondinone's "Vii Magic Mountains" installation could be considered both site-specific art and land art (also know as earth art or earthworks). Land art is a movement that is naturally site-specific because it is integrated into outdoor environments. Mr. Rondinone made an installation in the desert of Las Vegas, which was labeled Popular Land Art by his partner, the author John Giorno. Juxtaposing natural world tones with towering, fluorescent-colored stone formations, Mr. Rondinone had to contend with the vast open infinite of the desert, as he explained in this 2016 article, "Building an Creative person'due south 'Magic Mountains' to Draw Visitors to The Desert."
His original intention, he said, had been something a scrap more apprehensive in the landscape, cone-shaped piles of stones instead of the irregular, almost teetering columns he eventually conceived, inspired by natural hoodoo stone formations in Utah. "But and so I realized that size doesn't mean anything out hither," said Mr. Rondinone, 51, who was raised in the Swiss resort town of Brunnen and lives and works in Harlem. "The scale makes everything expect pocket-size. That'south what you lot quickly figure out in the desert."
The article goes on to draw Mr. Rondinone'southward mental attitude near the sustainability of the artwork in its original, pristine form: "He said he welcomed whatever the desert would practise to the pieces over the next two years. The erosion, fading and dirt would become office of the works."
Land art tin exist considered a collaboration with the environment, gaining a "patina" of clothing and tear by weather condition and the elements. Some artists come across this process every bit a record of time passing, of the space surrounding the artwork moving in to repossess its territory. Artists often consider the space in which the artwork is placed, also every bit the context of the surrounding area.
One of the best-known works of land art is "Spiral Jetty," a "huge curlicue of black basalt rock" built past Robert Smithson in 1970, and named an official land piece of work by Utah in 2017.
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The piece was submerged for many years afterwards its construction as lake water rose but has been visible again since nearly 2002. In a 2004 article, The Times reflected on how fourth dimension and nature had afflicted the slice:
For about iii decades Robert Smithson's "Screw Jetty" lay underwater in the Great Table salt Lake. Since 1999, as drought has lowered the h2o level, this famous American globe sculpture — a 1,500-human foot gyre of black basalt rocks — has slowly re-emerged. Now information technology is completely exposed; the rocks encrusted with white salt crystals are surrounded past shallow pink water in what looks like a vast snowfall field.
In 1970, when Smithson congenital the "Jetty," which is considered his masterpiece, the giant blackness coil contrasted starkly with the dark pink h2o of the lake. But time and nature have left their marks.
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4. A Times Scavenger Chase
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Now that you've explored how space is used to communicate and emphasize intentions, and gained an understanding of site-specific art and the land art motility, scan through features in the New York Times Fine art & Pattern section — or elsewhere on NYTimes.com — and challenge yourself to a scavenger hunt. For example, how does the piece of work of Yayoi Kusama, some of which is pictured above, play with the chemical element of infinite?
Equally you look at a diverseness of Times images, see if you can observe some with the following characteristics:
• A three-dimensional sculptural artwork that fills a space.
• A 2-dimensional painting or photograph that emphasizes positive and negative space.
• A two-dimensional painting or drawing that gives the strong illusion of three-dimensional space, and an explanation for how this is accomplished.
• An epitome of an artwork that could be considered site-specific.
• A ii-dimensional painting or photograph in which the composition fills the infinite completely.
• An instance of state art.
• An image in The Times in which the use of space could be described using one of these words: "dense"; "open up"; "cluttered"; "symmetrical"; "shallow"; and "apartment."
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5. Your Plow: Site-Specific and Land Art of Your Own
Prototype
Inspired by the site-specific and state art examples above? Although yours will not probable be every bit monumental as "A Subtlety, or the Marvelous Saccharide Baby," the installation pictured above, we accept some ideas:
a. Create a site-specific work.
Using only constitute objects, such as recycled materials, or annihilation yous can collect, choose a specific space in which to arrange the objects in an intentional and artful way. Consider the space your objects sit in, and the space immediately around them. How tin can you convey a message through the way these items are placed in their surroundings?
Effort to create a message with your installation, thinking carefully about your location and how information technology speaks to the objects y'all are placing within it. Inquire friends to "read" or critique your artwork, and document your project from different angles. Review your images and decide which angle all-time supports the success of your installation. Finally, endeavor rearranging the objects to create a different message.
b. Create a work of country art.
Stretch a string across a basketball game courtroom or along a path. Cover the string completely with pebbles, bark, leaves or other natural materials (ones that aren't attached to the globe).
Where does your path of material brainstorm and end, and how does that contribute to the context of your new land art piece? What feeling do your chosen materials evoke? From balancing rocks to creating forts on the beach, state art is an easy and expansive way to experiment with space and natural materials.
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Want to read the whole series? Here are our lessons on shape, class, line, color, texture and value. How do y'all teach these elements?
Source: https://www.nytimes.com/2018/01/03/learning/lesson-plans/analyzing-the-elements-of-art-five-ways-to-think-about-space.html
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