Please enable JavaScript.
Coggle requires JavaScript to display documents.
Image Making - Coggle Diagram
Image Making
Medium: Sculpture
Allison Schulnik
Standing Gin #3, glazed porcelain ceramic, 2011, 19 x 12 x 9 in, Larry Qualls Archive: Contemporary Art
White Fox, glazed porcelain, 2010, 7 1/2 x 2 1/2 x 13 1/2 inches, Larry Qualls Archive: Contemporary Art
The animals in these works are depicted in a way where the viewer imposes on a space that they seem to be protecting. It creates a soft and delicate image of the somewhat crudely constructed animal that evokes feelings of pity. These feelings can be projected back to the person and might cause someone to consider their own softness or delicacy.
Jason Polan
The Color I See When I Close My Eyes, unique crayon construction (48 crayons combined), 2011, 3.75 x 0.5 x 0.5 in, Larry Qualls Archive: Contemporary Art
Gray Ball, self hardening clay, 2011, 4.5 x 4.5 x 4 in, Larry Qualls Archive: Contemporary Art
-
These works are so bluntly humorous that they seem suspicious in their simplicity. They can be redeemed if the viewer is willing to accept them as they are, and appreciate the artists point of view. I think the image the artist had of the viewer perceiving these works is interesting to think about.
Since everything is first processed through our brain as singular still images, sculpture can then be thought of in terms of image. When creating three dimensional work, I'm considering that someone might feel inclined to walk around the work to see the entire piece, meaning that they will engage in an act of creating a larger and more comprehensive image of the work in their mind. Considering sculptures as compilations of imagery allows for analysis in two dimensions, which could be interesting if a sculpture changes when you look at it from different angles.
Robert Morris, Notes on Sculpture (see word document)
-
Medium: Printmaking
Avis Newman
This... the Dream's navel (Part 1) Steel box with folio of lithograhic prints 1983, 51 x 40 cm, The Renaissance Society (University of Chicago)
I am interested in the depiction of a fox as the first image someone will see before they open the steel box. How will that alter their perception of the contents?
The Day's Residues III, mixed media, 1981, 102 x 138 cm, The Renaissance Society (University of Chicago)
Sporadic mark making and varying line qualities cause the viewer to question how the artist felt when they created the piece, and if the artist wanted to project those feelings or protect them behind a facade of excitement. Along with visual interest, these questions create another layer of ideas to consider.
-
Bodo Korsig
Untitled, drawing over monotype, 2003, 15 1/4 × 9 inches (38.74 × 22.86 cm) (image), 22 × 15 inches (55.88 × 38.1 cm) (sheet), Experimental Printmaking Institute (Lafayette College)
A simplistic composition creates a humorous image with forms that vaguely resemble chicken legs and seem to be on a clothesline. The precise lines are impressive, and juxtapose the idea of eating chicken legs, which is often a messy endeavor.
"Images" are usually thought of as something 2D, and following that line of thinking, printmaking is literally image making. Composition and content is what makes a print (or any image!). I am interested in the usually long and drawn out process of creating a print. I wonder what the time to make a piece of art says about the final work.
If we consider everything we see to be an image, then image making becomes integral to art making through the act of seeing. Seeing connects back to our personal experiences as we digest information throughout our days. As an engineering and art student, I see art as a visual medium contrasting with my scientific research that happens on atomic scale that cant be observed by the naked eye. I'm interested in image before medium, because image ties directly to the way that our brain processes information, whereas medium can work in concert with image by allowing us to create the things that our brain will try to make sense of.