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The Comparative Study

Today we are starting with our attempts at creating our own Comparative Study. After our visit yesterday to the HK Museum of Art we have selected some artworks to base this on. I found that my approach to this was firstly looking at ways which I could link the works which I saw in the space. One way I saw these was subject matter, media approaches, conceptual links, or other angle of the intuitive feel of how works may link or be compared. A key factor we discussed was that within this you should have seen at least one of the works in person, but it is not essential though.

Tong King Sum, Sketch 3: Lying. 1981, Teak

Tong King Sum, Sketch 3: Lying. 1981, Teak

Tong enjoys the human body and are the favourite themes of his works, characterised by a sleek form and texture in wood. His torso sculptures depict the structure of human body, the texture of bone, flesh and skin in refined and precise manner. Be it the human body or a plant, his works are permeated with the harmony of nature and beauty of form, which sprang from the artist’s subtle yet strong inner vitality.

Mak Hin Yeung said, “Tong turned all wooden blocks into vivid body torso’s.” Tempting Touch, The Art of Tong King Sum, p66

The other work at HKMOA which really stood out to me was in the Random Moments exhibition. The work by Tong Wing-sze, Inkman, 2009, Video.

Inkman, Tong Wing-Sze, 2009

Inkman, Tong Wing-Sze, 2009

I can see the contrast of the representation of the human form treatment through media, but both are a celebration of the human forms solidity. Interestingly, Ink is a traditionally 2D media which in Tong’s work is transformed through material process and manipulation into a 3D form which is then moved and framed into a 4D form. Conversely, the 2D sketches have been interpreted into a 3D sculpture and bought into life with muscular tensions and renditions mapping across skeletal forms. Both can be interpreted as monochromatic representations of the human form and celebrate the movement of the organic form.

My third form introduced would be Titian’s, Venus of Urbino (1538).  The one which would tie into mine would be the Ink man.

Venus of Urbino (1538)

Discussion following the thoughts about the Comparative Study (CS).

What is the currency of “seeing something, in person.” It is not essential or compulsory. Does something you saw when you are younger count?

A structure is incredibly valuable to assist students in gathering and seeing information against each other. Sue supplied a table which covers much of the detail including the cultural context, subjective responses, critical opinions, and some more factual content like dates, media, nationalities,etc…

Acknowledge the context of where the students are studying would be useful.

We discussed the links to other assessment which students are completing has to be considered in placing your internal due dates for assessment of components.  Most are looking to have the majority of the CS due by the end of the first year, and others are having it due after the commencement of the second year. Myself, I am asking for the majority to be done on the first 2 artists in-depth, and to work throughout the first semester of year 2 to map in the third artist and the relevance of the their work to the CS for submission at the end of the third semester of the course.

The Process Portfolio (PP) should be considered as one of the last components to come in with their exhibition component.

Some resources which would be useful to start with.

ThinkIB website – Art in Context

http://www.paintinganalysis.com

Martin share an interesting App – Grayson Perry

What about the Extended Essay (EE)

With a key component of research coming from the EE, this could inform the depth of the Comparative Study.

Ideas for introducing media and learning experiences.

Sue

ceramics forms – hollow and decorated using Buff Raku clay.

Produce a coil pot which incorporates a symbolic animal. The form has to change direction and it should be decorated in the style of the culture it relates to. The supporting documentation is a written response which outlines the connections to the culture studied and influenced by.

HK – construction and sculpture.

Looking at chairs which don’t have to be functional. The decoration  of the chair. It can be bought or found object. Using the chair as a framework to start with. Linking the chair conceptually as well as functionally creates some outstanding results. Encourages a conceptual approach to a functional object.

Nick

The use of photography techniques to encourage students to get off auto and layer multiple images into the single. Encourages the transpiration of time within the fixed frame of the photograph. The introduction of HDR and painting with light. Check out Nick’s website. Also, check out the Photomatix‘s website for an eduction licence for free.

Also the look at cross genre artworks like the link of still life and portraiture, landscape and portraiture, or combinations of these to break the boundaries.

Check out Pinterest and follow Lawrence McGrath.

CAS

Cross curricular links – Vik Muniz – The place can influence the artist and the materials. Manipulation of materials and the ready-made. Bricolage and materials. In the fine arts, bricolage (French for “tinkering”) is the construction or creation of a work from a diverse range of things that happen to be available, or a work created by such a process.

Helen – Elements courses 18 x 3 weeks (3 hrs per cycle)

Artistic expressing – produce a piece of work based on mapping, and about the Journey (location, routing, . The course is structured into three stages which are developmental. Can be individual or collaborative creation of materials.  Outcomes from components of maps, photographic journey’s, paper dresses, sculpture contouring, printed fabrics.

Ursala – line and colour.

Transition program from line into colour. Drawing the shadows of the form. Then working from the perspective that these shapes now have a variety of characters which could form outlines, transparent forms or overlapping qualities.

The special secret! Using a paper backing. with spray adhesive. The inkjet needs to be able to accept a patten gap as think as the fabric. The other way is to use a colour lazer print face down onto the receiving surface and highlight the area of the image to transfer with a ArtChart Blender pen followed by a clay tool to burnish the back.Myra Hendley, by Marcus Harvey

Steven – Drawing and painting

Fingerprint painting – Marcus Harvey Myra Hendley artwork out of finger prints. Using charcoal to transfer the heavy tonality of the work to the other media and to push media experimentation.

Spirit/ual art. A polystyrene ball covered in string. Moving from photographs into other forms which allow for the translation and abstraction from the original form. The encouragement to explore mediums and approaches is encouraged through this evolution.

Jon – “These are some things that worked for me!”

Using photographs of object as flash cards to begin as a starting point.

The use of a laser cutter to make stencils which can be used as a projection. Proverbs about money projected on the wall.

Another way to analyse artworks. Ask the question.

  • Real or Ideal
  • Identity and the community
  • Fate and Freewill

Get a local artist in for a workshop. This is highly valuable for their CS and also their understanding of the intentions and influences. Art projects which are built-in to the school. Repurposing something which is in their mainstream and change it culturally. The all white rickshaw. Find him on Facebook and like. 

The Last Session

Follow up questions. 

As part of the Comparative Study artists, the artwork which is produced by the student as part of this component, can the student create more work based on this artist?

Yes. So long as the first artwork is not submitted for the exhibition. Three artworks studied, from a minimum of 2 artists. Any work following this can be moved to the exhibition. The artwork is assessed in the criteria as making connection to own artwork (HL). An artwork must be selected as showing their own development and connection the study (3-5 screens). The process work can not be included in the PP. It can be seen as the artworks which are not completely resolved or essential to the exhibition yet are informed by the development.

Feedback to the examination will come after we have had the conference.

Thanks Sue for your time. Thank you also to all those who have offered and added opinions, experience and insights.

Nick

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