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Recommended: Art history chapter 5
The simplistic art of contemporary drawing has always been concerned with making marks. Different artist exploit lines to make marks, which come together to express or create a feeling the particular artist is communicating. Drawing or making marks has been around longer than any other art form as cavemen where the first to discover the art. Since this time artist have been able to manipulate line and colour using not only pencil or graphite, but using charcoal, ink, water colour pencils and micro pens, creating a mixed media artwork classified as contemporary drawing art. The artists Keith Barley, Caitlin Hackett and Kiel Johnson all have very unique styles of drawing and the language of these artists have been expressed through the heaviness, tightness and looseness of their emotive contemporary drawing. Even though there are many different media’s for artworks today, most artworks start from a simple pencil drawing that has been later developed and expressed through different media which has categorized drawing as the foundation of artwork of the 21st Century artist.
Keith Barley’s contemporary drawing artwork may indeed be concerned with making marks as he uses very dark, robust and definite lines. Barley uses layers in his drawing which he says expresses “the way in which the other perceives and through that, maybe, personal meaning is attached.....or not.” Artworks from his contemporary drawing series have been inspired from “personal as well as spontaneous circumstances of the unexpected and the unseen” which really unrestricts his drawing to always push barriers into the unknown image. Barley uses charcoal and graphite, erasers, sandpaper, scalpel, dremmel, water, white spirit and fixative all to distress his works to g...
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...rcoal and graphite layered, line drawings, to Hackett’s fine lined micro and ballpoint pens, colour and water coloured pencil mutated animal drawings, to Johnson’s simplistic yet effective graphite and ink cartoonistic drawings. Drawing is concerned with making marks but within contemporary art, it is the type of drawing media, heaviness and lightness, looseness and tightness of these marks that defines what the drawing makes us feel when these marks come together.
Works Cited
http://caitlinhackett.carbonmade.com/projects/3016488#6
http://www.keithbarley.co.uk/page3.htm
http://www.kieljohnson.com/kieljohnson.com/awesomist.html
http://caitlinhackett.carbonmade.com/about
http://www.artinfo.com/news/story/33095/kiel-johnson-in-los-angeles/
http://www.fecalface.com/SF/index.php/features-mainmenu-102/studio-visits-mainmenu-121/2200-kiel-johnson-studio-visit
...hese repeated vertical lines contrast firmly with a horizontal line that divides the canvas almost exactly in half. The background, upper portion of the canvas, seems unchanging and flat, whereas the foreground and middle ground of the painting have a lot of depth to them.
Besides bright or dim colors, and fine or rough brush strokes, artists use centralized composition to convey their interpretations in "The Acrobat's Family with a Monkey," "Amercian Gothic," "The Water-Seller," and "The Third of May,1808.”
Herring said: “I immediately realized that this was the perfect place to draw,” he recalled. “I went above ground to a card shop and bought a box of white chalk, went back down and did a drawing…”1 Furthermore, chalk itself proved an ideal medium for the “continuous line” that was the artist’s objective. Keith used Words like “flow” and “fluidity” reference to his own work. Those who watched him draw were regularly astonished by the speed and accuracy of his line, whether he was drawing on dollar bills, ersatz Greek vases, the body of Grace Jones, or a youthful fan’s skateboard. And like Matisse, he never erased or
Coppini’s work shows lots of movement and expressive mark making. The line quality and techniques displayed in her drawings are exquisite. Black charcoal is her medium of choice, and she uses this material in a mix of subtractive and additive methods. Her work shows action and energy, while
Spending time looking at art is a way of trying to get into an artists’ mind and understand what he is trying to tell you through his work. The feeling is rewarding in two distinctive ways; one notices the differences in the style of painting and the common features that dominate the art world. When comparing the two paintings, The Kneeling Woman by Fernand Leger and Two Women on a Wharf by Willem de Kooning, one can see the similarities and differences in the subjects of the paintings, the use of colors, and the layout
Artists are masters of manipulation. They create unimaginably realistic works of art by using tools, be it a paintbrush or a chisel as vehicles for their imagination to convey certain emotions or thoughts. Olympia, by Manet and Bierstadt’s Sierra Nevada Mountains both are mid nineteenth century paintings that provide the viewer with different levels of domain over the subject.
Drawing – According to the Oxford Dictionary drawing is, “A picture or diagram made with a pencil, pen, or crayon rather than paint.” In this study a drawing is a series of marks that compose a composition done with pencil and charcoal. The drawings are made by hand and recorded in either a sketch book or on lose paper.
Though most works of art have some underlying, deeper meaning attached to them, our first impression of their significance comes through our initial visual interpretation. When we first view a painting or a statue or other piece of art, we notice first the visual details – its size, its medium, its color, and its condition, for example – before we begin to ponder its greater significance. Indeed, these visual clues are just as important as any other interpretation or meaning of a work, for they allow us to understand just what that deeper meaning is. The expression on a statue’s face tells us the emotion and message that the artist is trying to convey. Its color, too, can provide clues: darker or lighter colors can play a role in how we judge a piece of art. The type of lines used in a piece can send different messages. A sculpture, for example, may have been carved with hard, rough lines or it may have been carved with smoother, more flowing lines that portray a kind of gentleness.
When I imagine an artist, I picture a Parisian dabbing at a sprawling masterpiece between drags on a cigarette seated in an extravagantly long holder. He stands amid a motley sea of color, great splashes of vermillion and ultramarine and yellow ochre hiding the tarp on the studio floor. Somehow, not one lonely drop of paint adorns his Italian leather shoes with their pointed toes like baguettes.
The year 1913, Henri Matisse returned to printmaking. Developing numerous prints of drypoints, woodcuts, lithographs, monotypes, and etchings. Matisse focused on the world around him, which included friends and family, everyday life in the studio, but it was the tools and techniques the artist used that had a significant impact on his work. Matisse began working on prints for Bathers in 1913, working with models in various seated and standing positions. The artist was working to simplify the human form by only capturing the essential elements and describing the figures with minimal lines. The drypoint technique creates a rigid line, and more angular because the artist uses a sharp metal tool to scratch directly into the surface of the copper
This notion of Abstract Expressionism has become an interesting factor between the Contemporary arts making of Abstract arts, specifically paintings. When approaching Artworks from Contemporary Abstract painters, the subject matter dives deeper in meaning than the actual artwork before the viewer. From an outward appearance, some paintings from artist, such as, James Little, juxtaposed to works by Odili Donald Odita, have a lot of formal similarities within the uses of geometrical shapes and balancing colors. However, understanding the means to why each artist paints the way they do, will actually become rather different from first approaching and accessing the paintings.
While the medium of calligraphy has commonly been ink on paper, contemporary artists continuously stretch and challenge the boundaries this traditional art. Two artists in particular represent such efforts to provide new shape and life to calligraphy: Hassan Massoudy and Mattar bin Lahej. Transforming calligraphy from a static art, Iraqi artist Hassan Massoudy introduces theatrically-inspired form and movement to his letters, while Emirati artist Mattar bin Lahej transitions calligraphy to the third dimension by his sculptures. Despite the visual differences between these two artists’ works, both reflect to re-explore the expressive capacities of the word.
From the creation of art to its modern understanding, artists have strived to perform and perfect a photo realistic painting with the use of complex lines, blend of colors, and captivating subjects. This is not the case anymore due to the invention of the camera in 1827, since it will always be the ultimate form of realism. Due to this, artists had the opportunities to branch away from the classical formation of realism, and venture into new forms such as what is known today as modern art. In the examination of two well known artists, Pablo Picasso and Jackson Pollock, we can see that the artist doesn’t only intend for the painting to be just a painting, but more of a form of telling a scene through challenging thoughts, and expressing of the artists emotion in their creation.
Within art, in order to develop new art movements, techniques, materials and forms, artists must be innovative in representing their ideas and visions to their audience. This is seen in Roy Lichtenstein’s contributions to the development of Pop Art. Lichtenstein's innovative artmaking technique, often involved the use of stencils, which he used to bring the aesthetic of commercial printing processes into his painting and prints. This artmaking technique can be seen in Lichtenstein’s works, ‘Crying Girl’ (1963) and ‘In the Car’ (1963). Lichtenstein used basic, primary colors, bold outlines and Benday dots to make his hand-made art look as if it was made commercially through a machine. Conceptually, Lichtenstein was innovative in his representation
Diarmuid Costello, Jonathan Vickery. Art: key contemporary thinkers. (UTSC library). Imprint Oxford: Berg, 2007. Print.