writing

1C - Colloquium Narcissister

Thursday, October 29 from 5:00-6:50PM Pacific Time

Barbara Kruger, Untitled (Questions), 1990/2018, on view October 20, 2018–November 2020 at The Geffen Contemporary at MOCA

The Re-organization of Space:

Perspectival Space, Light & the Power of Belief and

Feeling (more ways of seeing)

camera lucida camera obscura

HOCKNEY-FALCO THESIS - theory by artist David Hockney and physicist Charles M. Falco; posits that advances in realism and accuracy in the history of Western art since Renaissance were primarily the result of optical instruments such as the camera obscura, camera lucida, and curved mirrors, rather

than solely due to the development of artistic technique and skill

Dr. Matsaru Emoto

Giotto attributed, Basilica of Assisi, Saint Francis Expelling Devils, 13th century

Tim Noble & Sue Webster, HE/SHE (Diptych), 2004, welded scrap metal and light projectors

Cayetano Ferrer, Western Imports, interventions, photograph on cardboard, 2007-8

Roy Lichtenstein, House I, sculpture, 1996–8, National Gallery of Art Sculpture Garden

Perspective Linear

Atmospheric/Arial Subjective

Linear Perspective some basics

Linear perspective: concerns the position of the artists’ - and by extension, the viewers’s - eye, and assumes a fixed, ideal

position of artist/viewer. It assumes that the world - through the field of vision - is arranged for a single and omnipotent viewer.

STEPS: 1. establish a horizon line, eye level 2. place objects above/at/below that line; all relative to eye. 3. Use orthogonal lines to project objects in space

Horizon Line & Eye Level

Cone of Vision

Dividing a Rectangle

Horizon Line = Eye Level

the artist and the viewer have the same horizon line

Cone of Vision

The cone of vision is the visual region displayed by a drawing that relates to a person’s normal vision without their peripheral vision. In a nutshell, the cone of vision is the area of sight – or the angle of sight

objects viewed outside of the 60º cone of vision will be seen as distorted

this plane is parallel to the picture plane

horizon line and 1 vanishing point

horizon line and 2 vanishing points

horizon line and 3 vanishing points

Meindert Hobena, 1689, oil 40.75x55.2”

The Scream, 1893 Edvard Munch

Linear Perspective: 1-point 2-point 3-point

orthogonal linesONE

1-Point Perspective: front or back plane of subject is flat or parallel to the picture plane

Paul Klee, Phantom Perspective, 1920, watercolor & printing ink transfer, 9.5x12”

orthogonal lines

TWO

2-Point Perspective: One vertical edge is closest and all top and bottom edges recede & converge at left and/or right vanishing points. Viewing the leading edge instead of a flat plane so that

the geometric solid appears at an angle to line of sight.

Ed Ruscha, from the Standard Gas Station series, drawing, paintings, 1960s

Ed Ruscha, from the Standard Gas Station series, drawing, paintings, 1960s

Ed Ruscha, from the Standard Gas Station series, drawing, paintings, 1960s

Ed Ruscha, from the Standard Gas Station series, drawing, paintings, 1960s

3-Point Perspective: Vantage point is assumed far above or below subject, causing sides and top/bottom to converge to 3 Vantage Points. Viewing from an exaggerated position, worm or bird eye.

New Perspective/s with Photography and

Videography

new visual paradigms of ourselves & our environment though images - motion, light, position

new subjectivity; no consistent unified horizon or stability

Edward Muybridge, Handstand, 1883 photograph

Harold Edgerton, Bullet Piercing an Apple, 1964 photograph

Harold Edgerton, A 1936 picture of hummingbird expert May Rogers Webster with hummingbirds

Foreshortening Parts of an object are diminished so that they appear shorter

and narrower as they recede.

Andrea Mantegna, Lamentation Over the Dead Christ, 1480, tempera on canvas

Cheyenne Julien, Back Ache (2017). Oil and acrylic on canvas, 56 x 68 inches

Andrea Pozzo, Triumph of S. Ignazio, 1691-4

Subjective Perspective Of the imaginary, irrational, simultaneous multiple views, fanciful, some using mechanical devices

Pablo Picasso, Cafe a Royan, 1940, oil 97x130cm

Kay Sage, In The Third Sleep, 1944, oil 100x145cm

Sue Coe, President Ray Gun Takes a Hot Bath, 1984

Chiho Aoshima, Chinese Noodle Girl, 2000, ink jet print

Anamorphosis

a distorted projection requiring the viewer to occupy a specific

vantage point or angle, use special devices, or both, to view

a recognizable image

Hans Holbien the Younger, The Ambassadors, 1533

Kerry James Marshall, School of Beauty, School of Culture (2012)

Michel Gondry, Eternal Sunshine of the Spotless Mind (2004) - 1:40

Texture Actual, Implied

Texture: Surface character of a material that can be experienced through touch or the illusion of touch.

Actual texture has material volume (it’s real)

virtual or implied texture appears to have real texture, but is flat. It achieves the appearance of texture

through line, value, color.

Chinese stone relief with dragon design, Ming Dynasty (14-15 century), Dayton Art Institute

Dennis Hollingsworth, Chandelier Mosque, 2012, oil, 60”x48”

CJ Hendry

Tauba Auerbach, Untitled Fold Painting, 2010, acrylic,

60x45”

Jennifer Bolande, Plywood Curtain, 2010, digitally printed fabric installed in empty storefronts

Value Using Shading, Light, Tone to Produce Lights and

Darks

Value: The relative degree of light and dark. (such as articulated with lighting and shading)

Value: Atmospheric Perspective

Atmospheric (also called Arial) Perspective: Based on the optical effect caused by light being absorbed and

reflected by the atmosphere (dust + moisture); this mist is most dense at Earth’s surface, where it scatters light and distant tones lose contrast;

blue penetrates mist most easily. The illusion of deep space by lightening values, softening details and textures, reducing value

contrasts and neutralizing colors in objects as they recede.

Agnes Pelton, California Landscape Near Pasadena, 1930, oil 25x30”

Value • Shading • Chiaroscuro

(Italian for light- dark)

• Light Value: The relative degree of light and dark. (such as articulated with lighting and shading). Value creates dimension

David Hockney, Banana, 1970, crayon 17x14”; Tom of Finland, unknown title and date, graphite and charcoal c.1975

Patrick Lee, Deadly Friends (Eva), 2013, Graphite on paper, 40 x 30

inches, 101.6 x 76.2 cm

Caravaggio, Victorious Amor, 1601-2, oil 154x110cm

Sharon Lockhart, Goshogaoka Girls Basketball Team detail, 1997, c-print

32x98”

Catherine Opie, Football Landscape #9 (Crenshaw vs Jefferson), 2007, photograph

Dioramas

Lori Nix, Living Room, 2013; Tent Revival, 1999

Liz Hickok, San Francisco in Jello: View from Alcatraz, c-print, c. 2009

James Casebere, Yellow Hallway #2, 2001, c-print (photo), 71x89”

Thomas Demand, Kontrollraum/Control Room, c-print, 2011

Thomas Demand, Clearing, 2003, photograph

supplies needed this week: pencils paper ruler

eraser camera or phone camera

This week:

Warm Up: Perspective Drawing - Make two drawings on 18x24” piece of paper (can divide the paper in half) - in both 1 and 2 point perspective. Draw a simple box, as in the examples, or, if you are familiar with perspective, you may draw from life: find an interesting interior or exterior space and/or use simple objects!

Project: Natural Light Photography Project

1. Locate an interesting place and observe its natural light. Outside is recommended, with an object close to you and one at a distance. 2. Pick 4 times during a day when the light on this spot will change significantly based on time of day, for example dawn, high noon, late afternoon and twilight. 3. Take a picture (phone photo is fine for this) from exactly the same spot, at the same scale, with the same composition at each time marker. 4. Save these photos as jpegs and upload them to a shared document as directed by your TA, so you can observe them as a group.

Objective: To observe and capture the way natural light creates ever changing “local color” on real objects in the real world.

Think of shooting an object not just landscape

Design the composition, put some thought into it

Label your jpegs, NAME AND TIME OF DAY

Take notes in notebook about how it feels to do the project, the subjectivity of it

This is a project about NOTICING THINGS

Ka-bang Lauron, Fall 2018

**Incidentally, Storke Tower is in 3-pt perspective!

1-POINT PERSPECTIVE

How to How to

1-POINT PERSPECTIVE

*one vanishing point

2-POINT PERSPECTIVE *two vanishing points

How to video

1-POINT PERSPECTIVE

1. Draw a horizon line. The horizon line is a horizontal line that will represent eye level in the scene. Use a ruler!

2. Place a vanishing point on the horizon line. The vanishing point is going to be the point at which you draw the box back towards.

3. Draw the closest side of the box, anywhere in relation to the horizon - below, above, on.

1-POINT PERSPECTIVE

4. Connect the appropriate corners to the vanishing point, creating orthogonal lines

5. End the form, picking a logical place to end the cube. *Notice how these final lines in the back are parallel to their coinciding lines in the front. The verticals (orange) are vertical in both the front and rear of the box. The horizontal lines (blue) are horizontal in both the front and the rear of the box.

6. Draw bunch of boxes around/on your horizon line! Then, when you/if you want to erase the orthogonal lines, you will have perspectivally accurate boxes!

2-POINT PERSPECTIVE1. Establish your horizon line and two vanishing points. Place your vanishing points as far apart as possible and both points need to be drawn on the horizon line. Label the points LVP for Left Vanishing Point and RVP for Right Vanishing Point

2-POINT PERSPECTIVE

RVPLVP

2-POINT PERSPECTIVE 2. Draw the closest corner of the box. This is nothing more than a vertical line. Again, it can be above, below, or one the horizon line.

2-POINT PERSPECTIVE

3. To create the front side of the box, connect the top and bottom ends of your vertical line to your LVP

*make sure your lines actually connect to the VP, unlike this diagram

2-POINT PERSPECTIVE

4. Decide how far back this box extends. Pick a distance and end the side with a vertical line. Remember that all vertical lines in this drawing will be

parallel to each other.

5. Repeat the same procedure for the other side of the box.

6. The top of the box can be drawn by connecting the remaining top corners to their appropriate vanishing points.

7. Make a bunch of boxes - above, below, and on horizon line!