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Visual Arts > Artist Summaries > Flashcards

Artist Summaries Flashcards

1
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Michael Cook: main media, concepts

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2
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Michael Cook: work examples

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3
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Stelarc: media, concepts

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  • technology, mechanical/industrial materials
  • performance works

Post-humanist concept on the insignificance/frailty of the human form

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4
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Stelarc works

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  1. Suspensions (1970s-2012)
  2. Blender (2005)
  3. Reclining Stickman (2023)
  4. The Third Ear (1996-)
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5
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Suspensions (Stelarc)

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A series of performance works from

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6
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The Third Ear (Ongoing sculptural work by Stelarc) (1996-)

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7
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Blender (2005)

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  • Collaborative work by Nina Sellars and Stelarc combining biological and mechanical matter to replicate a functional human stomach.
  • Ethical debate over use of biomaterial
  • Discussion of what ‘art’ is: can the human body be art?
  • Merges two fields of art and science: pushes boundaries of what is considered ‘alive’
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8
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Suspensions (1970s-2012)

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Series of performance works by Stelarc: the limits of the human body and mind: suspending the body from ‘terra firma’: frees the mind.

Done with meat hooks in various positions (later) vs originally done with rope (earlier works)

In front of live audience, often combined with sculptural components (e.g. third ear)

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9
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Reclining Stickman (2023, industrial materials)

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Relies on audience to control his body/relinquish autonomy: subvert PASSIVE role of the audience, entrusts
- industrial materials, amplified mechanical sounds

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10
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Adrien M and Claire B Materials + Concepts

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French digital artists

  • strong inspiration from nature and human relationship with it: reconstruct this relationship through technology
  • unique experiences reveal more about intricate emotions and dreams: inspire appreciation of beauty of the world.
  • combination of organic and non-organic shapes creates reality grounded in technology, yet is somewhat natural.
  • strong interest in dynamic and motion
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11
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Adrien M and Claire B artworks

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  1. En Amour
  2. Le Mouvement de l’air
  3. Un Point C’est tout
    4.XYZT Abstract Landscapes
  4. Mirages and Miracles
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12
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En Amour (2024)

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Part of a larger series called ‘rituals’. Desire to reconnect the audience with the beauty and peace of the world contrasting rising violence and corruption.

Natural imagery, cool tone: CALM

Mimic relationship with nature and environment, audience’s participation: become “Actors within a silent choreography”

Soundscape also important: immersive, collaboration with orchestra

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13
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XZYT Abstract Landscapes

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(2011/2015) 10 immersive installations

  • engages audience to interact with responsive landscapes to understand relationship with their world around them: reconsider potentially harmful acts on environment

Visually simplistic, projected white lines on glass (removes complex forms of the natural world to create a simplified and safe landscape.)
- like Phillip Beesley: landscape interacts with the individual.

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14
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Mirages and Miracles

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2017, use of handheld technology to reveal hidden digital later: inspires us to look beyond, encourage individual exploration of the work.

Relationship between known and unknown: digital aspect REVEALS the secrets of the world.

Combines sculptural elements with digital

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15
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Le Mouvement de L’air

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2015, choreographed performance with digital projection

Synthesised fluid and kinetic movements of dancers with impactful digital displays (carefully planned animations with adaptive and spontaneous movement by motion sensors).

Celebrates beauty of human body and dreamlike reality of achieving freedom: simple white lines show harmony and purity

Removing physical and emotional boundaries.

Live music performace

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16
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Un Point C’est tout

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2011, Performance and digital projection

Collaborative work exploring relationship between mind and senses

Contrast between white text and dark background: textual elements (Struct. frame) allow for simplistic communication of concept

  • dynamic animations and interactions with artist
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17
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Subjective Framework Questions

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What do you see and feel?
The intent of the artist? How do they want the audience to react?
How do they covey personal, imaginative, etc. experiences?
- Are there ant personal connections?

17
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Subject frame Key points

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About the EMOTIONAL impact and relationship with the audience
- Artworks come from personal experience, dreams and imagination

EMOTION, MEMORY, EXPERIENCE

18
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Cultural frame key points

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Influenced by CULTURAL IDENTITY or particular social issues e.g. gender, race, religion, environment

19
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The Reformation

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Early 16th century religious movement

19
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Counter-reformation

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Attempt to restore the dominance of the Church: ensure its values

19
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Reneissance

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Highly balanances, harmonious: artists were approaching their subject matter separately

19
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Baroque (Early 17th-Mid 18th century)

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Highly sensual, shifting, moving: DRAMATIC and emotional

Strong tonal contrasts (light and shade: CHIASCURO): creates depth, drama, guides viewer to main objects
- Use of diagonal direction (some sense of movement)
- layering of figures creates movement

Attempt to restore dominance of church: illiterate masses moved by the DRAMA and emotion of the works

SUJECTIVE and CULTURAL frame

20
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Major Baroque Artists

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Caravaggio, Gian Lorenzo Bernini, Rubens

21
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Caravaggio

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Baroque Artist
- used “real” people: prostitutes, beggars, etc
- not aiming for perfection and beauty like Renaissance
- direction, obvious, dramatic imagery
- attempt to draw the viewer into the work: it is IMMEDIATE: no longer distanced
- uses strong cropping to increase drama.

Inspired by rough life

22
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Caravaggio work examples

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The Conversion on the Way to Demascus
- most intense moment of the biblical scene: fluid, dramatic realism.

The Crowning with Thorns
- Audience feels the emotion of the audience as the scene continues: teaches the audience

23
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Gian Lorenzo Bernini

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Italian artist in Baroque period: sculpture, architecture

  • works disrupt the ‘passive’ sculpture and break physical boundaries between the work and the environment (e.g. reach towards the audience)
  • sense of intimacy, draws into scene
  • dynamic composition: exaggerated contrapposto, intensity of action
    e.g. Apollo and Daphne, David

FABRIC: also uses Chiaroscuro, manipulating light sources and undercut certain areas to exaggerate drama

24
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Contrapposto

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Shifting “movement”, moving out of stiff, steady motion.

25
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Banksy media + concpets

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Anonymous guerilla artists from Bristol, London using controversial tactics to make political and social commentary, using his legend status to gain media interest and raise awareness for his chosen issues.

  • anti war, anti-capitalist (commodicifation of art), anti-religion: stong social activism from exposure to street art scene.

Use of pop-culture symbols to make quick comments
- nature of his wide audience means the messages behind his works must remain quick and easy to understand: uses humor, irony, text.

  • spray-paint and stencils, high contrasting values (‘shadow’ or imprint on the wall): allow for quick application
  • works appear on a 2d scale, outside of gallery
  • influence of Blek le Rat
26
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Banksy artworks

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  1. Stop Sign (2023)
  2. Girl with Balloon (2002)
  3. Love is in the Bin (2018)
  4. The Mild, Mild West (1997)
  5. Dismaland
27
Q

Stop Sign

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2023, response to the Israel-Palestine war: 3 drones stencilled onto stop sign

Use of recognisable urban symbol: call to action for ordinary person (urgency of the red)
- simplistic design aids speed of work’s creation, as well as quickly understandable.

28
Q

Girl with Balloon, Love is in the Bin

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2002, 2018: performance work with anti-capitalist message

Protesting commodification of his art and the disruption of his original meaning: loss of hope and innocence.

  • influence of Blek le Rat: street art is protesting
29
Q

The Mild, Mild West

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1997: earliest know work
- cartoonish teddy bear in the motion of throwing a Molotov cocktail, 3 police officers.

  • Made free hand: imperfections and liberal gestural strokes reflect discontent
  • later vandalism of the work shows debate about the nature of art.
30
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Dismaland

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31
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Eugene Delacroix

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French Romantic painting (1789-1863)

  • travelling to morroco had strong influence on his work

Strongly concerned with d

32
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Tony Oursler’s main concepts

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Contemporary video and installation artist, examines the effects of technology on human psychology and loss of identity

33
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Tony Oursler works

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  1. L7-L5 (1984)
  2. Blue Transmission (2000)
  3. template/variant/friend/stranger (2015)
34
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L7-L5

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1984, overlapping/competing sound audios and psychadelic colours/imagery: creating an overwhelming, claustrophobic/distressing space for the audience.
- blurs virtual and physical realities: explores the fragmented sense of self as a result of the rise of technology
- science fiction imagery: a reaction to the growing popularity of the digital

35
Q

Blue Transmission

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2000, installation on the loss of human relationships and stable identities with the rise of the digital age
- diffractured sense of self, struggle to find an identity.
- projection of various faces and eyes, noses, etc. onto abnormal and organically shaped objects: confusion, loss of concrete self
- overlapping audio (collage)

36
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A

Visual Arts (3 decks)

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