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Prebles’ Artforms Twelfth Edition

Chapter 1

The Nature of Art and Creativity

Learning Objectives (1 of 2)

1.1 Describe art as a means of visual expression that uses various media and forms.

1.2 Explain what is meant by creativity.

1.3 Discuss the role creativity plays in the work of trained and untrained artists.

Learning Objectives (2 of 2)

1.4 Assess the ways in which representational, abstract, and non-representational art relate to reality.

1.5 Contrast the terms looking and seeing.

1.6 Differentiate between form and content, and show how artists may use iconography to communicate the latter.

Introduction

• The ability to create is a special characteristic of humans. – Art as common experience

• Janet Echelman, Her Secret Is Patience – Large, distinctive public artwork in Phoenix, Arizona – Inspired by saguaro cactus – Artistic creation as a two-way street

Janet Echelman. Her Secret Is Patience. 2009. Fiber, steel, and lightning. Height 100’ with a top diameter of 100’.

Civic Space Park, Phoenix, AZ. Courtesy Janet Echelman, Inc. Photograph: Will Novak. [Fig. 1-1]

What is Art? (1 of 3) 1.1 Describe art as a means of visual expression that uses various media and forms.

• Generally refers to: – Music – Theater – Literature – Visual arts

▪ Including drawing, painting, sculpture, film, architecture, and design

• Communicates meaning beyond verbal exchange

What is Art? (2 of 3) 1.1 Describe art as a means of visual expression that uses various media and forms.

• Work of art – The visual expression of an idea or experience, formed with skill, through the use

of a medium.

• Medium – A particular material along with its accompanying technique (pl. media)

What is Art? (3 of 3) 1.1 Describe art as a means of visual expression that uses various media and forms.

• Medium – Chosen by artist to enforce the function of the work

▪ Echelman's use of flexible netting that responds to wind – Traditional or modern materials – Mixed media

▪ Describes art created with a combination of materials

What is Creativity? (1 of 4) 1.2 Explain what is meant by creativity.

• Creativity – The ability to bring forth something new that has value

▪ Relevance or new way of thinking ▪ Not a novelty

• Potential to influence future thought or action

What is Creativity? (2 of 4) 1.2 Explain what is meant by creativity.

• Five traits that define creativity 1.  Associating 2.  Questioning 3.  Observing 4.  Networking 5.  Experimenting

• Visual creativity § Use of imagery to communicate beyond words

What is Creativity? (3 of 4) 1.2 Explain what is meant by creativity.

• Robin Rhode – He Got Game

▪ Visual creativity using simple means ▪ Low-tech chalk drawing of a basketball hoop ▪ Artist imitates slow-motion photography and performs an impossible flip ▪ Creativity is an attitude

Robin Rhode. He Got Game. 2000. Twelve color photographs.

Lehmann Maupin, New York and Hong Kong © Robin Rhode. [Fig. 1-2]

What is Creativity? (4 of 4) 1.2 Explain what is meant by creativity.

• Romare Bearden – Prevalence of Ritual: Tidings

▪ Picture fragments ▪ Suggests Christian Annunciation ▪ Concerned with effectiveness of communication to the viewer

– But inner need for creative expression was equally important

Romare Bearden. Prevalence of Ritual: Tidings. 1967. Photomontage. 36” × 48”.

Trained and Untrained Artists (1 of 7) 1.3 Discuss the role creativity plays in the work of trained and untrained artists.

• We all have the potential to be creative

• Training – In the past, via apprenticeships – Today, in art schools and/or colleges and universities – Not always necessary

• Folk artists – Naïve or outsider artists with little or no formal training

Trained and Untrained Artists (2 of 7) 1.3 Discuss the role creativity plays in the work of trained and untrained artists.

• Outsider Art – Sabatino “Simon” Rodia, Nuestro Pueblo (Our Town)

▪ One of best-known and largest pieces of outsider art in the United States ▪ Use of cast-off materials ▪ Towers built without power tools, rivets, welds, or bolts

Sabatino “Simon” Rodia. Nuestro Pueblo. Distant view. 1921–54. Mixed media. Height 100’.

Watts, California. Photograph: Duane Preble. [Fig. 1-4a]

Sabatino “Simon” Rodia. Nuestro Pueblo. Detail of enclosing wall with construction tool impressions. 1921–54.

Mixed media. Height 100’. Watts, California. Photograph: Duane Preble. [Fig. 1-4b]

Trained and Untrained Artists (3 of 7) 1.3 Discuss the role creativity plays in the work of trained and untrained artists.

• Outsider Art – Philadelphia Wireman

▪ Unknown creator, likely male ▪ More than a thousand hand-sized sculptures of small objects wrapped in wire

Philadelphia Wireman. Untitled (Watch Face). c.1970. Watch face, bottle cap, nail, drawing on paper, and wire. 7” × 3-1/2” × 2-1/4”.

Courtesy Matthew Marks Gallery. [Fig. 1-5]

Trained and Untrained Artists (4 of 7) 1.3 Discuss the role creativity plays in the work of trained and untrained artists.

• Folk Art – Folk artists are part of established traditions of style, theme, and craftsmanship – Most have little systematic art training – Can take many forms

▪ Quilts ▪ Embroidered handkerchiefs ▪ Decorated weather vanes ▪ Sculptures ▪ Customized cars

Trained and Untrained Artists (5 of 7) 1.3 Discuss the role creativity plays in the work of trained and untrained artists.

• Folk Art – Quilting a flourishing form of folk art – Mary Wallace, Peony

▪ Shows influence from Pennsylvania German pottery – Can take many forms

▪ Quilts ▪ Embroidered handkerchiefs ▪ Decorated weather vanes ▪ Sculptures ▪ Customized cars

Mary Wallace. Peony. Quilt: pieced, appliquéd, and quilted cotton. 100-3/4” × 98”. Los Angeles County Museum of Art. Gift of Rhea Goodman (M.75.133). [Fig. 1-6]

Trained and Untrained Artists (6 of 7) 1.3 Discuss the role creativity plays in the work of trained and untrained artists.

• Folk Art

• Retablo paintings in Mexico and the American Southwest ▪ Giving thanks to God ▪ Generally depict salvation

Retablo. 1915. Paint on tin. 9” × 11”.

Fowler Museum at UCLA. Photograph by Don Cole. [Fig. 1-7]

Trained and Untrained Artists (7 of 7) 1.3 Discuss the role creativity plays in the work of trained and untrained artists.

• Children’s Art – Alana, Grandma – Children

▪ Intuitive sense of composition ▪ Depict world symbolically until about age 6 ▪ Begin to doubt creativity by age 9/10

Alana, age 3. Grandma. [Fig. 1-8]

Art and Reality (1 of 11) 1.4 Assess the ways in which representational, abstract, and non-representational art relate to reality.

• Representational Art – Depicts the appearance of things – Figurative art

▪ When human form is the primary subject – Subjects

▪ Objects depicted in representational art – “Real”-looking paintings in the trompe l’oeil style, French for “fool the eye”

▪ A Smoke Backstage

William Harnett. A Smoke Backstage. 1877. Oil on canvas. 7” × 8-1/2”.

Honolulu Museum of Art, Gift of John Wyatt Gregg Allerton, 1964 (32111). [Fig. 1-9]

Art and Reality (2 of 11) 1.4 Assess the ways in which representational, abstract, and non-representational art relate to reality.

• Representational Art – Magritte’s La Trahison des Images (Ceci N’est Pas une Pipe)

▪ Viewer may wonder, “If it’s not a pipe, what is it?” ▪ Answer: it is a painting.

René Magritte. La Trahison des Images (Ceci N'est Pas une Pipe). 1929. Oil on canvas. 25-3/8” × 37”.

Art and Reality (3 of 11) 1.4 Assess the ways in which representational, abstract, and non-representational art relate to reality.

• Representational Art – Beldner’s This is Definitely Not a Pipe

▪ Complicated relationship between art and reality ▪ Reproduction of Magritte’s painting ▪ Point is that representational art has a complex relationship to reality

– Artists rarely merely depict what they see

Ray Beldner. This Is Definitely Not a Pipe. 2000. After René Magritte’s The Treason of Images (1929). Sewn US currency. 24” × 33”.

Courtesy of the artist. [Fig. 1-11]

Art and Reality (4 of 11) 1.4 Assess the ways in which representational, abstract, and non-representational art relate to reality.

• Abstract Art – Works that have no reference at all to natural objects – Works that depict natural objects in simplified, distorted, or exaggerated ways

▪ May be obvious to viewer or may need a verbal clue – Common in many cultures

Art and Reality (5 of 11) 1.4 Assess the ways in which representational, abstract, and non-representational art relate to reality.

• Abstract Art – Chief’s stool from Cameroon

▪ Shows repeated abstractions of the human form ▪ People representing the community that supports the chief

Chief's stool. Late 19th–early 20th century. Wood plant fiber. Height 16-1/2”.

Western Grasslands, Cameroon. Fowler Museum at UCLA. Photograph by Don Cole. [Fig. 1-12]

Art and Reality (6 of 11) 1.4 Assess the ways in which representational, abstract, and non-representational art relate to reality.

• Abstract Art – Abstraction of a Cow

▪ van Doesburg’s exploration of how far he could simplify a cow while still capturing its essence ▪ If only final painting is viewed, it likely would be seen as a nonrepresentational painting.

Theo van Doesburg (born C. E. M. Küpper). Composition (The Cow) from Abstraction of a Cow series. c.1917.

Museum of Modern Art, New York/Scala, Florence. [Fig. 1-13a]

Theo van Doesburg (born C. E. M. Küpper). Study for Composition (The Cow) from Abstraction of a Cow. c.1917.

Museum of Modern Art, New York/Scala, Florence. [Fig. 1-13b]

Theo van Doesburg (born C. E. M. Küpper). Study for Composition (The Cow) from Abstraction of a Cow. c.1917.

Museum of Modern Art, New York/Scala, Florence. [Fig. 1-13c]

Theo van Doesburg (born C. E. M. Küpper). Composition VIII (The Cow) from Abstraction of a Cow. c.1917.

Museum of Modern Art, New York/Scala, Florence. [Fig. 1-13d]

Art and Reality (7 of 11) 1.4 Assess the ways in which representational, abstract, and non-representational art relate to reality.

• Alma Thomas: Devoted to Abstraction – First graduate of Howard University art program in 1924 – Taught art in a Washington, D.C. junior high school – Founding vice-president of first private gallery to show work by artists of all races

Alma Thomas at an opening at the Whitney Museum of American Art, New York, 1972. Alma Thomas papers, 1894–2000, bulk 1936–1982. Archives of American Art, Smithsonian Institution. [Fig. 1-14]

Art and Reality (8 of 11) 1.4 Assess the ways in which representational, abstract, and non-representational art relate to reality.

• Alma Thomas: Devoted to Abstraction – Devoted to art full-time after retirement from teaching

▪ First solo exhibition at age 69 ▪ Inspired by movement of leaves and flowers under different light ▪ White Roses Sing and Sing

– First African-American to have a solo exhibition at the Whitney Museum – Always believed creativity not bound by race or nation

Museum/Art Resource/Scala, Florence. [Fig. 1-15]

Art and Reality (9 of 11) 1.4 Assess the ways in which representational, abstract, and non-representational art relate to reality.

• Nonrepresentational Art – Nonobjective or nonfigurative art – Presents visual forms with no specific references to anything outside themselves

▪ As in pure sound forms of music

Art and Reality (10 of 11) 1.4 Assess the ways in which representational, abstract, and non-representational art relate to reality.

• Nonrepresentational Art – Wide variety of forms, compositions, moods, and messages possible – Pair of Doors

▪ From an Egyptian mosque ▪ Wood carving ▪ Draw and hold our attention despite not representing anything

Pair of doors. Egypt, c.1325–1330. Wood (rosewood and mulberry); carved, inlaid with carved ivory, ebony, and other woods. 77-1/4” × 35” × 1-3/4”, encased in weighted freestanding mount.

Metropolitan Museum of Art, New York. 91.1.2064.

Art and Reality (11 of 11) 1.4 Assess the ways in which representational, abstract, and non-representational art relate to reality.

• Nonrepresentational Art – Carmen Herrera, Yellow and Black

▪ Asymmetrical and sleek ▪ Communicates vigorous energy, agitated state of mind

– May seem more difficult to grasp nonrepresentational art ▪ Can offer fresh ways of seeing, new visual experiences

Carmen Herrera. Yellow and Black. 2010. Acrylic on canvas. 36” × 72”. © Carmen Herrera; Courtesy Lisson Gallery. Photographer: Ken Adlard. [Fig. 1-17]

Looking and Seeing (1 of 2) 1.5 Contrast the terms looking and seeing.

• Looking – Implies taking in what is before us in a mechanical or goal-oriented way

• Seeing – More open, receptive, and focused – “Looking” with memories, imaginations, and feelings attached – Appreciation of a form beyond function

Looking and Seeing (2 of 2) 1.5 Contrast the terms looking and seeing.

• Ordinary becomes extraordinary – Edward Weston’s Pepper #30

▪ Quality of glowing light from a time exposure of over two hours ▪ Seemingly common object elevated to represent the artist’s achievements ▪ Sense of wonder about the natural world

• The process of seeing is different for every person.

Edward Weston. Pepper #30. 1930. Gelatin silver print. 9-7/16” × 7-1/2”.

Form and Content (1 of 9) 1.6 Differentiate between form and content, and show how artists may use iconography to communicate the latter. • Form

– The total effect of the combined visual qualities within a work ▪ Materials ▪ Color ▪ Shape ▪ Line ▪ Design

Form and Content (2 of 9) 1.6 Differentiate between form and content, and show how artists may use iconography to communicate the latter. • Content

– The message or meaning of the work of art ▪ What the artist expresses or communicates to the viewer

• Form and content inseparable – Content determines form – Form expresses content

Form and Content (3 of 9) 1.6 Differentiate between form and content, and show how artists may use iconography to communicate the latter. • Contrasting Rodin’s The Kiss and Brancusi’s The Kiss

– Rodin’s work representational of Western ideals ▪ Highly-charged moment of lovers embracing

– Brancusi’s manipulation of a solid block of stone to represent lasting love ▪ Symbolic concept of two becoming one

Auguste Rodin. The Kiss. 1886. Marble. 5’11-1/4”.

Musée Rodin, Paris. Photograph akg-images/Erich Lessing. [Fig. 1-19]

Constantin Brancusi. The Kiss. 1916. Limestone. 23” × 13” × 10”.

Form and Content (4 of 9) 1.6 Differentiate between form and content, and show how artists may use iconography to communicate the latter. • Seeing and Responding to Form

– The artist is the sender of the work’s message. – The viewer must receive and experience the work.

▪ Learning to respond to form – Subject matter can interfere with perception of form.

▪ Look at pictures upside down to make familiar unfamiliar

Form and Content (5 of 9) 1.6 Differentiate between form and content, and show how artists may use iconography to communicate the latter. • Seeing and Responding to Form

– Georgia O’Keeffe’s Jack-in-the-Pulpit ▪ Enlarged to 4 feet in height ▪ Focusing on only the flower ▪ Viewer takes time to observe an object that would normally be too small or be passed over

Georgia O'Keeffe. Jack-in-the-Pulpit No. V. 1930. Oil on canvas. 48” × 30”.

Alfred Stieglitz Collection, Bequest of Georgia O'Keeffe, National Gallery of Art, Washington, D.C. 1987.58.4. Photograph: Malcolm Varon [Fig. 1-21]

Form and Content (6 of 9) 1.6 Differentiate between form and content, and show how artists may use iconography to communicate the latter. • Iconography

– Subjects, symbols, and motifs used in an image to convey its meaning ▪ Mother and child as Mary and baby Jesus

– Not all works contain iconography.

Form and Content (7 of 9) 1.6 Differentiate between form and content, and show how artists may use iconography to communicate the latter. • Iconography

– The Virgin of Carmel Saving Souls in Purgatory ▪ Christian iconography

– Winged figures as angels – God holding the orb of the world – Holy Spirit as a dove – Mary wearing crown – Cross signifying Christ – Scapular garment

Circle of Diego Quispe Tito. The Virgin of the Carmel Saving Souls in Purgatory. Late 17th century.

Oil on canvas. 41” × 29”. Brooklyn Museum of Art, New York, USA/Bridgeman Images. [Fig. 1-22]

Form and Content (8 of 9) 1.6 Differentiate between form and content, and show how artists may use iconography to communicate the latter. • Iconography

– Amida Buddha ▪ Asian traditions use rich iconographic language

– Topknot symbolizes enlightenment – Long earlobes show he was a wealthy prince before he sought truth – Garment is simple – Hands folded in traditional position of meditation – Lotus-flower throne symbolizes enlightenment can come in the midst of life

Amida Buddha (wood). Japanese school (17th century). San Diego Museum of Art, USA/Bequest of Mrs. Cora Timken Burnett/Bridgeman Images. [Fig. 1-23]

Form and Content (9 of 9) 1.6 Differentiate between form and content, and show how artists may use iconography to communicate the latter. • Iconography

– Contemporary artists mash up and quote various traditions ▪ Rashaad Newsome, Saltire Compton

– Frame would normally surround a precious painting – Scanned photos of “bling” – Saltire

• X-shaped motif commonly found in flags and crests

Rashaad Newsome. Saltire Compton. 2011. Collage in customized antique frame. 17-1/4” × 14-3/4” × 1-1/2”. © Rashaad Newsome Studio. [Fig. 1-24]