Read the description of the permanent collection of shoes in the Costume Institute at the Met:
Shoes in the Costume Institute
In your sketchbook notes, respond with notes and drawings.
1. Throughout history, how have shoes indicated something about the wearer?
2. Describe the form of shoes in the 17th and 18th centuries. How and why did the form change in the 19th century?
3. What innovations in materials appeared in the 20th century?
Browse “Shoes and Art” and observe the many interpretations of footwear, from drawings to sculpture:
Shoes in Art
Sketch a thumbnail of at least one work that interests you. Start gathering ideas for your Creative Extension as you look at shoe imagery.
For your interest, look at van Gogh’s paintings of shoes and read his letter to brother Theo:
Vincent van Gogh’s Shoe Paintings
Sketch ideas and take notes on key points of clay slab building:
Clay Slab Photo Tutorial
In your sketchbook, complete a preliminary contour drawing that describes the details of your shoe model.
Take notes in your sketchbook for each link and address each of the prompts.
From the menu at the top of the Michael Mazur site, look at “Artworks”, then summarize the style of his art in each decade, and finally look at the video (scroll down in “News” heading to the video of Michael Hirsch’s string quartet “Images from a Closed Ward”)
Look at the following link and reflect upon the work in light of what we have talked about in terms of art of social commentary, and consider how he goes beyond “social documentation” to make the work both “bearable and discomforting.”
Mazur’s zoo work: can I be a witness?
In the following article, take notes on the author’s main points about Mazur. Why does he work in multiple styles? What do abstraction and figuration have in common? How did he incorporate various art historical influences into his work? What is the relationship between content and form for Mazur?
Take notes on the difference between monoprint and monotype and the steps and approaches you might use. (Be sure you understand and try both the subtractive and additive processes.)
Here is another monoprint/monotype artist who uses maps and other elements as chine colle. Be sure you look at each of the series of her artworks, especially the mixed media monotypes.
James Rosenquist President Elect (1960–61/1964)
Next week in class, we will begin a prismacolor drawing based upon a source collage that you create. We will look at the ways artist James Rosenquist uses disparate images from popular culture to create paintings with new meanings.
Watch the following video on Pop Art:
View this interview of James Rosenquist:
Respond to the following on one page for your SKETCHBOOK NOTES:
1.What is the relevance of Pop Art to contemporary life?
2.Describe whether or not you think Pop Art is “old fashioned” or irrelevant since it is 50+ years old.
3.What is your response to Rosenquist as an artist?
For your SKETCHBOOK DRAWING, spend 60 minutes on a Pop Art style drawing. Generate ideas from the various artists featured in the Pop Art video (above). Keep track of your time on the back.
Starting next week in class, you will create a small clay animal sculpture. For design inspiration, we will explore the Japanese art of netsuke.
Click this link to view slides and read an overview of netsuke:
In your sketchbook notes, respond:
1. What was the original purpose of netsuke?
2. Describe design qualities, common materials, and popular subjects.
3. What is the katabori format of netsuke? Describe or draw an example.
Next, browse and select at least 3 interesting examples of animal-themed miniature sculpture from a museum site:
http://www.fitzmuseum.cam.ac.uk/gallery/netsuke (click on “animals”)
Spend an hour drawing these 3 netsuke images with attention to form, value (shading), and texture. Color is optional.
1. From the following 2 links, read about the history and ideas of still life and vanitas.
Make notes of the characteristics of each period. Also take notes about things you find most interesting about still life and vanitas.
overview of still life
Vanitas Still Life Painting
2. Watch fully the following 2 videos, and make notes on the 3 most important ideas that will help you in developing your colored pencil technique.
colored pencil – tutorial – 3 techniques
3. Look at all of the colored pencil works at this page, linked below, and on the website of Jo Bradney. Read her explanation below the works as well.
Note work you especially like and think about the reasons why.
colored pencil Vanitas
Jo Bradney colored pencil still life
4. In class, you will choose 3 objects to draw in great detail with colored pencil, rendering the form and color as fully as possible. Choose 3 objects and a composition that expresses an idea. In this post, you have seen historic and contemporary works as models for the ways in which still lifes can express ideas. Be inventive and intentional in your choice of objects and the manner of presentation. Do not choose random objects and project insincere “narratives” onto them. Comment and share some of the ideas you have right now. Bring in all materials for our next class.
Diego Rivera The Alarm Clock, 1914
Go to the following website:
Google Art Project
Choose any museum or collection to visit.
Take your time and look at many artworks, as if you are actually touring the sites in person.
For your SKETCHBOOK BLOG RESPONSE NOTES, comment on any 3 different works in the collection that make an impression on you. Explain why each made an impact: consider both the visual aspects and the ideas or meaning communicated by the art.
To complement our in-class studio work, do a search for “STILL LIFE.” For your ONE-HOUR SKETCHBOOK DRAWING, create an image in response to still life found on Google Art Project. Choose any style that appeals to you. (To get you started, here are some artists who approach still life in vastly different, interesting ways: Rachel Ruysch, Paul Cezanne, Juan Gris, Diego Rivera, and Hyun Mi Yoo.)
In preparation for solar plate printing, look at video shown in class, as well as following sites. Make notes in your sketchbook about the processes and your ideas for techniques and imagery you may use. You will do some of the following variations: chine colle, color roll-up, monoprint and intaglio, hand coloring, ala poupe, intaglio relief reversal. You will also make one to trade with a classmate.
variations in intaglio prints / search
advice from printmaker
bonnie baker studio