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

Time-Based Media2 of 2 • Video artists Teresa Hubbard and Alexander portray their videos as "long photographs" with added sound.. Teresa Hubbard and Alexander Birchler, Detached Buildin

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Texture, Time, and Motion

6

Learning Objectives

1 Explain the difference between actual

texture and visual texture.

2 Outline some of the ways that time

and motion inform our experience of visual art.

• 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

Photo: Lance Gerber Phillip K Smith III is represented by Royale Projects: Contemporary

Art, CA and all artwork use permissions are courtesy of the gallery [Fig 6-2]

• 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

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 2

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

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• 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.

Max Ernst, The Horde

1927 Oil on canvas, 18-1⁄8 × 21-5⁄8" Stedelijk Museum, Amsterdam

© ADAGP/SPADEM, Paris and DACS, London, 1993 © 2015 Artists Rights Society (ARS),

New York/ADAGP, Paris [Fig 6-5]

Visual Texture

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• William A Garnett produced an aerial

view of strip farms across an eroding

landscape to study American land-use practices.

 Predictable patterns of farming contrast the unfarmed regions, particularly

apparent in the upper left of the photo.

 The photograph itself is smooth,

therefore its texture is visual.

William A Garnett, Erosion and Strip Farms, East Slope of the Tehachapi Mountains

1951 Gelatin-silver print, 15-9⁄16 × 19-1⁄2" Museum of Modern Art, New York

© 2015 Digital 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 such as music and

literature are temporal.

• However, time plays a greater role in

plastic arts, in part through narrative structure.

• Sculpture can move, as in Calder's

Untitled kinetic art.

Alexander Calder, Untitled

1976 Aluminum and steel, overall 29' 11-3⁄8" × 75' 11-5⁄8", gross weight 920 lb

National Gallery of Art, Washington, D.C

Gift of the Collectors Committee, 1977.76.1 Courtesy of the National Gallery of Art, Washington, D.C © 2015 Calder Foundation, New York/Artists Rights Society (ARS), New

York [Fig 6-7]

Narratives in Art

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• Gianlorenzo Bernini's David shows a

figure caught in the middle of action, an incomplete and energetic moment

when contrasted with Michelangelo's

David

Gianlorenzo Bernini, David

1623 Marble, life-size Galleria Borghese, Rome.Canali Photobank, Milan/SuperStock [Fig 6-8]

 In this story, when the bishop did not

believe Juan Diego's story, the Virgin

caused roses to bloom on the hill out of season; when Juan Diego presented the roses to the bishop, the image of the

Virgin appeared on his cloak.

Isidro Escamilla, Virgin of Guadalupe

September 1, 1864 Oil on canvas, 22-7⁄8 × 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 are

exhibited.

• The viewer is surrounded by the

paintings; the phenomenon of

"Brownian motion" prevails as the

viewer's eye has no place to rest.

Claude Monet, Water Lilies, Morning: Willows (central section and right side)

1916–26 Triptych, each panel 6' 8" × 14' 2" Musée de l'Orangerie, Paris

Bridgeman Images [Fig 6-10]

The Illusion of Movement

• In optical painting, or "Op Art,"

physical characteristics of formal

elements are manipulated to stimulate the nervous system into thinking it

perceives movement.

• Bridget Riley's large-canvas Drift No 2

appears to wave and roll despite being quite fixed to the canvas

Bridget Riley, Drift No 2

1966 Acrylic on canvas, 7' 7-1⁄2" × 7' 5-1⁄2" Albright-Knox Art Gallery, Buffalo, New York.Gift of Seymour H Knox, Jr., 1967 © 2015 Albright Knox Art Gallery/Art Resource, New York/Scala, Florence © Bridget Riley 2015 All rights reserved, courtesy of Karsten

Schubert, London [Fig 6-11]

The Creative Process

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• Painting as Action: Jackson Pollock's No

32, 1950

 Pollock's action paintings challenge the

viewer to become actively engaged in the large canvas.

it is also the process of painting.

 "Pollock Paints a Picture" in Artnews tells

us about his working method, despite

being staged.

Rudy Burckhardt, Jackson Pollock painting No 32, 1950.

1950

© Rudolph Burckhardt/Sygma/Corbis [Fig 6-12]

The Creative Process

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

Society (ARS), New York [Fig 6-13]

Time-Based Media

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• Grace Ndiritu creates videos of solo

performances.

the artist moving the printed fabric and animating it as she holds it across her

Grace Ndiritu, Still Life: White Textiles

2005/2007 Still Silent video, 4 min 57 sec

© LUX, London [Fig 6-14]

Time-Based Media

2 of 2

• Video artists Teresa Hubbard and

Alexander portray their videos as "long photographs" with added sound.

and outside a tin shed in a 5-minute, second loop.

38- 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, 5 min 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, 5 min 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, 5 min 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, 5 min 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, 5 min 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, 5 min 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, 5 min 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

snow-covered mountain within a cubicle in

front of a large projection of a shaky

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

1 Explain the difference between actual

texture and visual texture.

2 Outline some of the ways that time

and motion inform our experience of visual art.