Contemporary Drawing Practices ART 304
Saturday, December 15, 2012
Various and Gould, Artists
A cobalt blue streak sweeps through a narrow street in Istanbul as Various and Gould don fluorescent orange work vests and push brooms with a purpose. The lunchtime crowd gathers a few steps back and to the sides to witness a remarkable cloud of ultra-marine pigment forming a wake behind the two German Street Artists as they perform their new installation focusing on work and workers.
Simply by changing the color of the dirt, the effect of an everyday act by municipal workers is effectively transformed, if not understood. 34 kilos of non-toxic blue pushed up a street with confidence and industry by two people wearing an official-looking logo on their uniforms does cause confusion. "What happened? Did someone die?" asks a spectator. No, they are assured, it is an art performance - an explanation that calms most but not all, including restaurant owners here in this eastside tourist district of "Beyoğlu" while their dining guests look curiously with mouths agape.
More to read. Source is Huffington Post. Link here.
Ana Ventura, Artist
Marks were made to surfaces that already exist.
For instance, a sidewalk with splattered paint, a concrete wall with paint chipped away.
Source link here.
Richard Hamilton, Artist
Pin-up
Richard Hamilton (British,1922–2011)
1961. Oil, cellulose, and collage on panel, 53 3/4 x 37 3/4 x 3" (136.5 x 95.8 x 7.6 cm) including frame. Enid A. Haupt Fund and an anonymous fund. © 2012 Artists Rights Society (ARS), New York / DACS, London
One of the founders of Pop art in Britain, Hamilton took his theme for this work directly from popular culture, using pictures from Playboy and other men’s magazines as his sources. While the work references these ubiquitous photographs of sex symbols, it is also a modern treatment of a conventional subject of painting—the odalisque, or reclining nude. Hamilton approaches this tradition through a variety of pictorial modes: the hair is a stylized cartoon, the breasts appear both in drawing and in three-dimensional relief, and the bra is a photograph applied as a collage. "Mixing idioms," Hamilton has said, "is virtually a doctrine inPin-up."
Source is Museum of Modern Art
Joseph Beuys, Artist
Eurasia Siberian Symphony 1963
Joseph Beuys (German, 1921–1986)
1966. Panel with chalk drawing, felt, fat, taxidermied hare, and painted poles, 6' x 7' 6 3/4" x 20" (183 x 230 x 50 cm). Gift of Frederic Clay Bartlett (by exchange). © 2012 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn
Eurasia Siberian Symphony 1963 is composed from materials used during a 1966 performance, or “action,” by the artist at a Berlin gallery. Eurasia, the continental block that links Europe and Asia, evokes the fusion of Eastern and Western cultures, particularly resonant for Beuys in divided, Cold War Germany. The hare, with its quick jumps, suggests the ability to span long distances. The blackboard notes the degrees of the angles of fat and felt affixed to the poles during the performance and the temperature (42 degrees Celsius) of a high human fever. Fat and felt are essential components of Beuys’s “warmth theory” of art; he was deeply interested in the calorie’s role in the preservation of life and the insulating properties of felt.
Source is Museum of Modern Art
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