UVC100_FALL16_CLASS4.1
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This document provides guidance on experiencing art to the fullest. It discusses experiencing the effects of a work of art first with your senses before considering who made it or when. Understanding how a piece makes you feel and is structured can help account for its effects. Formal analysis of how a piece achieves specific emotional responses allows personal reactions to be considered more objectively when sharing with others. Experiencing art fully involves understanding both the initial sensations and deeper reasons for the impacts on the viewer.
UVC100_FALL16_CLASS4.1
- 1. Class 2 VISUAL ATTENTION Class 4.1 Observing and Describing
- 2. agenda 9.13.16 questions about quiz? survey (5 questions)
- 5. Brandywine River Museum Chadds Ford, PA
- 6. Located Along the Brandywine River
- 8. Andrew Wyeth Maga’s Daughter Tempera on panel 27 ½ x 31 inches 1966
- 10. Finding out more is a great thing to do. But NO Amount of Information will answer all your questions.
- 12. Caspar David FRIEDRICH, Seashore in Fog, c. 1807
- 14. There are as many flavors of art as there are people who make it. New flavors are being created all the time. You get to pick your favorites.
- 15. The point is to give it a try and see which kinds you think are especially great. Then experience to the fullest and enjoy. Hint:You might like them all.
- 16. Morris Louis, Tet, 1958, synthetic polymer paint on canvas, 95 x 153 in, WMAA
- 17. Olafur Eliasson, Your strange certainty still kept, 1996 Water, strobelight, plexiglass, recirculating pump, foil and wood Base 20 x 204 3/4 x 10 inches Top 173 1/4 inches long
- 18. Bruce Nauman, Self-Portrait as Fountain, 1970, c-print, 20 x 24 inches
- 19. Nam June Paik, Magnet TV, 1965, 17-inch black-and-white television set with magnet, 28 3/8 × 19 1/4 × 24 1/2 in.
- 20. Duane Hanson, Woman with Dog, 1977. Cast polyvinyl polychromed in synthetic polymer, with cloth and hair 46 × 48 × 51 ½ in
- 21. Charles Ray Puzzle Bottle 1995 painted wood, glass, cork, 13 3/8 x 3 3/4 dia
- 22. Joseph Kosuth, FiveWords in Green Neon, 1965, neon tubing, 62 x 80 x 6 in
- 23. Brice Marden, SummerTable, 1972–73. Oil and wax on canvas in three parts, 60 × 105 5/16 in.
- 24. Doug Aitken, Untitled (Shopping Cart), 2000. Chromogenic print mounted on plexiglass, 48 5/8 × 56 5/8 in
- 25. Jean-Michel Basquiat, “LNAPRK”, 1982. Synthetic polymer and oil stick on canvas, 73 1/2 × 72 1/4 in
- 26. Catherine Opie, Self-Portrait, 1993 chromogenic print, 39 5/8 × 29 15/16 in
- 27. You’re allowed to— supposed to!—respond personally to artwork. The artist wants you to have an experience—an emotional, physical, spiritual, intellectual, moral (some combination of these or all of them) experience of the work.
- 28. If you like a work of art, you’ll often want to find out more about it. That’s great, find out more, it will enrich your experience of the work, no doubt about it. But there is no “final correct answer” to the meaning of a given work.There are more and less satisfying interpretations, more and less sensitive readings, but no single reading is ultimately correct.
- 29. Like your parents probably told you, “How do you know you don’t like it if you won’t even try it? This class gives you a chance to try out different kinds of art. There’s no obligation to like the things that I, or your classmates, like. Pick your own likes and dislikes. However, you can learn from—even come to appreciate—works you don’t particularly care for.
- 30. SO, HOW DO WE EXPERIENCE ART TO THE FULLEST?
- 31. So, How do we experience art to the fullest? One way we try to experience art more fully is by understanding how it creates the effects it has on us.
- 32. So, How do we experience art to the fullest? One way we try to experience art more fully is by understanding how it creates the effects it has on us. Experience, with your eyes, mind, feelings, memories, body.What does this piece do to me? Examples: Does it make me happy? Uncomfortable? Sad? Upset? Does it turn my stomach? Does it make me shiver?Worry? Sweat?
- 33. EXPERIENCING THE EFFECTS 1. Experience comes first. What do you SEE and how does it make you FEEL in your bones. At this point, it doesn’t matter who made it, when, or why.The point is to try to figure out, as completely as possible, the effect the work is having on you. So let’s sum this up as “experiencing the effects” of the work.This process can take a while. It is not necessarily simple. In fact, one definition of art could be work that takes the viewer some time and trouble to experience.
- 34. Accounting for the Effects 2. Now that you have a handle on what you’ve experienced, you want to know how the piece made you feel that way. Cf. driving a car to looking under the hood. This is where formal analysis can be helpful. How did this piece make me feel (x, y, and z) way? How is it structured to achieve those specific effects? This is where purely personal, idiosyncratic responses can be weeded out if you are writing to share with an audience.
- 35. Effects 1 Bruce Nauman Hanging Heads #2, 1989, wax and wire two heads, the first is 10 3/4 x 9 1/2 x 7 ¾, the second is slightly smaller, both suspended approx 6' above the floor
Editor's Notes
- #5: Find some things you like, and enjoy them.
- #15: Seriously. There’s art made out of chocolate, art made out of steel, art made out of cardboard boxes, ribbons, toy airplanes; if you can imagine it, an artist has probably used it in their work.
- #28: Find some things you like, and enjoy them.
- #30: Seriously. There’s art made out of chocolate, art made out of steel, art made out of cardboard boxes, ribbons, toy airplanes; if you can imagine it, an artist has probably used it in their work.