Year 11 2010

Semester 1

CONCEPT ~ Labyrinth ~ Semester 1 Entering the  labyrinth

This unit explores ways of knowing, particularly visual spatial and kinaesthetic, but also intuitive and somatic, allowing you to make individualised responses to a range of stimuli, and create new meanings using the visual language of art. It explores the ways in which experience, the senses and awareness of art as a holistic way of knowing informs the art making process.

While artmaking is a complex process, this unit aims to give students a guided understanding of the path through the process using the Labyrinth as a metaphor.

FOCUSES

From The Tradition to Detritus:  Matter, Personal Perception & Concept

•    Observing

•    Translating

•    Creating

The exploration and manipulation of materials and techniques as tools for interpreting the seen, the known and the imagined. Students explore the role of art and its potential to convey descriptive, expressive and conceptual meaning.

Referencing the way artists synthesise these three states, you will move through a series of exercises leading to a better understanding of ‘personal aesthetic’ - that of other artists and your own. Conceptually and in the give focuses, this unit is largely teacher directed, providing you with contexts and models for exploration and research.

CONTEXTS

You will investigate artmaking within a variety of historical and sociocultural contexts through the lense of artists' bodies of work. The links below are starting points ~ find other sites relevant to these artists.

Historical, Psychological & Sociocultural: artmaking within a context eg how artists have ‘seen’ and communicated the seen at various times in history.

It doesn't get too much more traditional than drawing ... 

LIFE DRAWINGS ~ NICHOLAS HUTCHESON ~ http://www.nicholashutcheson.com/drawing/salvage/salvage12.html

DRAWING CLASS IDEAS USING TECHNOLOGY ~ http://www.londondrawing.com/tatemodern/drawing-digital-contemporary-life-drawing-workshop

   projected grid

   torn paper

   blind drawing

   drawing theatre

   undressing

   tied up

   shadows

   wrapped up

   spot-lighted

   negative spaces

   water colour under + collage over + charcoal over that

   large roll of paper - drawing in time all together

CREATIVE PROBLEM SOLVING ~ some outstanding images ~ http://www.londondrawing.com/bespoke/creative-problem-solving-days

ENJOY THE SLIDE SHOW ~ http://www.londondrawing.com/bespoke/life-drawing-activity-team-building-sessions

Especially since the late 1960s, when the feminist art movement can be said to have emerged, women have been particularly interested in what makes them different from males — what makes women artists and their art different from male artists and their art. This has been most prominent in the United States, Britain, and Germany, although there are numerous precursors to the movement, and it has spread to many other cultures since the 1970s.

Feminists point out that throughout most of recorded history males have imposed patriarchal (father-centered) social systems (in which they have dominated females). Although it is not the goal of this article to recount the development of feminist theory in full, the history of feminist art cannot be understood apart from it. Feminist theory must take into account the circumstances of most women's lives as mothers, household workers, and caregivers, in addition to the pervasive misconception that women are genetically inferior to men. Feminist art notes that significant in the dominant (meaning especially Western) culture's patriarchal heritage is the preponderance of art made by males, and for male audiences, sometimes transgressing against females. Men have maintained a studio system which has excluded women from training as artists, a gallery system that has kept them from exhibiting and selling their work, as well as from being collected by museums — albeit somewhat less in recent years than before. http://www.artlex.com/ArtLex/f/feminism.html

Wendy Stavrianos Images ~ Her Mantles etc

 Linde Ivimey Old Souls

 Jacob's Ladder and St Emmeranus http://www.martinbrownefineart.com/Ivimey06Ex.htm

The Gatherer series - Wendy Stavrianos

the final work is a collaborative piece - an Exquisite Corpse: Wendy Stavrianos, Craig Gough and Jock Clutterbuck. Head, ancient gatherer/Torso/Irisima, 2000Ink, pencil, watercolor

early Stavrianos work - http://saltcontemporaryart.weiv.com.au/gallery/album09

HELP SITE FOR ANALYSING AND INTERPRETING ~ APPRAISING  http://www.brigantine.atlnet.org/GigapaletteGALLERY/websites/ARTiculationFinal/MainPages/ArtCritiquingMain.htm

Course Overview ~ The Inquiry Model and how it operates in Visual Art.doc

Appraising Homework Task 1 Saville & Aphrodite ~ Year 11 Homework Task 1 2008.doc

Appraising Task 1 MAJOR  ~ Term 1 Appraising.doc  Use these images only : Saville's Links  ~ while the Geocities Site is down ... use these only

Saville ~                       Mee   ~         

ARTICLE: Simon Mee article.pdf

This page covers the AESTHETIC THEORIES relevant to your Writing Task

This WORKSHEET will help gather information for WRITING TASK Evidence Gathering worksheet Mimetic Formal Conceptual.doc

QSA website links to new syllabus ~ http://www.qsa.qld.edu.au/syllabus/1263.html

Syllabus section part 2 contains an excellent glossary ~ its a good idea to print this and save it to your Blog or paste in your Visual Diary.

SEMESTER 2

SYNAESTHESIA

Golan Levin

CHECK OUT CRAIG WALSH'S WORKS: http://www.craigwalsh.net/  be sure to watch the video - http://www.craigwalsh.net/index.php?categoryid=43&p1803_sectionid=1&p1803_projectid=58

He's interested in Hybrids!

AMAZING STUFF ~ and this : http://www.michaellett.co.nz/artist.php?artist=AVA+SEYMOUR&show=HAIR+FONDUE&info=work

John Armleder http://www.galerievangelder.com/artists/armleder.html

http://en.wikipedia.org/wiki/John_Armleder

http://www.tate.org.uk/liverpool/exhibitions/johnarmleder/default.shtm

He creates dialogues between disparate objects by placing them within an exhibition context, raising the question of possible equivalences that are created between them when viewed in such a setting. A member of the Geneva-based Groupe Luc Bois, he was heavily involved with Fluxus during the 1960s and 1970s and was a founder member of the Groupe Ecart in 1969

Geneva and New York-based, Swiss artist.

http://www.frieze.com/issue/review/john_armleder1/

Roni Horn http://www.pbs.org/art21/artists/horn/index.html

http://www.libraryofwater.is/flash/standaloneMM.html

"One of the underlying interests of my work is to equate the experience of it with the content. That’s kind of a leveling of a difference between conceptual and formal. I use both those languages as essential parts of a whole. By formal, I don’t mean stripes and squares- I mean how a thing exists in the world. And that’s really important to me in terms of how a work relates itself to what is out there, whether it’s the room or the person in front of it, or the circumstances more broadly. The formal aspect is a very small part of the palette."

- Roni Horn

http://slowpainting.wordpress.com/

"It is hard to think of a technology that wasn’t feared when it was introduced. Socrates feared the impact that writing would have on man’s ability to think. The advent of the printing press summoned similar fears. It wouldn’t be the last time."

"In a knowledge-based society in which knowledge is free, attention becomes the valued commodity.'

"over the course of human history, writing, printing, computing and Googling have only made it easier to think and communicate."

Damon Darlin

New York Times

"It is often said that great achievement requires in one’s formative years two teachers: a stern taskmaster who teaches the rules and an inspirational guru who teaches one to break the rules. But they must come in that order. Childhood training in Bach can prepare one to play free jazz and ballet instruction can prepare one to be a modern dancer, but it does not work the other way around. One cannot be liberated from fetters one has never worn; all one can do is to make pastiches of the liberations of others"

Michael Lewis

Wall Street Journal

Answer the Questions on Becoming to begin the self investigation ~ http://www.humanmetrics.com/cgi-win/JTypes2.asp

SYNAESTHESIA

ART AND TECHNOLOGY

Technological advances have helped transform the practices of artists.

The body does not lie. The subliminal messages of the body play a major role in how we relate to others and how they see us. To define the invisible is among the strongest ambitions of human being.

  

It is very important that you visit the site and explore the images and logical progression of the argument in relation to art and synaesthesia.

The human sensorium; touch, taste, smell, sight and hearing have synesthetic qualities in their interactive connections. We see the 'synesthetic experience' particularly in all forms of art —in poetry, painting, sculpture and music. The 'synesthetic experience' serves as a means to unify the arts through a psychological unity of the senses. Synesthesia refers to the transfer of qualities from one sensory domain to another, to the translation of texture to tone or of tone to colour, smell or taste. Because the various modes of art rest on and appeal to different senses, synesthesia correspondences among the senses and synesthesia can point to similarities and analogues, as well as to metaphors or differences among the artistic forms.

Viola	Irene Chou	Denis Nona	Brian Eno	George Schwarz
The Messenger	Universe is in My Mind	Ari Pui Laig (Raincaller)	77 Million Paintings	Untitled 18, 2006

 

 ~ my myers briggs profile ~

put your 4 letter code on your blog

Resources

Dr Hugo Heyrman … http://www.doctorhugo.org/synaesthesia/art/index.html

Ph.D. in Art sciences, painter, synesthesia researcher Professor at the Royal Academy of Fine Arts, Antwerp

Representative of the Belgian Synesthesia Association http://www.doctorhugo.org/synaesthesia/index.htm

http://www.doctorhugo.org/synaesthesia/art2/index.html

Ramachandran VS, Hirstein W. “The perception of phantom limbs.” The DO Hebb Lecture. Brain. 1998;121:1603-1630.

Ramachandran VS, Hubbard EM. Psychophysical investigations into the neural basis of synaesthesia. Proc R Soc Lond B Biol Sci. 2001;268:979-983.

More Muybridge images http://images.google.com.au/images?q=muybridge+images&ie=UTF-8&oe=utf-8&rls=org.mozilla:en-US:official&client=firefox-a&um=1&sa=X&oi=image_result_group&resnum=1&ct=title

Interactive Media; http://interactive.usc.edu/archives/cat_events_exhibits.html

 Term 2

Dolls + Archetypes

LINK:::::::::ALICE LANG

a powerpoint for researching dolls + archetypes for the Term 2 task  

DOLLS.ppt

 Historical Context ~ http://www.cam.org/~delisle/dollasart.htm

SEMESTER 2 - Synaesthesia .... links to art + new technology

http://010101.sfmoma.org/start.html

quotes by digital artists.pdf

Portraits: Animated and Otherwise

your inspiration~ http://www.portrait.gov.au/animated/

Self Reflection: The True Mirror Art Exhibition Works by Susanna Coffey, Jennifer Dubnau, Deborah Garwood, Phyllis Herfield, Haresh Lalvani, Robin Tewes at the Centre

Visual artists have always received inspiration from the objective world, filtering their vision through cortical processes in both hemispheres of the brain. This shuttling between imaginative and mimetic processes constitutes an ongoing dialogue between the inner and outer worlds of the artist. While representational art and portraiture often impart the attitude of the artist towards his subject—one has only to look at Velazquez’s Las Meninas to see how the point of view of the artist surges to the fore—the tradition of self-portraiture offers the most vivid glimpse into how an artist perceives the self. This act of self-reflection depicts the intermingling of sight and insight, subject and object. What does the gaze into the mirror reveal about the artist? For those of us who don’t record our impressions with brush and paint, what does our relationship to the mirror reveal, how does it impact our imaginative process, and how does it influence our self-conception?

Artists and links of interest

“The Self is an ocean without a shore. Gazing upon it has no beginning or end, in this world and the next.” Ibn al’Arabi (1165 – 1240)Bill Viola ~ http://www.billviola.com/

also ... search youtube for Bill Viola interviews ~ http://www.youtube.com/watch?v=9ha17vkPM9k

PORTRAIT LINKS

 Digital Photography Slide Show

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