Annabeth Rosen was born in Brooklyn, New York and graduated from NYS State College of Ceramics at Alfred University and then later from Cranbrook Academy of Art. Post graduate school, Rosen spent time teaching at institutions like SAIC, RISD, and Bennington College. She also participated in residencies, and since then has taught at the University of California Davis where she has held the Robertson Arneson Endowed Chair since 1997 and won several grants and awards including the Pew Fellowship and two National Endowment for the Arts Fellowships. Formally trained in ceramics, her work is an interesting blend of solid ceramics and fluid gestures with her work heavily using the elements of color and repetition. Main things I love about this artist's work:
- how they are large forms made up of several other organic forms - the use of multi-media (ceramics wrapped in wire) - the use of subtle color that emphasizes the smaller organic forms - the scale of the pieces I definitely feel like I can incorporate parts of Rosen's work into my own, mainly the use of smaller forms to create larger forms. There isn't a lot of negative space in her work which is something that I've been trying to incorporate into my own, but I think her forms are interesting enough to not need it. I specifically like her second piece for the interesting use of shape and form, with the horn like shape on top of the platform. Annabeth Rosen Resume: https://anglimgilbertgallery.com/wp-content/uploads/2016/03/Rosen_Annabeth_Bio-1.pdf
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Edie Fake was born in 1980, and is an American artist and transgender activist who works primarily creates gauche and ink paintings and murals. He is currently best known for his award winning comic-zine series "Gaylord Phoenix". in 2002, Fake earned a B.F.A degree in Film, Animation, and Video from the rhode Island School of Design. He then worked as a film cutter for several years until going back to school at the Roski School of Art at the University of Southern California. He later became one of 7 students to drop out of the school (later known as the USC7) in protest to mistreatment by administration. In his work, Fake explores identity in the transgender and queer experience. His style is abstract and reminiscent of a fantasy, and he uses this style to redefine historical queer spaces. My response:
Marc Quinn, born in 1964, is a British contemporary artist who specializes in sculpting, installation, and painting. His father was a physicist, and at an early age Quinn was fascinated by his father’s scientific instruments. His work addresses the question of what it means to be human through his use of materials and subjects. He uses a variety of materials from marble and stainless steel to his own blood. Click on the links for more info! Website CV Key Works Sculpture, 2005, Ten pink marble sculptures, Dimensions variable This piece struck me as particularly interesting because of both its size and multitudes. The sculpture depicts a fetus each month of development- an example of how Quinn's work brings science into art. I love this piece; it's so simply beautiful, and I'm sure the magnitude of these individual pieces and the sense of them together adds to the pieces significantly. According to Quinn this piece is about "bringing matter to life", which makes sense since the embryo seems to be developing from the marble itself- an interesting connection that goes back to how humans developed as a species. I also thought it was interesting that Quinn didn't make these pieces himself. Instead, he hired traditional stonemasons from Italy who worked under his instruction alongside the use of real ultrasounds. Quinn's main contribution was the idea itself, which surprised me but I later realized shouldn't have, considering how renowned of an artist he is. This piece makes me want to create a series of sculptures even more than I already did. Marc Quinn's Self Portrait Series
I thought this series was so interesting, especially since it is an ongoing one. I love the way Quinn brings together art and science, and in this series particularly I understand how the science adds meaning to the piece. The fact that the sculptures are made out of his own blood are so astonishing to me. Not only do they connect the piece to his experiences at the time the blood was taken but they also communicate a sense of his what his personality is: daring, adventurous, and creative. It also approaches a self-portrait in a much more literal way; since the frozen sculpture needs machinery to stay frozen, it is also a commentary on how man depends on structure to keep himself together and in Quinn's case, also alludes to his history with addiction. Background:Diana Al-Hadid was born in 1981 in Aleppo, Syria, and raised in Ohio after moving to the States in the sixth grade. When attending Kent State to get her BFA for sculpture, her work focused on comparing her Arab and American backgrounds. She now lives and works in Brooklyn, New York. She creates sculptures, installations, and drawings, using various different types of materials. Her sculptures are made out of common materials, including wood, plaster, wax, paint, and more. On the other hand, her installations and wall hangings are made out of more industrial materials, such as fiberglass, polymer, steel, and plaster. Al-Hadid makes a point to listen to her materials; she takes her time experimenting with them so they can lead her in the right direction. Both her 2D work and her 3D work explore abstraction and the interaction visual and physical stability, and often transform into architecture. 2008 polystyrene, polymer gypsum, steel, aluminum leaf, pigment 60 x 48 x 90 inches 152.4 x 121.9 x 228.6 cm
My Statement:I personally love how Diana Al-Hadid creates large pieces that seem weightless, because of the way she uses negative space and how she gives the pieces a kind of “lift” that you wouldn’t expect them to have. The inspiration that I drew for my own piece was mostly along these lines; making sure to that I incorporate negative space. I also love the melting, drying, and peeling method she uses in both her paintings and sculptures, and want to incorporate that into the more organic aspects of my piece. I also appreciate how she doesn't force bend the materials to her will, and rather lets them guide her work, not only because it's similar to my own process, but also because I think it adds more depth to the content of her work. Lastly, I was mostly drawn to her work because of the architectural aspect of it, and how they seem to defy gravity and physics. Her pieces seems to take inspiration from architecture while also being architectural pieces at the same time, which is really interesting. Follow these additional links:1) http://www.dianaalhadid.com/exhibitions/the-vanishing-point 2) https://art21.org/watch/new-york-close-up/diana-al-hadids-suspended-reality/ Questions:1. Are there any materials/ techniques that Diana Al-Hadid uses that you may be interested in exploring in the future?
2. In what ways does Diana Al-Hadid blend two dimensional work with works that are in the round? Are her 3D pieces similar to her 2D pieces? 3) How does Diana Al-Hadid draw inspiration from Italian Renaissance paintings? Do you think this impacts the content of her work? Helen Frankenthaler (1928-2011)Helen Frankenthaler was an second generation Abstract Expressionist artist. Born in New York, she studied under Rufino Tamayo in high school, at the Dalton school in New York city, and later at Bennington College in Vermont. During the Abstract Expressionist Movement, she played a key role in transitioning the movement to Color Field painting. She invented the “soak-stain” technique where turpentine-thinned paint is poured onto canvas to create an illusion of the canvas having no 3D dimensions, and her piece Mountains and the Sea was hugely influential to the artists who then formed the Color Field school of painting. This technique was inspired by Pollock, as both of their works created natural and organic forms, while Frankenthaler's work did however sometimes refer to landscapes. In the 1960’s she also began to use watered-down acrylic paints to create her pours, and also later turned to woodcuts where she applied the same soak in process as well. This summary was complied using the sources below:
Please review the video below to learn more about why Mountains and the Sea was so important to the Ab Ex Movement: Questions
Leonardo Da Vinci (1452-1519)Leonardo Da Vinci was born in Italy near the town Vinci in the province of Tuscany. At fourteen he began a 9 year apprenticeship under Andrea del Vercocchio, an Italian painter, sculptor, goldsmith, and master of a significant workshop in Florence. Through his apprenticeship, he picked up skills in a variety of trades, including painting, invention, sculpting, and anatomy. He went on to service the Duke of Milan in from 1482 to 1499, and under him he explored new heights. He did paint, sculpt, and design festivals for the Duke, but he also designed and invented things from weapons to buildings. Da Vinci’s interest grew and over time they became clustered into four main groups; painting, architecture, the inner workings of mechanics, and anatomy. Later on, he continued his work in Rome and began the Mona Lisa. Working for the Pope, he was limited in his exploration of anatomy as he was forbidden to use cadavers. As he got older, his right hand became paralyzed, which didn’t impede him too much as he was left handed, and he passed away on May 2, 1519. Since his interests throughout his life spread so wide and far, he often left many works unfinished. However he did leave behind many studies and sketches, which give us a lot of information on his work and style. This summary was compiled using the sources below: Head of Leda c.1504 - c.1506 Pen and ink over black chalk w147 x h177 mm Royal Collections Trust UK Review these additional resources: Questions to Consider:
1) What types of jobs were artists of the court during Da Vinci's time responsible for? 2) What kinds of skills did Leonardo Da Vinci really have? Do you think his skill set is accurately acknowledged today? Why or why not? 3) Looking at Leonardo Da Vinci's landscape drawing of Santa Maria Della Neve, do you see a kind of style that you didn't associate with Da Vinci before? Would you be able to recognize it as his work? |
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