Studio Arts. Professional Art practices and Styles. Units 3&4

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1 Studio Arts Units 3&4 Professional Art practices and Styles 1

2 Effectively researching and writing about Artists 2

3 When selecting your Artists For your Professional Art Practices and Styles Outcome you are required to: Research 2 artists and 2 of their artworks demonstrating an understanding of: Their artform/s materials/ techniques/processes. How they have interpreted subject matter, influences, cultural contexts, and communicated ideas and meaning in making artworks. Ways in which artists have developed aesthetic qualities and styles in artworks. 3

4 When selecting your Artists Your teacher may select 2 artist and 2 artworks to study in detail with your class. But if you are asked to choose your own, it is important to consider the following: - Their art form (materials / techniques and process. This is much easier to discuss when you have practical knowledge of the ways in which they are working. - An interesting context that you can use to back up discussions on interpretations of their work. - Differing historical and, or cultural context - Well documented - critical 4

5 Materials, Techniques and Process Firstly, the 2013 Exam Report defined the differences between these words. The word process relates to the art form, while the word techniques relates to the artist. Therefore, choosing to research an artist that is using the same art form to you, provides you with a better understanding of the process that relates working with this medium. The technique used would describe the artist uses those materials to create the artwork, develop style and aesthetics in the work. 5

6 Materials, Techniques and Process Lucas Maddock New Hypothetical Continents, 2014 Stainless Steel, LED, Electrical Wire. Maddock s describes his practice as non medium specific each work becomes a process of discovering and exploring new materials. - As an organic form, with an interest in drawing upon new technologies Maddock employed the technique of 3D scanning technology to create the form to guide his work and draw upon the narrative present within the shape. 6

7 Materials, Techniques and Process High Response from 2013 Exam to describe the techniques and processes involved in Lee Miller (USA), Joseph Cornell, black and white photograph, 1933 This artwork produced by Miller is a black and white photographic print. Although photography nowadays is somewhat easy to produce this artwork would have gone through a long process. Firstly, Miller would have used an analogue SLR camera. This means he would have had a limited amount of shots he could take. The artist would evaluate the lighting situation adjusting the aperture and exposure accordingly. This work looks like a double exposure; a technique which involves rolling back the film slightly merging the two photographs as one. This is a technique which is difficult to master. After Miller shot the image he would then develop the negatives in a dark room using developer. The negatives would be hung to dry for a day or two and then Miller could begin printing. Miller would have used an enlarger, perhaps dodging and burning the image by admitting more or less light to an area. Finally Miller would have printed the images using the appropriate chemicals. Overall the process is a long one but rewarding. 7

8 Historical / Cultural Context Lucas Maddock New Hypothetical Continents, 2014 Stainless Steel, LED, Electrical Wire. Maddock s is a contemporary Australian artist (practicing now) Colonial Politics and history Capitalism Interest in failed projects, the Utopian Dream 8

9 Artistic Influences Lucas Maddock New Hypothetical Continents, 2014 Stainless Steel, LED, Electrical Wire. Conceptual Robert Smithson s unrealised project Island of Broken Glass Form John Glover s paintings of the sublime, colonialised landscape Mt Wellington and Hobart town from Kangaroo Point Shape An illustration of Atlantis from a Louis Spence book Style: Technological, hypothetical, utopic, structural.. 9

10 Exam Response Artist 1 William Delafield Cook Title of artwork A Sprinkler, acrylic on canvas, 1969 William Delafield Cook s A Sprinkler illustrates explicit influence of David Hockney s 1967 series title A Lawn Sprinkler from where the subject matter has thus been derived. This influence, however, is limited only to this, where Delafield Cook explores hyperrealism through rendition from a photograph in his characteristic deadpan style as opposed to Hockney s cartoonish one. The cultural context of Delafield Cook s A Sprinkler though is shared with Hockney. The sprinkler is a motif of 60 s and 70 s Australian summer culture, a time unrestrained by water restrictions. The generation of my parents often tell stories of running and jumping through the sprinkler and having it running overnight and the lush green lawn being a memory of a brighter more youthful Australia. The selection of the sprinkler as Delafield Cook s subject matter thus reflects his influences and the cultural content of his work. 10