THE CRITICAL PROCESS
Again with Feldman!
Description -- the visual record, formal elements
(divided into 2 sides,
Analysis -- look at the relations between the various
parts. A "speed line"
Interpretation -- why the preponderance of ovals,
egg-shaped forms, etc?
sun and moon image.
Evaluation -- how well the work works.
Quality of line VS the abrupt change in color/shape, and
harsh lines (all pretty much strong,
equally thick - and v. thick -- lines
mixtures of lies,
inter-locking triangles -- provide unity. In just the same
way that they DYPTIC sense of the first one doesn't -- then
within the two sides of the dyptic, the ovals seek to
contain the image in toto.
triangle -- equi-posise, holds the gestures from having any
THe mood of repose
The analysis of shape, the sub-siderary shapes rounded
organic shapes that counter the sharpness of the triangles.
Thus, on the one hand Picasso "must" use the triangles
shapes to "tie" the parts togetehr (to lead the eye
around), but on the other hand, he uses the much
softer (literally in terms of non-pointed shapes) to
soften then ends of the triangles. Thus the round
(organic) shapes soften/mask/change the ends of the
strictly geometric/straight-edged/non-organic forms
of the triangles.
Feldmen: We instinctively respond to the shapes presented
in the work. Abstract language -- sends signals to our
eyes to support.
Judgement -- 3
formalism -- hanging together of the parts of the work,
the sense of hanging together. This creates a harmony
-- the beutiful. Colors and shapes that please the
eye, rather than symbols/things that express some sort
of idea. Hmm, this would indicate the need to delay
the title at the first encounter. Some sort of press
here to see the title thingie? (too obvious; Michael
C's thing worked much, much better).
expresive-ism -- the intensity and clarity with which
the artist (drama, music, dance, etc) expresses the
ideas and symbols that are their intention. Isn't
necessarily interested in what is beautiful, but
rather in what is "right". What is correct in expressing
the ideas/intentions of the thing presented.
instrumentalism -- the endeavor to influence behavior/
oppinion, to make a statement, to change the viewer.
characiterucre elements, exageration, (political cartoons),
elements which arounse our emotions (to ridicule, or
throw into stark releif a person/issue/event by use
of high contrast). Doesn't attempt to be beautiful.
Ad's, propaganda, moral convictions, changing of
works may have a specific FOCUS (eg, expressivist and not
so much as a formallist, and does not advance in any
way an institution or movement - and hence is not very
instrumental at all).
Robert Hugh (aussie)
art is like a hall of mirrors -- and yet it reflects back
and forth between us & them, and over and over. THus, looking
changes how we look. (not an exact quote)
Look at it as much as you can.
Try to avoid provincialism in time. (Temporal-centrism)
Need to know the historical context (it's not just an
oddly decorated pine tree -- it's an xmas tree).
Art is not something august items.
THe expressivist -- what is right, what is true.
Doris Chase -- Sculptor/film maker
Jack Loin - print maker
Oriental view: Look at someting for a long time,
but then when you draw it, you are not looking at
it -- took 10 months to work on.
Silk screens -- hard inks, enamels & glazes -- which
woulod give you chalky look. Lots of varnishes and
stuff that didn't work.
Ray Ciarroci - painter.
James Surls -- wood sculptor
The Changing Eye