World off art 8th edtion by henry m sayre chapter 06

WORLD OF ART EIGHTH EDITION CHAPTER Texture, Time, and Motion World of Art, Eighth Edition Henry M Sayre Copyright © 2016, 2013, 2010 by Pearson Education, Inc or its affiliates All rights reserved Learning Objectives Explain the difference between actual texture and visual texture Outline some of the ways that time and motion inform our experience of visual art Introduction • Phillip K Smith III's work, Lucid Stead, consists of a homesteader's shack transformed by alternating bands of mirror and weathered siding  At night, LED lights illuminate windows and the cracks between the structure's bands reveal interior light  The pace of change is the theme at the heart of the work: time and motion Phillip K Smith III, Lucid Stead 2013 Seventy-year-old homesteader shack, mirrors, LED lights, custom-built electronic equipment, and Arduino programming Photo: Steve King Phillip K Smith III is represented by Royale Projects: Contemporary Art, CA and all artwork use permissions are courtesy of the gallery [Fig 6-1] Phillip K Smith III, Lucid Stead 2013 Seventy-year-old homesteader shack, mirrors, LED lights, custom-built electronic equipment, and Arduino programming Texture • Texture describes a work's ability to call forth tactile sensations and feelings • It can be described as rough or smooth, slimy or soft; it may draw a desire to touch or repulsion • Museums and galleries utilize "Do Not Touch" signs so that works not fall prey to the touch of visitors and erode over time Actual Texture • Michelangelo's Pietà transforms its marble medium into lifelike figures with gentle drapery • Manuel Neri's bronze sculpture from the Mujer Pegada Series emphasizes both a smooth, finished texture and a rough texture beside loose brushstrokes  It is as though the artist's subject is only half-realized, begun to appear Michelangelo, Pietà 1501 Marble, height 6' 8-1⁄2" Vatican City Canali Photobank, Milan, Italy [Fig 6-3] Manuel Neri, Mujer Pegada Series No 1985–86 Bronze with oil-based enamel, 5' 10" × 4' 8" × 11" Photo: M Lee Fatheree courtesy of the Manuel Neri Trust [Fig 6-4] Visual Texture of • Visual texture appears to be actual, but is an illusion • Max Ernst's The Horde was created through frottage, a technique where an artist puts a sheet of paper over textured materials then rubs across the paper with a pencil or crayon  Ernst was able to create a wide variety of textural effects Jackson Pollock, No 32, 1950 1950 Enamel on canvas, 8' 10" × 15' Kunstsammlung Nordrhein-Westfalen, Düsseldorf, Germany akg-images © Jackson Pollock/VAGA © 2015 Pollock-Krasner Foundation/Artists Rights Time-Based Media of • Grace Ndiritu creates videos of solo performances  Still Life: White Textiles ironically features the artist moving the printed fabric and animating it as she holds it across her body  Still Life was inspired by an exhibition of Matisse paintings  The artist's "passive" female body both invites and denies seduction Grace Ndiritu, Still Life: White Textiles 2005/2007 Still Silent video, 57 sec © LUX, London [Fig 6-14] Time-Based Media of • Video artists Teresa Hubbard and Alexander portray their videos as "long photographs" with added sound  Detached Building shows scenes within and outside a tin shed in a 5-minute, 38second loop  Since the video is looped, viewers can enter and leave the installation at any point, constructing their own version of the narrative Teresa Hubbard and Alexander Birchler, Detached Building 2001 High-definition video with sound transferred to DVD, 38 sec loop Stills courtesy of the artists and Tanya Bonakdar Gallery, New York [Fig 6-15a] Teresa Hubbard and Alexander Birchler, Detached Building 2001 High-definition video with sound transferred to DVD, 38 sec loop Stills courtesy of the artists and Tanya Bonakdar Gallery, New York [Fig 6-15b] Teresa Hubbard and Alexander Birchler, Detached Building 2001 High-definition video with sound transferred to DVD, 38 sec loop Stills courtesy of the artists and Tanya Bonakdar Gallery, New York [Fig 6-15c] Teresa Hubbard and Alexander Birchler, Detached Building 2001 High-definition video with sound transferred to DVD, 38 sec loop Stills courtesy of the artists and Tanya Bonakdar Gallery, New York [Fig 6-15d] Teresa Hubbard and Alexander Birchler, Detached Building 2001 High-definition video with sound transferred to DVD, 38 sec loop Stills courtesy of the artists and Tanya Bonakdar Gallery, New York [Fig 6-15e] Teresa Hubbard and Alexander Birchler, Detached Building 2001 High-definition video with sound transferred to DVD, 38 sec loop Stills courtesy of the artists and Tanya Bonakdar Gallery, New York [Fig 6-15f] Teresa Hubbard and Alexander Birchler, Detached Building 2001 High-definition video with sound transferred to DVD, 38 sec loop Installation photo by Stefan Rohner, courtesy of the artists and Tanya Bonakdar Gallery, New York [Fig 6-16] The Critical Process Thinking about the Formal Elements • Bill Viola's Room for St John of the Cross consists of a small television monitor with a still video of snowcovered mountain within a cubicle in front of a large projection of a shaky black-and-white video  A quiet audio track of a poetry reading drowns under the roar of wind • Formal elements surround the viewer Bill Viola Room for St John of the Cross 1983 Video/sound installation Museum of Contemporary Art, Los Angeles Bill Viola Studio LLC Photo: Kira Perov [Fig 6-17] Bill Viola, Room for St John of the Cross 1983 Video/sound installation Museum of Contemporary Art, Los Angeles Bill Viola Studio LLC Photo: Kira Perov [Fig 6-18] Thinking Back Explain the difference between actual texture and visual texture Outline some of the ways that time and motion inform our experience of visual art ... Texture • Michelangelo's Pietà transforms its marble medium into lifelike figures with gentle drapery • Manuel Neri's bronze sculpture from the Mujer Pegada Series emphasizes both a smooth, finished... image, Museum of Modern Art, New York/Scala, Florence © William A Garnett Estate [Fig 6-6] Time and Motion • Traditionally, plastic arts such as painting and sculpture are spatial; written arts... 15" The Brooklyn Museum Henry L Batterman Fund, 45.128.189 [Fig 6-9] Seeing Over Time • Monet's famous lily pond painting were designed to compel the viewer to move about the room in which they