The How and What of Art: Form and Content
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The document discusses how the way an artwork is created (its form) is as important as its content or intended message. An artwork's form includes elements of art, principles of design, and the physical materials used. An artwork's content includes both the artist's intended message and the actual message conveyed, as well as how individual viewers react to and interpret the work. The document also quotes Chuck Close and Sol LeWitt discussing how imposing self-limitations and making planning decisions beforehand can enhance an artwork's emotional impact and open new creative doors.
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The How and What of Art: Form and Content
- 2. “The way you chose to do something is as important as what you choose to do…” - Chuck Close
- 3. “The way you chose to do something is as important as what you choose to do…” - Chuck Close FORM = CONTENT
- 4. THE HOW: FORM Elements of Art Principles of Design Physical materials used in a work’s creation.
- 5. THE HOW: FORM Elements of Art Principles of Design Physical materials used in a work’s creation. THE WHAT: CONTENT What an artist intends to portray What an artist actually portrays How viewers react, as individuals, to both the intended and actual messages.
- 12. ““If you do your job right, if you do it one bit at a time, you end up with something that has emotional impact without having to resort to emotional gestures.” - Chuck Close
- 14. “I wanted a stupid, inarticulate, uninteresting mark, that in and of itself could not be more interesting than the last work or more beautiful than the next… It was about the imposition of rigorous, self-imposed limitations that seemed to open doors.”
- 17. “In conceptual art the idea or concept is the most important aspect of the work. When an artist uses a conceptual form of art, it means that all of the planning and decisions are made beforehand and the execution is a perfunctory affair. The idea becomes a machine that makes the art.” - Sol LeWitt
Notas del editor
- Detail of “Self Portrait, 2000” by Chuck Close.ASK students if anyone knows the artist who created the work.If any students are familiar with Close, ask them to abstain from answering early questions… State that they will be very helpful in discussing more theory related questions further down the line as they have had more time to think about his work.
- What does this translate to in art terms?
- What do we mean by “Form” and “Content”?
- 1) Elements of Art:Tetxure,Form (here, dimensionality),Line,Color,Value,Shape2) Principles of Design: Unity, Harmony, Contrast, Repetition (rhythm, pattern), Variety (alternation) Emphasis (dominance or focal point), Balance, Proportion (scale), Functionality, Proximity,Lighting coloration, Design methods.
- 1) Elements of Art:Tetxure,Form (here, dimensionality),Line,Color,Value,Shape2) Principles of Design: Unity, Harmony, Contrast, Repetition (rhythm, pattern), Variety (alternation) Emphasis (dominance or focal point), Balance, Proportion (scale), Functionality, Proximity,Lighting coloration, Design methods.
- Before we continue discussing theory, let’s take a look at one of Close’s most famous works,“Big Self-Portrait,” (108 x 84”)FORM:At first glance, what materials do you think Close used? (i.e. What medium is it?)What style is it in?How would he go about making such a painting?CONTENT:What kind of effect does the image have on the viewer? (Remember scale…)What emotion/attitude do you read from the subject’s expression?How do you draw such a conclusion? Think of the physical aspects of the subject– body language, self-presentation, position in relation to the viewer…
- Maquette: Creating a work by separating into grid, drawing each bit in separation rather than drawing outlines, building image as a whole… Mechanical Process…LINK TO PHOTOREALISTS.
- Richard Estes
- Tom Blackwell
- John Salt
- AT THIS POINT, have students pull out their own photographs (printed and pre-gridded from previous class) and receive a gridded piece of paper. Students will spend approx 30 minutes working in Close’s method, drawing the image piece by piece.After 30 mins, ask a few questions: how is working in this way different from drawing in a more conventional manner? What is your relationship to the image… do you feel more connected to the subject through closely paying attention to minute details, or do you feel distanced due to the systematic nature of the process? Many artists would create a far more ‘realistic portrait’ through drawing in this manner; we all have biases that go into our drawings (for example, most artists have tendencies, for instance, to unconsciously incorporate elements of their own likeness into any face they draw…). Does it matter that the approach is less expressive if the overall image has an emotional impact?
- Chuck says… (read quote)Mechanical process is OK if the end result resonates...Reacting to?
- REACTION TO ABSTRACT EXPRESSIONISTS: Gesture was the focus. Figure highly abstracted or not present at all. Who is this artist? What is his process? How does this effect the CONTENT of his work?Jackson Pollock AND Chuck Close are linked in their emphasis on process, though the way they work is highly different…(opposites, really)
- “Art loves limits”… every time you go to make a work, you have to start with assumptions about what the work will and will not include (in terms of form and content).LINK TO MINIMALISTS
- (SolLeWitt cube modules…)Idea of repetitive, simple elements, strong self-imposed rules linked to a concurrent art movement, MINIMALISM. LeWitt uses the simple form of a cube to build a variety of structures & exhibits them together… they act as permutations, a display of possibilities.Close, however, uses these ideas for the more traditional route of figurative drawing/painting/printmaking
- Pressed pulp “Robert I” 1982Close, however, uses these ideas for the more traditional route of figurative drawing/painting/printmaking(What does this look like to us today???... Pixels)
- With this definition in mind, can Chuck Close’s work be viewed as Conceptual Art as well? Why or why not?