He Art of Using and Understanding Space Involves
Analyzing the Elements of Art | Five Ways to Think About Space
Welcome to the sixth piece in our Vii Elements of Fine art series, in which Kristin Farr matches videos from KQED Art Schoolhouse with work from The Times to aid students make connections between formal art instruction and our daily visual culture.
Here are the other lessons in the series: shape , grade , line , colour , texture and value .
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How does the transformation of space support communication of an artist'due south intentions?
Infinite is the expanse in which an artwork is organized, and encompasses both what is inside and what is immediately outside, or effectually, the work. Space can be filled on a page, a canvas, in a room or outdoors, and information technology is inherent in whatsoever physical artwork.
The use of infinite and the way it is transformed play a role in carrying a artistic message. To begin to understand this element, watch the video at the top of this post. Then practice exploring it farther with the five ideas below.
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1. Two-Dimensional Works and the Element of Space
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After you've watched the video at the peak of this post, attempt finding some of the elements you lot learned most past looking through just one collection of images, The Times'southward Year in Illustration 2017.
For instance, Antonio De Luca, a Times art director, said nearly the image above, "Jody Barton'due south drawing uses the desktop's white negative space to extend the artwork's narrative." How? How does the image contribute to the ideas in the article?
Which of the other pieces in the collection use the chemical element of infinite in interesting ways? How?
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2. Site-Specific Artwork
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Site-specific art is created for i particular space and tin can't be realized in the same way anywhere else. Artists build immersive environments and structures of many different scales to create site-specific artwork.
The British sculptor Anish Kapoor evokes emotional reactions through his use of infinite, filling and transforming information technology to create an immersive experience. For example, "Retentiveness," the work pictured in a higher place, is described by the Times critic Ken Johnson this manner:
The Anish Kapoor exhibition at the Guggenheim Museum consists of only one piece of work, but it's a doozy. Viewable only from three fractional perspectives, "Retention" is an enormous egg-shaped volume of Cor-10 steel, wedged into a boxy side gallery like a dirigible that drifted off class and got stuck.
When you approach it from the gallery's master entryway, all you see is a curved, heavily ribbed section, its rusty, flanged parts held together by heavy bolts. Information technology evidently fills the gallery from flooring to ceiling and wall to wall. Simply you cannot enter this way, then y'all get around through rooms holding the permanent collection and enter a dimly lighted space with a square hole in the wall. From the side you can run across steel plates sloping abroad from the edges of this aperture, only from straight on only an ambiguous black is visible. It could be paint on a wall or a window onto endless night. Just you understand that y'all are looking into the pitch-black interior of the sculpture, and since yous tin't see more than a few feet of the inner surface, the infinite seems limitless, as in the light and infinite works of James Turrell, only dark.
Mr. Johnson goes on to describe his ain emotional response to this made dark void.
More poetically, the idea of memory — or, perhaps more accordingly, amnesia — is evoked past the well-nigh absolute darkness and seeming limitlessness of its interior. It could be read it as a cosmic space into which all private and collective memories eventually disappear, like raindrops falling into the ocean.
How do Anish Kapoor and other artists employ scale and space to evoke feelings of memory? View the Times slide show of more sculptures by Mr. Kapoor and discover how he plays with depth and fills space in different ways. Call back: In sculpture, positive infinite is the area the objects occupy, and negative infinite is the areas between and around.
• What are your immediate thoughts and reactions to these artworks?
• How does Mr. Kapoor juxtapose the positive and negative, both emotionally and physically, with the utilize of color and dimension?
The German painter Katharina Grosse is another artist who takes on large-scale infinite, pushing paint and pigment beyond apartment, 2-dimensional space and into three dimensions. She oftentimes covers geometric forms with pigment, and she painted an entire abandoned armed forces construction at the Rockaways in Queens using an industrial paint sprayer.
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In "A Fiery Splash in the Rockaways and Twists on Picture show at the Whitney," the Times writer Robin Pogrebin quotes the curator Klaes Biesenbach as he describes this special project:
"Here'south a very beautiful found object," said Mr. Biesenbach, who has a house in the Rockaways. "Information technology has history as being a military fortress, every bit being ecologically changed because of the hurricane. Now it'southward beingness restored to its natural habitat."
The site-specific artwork by Ms. Grosse was only temporary and function of a restoration project subsequently Hurricane Sandy that would before long come across the battered edifice torn down — only not before the artist turned information technology into a sunset-colored surreal artwork. View MoMA's video below nearly this project and see the building before and after Ms. Grosse painted it.
How was the space transformed from its previous aesthetic? The layers and history of a building create meaning and a forced dialogue. How does the creative person emphasize the space and its history in this project?
The French artist JR is known for his large-scale photographic wheat-pasted works on buildings, bridges and other massive structures. See the Times slide show "'Unframed,' a JR Installation on Ellis Island" for more than images of his artwork in multiple rooms of the historic and derelict infirmary.
For a site-specific project on Ellis Island, he juxtaposed archival images of immigrants with the layered history of the island's Immigrant Hospital. Using figures who have come up dorsum from the past to reinhabit a space, JR increased their scale, emphasizing the lives and history of the 12 million people who passed through Ellis Island. And for a piece at the Usa-Mexico border, a photo of a fiddling male child with night hair and curious eyes peers carefully over the bulwark wall that separates Tecate, United mexican states, from San Diego County. Rising upward almost lxx feet, his easily seemingly grip the barrier tightly, equally if he were property onto his mother'due south body.
As you read about and wait at these pieces, consider how site specificity, the cosmos of an artwork for a particular space, affects its message.
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3. Land Fine art
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Ugo Rondinone'southward "Seven Magic Mountains" installation could be considered both site-specific fine art and land art (too know as world art or earthworks). State fine art is a motility that is naturally site-specific because it is integrated into outdoor environments. Mr. Rondinone made an installation in the desert of Las Vegas, which was labeled Pop Country Fine art by his partner, the writer John Giorno. Juxtaposing natural earth tones with towering, fluorescent-colored rock formations, Mr. Rondinone had to contend with the vast open up space of the desert, equally he explained in this 2016 article, "Building an Creative person's 'Magic Mountains' to Depict Visitors to The Desert."
His original intention, he said, had been something a scrap more than humble in the landscape, cone-shaped piles of stones instead of the irregular, almost teetering columns he eventually conceived, inspired by natural hoodoo stone formations in Utah. "Only then I realized that size doesn't hateful anything out here," said Mr. Rondinone, 51, who was raised in the Swiss resort town of Brunnen and lives and works in Harlem. "The scale makes everything look pocket-sized. That's what you chop-chop figure out in the desert."
The article goes on to describe Mr. Rondinone'due south attitude most the sustainability of the artwork in its original, pristine form: "He said he welcomed whatever the desert would do to the pieces over the next 2 years. The erosion, fading and dirt would get role of the works."
Land art can exist considered a collaboration with the surround, gaining a "patina" of wear and tear by conditions and the elements. Some artists encounter this process equally a record of time passing, of the space surrounding the artwork moving in to reclaim its territory. Artists often consider the space in which the artwork is placed, as well as the context of the surrounding area.
One of the all-time-known works of land art is "Spiral Jetty," a "huge whorl of black basalt stone" built by Robert Smithson in 1970, and named an official state piece of work by Utah in 2017.
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The piece was submerged for many years after its construction as lake water rose only has been visible again since about 2002. In a 2004 article, The Times reflected on how fourth dimension and nature had affected the piece:
For well-nigh three decades Robert Smithson's "Spiral Jetty" lay underwater in the Nifty Salt Lake. Since 1999, every bit drought has lowered the water level, this famous American earth sculpture — a 1,500-foot coil of blackness basalt rocks — has slowly re-emerged. Now it is completely exposed; the rocks encrusted with white salt crystals are surrounded by shallow pink water in what looks like a vast snow field.
In 1970, when Smithson built the "Jetty," which is considered his masterpiece, the behemothic black gyre assorted starkly with the night pink water of the lake. Merely time and nature accept left their marks.
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4. A Times Scavenger Chase
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At present that you lot've explored how infinite is used to communicate and emphasize intentions, and gained an understanding of site-specific art and the land art move, scan through features in the New York Times Art & Design section — or elsewhere on NYTimes.com — and challenge yourself to a scavenger hunt. For case, how does the piece of work of Yayoi Kusama, some of which is pictured above, play with the chemical element of space?
As you look at a variety of Times images, run across if you can discover some with the following characteristics:
• A 3-dimensional sculptural artwork that fills a space.
• A two-dimensional painting or photograph that emphasizes positive and negative space.
• A ii-dimensional painting or drawing that gives the strong illusion of 3-dimensional space, and an caption for how this is achieved.
• An image of an artwork that could be considered site-specific.
• A two-dimensional painting or photograph in which the composition fills the space completely.
• An example of land art.
• An image in The Times in which the use of space could exist described using one of these words: "dense"; "open"; "chaotic"; "symmetrical"; "shallow"; and "apartment."
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5. Your Turn: Site-Specific and Land Art of Your Ain
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Inspired past the site-specific and land art examples to a higher place? Although yours volition not likely be as monumental as "A Subtlety, or the Marvelous Sugar Baby," the installation pictured higher up, we have some ideas:
a. Create a site-specific work.
Using but found objects, such every bit recycled materials, or anything you can collect, cull a specific space in which to adjust the objects in an intentional and artful way. Consider the infinite your objects sit in, and the space immediately around them. How can you convey a message through the way these items are placed in their environment?
Try to create a message with your installation, thinking advisedly virtually your location and how it speaks to the objects you are placing within it. Ask friends to "read" or critique your artwork, and document your project from different angles. Review your images and determine which angle all-time supports the success of your installation. Finally, try rearranging the objects to create a different message.
b. Create a piece of work of country art.
Stretch a string across a basketball court or forth a path. Embrace the string completely with pebbles, bark, leaves or other natural materials (ones that aren't attached to the globe).
Where does your path of material begin and terminate, and how does that contribute to the context of your new land art slice? What feeling do your chosen materials evoke? From balancing rocks to creating forts on the beach, country art is an easy and expansive manner to experiment with infinite and natural materials.
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Desire to read the whole series? Hither are our lessons on shape, form, line, color, texture and value. How do you teach these elements?
Source: https://www.nytimes.com/2018/01/03/learning/lesson-plans/analyzing-the-elements-of-art-five-ways-to-think-about-space.html
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