Line Around a Specific Shape in an Art Piece
Analyzing the Elements of Fine art | Five Means to Think Most Space
Welcome to the sixth piece in our Seven Elements of Art series, in which Kristin Farr matches videos from KQED Art School with piece of work from The Times to help students make connections between formal fine art didactics and our daily visual culture.
Here are the other lessons in the series: shape , form , line , color , texture and value .
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How does the transformation of space support communication of an artist's intentions?
Space is the area in which an artwork is organized, and encompasses both what is within and what is immediately outside, or effectually, the work. Infinite can be filled on a page, a canvas, in a room or outdoors, and it is inherent in any physical artwork.
The use of infinite and the way it is transformed play a role in conveying a creative message. To brainstorm to empathise this chemical element, watch the video at the top of this mail service. Then exercise exploring it farther with the five ideas below.
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one. Two-Dimensional Works and the Chemical element of Space
Paradigm 
After yous've watched the video at the top of this mail, try finding some of the elements you learned nearly past looking through just one collection of images, The Times's Year in Illustration 2017.
For example, Antonio De Luca, a Times art director, said virtually the image higher up, "Jody Barton's drawing uses the desktop'southward white negative space to extend the artwork's narrative." How? How does the paradigm contribute to the ideas in the article?
Which of the other pieces in the collection apply the element of space in interesting ways? How?
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2. Site-Specific Artwork
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Site-specific art is created for i particular infinite and tin't be realized in the same fashion 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 space, filling and transforming it to create an immersive experience. For case, "Retentiveness," the work pictured above, is described by the Times critic Ken Johnson this mode:
The Anish Kapoor exhibition at the Guggenheim Museum consists of just one piece of work, but it'due south a doozy. Viewable only from 3 partial perspectives, "Retention" is an enormous egg-shaped volume of Cor-Ten steel, wedged into a indigestible side gallery like a dirigible that drifted off course and got stuck.
When you approach it from the gallery'south main entryway, all you lot see is a curved, heavily ribbed section, its rusty, flanged parts held together by heavy bolts. Information technology manifestly fills the gallery from floor to ceiling and wall to wall. But you cannot enter this style, so you go around through rooms property the permanent drove and enter a dimly lighted space with a foursquare pigsty in the wall. From the side you can see steel plates sloping away from the edges of this aperture, but from straight on only an ambiguous blackness is visible. It could be paint on a wall or a window onto countless night. But you empathize that you are looking into the pitch-black interior of the sculpture, and since you can't encounter more a few feet of the inner surface, the space seems limitless, as in the light and space works of James Turrell, simply dark.
Mr. Johnson goes on to describe his own emotional response to this fabricated dark void.
More poetically, the thought of retentiveness — or, perhaps more appropriately, amnesia — is evoked by the nearly absolute darkness and seeming limitlessness of its interior. It could be read information technology as a cosmic infinite into which all private and collective memories eventually disappear, like raindrops falling into the body of water.
How exercise Anish Kapoor and other artists utilise scale and space to evoke feelings of memory? View the Times slide show of more sculptures by Mr. Kapoor and notice how he plays with depth and fills infinite in different ways. Remember: In sculpture, positive space is the area the objects occupy, and negative space 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 apply of colour and dimension?
The German painter Katharina Grosse is some other creative person who takes on big-calibration space, pushing paint and pigment beyond flat, 2-dimensional space and into three dimensions. She ofttimes covers geometric forms with pigment, and she painted an entire abased military structure at the Rockaways in Queens using an industrial pigment sprayer.
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In "A Fiery Splash in the Rockaways and Twists on Film at the Whitney," the Times writer Robin Pogrebin quotes the curator Klaes Biesenbach equally he describes this special project:
"Here's a very cute found object," said Mr. Biesenbach, who has a house in the Rockaways. "Information technology has history every bit being a armed services fortress, as beingness ecologically changed because of the hurricane. Now it'due south being restored to its natural habitat."
The site-specific artwork by Ms. Grosse was just temporary and role of a restoration project later Hurricane Sandy that would presently come across the dilapidated building torn down — but not before the artist turned information technology into a dusk-colored surreal artwork. View MoMA'southward video below most 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 edifice create significant and a forced dialogue. How does the artist emphasize the space and its history in this project?
The French artist JR is known for his big-scale photographic wheat-pasted works on buildings, bridges and other massive structures. Meet the Times slide show "'Unframed,' a JR Installation on Ellis Island" for more than images of his artwork in multiple rooms of the celebrated and derelict hospital.
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 back from the past to reinhabit a space, JR increased their scale, emphasizing the lives and history of the 12 1000000 people who passed through Ellis Island. And for a piece at the United States-Mexico edge, a photo of a niggling male child with dark hair and curious eyes peers carefully over the bulwark wall that separates Tecate, Mexico, from San Diego County. Rising up nigh lxx feet, his hands seemingly grip the barrier tightly, as if he were holding onto his female parent'southward body.
Equally y'all read most and look at these pieces, consider how site specificity, the creation of an artwork for a particular space, affects its message.
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3. State Art
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Ugo Rondinone's "7 Magic Mountains" installation could be considered both site-specific art and country art (too know as world fine art or digging). Land art is a motion 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 Popular Land Fine art past 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 space of the desert, as he explained in this 2016 article, "Building an Artist'southward 'Magic Mountains' to Depict Visitors to The Desert."
His original intention, he said, had been something a bit more humble in the landscape, cone-shaped piles of stones instead of the irregular, almost teetering columns he somewhen conceived, inspired by natural hoodoo rock formations in Utah. "Only and so I realized that size doesn't mean 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 small-scale. That'due south what you quickly figure out in the desert."
The article goes on to depict Mr. Rondinone'south attitude about the sustainability of the artwork in its original, pristine grade: "He said he welcomed whatever the desert would do to the pieces over the next ii years. The erosion, fading and dirt would go role of the works."
Land fine art can be considered a collaboration with the environs, gaining a "patina" of wear and tear by weather and the elements. Some artists come across this procedure as a record of time passing, of the space surrounding the artwork moving in to repossess its territory. Artists often consider the space in which the artwork is placed, likewise as the context of the surrounding area.
One of the all-time-known works of land fine art is "Spiral Jetty," a "huge roll of black basalt rock" built by Robert Smithson in 1970, and named an official land work by Utah in 2017.
Prototype
The piece was submerged for many years after its construction as lake water rose only has been visible over again since almost 2002. In a 2004 article, The Times reflected on how time and nature had affected the piece:
For nearly three decades Robert Smithson's "Spiral Jetty" lay underwater in the Great Salt Lake. Since 1999, equally drought has lowered the h2o level, this famous American earth sculpture — a i,500-foot roll of blackness basalt rocks — has slowly re-emerged. Now it is completely exposed; the rocks encrusted with white salt crystals are surrounded by shallow pinkish water in what looks like a vast snowfall field.
In 1970, when Smithson built the "Jetty," which is considered his masterpiece, the giant black scroll contrasted starkly with the dark pink water of the lake. But time and nature have left their marks.
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four. A Times Scavenger Hunt
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At present that you lot've explored how space is used to communicate and emphasize intentions, and gained an understanding of site-specific fine art and the state art motility, browse through features in the New York Times Fine art & Design section — or elsewhere on NYTimes.com — and challenge yourself to a scavenger chase. For example, how does the work of Yayoi Kusama, some of which is pictured above, play with the element of space?
As you look at a variety of Times images, see if you lot can detect some with the following characteristics:
• A three-dimensional sculptural artwork that fills a infinite.
• A two-dimensional painting or photograph that emphasizes positive and negative space.
• A ii-dimensional painting or drawing that gives the strong illusion of three-dimensional infinite, and an caption for how this is achieved.
• An image of an artwork that could be considered site-specific.
• A ii-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 apply of space could be described using one of these words: "dense"; "open"; "cluttered"; "symmetrical"; "shallow"; and "flat."
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5. Your Turn: Site-Specific and State Fine art of Your Own
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Inspired by the site-specific and land art examples in a higher place? Although yours volition not likely exist equally awe-inspiring as "A Subtlety, or the Marvelous Sugar Babe," the installation pictured above, we have some ideas:
a. Create a site-specific work.
Using simply found objects, such equally recycled materials, or anything yous can collect, choose a specific space in which to arrange the objects in an intentional and artful way. Consider the infinite your objects sit in, and the space immediately effectually them. How can y'all convey a message through the manner these items are placed in their surroundings?
Try to create a bulletin with your installation, thinking advisedly virtually your location and how information technology speaks to the objects y'all are placing inside it. Ask friends to "read" or critique your artwork, and certificate your project from different angles. Review your images and determine which bending best supports the success of your installation. Finally, endeavour rearranging the objects to create a different message.
b. Create a piece of work of land art.
Stretch a cord beyond a basketball court or along a path. Comprehend the string completely with pebbles, bawl, leaves or other natural materials (ones that aren't fastened to the world).
Where does your path of material brainstorm and end, and how does that contribute to the context of your new country art piece? What feeling practice your called materials evoke? From balancing rocks to creating forts on the beach, land fine art is an piece of cake and expansive manner to experiment with space and natural materials.
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Want to read the whole series? Here are our lessons on shape, grade, line, colour, texture and value. How do y'all 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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