2D Design Experimental Animations - watch and respond in sketchbooks

In anticipation of making our own films in class , view the following well-known early experimental films and respond to the questions below. Remember, we discussed the Dada artists last week when talking about your Cubist Collages - they were interested in absurdity and chance as a response to the first World War:

Questions to answer in your sketchbooks:

1. In Man Ray's "Le Retour A La Raison (Return to Reason)" how does the idea of reason or order apply to the chaos you see and hear in the film?

2. How does Man Ray use repetition and pattern in the film?

3. In Leger's "Ballet Mecanique" what kinds of compositions do you see repeated? 

4. How does the title "The Mechanical Ballet" relate to the images and music?

DADA:

Man Ray Le Retour a la Raison 1920s





Ballet Mecanique, Fernand Leger, 1924




Other DADA films:

Duchamp, 1926
http://www.youtube.com/watch?v=dFr4w-yZLyY&feature=PlayList&p=6A87B9ABEBE91B37&playnext_from=PL&index=12

Hans Richter, 1927
http://www.youtube.com/watch?v=uhv2KpQGMqY&feature=PlayList&p=D9EB7D269F2DE413&playnext_from=PL&index=8

http://www.youtube.com/watch?v=EjM9SHZHdb8&feature=PlayList&p=D9EB7D269F2DE413&playnext_from=PL&index=9



EARLY COMPUTERS:

Synchronomy  Norman McLaren (1914 - 1987), 1971
http://www.youtube.com/watch?v=Jqz_tx1-xd4&feature=PlayList&p=D9EB7D269F2DE413&playnext_from=PL&index=4

Larry Cuba, 1985 (also did graphics for Star Wars)
http://www.youtube.com/watch?v=wH0MXZ-T4Js&feature=PlayList&p=D9EB7D269F2DE413&playnext_from=PL&index=0


FLUXUS:
Nam June Paik (1962-4)
http://www.youtube.com/watch?v=8z1sOsIrshU&feature=PlayList&p=D9EB7D269F2DE413&playnext_from=PL&index=6

http://www.youtube.com/watch?v=9SE06lHXsBo&feature=PlayList&p=D9EB7D269F2DE413&playnext_from=PL&index=5


OTHER:

Sesame Street
http://www.youtube.com/watch?v=rzF4FJIpxJg&feature=PlayList&p=D9EB7D269F2DE413&playnext_from=PL&index=11

Philip Glass
http://www.youtube.com/watch?v=ch-R1aIM-C0&feature=PlayList&p=D9EB7D269F2DE413&playnext_from=PL&index=10


Len Lye, born Leonard Charles Huia Lye (5 July 1901, Christchurch, New
Zealand - 15 May 1980, Warwick, New York), was a New Zealand-born
artist known primarily for his experimental films and kinetic
sculpture
http://www.youtube.com/watch?v=sgBKj2RfXN4&feature=PlayList&p=D9EB7D269F2DE413&playnext_from=PL&index=2

FINAL May 8, Wednesday 12:30 pm - 3:30 pm

FINAL CRITIQUE May 8, Wednesday 12:30 pm - 3:30 pm

Bring your artist book 

AND

Bring back your Terry Winters assignment to be photographed (that was the computer drawings we made from little ink squares, and then you redrew the computer printouts in ink).




************

Post for 5/1

A huge appeals court ruling came down Thursday morning in the most famous artist-on-artist copyright lawsuit in recent years, pitting well-known American painter Richard Prince against a lesser-known photographer Patrick Cariou. Notice the use of the word "transformative" and how open to interpretation that standard is. (*Click on links within the story for background on the case)

NOTE: Remember to bring your projects since midterm to class Wednesday. Additionally, please bring your Terry Winters computer ink drawings and ink drawings (they have already been graded but I need to photograph them for my records).

Appeals Court Ruling Favors Richard Prince in Copyright Case

By RANDY KENNEDY

Published: April 25, 2013

The United States Court of Appeals for the Second Circuit has decided largely in favor of the artist Richard Prince in a closely watched copyright case, which has broad implications for the contemporary art world. Mr. Prince was found by a federal court in 2011 to have violated copyright law by using photographs from a book about Rastafarians to create a series of collages and paintings.

 

The original decision, by Judge Deborah A. Batts, found in favor of Patrick Cariou, whose book “Yes Rasta,” featuring portraits he took during several months in Jamaica, was published in 2000. Mr. Prince used dozens of the pictures as the basis for a series of works that he called “Canal Zone,” which were exhibited at the Gagosian Gallery in 2008 and which generated more than $10 million in sales.

Mr. Prince argued that his use of the photographs should be allowed under fair-use exemptions to copyright protections, which permit limited borrowing of protected material for purposes like commentary, criticism, news reporting and scholarship. But Judge Batts wrote that for fair-use exceptions to apply, a new work of art must be transformative in the sense that it must “in some way comment on, relate to the historical context of, or critically refer back to the original work” it borrows from. That reading of the law was viewed as unusual by many copyright experts, galleries and leading art museums, who warned that it could have a chilling effect on art that relies on appropriation, a controversial but longstanding postmodern artistic strategy.

The Appeals Court, which heard the case last year, ruled on Thursday that Judge Batts’s interpretation was incorrect and that “the law does not require that a secondary use comment on the original artist or work, or popular culture” but only that a reasonable observer would find the work to be transformative.

Using that standard, the court found that 25 of 30 works by Mr. Prince under consideration in the case were permissible under fair use because they “have a different character” from Mr. Cariou’s work, give it a “new expression” and employ “new aesthetics with creative and communicative results distinct” from the work that Mr. Prince borrowed. Five other works, the court said, were so minimally altered by Mr. Prince that they might not be considered fair use by a reasonable observer, and they were sent back to the lower court for a determination using the standard set out by the appeals court.

Lawyers for Mr. Prince and Mr. Cariou were not immediately available to comment on the decision.

Link to original story

Post for 4/24 - Experimental Animations

View the following early experimental films and respond to the questions below:

1. In Man Ray's "Le Retour A La Raison (Return to Reason)" how does the idea of reason or order apply to the chaos you see and hear in the film?

2. How does Man Ray use repetition and pattern in the film?

3. In Leger's "Ballet Mecanique" what kinds of compositions do you see repeated? 

4. How does the title "The Mechanical Ballet" relate to the images and music?

DADA:

Man Ray Le Retour a la Raison 1920s





Ballet Mecanique, Fernand Leger, 1924




Other DADA films:

Duchamp, 1926
http://www.youtube.com/watch?v=dFr4w-yZLyY&feature=PlayList&p=6A87B9ABEBE91B37&playnext_from=PL&index=12

Hans Richter, 1927
http://www.youtube.com/watch?v=uhv2KpQGMqY&feature=PlayList&p=D9EB7D269F2DE413&playnext_from=PL&index=8

http://www.youtube.com/watch?v=EjM9SHZHdb8&feature=PlayList&p=D9EB7D269F2DE413&playnext_from=PL&index=9



EARLY COMPUTERS:

Synchronomy  Norman McLaren (1914 - 1987), 1971
http://www.youtube.com/watch?v=Jqz_tx1-xd4&feature=PlayList&p=D9EB7D269F2DE413&playnext_from=PL&index=4

Larry Cuba, 1985 (also did graphics for Star Wars)
http://www.youtube.com/watch?v=wH0MXZ-T4Js&feature=PlayList&p=D9EB7D269F2DE413&playnext_from=PL&index=0


FLUXUS:
Nam June Paik (1962-4)
http://www.youtube.com/watch?v=8z1sOsIrshU&feature=PlayList&p=D9EB7D269F2DE413&playnext_from=PL&index=6

http://www.youtube.com/watch?v=9SE06lHXsBo&feature=PlayList&p=D9EB7D269F2DE413&playnext_from=PL&index=5


OTHER:

Sesame Street
http://www.youtube.com/watch?v=rzF4FJIpxJg&feature=PlayList&p=D9EB7D269F2DE413&playnext_from=PL&index=11

Philip Glass
http://www.youtube.com/watch?v=ch-R1aIM-C0&feature=PlayList&p=D9EB7D269F2DE413&playnext_from=PL&index=10


Len Lye, born Leonard Charles Huia Lye (5 July 1901, Christchurch, New
Zealand - 15 May 1980, Warwick, New York), was a New Zealand-born
artist known primarily for his experimental films and kinetic
sculpture
http://www.youtube.com/watch?v=sgBKj2RfXN4&feature=PlayList&p=D9EB7D269F2DE413&playnext_from=PL&index=2

post for 4/3

"Beyond the classroom,...you will find it essential to be able to discuss your work with others when you attempt to obtain gallery shows, apply for grants and other sources of funding for your work, or present your designs to a client."

Respond to the following after reading Chapter 2 in your textbook:

1) Select a quote or phrase from one of the artist statements featured in Chapter 2 that you think is very different from how you think about making art, and describe how this idea is new and different to you.

2) What is the difference between denotation and connotation in terms of the interpretation of an artwork?

Kehinde Wiley's Napoleon Leading the Army over the Alps, 2005

Post for 3/27 -

From Chapter 13 in your textbook "Making Art", respond to the following questions:

There is often a divide among those who look at and talk about art between an Intentionalist approach to understanding art, and an Interpretive one. It is often very important to those who take an Intentionalist stance to know something about the biography of the artist - who they are, what experiences they have had in their lives, what their cultural background is and how this affects their intentions. Others prefer to view the work of art without knowing these things and bring their own cultural associations and ideals to it. Look at the artwork by Willie Cole below.

1. First, bring your own interpretations to the artwork; what things do you associate with this radial form? What other forms do the iron burn marks remind you of? Why would he have used mattress padding instead of a more traditional medium like canvas? How do you interpret the meaning of this work?

Willie Cole, Sunflower, 1994
1994. Iron scorches and lacquer on canvas over mattress padding, 80 1/2 x 78” 

2. Read the interview at this link. How does this change your view of the artwork?


Lastly, watch this tutorial on using layers in Photoshop:

For Wed 3/20. . .and bring Midterm work

During class, we watched a segment of NOVA's episode on fractals; Hunting the Hidden Dimension. Consider structure in chaos when you copy and repeat your designs to create this week's composition. The whole program is below:

Bring finished, mounted critique projects to our next class session for Midterm grading:
Rectangles compositions
Letterform compositions
Aaron Noble comic book ink drawings
Terry Winters drawings (2 computer, 2 ink)

Post for Wed 3/6 - Get ready for Pencils and Pens...

We have talked in class about the power of Illustrator and vector graphics.
This week we will use vector graphics to trace a real-world object (the object you're scanning this week) and convert it to shapes. Watch the tutorials below in preparation for using the pen and pencil tools. They will introduce you to the tools. In class, you will teach each other what you've learned and work on mastering the tool. Your blog post for this week should acknowledge that you saw the tutorials, contain any questions you might have in preparation for class, and optionally - contain a link to a piece of graphic design you have found or like that uses vector graphics (flat, Illustrator shapes - some examples below).

http://www.adobe.com/designcenter-archive/video_workshop/?id=vid0037
http://www.adobe.com/designcenter-archive/video_workshop/?id=vid0039

Formal Analysis vs. Description

In class on Wednesday, we discussed the formal aspects of artworks (form: line, shape, color, value, texture, composition, movement). The pages below are excerpts from "A Short Guide to Writing About Art".  These excerpts help to distinguish between a description of an artwork and a formal analysis. In other words, between simply saying what something looks like to to using words that actually do something - that tell us how the marks and colors and movement make us feel about an artwork.
(Click to view them larger... )

After you have read the excerpts, write a four sentence formal analysis of the painting below. Remember, use sentences that tell us something about how the painting makes you feel, what it does. Don't say something is "interesting" (interesting could be good or bad), rather use words with more strength, opinion and emotion.

For example, "there is a blue line down the middle of the girl's face" tells us nothing about what it does to the girl's depiction - try something like, "a pale blue tinted stripe splits her face into two opposing halves; one demure and serene, the other a stringent, unrealistic yellow."

Ways of Seeing - Chapter 7, second half

Read the second half of Chapter 7, then give some thought to the following questions and leave your response in the Comments section:

1) Discuss the following section from this chapter: "The power to spend money is the power to live. According to the legends of publicity, those who lack the power to spend money become literally faceless." -- Why does the author connect the idea of one's visual image to one's power?

2) The author writes, "Publicity turns consumption into a substitute for democracy"?! This is a shocking statement. What do you think about this? What does it mean in your life? Is it true in your life?

2D Design - First post for Spring 2013!

Ways of Seeing - Part 1 and Chapter 7 - respond by Wednesday Feb. 6th


In the comments section, respond with your thoughts on the following questions which relate to Chapter 7 in Ways of Seeing:
1) In what ways does the author mean that publicity images refer to the past and the future, but never to the present?
2) What does the author mean by the "total [publicity] system"? What would your world look like with NO ads in it?
3) Do you agree or disagree that advertising is representative of a Free Market system, in that the consumer is able to see ads, make an informed decision about which products they want to buy, and go buy them? Does publicity offer free choice in its purest sense?