Comparative Study Companion Student Reading.pdf, Summaries of Construction

Download Comparative Study Companion Student Reading.pdf and more Summaries Construction in PDF only on Docsity! # It1 What is the comparative studg? Thc cot.t-tparativc stlldy is a critical and contextual investigation of othe r artists'works. It is worth 20o/o ol lhe ntarks you recc.ive for your visual arts colrrse. You will choosc' art and/or artifacts by different artists and from different cultlrres to analyse and compare. If you are takir-rg the sul-rject at highcr level (HL) you will also show how rhese artists have influenccd yollr art. Standard level (SL) students do not do this last part. Thror-rgh the cornparative stlldy you investigate the rleanings and practices of art lrom different times and cultures. This will devekrp your analylical skills so that yolr can tretter understand thc connectittr-rs between making art and c.xperiencing art. It will also devekrp yortr communicatiou skills so that you can articulate yorlr art ideas and intentiol-ts t-norc clcarly. Yor-r will move from descriptior-r to interpretatirur. The comparative study is npktadeci lor assesstlent as a PDF document. SL students sttbntit l0-15 screens that examine and corlrpare a n-rit-rimr-urr of thrc'c' artworks, olrjects or artifacts, a1 least two of which need to be by different artists. Thc works selectcd for comparison and analysis shor-rld coure fnrm cliffercr-rt cultural contexts. In adclitior-r to this requircnrent, HL stuclents suLln-rit 3-5 scrrcns that aualyse the extent to wl-ricl-r their work and practices have Lleen influenced by the artworks exarnined. There is no word limit - this is ltot alt essay, althor-rgh it r-night conlair-r sectiolrs of morc' exteltclecl writing. You may well prefer annotation altd visual prcsentatiol-ls to colll-r-lLllticate your ideas. So what do I need to do? l. Choose art fron'l different cultural contexts that cxcites you aud that is relevant to yollr creative practice. 2. Discrtss with yottr tcacher your cl-toices and the tin-retablc' for cor-npletiotr. l. Make a fonlal ar-ralysis of these works. 4. Conciuct rcsearch. . Try to arrange to see at least one of these works in its original state. o Pose meaningful research qnestictr-rs. . Use a ralrge of sources to answer thc'se questions. 5. Analyse the contcnt and context of tl-re works, that is, their function and meanir-rg. 6. Corlparc and contrast thc works. 7, Present your ideas in a visually apprutpriate and engaging format. 8. Add a separate scrcen with your sollrces. 9. Upkrad yollr presentatiorr for assessnrent. Screens: the term "screens" is used as a constant reminder that the final product for assessment is a digitallg uploaded file that will be viewed on a computer monitor as a series ofscreens. "Screens" is used instead of "pages", which would implg that the original format was in book form, or "slides", which suggests an electronic presentation using software such as Microsoft's@ PowerPoint@ or Apple's@ Kegnote@. While all of these are valid tools for generating potential screens forthe process portfolio or comparative studg submission, theu are not, in ang wag, prescribed. lf gou are also writing an extended essag in visual arts, make sure gou choose a different topic. You must not use the same material as in the comparative studg. Section 3 In this section yoll can follow I(ierlan as she prepares her comparative study. This is her intnlduction screen with a title that gives us a sense of what she will be exploring, as well as a connection to her own art at the end. The three illustrations help us to make visual links. Shc explains that she has seen the Chapman Brothers' sculptures and rnade her own copy of the Dali. She also introdnces some of her ideas about the works. h; I J Distortion of the human form On the right is my copy of Salvador Dali's'Soft Construction with Boiled Beans; Premonition of Civil War' 1936, which was the start- ing point for this study. Because I am fascinated by Surrealism I wanted to copy the painting really carefully. I then saw Jake and Dinos Chapman's sculptures at The Saatchi Gallery in London and realised that although they are made for different reasons they also distort the figure in a grotesque way to shock us. In this study I will compare the formal qualities of these western art works and the Makondi caruings from Tanzania. They all have different meanings, the Makondi style abstracts figures to represent Shetani spirits while the Chapman Brothers and Dali use modern art to reveal our unconscious fears. All of the artists lvere influenced by their circumstances,: Dali's parntrng shows the disruption of the war in his home country: the Chapman Brothers were part of the YBA movement and Makondi art was a reaction to Poftuguese colonialists. At the end of my study I shorv how I have used distor- tron in my ceramic sculptures. h c IJ '+; & ir. i,'1 t h t t o? F z : d I O oE7Z o> <) 145 ZF FO ?q zeOilOTz; ;_,{ t*w _#- E oo; E o E o ooo E f c o! o 3 E o .9c a o o C o! o oEc o o .9 z Nz F Making choices During the coursc' your interc'sts and understanding o[ art will develop and change. Yor-r will investigate a bnrad range of artworks first ar-rd ther-r narrow down your intercsts as you scc how looking at art calr help to support ancl influcr-rcc crcative studio work. Build yor:r knowledge by visiting lnuscunrs and galleric's, browsing the art shelves in a library, Iookir-tg at art bkrgs. pin boards and artist websites. Discuss yuur intcrcsts wi-th yor,rr tcacher as they havc' the experience to sllggest how to devclop meaningful conncctions lrom what you like. Then rcview your interests to select what to invc'stigate for thc cornparativc stlldy. As yor-r make your choice ren.lL'mber that: o YoLl shotrld lry 1o extr)L'rience at least one of the works first-hancl. . They shotrld coure fronr diffcrcnt cultural contexts. r I1 you are alr HL stuclcnt, the artworks should connect with your practical art work. Think local. Even if gou don't have a museum within reach, we are all surrounded bg cultural artifacts worthg ofstudg, such as textiles or architecture, and we live among the people who make them. There are mang artists who are pleased to show their work to students. This willtake more effort than downloading images bg famous artists, but will lead to a more personal and original comparative studg. Things that Uou have seen and experienced are also easier to write well about. Connecting theme: Monuments Visiting thc' Iwo Jirna monul-neltt started an interest in the natllre of meuorials. This student contrasted this witl'r tl-re anti-war sentir-nent of I(ienholz's assemblage and then tl-re political opt in-risr-r-r of Tatlir-r's towcr. Portable War Merr-rorial by Ed I(ienholz (19681 Iwo Jima r-nernorial (1954), Arlington, Virginia. USA Monumc'rrt to the Third Interuational by Vladirnir Tatlir-r (r9r9) HL cor-tnections to his str:dio work: I'ris exhibition included Pop Art-inspired assernblages and constructed forms partly sr-rggested by these modernist approaches. ?A ?:'. .I^{v Section 3 Connecting theme: Photographs of children This student cornpared three very diflerer-rt visior-rs of cl-rildhoocl. She started with two American photograpl-rers, one docttnentary and olre contemporary, then contrasted these witl-r rornantic it-uages of children in Victoriar"r pl-rotography. "Virgir-ria at Four" by Sally Mann (1989) "Migrant Mother" by Dorotl-rea Lange (1936), MET New York "Hosanna" by Julia Margaret Cameron (1865), albumen print, Victoria and Albert Museum, London, UI( Connecting theme: Textiles and cultural signs This student started with photograpl-ts frorl her parents' wedding of ceremonial head scarves. She explored tl-rcir tradition and rreaning. She then lcloked at two examplcs of Japanese kimono clesign, one al'r actual kimono and tlnr' l)()rtrayed in .r llrittt. Ichafu, south-east Nigcrian heacl scarves I(irnono, Japan. I 870-80, crepe silk (cl'ririr-r-ren), paste-resist decoration (yuzer-r) and ernbroidery, Victoria and Albert Museum, London, UI( "Bijin Playing a Biwa" by Gakutei, Ukiyo-e print, Victoria and Albert Museurn, Londor-r, UI( Connecting theme: The grotesque An exl'ribition of work by Paul McCarthy pron-rpted the student to explore the use of shock in art. Thc post-First World War satire of Grosz and the disturbir-tg inages of Bosch provided an interesting precc'dcnt. "stricide" by George Grosz (1916), Tate, London, UI( "Train, Mechar-rical" by Paul McCarthy (2003-09) "The Garden of Earthly Delights" by Hieronyuus Bosch, Prado, Madrid, Spain HL connections to studio work: he developed political and social satire through a series cll caricatttre drawings and tl-ren a short aniuration. Connecting theme: The American land An exhibition of Pollock's drip painlir-rg suggested to the stLrdent a comparative study about responses to the Aurerical't landscape, frorl the symbolic art of the Navahos through the t9th ccntury sublir-ne to late 20th century lar-rd art. Navaho sand art "Niagara" by Frederick E Cl-rr-rrch (1857) "Lavender Mist" by Jackson Pollock (t 950) "Tl-re Lightning Field" by Walter De Maria (1977lr t. What do we mean bg culture? The Visual arts guide defines culture as: "learned and shared beliefs, values, interests, attitudes, proclucts ancl all pctttems of behaviour created by society. This view of culture includes an organised systenl of symbols, ideas, explanatiotts, beliefs and materiar production that huntans create and manipulate in their daily lives." so all the artworks you will be kroking at in your comparative stucly are cxpressions of culture. Your task is to explain this culttrral context. Everyone who writes about ar1 does so lrorn the viewpoint of their cultural identity. Until relatively recently the history of art was seen as a progression, or unfolding story, told from the perspective Of westenl Etrropean civilization. The story of Art (Gombich, 1950) is a very goocl introduction to this way of seeing art. r/,-{ tJl --tt), 7ta b;l S-/- t\ \!' I € Evelgn has used her comparative studg to explore the cultural issues of colonialism and gender evident in the orientalism of the 19th centurg. /s she is an HLstudentshe has then made connections to her exhibition work. 6!)tientolism (ulturol links to nru eilvt I used a traditional kimono stand design to link with the orientalism of Whistler and Tissot. I then painted the lower part with the interior 'oriental' scene from Tissot's painting. The artificial roses represent my English culture, but also act as symbols for the prostitutes. I wanted to recreate the exotic aesthetic of the nineteenth century painters but to use modern symbolism to subvert their colonialist use of cu lture. Edward Said, a post colonialist literary critic, said that 'orientolism remoins inextricobly tied to the imperiolist societies thot produced it, which makes much of their work inherently politicol, servile to power ond therefore intellectuolly suspect, (Edward Said, 2013) 'Rose and Silver: The Princess from the Land of Porcelain' (1863-4) by James Abbott McNeil Whistler (see right) clearly shows nineteenth century western fascination with Asian culture. The title of the painting portrays the East as a fantastical, mythical 'Land of Porcelain', while the female model is transformed into a Japanese princess, thereby exemplifying Western painters belittling orientalism. .g 3 o I I I E I ,- I F t q .9 : t .. ^f,{l{ ,NS tm Although western artists l-rave always taken ideas from other cultures, Picasso's "Les Demoiselles d'Avignon" in 1907 n-rarked the birth of a new questioning of the relationship between art, cultures and power. Picasscr subverted the established western order, opening the way not just for the explosion of nodern art, bllt also for the different readings of art history that exist today. Through reading an artwork we gain insights into the ideas of the time in which it was made, but we also reveal ollr own values. It can be useful to consider these four thernes in relation to art criticism: r colonialisnr o gender o nationality o ethnicity. Culture can be used to exert power. The gathering together of conquered peoples' cultural artifacts in national lrlllselltrls is an exatnple of this. Gramsci described the idea of cultural hegemony, the use of culture to dominate over another groLlp. This is evident through racism, colonialism and sexism. It is an area that has been explored by nany contelnporary visual artists and is an important theme in modern art criticism. How to research So far we have been analysing formal qualities of artworks by looking carefully at them. However, in order to be able to consider function, purpose and cultural significance you will need sorne background knowledge. This section is about how to find out that inforrnation. Asking mea ningfu I research q uestions It is a mistake to consider research simply as gathering infornation. It is much better to think of it as finding answers to questions. What do you need to know? Discr-rss this with your teacher. Look at the function and meaning section in this chapter for suggestions of the questions y()tt need to ask, as well as the advice below. Then write a list in your visual arts journal before yoll start your research. Imagine that you are writing a comparative study that compares landscapes by Edvard Munch, Caspar David Friedrich and Vincent van Gogh. The task is not to find biographical information but to answer the following questious. . Why did Munch Llse non-ltaturalistic colottrs? . Why is Munch called an Expressionist artist? o How did Munch use the landscape to express feeling? o How was Munch ir-rfluenced by Van Gogh? Your ieacher will hclp yoLr to formulate meaningful questions for research. You may also find it useful to look at Bloom's thinking questions (1956). These will help yoll move beyond just repeating information when you research. Make gour task simpler bg choosing artworks that are from obviouslg different cultural contexts. This will make the contrasts easier to explain. lf the works are close in time gou will have to consider the nature of the differences verg carefullg. For example, Edward Degas and Jean Renoir were both French 19th centurg artists associated with lmpressionism. 0ne was from a rich bourgeois background, the other poor and working class. These different cultural contexts di{affect their art, but in a subtle wag, which is difticult to explain. This can be resolved bg choosing a third work that is obviouslg from a different culture, but linked thematicallg: perhaps a genre scene such as Japanese Ukigo-e prints? Whg should I spend time asking questions? Because spending a little time planning will save gou a lot of wasted time looking up information that is not relevant. Filling gour comparative studg with research is not the aim ofthis task; gou want to use selected knowledge to inform gour investigation. Section 3 How is I(ierlan going to answer her research questions on Dali? o What makes this painting a Surrealist work? . Why has Dali distorted the human form? o How does this painting reflect the Spanish Civil War? First she looks up Surrealism and the Spanish Civil war on Encyclopaedia Britannica. Then she reads more about Surrealism from the Tate Gallery website. She finds that "Soft Construction with Boiled Beans" is in the Philadelphia Museum. Not only do they have a good article on the painting, they also have a teacher's pack with all her answers. Now the more difficult research. How is she going to answer the questions on Makonde sculpture? o Who made these sculptures? o What were they used for? . Why do they include distorted flgures? There is nothing much in the Encyclopaedia Britannica and the article on the MET mdseum website is very brief. The article on Wikipedia is confusing, but the bibliography mentions an exhibition in paris in 1989 and at the Saatchi gallery in 1992. Searching for these gives her some information, but then she tries Google Books and flnds part of A Host of Devils: The History and Context of the Making of Makonde Spirit Figures by Zachary I(ingdon has been uploaded. This is very detailed and she learns all she needs to know about who the Makonde are and the history of their carvings. Are gour sources reliable? The easiest way to find information is from websites, but anyone can write a web page so how do you evaluate iI the information is accurate? Wl-ren you look at a website consider the following questions. l. Who is the audience? Look at the style of language. Is it written for children or for an adult reader? Is the grammar and spelling correct? Often art comlnent is written by keen bloggers with little knowledge. Ir is better to seek out mllsellrn or academic websites for your research. The domain name (URL) can help. If the URL ends .ac.uk then it is wrirten by a UI( university; if it ends .edu then by an Arnerican university. 2. Who is the author? This should be evident. Paste their name into a new tab to see what else they have written. It is always helpful to know whether they are objective in their colnlnents. If yor,r can't find out who wrote it then you might wonder why they did not want to add their name. Alternatively it rnight be a corporate author - this is often the case for mllsellut websites. 3. Is it obiective and accurate? Is the website promoting a particular set of beliefs? This might distort the accllracy of the information. Section 3 ,H2 . 'ld* e? Van Gogh's ear Did Var-r Gogh cut off l-ris ear? This episode has becotne an art legc'nd and is an example oI how you might lind varied answers to the same question on the internet. lt is often presented to exaggerate the wilder aspects of Van Gogh's character and to emphasize his instability. Althougl'r nost of the accoltnts correctly include tl-re few kuown facts, such as the dispute with Gaugr-rin who was staying and painting with him in Arles, writers tl-ren fill in what might have happened with colourful details olten suggestir-rg tl-rat he ret-noved his entire ear. "As the pair approached a bordello, their row intensified, and Gauguin cut off Vart Gogh3 left earlobe witlt his sword - either in anger 0r self-defence. He then threw the we(lpot1 in the Rh6ne. Van Goglt delivered the ear to the prostitute and staggered honte, where police discovered hirtt the following day, the new acclutlt claims. " (Samuel, 2009) "Vincent van Gogh didn't actually cut off ltis entire left ear, just a little piece. Tltis happened when tentperatures flared with Paul Gauguin, the artist witlt wltom he had been working for a while in Arles. Van Gogh's illness reveqled itself: he began to hallucinate and suffered attacks in wltich he lost consciousness. Dttring one of these attacks, he used the knife. He could later recall nlthitlg about the event." (The Van Gogh Muser-rm, 2015) None of the stories are false; thcy are just presented differently. Tl-re Van Gogh Museurn is an academic it'tstitt-ttion and so is the most likely to have accurate inforrnatiou about Van Gogh. How to reference Uour research The Visual arts .cluide states: "Every image used witltin the contparative study must be appropriately referenced to acknowledge the title, artist, date (when this infonnation is known) and the slLtrce". The same applic's when you inclltde yoLrr owtl artwork. A citation is a way of telling the rcader that your infrlrrnation has coure from elsewhere. A rcference is tl-rc' dctail of who wrotc this original information, whc'r-r thcy wrote it ar-rd where it cat-ne fronr. The soLlrces screen is a list of all the rcfcrences frot't-t your conrparativc str-tdy. As you research yor-r will need to kecp a list of references so that yor-r will be able to cite them in the study and then compile yollr sollrces screell. Look at the case study to sce how to do this. Assessment criteria for the comparative studg Part l: Comparative study Marks Total A Analysis of fornral qualities 6 30 B Interprctation of function and purpose 6 c Evalnation of cultural significance 6 D Making con-rparisot'ts and cor-tnections 6 E Presentation and subject-specific language 6 F (HL only) Makir-rg connections to own art-makiug practice t2 42 lLr zit les. , ;{Ef," :he Dipl<rr-r-ra Programme Visual arts guide, page 39 Section 3 Properlg citing gour sources shows that gou have researched thoroughlU and that gou know how to distinguish between other people's ideas and Uour own original comment. lf gou don't do this, then gou are committing plagiarism IcopgingJ. The tB can disqualifg gour work and remove gour certificate or diploma. Simplg listing gour references on the sources screen does not mean that gou can then copg the words freelg into gour studg. You must still use quotations and citation at the point ofuse as described in this section. I(ierlan has found good information from the Philadelphia Museum website about the Dali painting that is in their collection. Here is part of the museum text. "Though it is likely that Dali changed the title after the military c\up t0 add to the seemingly prophetic power of hk uncottscious mind, a volatile climate of social and political struggle had existed in the couitry for years. Dali began his studies for soft construction with Boiled Beans in 1935, sketching the hideously deformed onoto*y of the colossal creature.,, I(ierlan makes these notes in her visual arts journal: o He prepared for the painting in 1935, before the civil war. ' He changed the title so that it would seem that he had anticipated the war. . Spain was in a state of social and political struggle. And she records where she read this: Education: Philadelphia Museum of Art http://www.philamlrseum. org/collections/permanent/5 l 3 I 5.html. This is new knowledge to her and however she decides to use this information she must tell the reader where it came from. This is what she writes on her comparative study screen. " Dali began the painting in 1935 by sketching the deformed figure, but he changed the title to make it seem as if he knew there was goittg to be a civil war. (Education: Philadetphia Museum of Art) However, I think that even though he did this the painting still reflects the suffering of the Spanish people at this time." She has put in a reference so we know where the ideas came from and then made a personal response to the information. she will also plrt this reference onto her sollrces screen. -;_ "Soft construction with Boiled Beans (premonition of civit war)", Satvador Dati [1g36J Section 3 For hy initial research into self-portraitule and to begin to identlfy key thenes which r nay develop into s final question. I have tooked in detait at the foiloving - BelL, JuLian (introduction). Five Hundred Self- ?ortfsits, London, phaidon press, 200O. ' Cunning, Laura. A Face to t,,re Warjd: On Sej.f- Portraits, London, Harp€rColtins, 20O9. :1- '- r,i .t a '.1., t rorq I I ...:.. r","". . a a I l I '11 ]..,i -"r r.. (- IE ', i of WoMeN i ir )1 \i'r^,r .t" \rrr.{ flilo",r,,..r 'f( i' ,.i( 1\..re .|,r^ri. r\.,.\,ril:Li ., :, L !ii i '\ :,!-.. i,'-' ' !lt.-.!.'.11I .-.r, .:r aN -4Gt:UVG SELF . ., :. I l-,. : "' . i -,1 e e e c C C G G G G G |:! i! I ,3 5 3 3 ,5 p 5 5 5 p p rt E p ED g ir, p b ern I aN ICON? i1. A Ihis student has used concept maps to build two possible themes for her studg: firstlg she explores the purposes of portraiture and then takes the idea into a studg of self-portraits bg women. Section 3 fU I t ! I I I - I - I - -I ! ? aJ !l I I t i tt t I i ;r :f ll I' T t a-. a i Ii :t t ' AThisstudenthasmadecarefulannotationonherwatercolourdrawingofaKimono. iSsection3 Visiting museums, exhibitions and galleries We understancl a work of art in real lifc' differently fron a reproduction. The unfatliliar context of a u-tuscunr or gallery makes us krok at objects differer-rtly, in a rlore focusccl way, and we tenci to give them a different valuc than we woulcl if placed elsewhere. Experiencing irr real tinre aucl spacc at least one of thc works for your comparativc str-rdy is ir-nportant. This rnight be tl-rror,rgh a school musellltt or gallcry visit, or perhaps sccir"rg an artwork displayed in a public space. You could organize tl-ris visit yourself, or r-nake it part of a holiday trip. Or you migl-rt be lucky cnough to visit an artist's stlrdio. Wherever and however y()Ll sL'L' art it is important to record your experic'nces careftrlly. It is possible to sL'e a lot of art in a short timc by wandc'ring througl-r a n'luselur, but if you arc' going to leave with really luseful r-naterial for yollr collparativc study it is important to slow down. An hour of focused first-hancl otrscrvatior-rs in front of one work of art will provicle invaluablc ntaterial for yor-r to use later. Prepare gour visit Arrive with an objective. Scan the ntuselrrl/gallery website to ntake a selection oI works that yor-r lhink you want to see. Chec]< that tl-rc work is on display! Then clownkrad informatiun and make some preliminary notes in your visual arts,journal. Yort rnight change your mind whcn you arrive if you are inspirecl by sonething ltew, but this prelintinary research will still have been usefnl. Record gou r observations Your vistral arts journal will be vital for recorcling yollr experiences when seeing original artworks ir-r cor-ttcxt. Most musenrns alktw pl-rotography (exccpt lor special exhitritions) so use yortr catltera to recurd the way the artwork is displaycd, to give a sense of scale and to note the details on the exhibit labcl. If the work is thrce-dimensional record the kinetic experience oI moving arouncl the work. It is tempting to rcly on just your electronic record trt refer to late r, bllt in order to propcrly understancl artworks you will need to slow dowrr scr that you achievc an ir-r-clepth responsc. Cl'rar-rge the pace of your looking by doing ol'lc or rnore of the folkrwir-rg: . a schematic drawir-rg with annotations o a written clescription o a focused clrawir-rg. In the exanplc on the next pagc, a student has used thcir visual arts joumal to urake careful notcs during a visit to an exhibition of sculptures by Anthor-ry Gornrley. Noticc' the clear clrawing style, which has helpcd to record the shapes and distinctive featrtrcs oI the sculptrtres. Thc journal page shows quick ancl eflective notc. taking. %(* We become accustomed to vi ewi ng a rtwo rks as re p rod u cti o ns. However, the experience of seeing the original artwork in a museum, such as this paintingbg Chuck Close, is quite ditrerent. We can properlg understand the impact of scale or the handling of media. Schematic: as in a diagram, like the simplif ied f igures of a man orwoman on the doors of bathrooms in public places or the characters in the television show South Pork. Section 3 ,1 .A 4 ^:r4l rerantfirm PFsry3tlt.t c'alhqlEgrTl rt{1mr thbRgf of rfi.tily olriec.swtrict-' (wea/fse'f tt :3!f1tt rii"'ri.uf.,s strcl ard r;ftested !o m'tAc id" for of rnl olf,Pin6,nol fr/orns wurh ti took' Move hfir to conrldcr/slng rd as a J J sorrce ot tn/olration, ctrlch lnirFaad ttto$h mat l 'nd gd'r, slt|l tudl fuirrdl** aiidl**.*',i*t"mt-hr*rrlr*t ofinvs' xiddl htroJ/l!r'rr.*lllh ni!r,: ('jm/vrorl /'fi !prrir: { b!ii"ltr|!!C!t414!tll.(or{/<Qr-'':i! ci "t\Pr i1'u' lna IAw*\p <o.tl/nidii-or i'rf r:rr'r'r lsl llrril plt This student was excited bg wiltiam pge's fountain during a visit to the Yorkshire Sculpture Park' she used this expenence as a starting point for her comparative studg n""onr:'piiiJ froa"t yt:! ,??:1y",:'::: ^it;!,"^fi,!# jii::t::y:::':t::rf:::;i, z':::::Ei:i:;;";;'';,:;:::,;::;:;;;:,;;;iii""*o,xin context This is reinforced bs her photographs and gives an authenticits tu her later comments on Pge's intentions' r$i, Consider these questions in relation to a museum experlence: . Whg are some objects treated as art? . Whg do we put artifacts into museums? . How does an object's function and significance change when it is exhibited in a special Place? . How does the cultural value change? . How is cultural power exerted bg the museums of past empires' such as the Louvre in Paris or the British Museum in London? . Do ethnographic museums preserve past cultures or destrog them bu taking artifacts awag from their true context? Duchampbelievedthattheurinalbecameaworkofartbecauseitwaspresented as such bg the artist. lt is more accurate to suggest' however' that the urinal becomes a work of art when it is successfullg exhibited in an art gallerg/museum' (r!1 vr> tc t7 Sectiot.r o.,n,,k3or i3n3 n rhe prir.lwhrrr r O((!fins, wh(h a.J(6 r n . i^dcr$r rhc rerrrfr or hoi6 ih€ loi ar nudr d.hr r! Da v'n. I d ro\ervc, rh.r.J.c aofrc drrm.!r!( dill.(rn(.\ tr rh. d.ptrr'o. dr rshr n c)0 Drrh.rc dc(er ch0(ht ro h.rp Fil.4 rhe.2rrnt oeo{ or thc hh' otrd, drw^ rr,nsn&rnolrh 'h. u!.orwh(c py..ur ,Du.d. erilh rhc br,{r (h,'r ind i 16{ boror rslr ra'nc, uthc pr.( n3 tror onry rho r.dv,duJ t, i I ,e ttg Lr ordcr to nlovc lreyoncl simple expressions of tastc-, thc "I know what I like " approach, yor-r will nc'c'cl to apply thinking skills to write about the artworks that you havc selectcd. Ar-ralysing art can be cliviclecl between thc' how ancl thc why. Firstly, describing whal we can see and understandir-rg how it was nradc' is the critical analysis of thc formal qualities. Secoudly, analysing why it was r-nade is thc contextual fultctitlrr and purpose. A goocl approach is to consic'ler artworks first for thcir form, then for thc'ir contcnt, ancl finally for ll-reir context, altlrough of corlrse thesc lhings arc. always intcrrc-lated. The forntal elentents of art scctit)n laavL'you lhe tools to rtrake a frtrntal analysis, as thcy arc nc'eclecl lor both yorlr process portfolio ancl the colllparativc stllcly. Yotr will now neecl to apply this analysis to the works you have sclc'ctccl for your conrp.rrative strrdy. A lhls is a reallg effective practical exploration of the formal qualities in architecture. Even without the text we have a clear understanding of how cantilevers, mass and space are evident in modernist building. Think about creative practical wags of showing formal qualities in the works Aou are exploring. A Jessica was excited bg Alexander M cA u e e n's cu ltu re coll agi ng i n fashi o n. 0n this screen she explores how Nick Knight has photographed one of M cQ u ee n's cre ati o ns to e m ph asize the negative and positive shapes. She has cleverlg used collage to juxtapose Ukigo-e prints. This effectivelg m e ets th e'cre ative' descri pto r fo r presentation too. .H) .11* So phi e has th o ught ve rg ca refull y before placing the lines which analgse composition onto the images. Read her text as a f ine example of formal analgsis and comparison. Her choice of images with their linkingtheme of the sea makes'this especiallg meaningful. Section 3 € oo Ec(, B (B E z. \i qJ 3s a_ E E CJ'.i t 5 F"; HEC)c 3E(,)(uoi rg EP Ed\-c3:-o6 l+ lpE IFfiI -o)I e_: Section 3 How to interpret function and purpose "Lookittg is uot iudiffet'cttt. Tlrcre cltn never be nny questiott of '.just lookittg'." Victor Burgin ( 1982) Your nc'xt task is to invc'stigatc' thc ltrnction ancl purposc of thc works, althougl-r yotr will havc Lrcglrn to open out icieas as yoll describecl the fon'nal qualities. Many ltieces will fulfill tttorc' than one ftrnction, [or exar-r-rple, a weclcling dress is: syrnbolic tloth of a cr-rlturc ancl oI a ritc of passage; aestl-retically beautifr-rl and at the sar-r'rc tintc a practical itcnt of ckrtltinc. All art is madc for a rcason. The ailn of this sectior-r is to helpl you cor-tsidc'r the "why ancl what for?" of thc artworks you have chosen to study. But remenrbc'r, art rarc'ly has a straightforwarcl plrrpose. Artisls olteu makc their work deliberatcly ambiguous ancl rather than givir-rg definitivc answers, considc'r thc nrultiplc. functions that your artwork nay havc'. Ouestions to ask You will tlecd ttl firsl research thc cultural cot-rtcxt in which thc artwork was creatcd. Refcr to the rc'search section in tl-ris chapter to guide yor-r. when you have read abolrt thc history and context of your artworks, then you will be eqr-rippcd to answL-r these qucstior-rs. Whg was this artwork made? Some plossible answers: For status: to enhancc lhe power or social standing of the owner. To display wealth (throtrgh thc use o[ precior-rs ntaterials. skillecl craftsmanship or the creative originality of tl-rc. artist). For ritual: as a part ol a religior-rs cclebratior'r, or as a votive offering to ask for lorgiveness, as an icon to worshipr, to alleviate suffering or to attain spirituaI c.n Iightc.l-lnteltt. For education: to teach. For c'xanrplc., religious works which tell a story or have a narrative. Irnages are cspccially important when r-nnch of a populatiorr are illiterate, such as the Chrislian lrcscos of the Renaissance or the political nturals of tl'rc. Mcxican revolr_rtionary arlists. To understand the human condition: through the represcntation of abstract concepts and fcclines. Moclern art clocs this by ureans of metaphor ancl allegory. For exar.r-rple, the 9/l I mernorial in New york, tlre legacy o[ colonialisur shown by Doris Salcedo's "shibboleth" (2007), a fissure running through the floor of 1he Tatc Modc-rn in Londgn, or the existential works of Giaconrclti. As propaganda: art that contains a strol-ls polentical (onc-sidec.l) message aintecl to disturt the tnrth for political aclval-ttage. As documentary: to rccrtrcl an L.vc.nt. For exarnple, Goya's ctchir-rgs of the atrocities of thc Napoleonic wars, or thc' work ol war photographers such as Don Mccullc'n. Sir-r-rilarly, social realism seeks to use art to show thc lives and strlfcring of orclinary pcople, such as thc FSA photograplters ir-r 1930s Artrcrica aitl'rir-rg to llrol'notL. changc.. Ambiguous: having more than one possible interpretation. The meanings of mostworks of art are ambiguous. You will f ind the highlighted words useful tools in gour analgsis of meaning; theg are defined in the glossarg. Evaluation of cultural significance It is important to comment on the cultural significance of gour selected artworks. ln order to do this well gou will need to understand the original cultural context in which theg were made. However, before gou start the task, it is worth pausing to consider gour own cultural context, as we are all influenced bg the values and beliefs with which we have grown up. Think about gour cultural identitg and what makes gou different to others. Remember that these differences influence the wag gou interpret the world, the art that gou are interested in and the judgments that gou will make about it. Awareness of our personalviewpoint can help us to be more objective in our opinions, less prejudiced and more international-minded. Section 3 The infioduction Your f irst screen will introduce gour studg. Make the content verg clear bg including: o a title . illustrations of the main works gou will analgse . explain ang linkingtheme or framework. Adding a personal touch, such as mentioning where gou have seen the works or what attracted gou to them, can make gour work more interesting. L'ART EST INUTILE, RENTREZ CHEZ VOUS Jean Vautrier This translates as "Art is useless go home". Vautrier makes use of irong to question the value of making art. ln utilitarian terms the statement is correct. Yet humankind has expended considerable energg and resources in the making of cultural artifacts. Consider what justifications there could be for this. When the Taliban destroged the ancient Buddhist sculptures at Bangan theg claimed that the act was partlU in protest at the moneg being paid for the statue's upkeep, which could have been better spent on the starving people of the region. What do gou think? ln pairs draw a Venn diagram. Write each of gour names in an oval. Now fill gour ovals with all the aspects of gour life that define gour culture. Ang aspects gou share with gour partner go in the middle, where the ovals overlap. Here are some suggestions: . Personal details: religion/beliefs, ethnicitg, nationalitU, gender, age . Signifiers: dress, make-up, hairstgle, music, dance, food, language, customs, rites of passage Ihow do gou celebrate birth, coming of age, marriage and death?J When gou have finished, discuss with other students. Perhaps gou can divide into different cultural groups within the class. Which aspects of cultural identitg do gou think are most important in relation to gour judgments of visual art? Perhaps gender and religious belief? To question: in the past art was ttsed within the ctltlstrait-tts tll strict convention. br-rt in uodertl societies the rtlle tlf art is ol1cn tO subvert acceptcd ways 01 dOir-rg things. Or to t-tlakc tts sce witl-t lresl-r eyes. Irony is ttftcn ttsed to sttbvcrt ctltlvetttiot-l: by choosillg a disj r-rncture of scale; by juxtaposing i|nagery that would not normally be seen ir-r tl-re same context; by ltsitrg atl tt trexpectecl tlr ir-rappropriate 11-redia; by r-rsing an ilapprtlpriate style, strch as being soft and gentle lor a grttesome act, and, of coLlrse, by lrsirlg htttt.ttlLtr. Fctr cxanple, Margarct Wertheinl's grollp project to crtlchet a ctlral ree[, "transfort-ning thc hard and wet into the fluffy al-rd clry", this is ironic and its pLlrpose is ttl disrtrpt convcntiorlal ways of sceillg the world. Appropriation is anothcr way in which artists qtteslion thc values 9f conternpgrary cultttrc by recyclir-rg ir-r-ragcry. Most collagc relies on the jr-rxtaposition tlf images to stlggcst t-tcw ulcatlings, or 1o disrupt thc establishecl tlrder of tl-re world. ,% (* For self-expression: for thc' personal expression of the artist. Altl-rougl-r this is ctlr-rsiderecl the artist's nrain nrotivation try a ntodem audic.nce, there arc in fact lew artists who create art purcly for therlselves. Even if they are financially independent, whiclt is rare, thcy will always be working for an audiencc. However, artists such as Van Gogh and Eclvard Muncl-r by exaurining the ir pc'rsonal psychokrgical trauma thror,rgh their art hclp us to better understancl thc hurnan cunditiorr - what it is to live, suffer and clie. For contemplation: to enjoy art lor its aesthetic beauly; sornetir.nes this is callecl "art for art's sake". In westc.rn culture the principal function of art was to be aesthc'tically pleasing. Thc Romantic movernent in thc lSth century changc'cl tl-ris, considering crr-rotior-rs such as terror to be more powcrftrl than bc'au1y. Somc' rnodcrn art has also challenged ideas of thc'bcauliful. Acstl-retics depends on cultural context as there are differer-rt ideas oI what is beautiful. Consider the classical aesthetic, that is, fror-n ancient Greece ancl Ronte; the machine aesthetic (this is what the Futurists aspired to - the sensual cLrrvc' and glearn of a car bonnet, for exanrple); 1l'rc nodern aesthetic (the pr-rre forms and white surfaces of early r.r-roclcrnisr-r-r) or tl-rc postnodern aesthetic (the late 2Oth centr-rry fashion of contbining complc.tely opposing styles). For decoration: pattern, colour, textltre all serve to give variety ancl life to our surror-rr-rdings. Decoration is thc primary function of rnany of thc artifacls ir-r our daily lives, from the patterns on cerar-nics to the stripes on your trainers, and thc sarne is true of the origir-ral pnrpose of many objccts that are now in lttLtsellms. For catharsis: as a rc'lc'ase frorn powerful ernotions. This is an ancicnt Greek iclea that to see inrages ol violence l-relps us to control or releasc or.rr feelings of aggrc'ssion through art rather than in action. sl-rockir-rg the spectator is a t-netl-tod of achicving this. Think also of gothic film and images of death ancl clcstruction. Who paid for this artwork? consider who is paying for the nraterials and the artist's labour. The picce may have bc'en nrade to a specific order, that is, comnissionecl. There may havc been a contract drawn up by the patrolt (the person who pays for an artwork). Thc'patron may have been a rcligious incliviciual 0r grollp, the state, or a wealthy private individual. Art dealers arrange contracts with tl-rcir artists. Contemporary gallerists provide stuciios ancl a wage for their artists irr exchangc' for a sct number of artwrtrl<s. Where was it created for? Art is often macle for a spccific place. consider whether this was a public or private space. was the work made for the private contelrplation of a few privilegec'l pcople or for many to adr-nirc? perhaps for a religiolls or a secular buildir-rg. was it designed for a specific architc-ctr-rral setting? Who is looking? Consider the audiencc., thc viewer, the spectator. The next section considers how you might present answers to these questiorrs, but first consider them in rclation to function. who are we when looking at this artwork? What are the ways ir-r whicl-r we regard the figures? Section 3 I(ierlan has brought much considers the audience for of her research together both Dali and Makonde onto one screen that art using the McFee model. t o cc oJ= .= oJ CJ o<()z (o.g b -o-t? iE gi o.. cLcco EE?a ,jE !3 EEt, (!= .9> ke.o QJ(os*c'o.Et'a<(,-BO\u^.O c? 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E Ooo-A-6E.c.E:33 b*i H; ; E Et - l+ 6 - e - ot tr r;# s;# E; q HI;EEa oqE $cE;iE Fis r g E e s# E E 3 Ev 9+ n st ;A++g+ess TFegritrE ! 3E q i" h l: E :EPF=HEEB6!,'=EbEU.9t E g; H.g F fr; 9 ai u0 E *3- E E aa f;t: EeFoo6'E>,a"'<osE oEU; q..'6 E;" =BfEi;$F E;; iE a; a: F =BF: -AH#E5gE5 Section 3 ,H} ,l t* 9oo(U- = 6-- *c=(60-_ !P=PTUU 9fiBF o(Ds)-o o)-o x = o)o "ol-.c -c (/i H';oO O I - c-c OF (uF tr ee $E F o b s- m cr(DX: I€ 3 3> Xsro-6 69o o f *c o)T (/i(l)Gt! c ^c OL.l - YF >!Qs *-eE E E ggE! ; f BE e 6 tu o rui: E EEE;i se=: hodc> ; oo:.99 € E g:f - 3 n'5-E F g=F.H I; 3E* Et FE H: =EiE€EPy(d>oqa! X 9vt o At- :d)-,^oY eE-€#:6utOQur6=-.h g? 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She has used her own feelings about the work to explore function and purpose rather than reading the ideas of others. Section 3 Whatdowemeanbgcontextandaudience? we have considered cultural significance auci thc viewer; llow yoll call Iinkthoseideaswithfunctiotrandpurptlsettlexpltlrethecotrtexttlf the artwctrks, that is, the time ancl place tl'rat they were creatcd and tlreaudience.AusefulwaytlfcloirrgthisisttlttseJunel(ingMcFee,s concePtual lramework ( I 978)' Thc artist's worl(l is a coltlcxl in lvhich evetrts tll sigrificalce occtlr' EveIls ol significatrce ior thc arlisl carl be thc collcctivc expctictlcc ttl.t particular age or l)lacc t)ttl rla) .lls() bc decplY llcrsotral experietrces Events ol signitic.tIrce ttt'cd to bc rcse.rrchccl as thcy inlpacl otr thc wa),artrvorks are crc.t1cd. Thc crrltur.rl beliels, values, rtligitttls, rituals, ideas and conctlls also inp.rct thc rval' an artisr ctt'ates. Visual orts teacher support moterit a goocl unclerstanding of why atrcl To complete the table, yotl will need for whom the artworks werc made' Famous artist European Member of the surrealists. Painting in oil on canvas Heightened realist colour Strong chiaroscuro Precise detail Complex Thc artisl is thc arrtlror tll the rvork. The arlist's practict'catl be inilrurecl bY.rtlY association witll styles, scllolrls or ll11)vclllcntS Thc techrrical ptoct'sst's atltl inlcnl of lhc anisl art considcreci Thc arlwork is consiclerctl as a solc erttit)'. il is identilied by its crcal()r's Ianle, tillc, ntcditllll attcl size The [orrtral qualities, tllottd, any sigr)s alld syrrlbols tlscd to colvt'l,tuc.rtling arc consitlcted. Thc audietrct caI c()rrl)risc discrcct inclividtrals ard collectivcs lvho bring diIlercnt experictlcts rrl the world to thcir ruldcrslatlding of an artwttLk. Ar audicncc car br contenPorarY to the line alld pl.rcc lhe work was crcated itr, or lroul ortlside the same timc and place' An audicllct catr [rc irtlortllcd lrr r r ninkrrtttc'd. The audicl)cc s world is a cotrtc'xt irr rvhicb cvellts o[ signilicance occur. E\'cnls o[ sillnilicance uced lo bc rcsc.lrchcd as lhcy i!1)Pacl ol) the way artwtlrks arc valttecl atld urderstood. TIlc collectivc c'xperience ol a particul.rr age or placc catl also be descril)ed.ls tht attdiellce's rvorlrl as well as a place lor tlle existctlcc ol cultural bclie[s, values, rcli!liolrs, rituals, idcas arld corrccpls tllat also impact the waY ailworks arc ruldcrstotlcl. Unknown artist African Member of the Makonde peoPle. Sculpture in black ebonY Smooth sculPtural forms Simplified form Flowing and balanced composition TANZANIA East Africa Makonde Distorted forms AnthroPomorPhic Dream like Use positive and negative shaPes Figures stand on a solid base Combine abstract and realistic elements Forms viewed in silhouette N EII 0) o\oE{ k5 Y.o a6r Eii60 ;,: 0J 8*E-c< Uo c.t "Jc.E 6 ._t o G E .l =o o .l o o E l Eo o. cq, E -ga o 5 =o oT o '6 Eoq o o g oo C'- i\ii c d Lo E C' .9 Uc (t' .2 !# o q o o q) ! I o -o(t' o) E C o 3 Ec(! o (' 6 L o E ii$E** E Hs uE g H g s or 9t = .l 6.9 9 f : s;€ Hi; :; p:r:;5 d-1q(Uho-.> ci .9'- > c (o E:Es5* As !€E +f,PEs i - b *-91 i o 4 fiEEie9::s ;Eii:S;5 E g 3-: E:tf E !i.tsFiE:isb=d.<€ =:€ t € E E: H =n:egE;$'q rg b E E; a' :!fr€iFEE p 2 = o X r -F!*qrdEiEEs a5i';9_u 5 6 -b gli ,56E g E E 5: fr E ft *: IaE:i'E ! ptr ffi s 9::; E'=9=Es-e3E:Pe--B= EEg;igffr E t b E* E;s! ts lE F5 EH B: gE:: Eg E3 3i AE EI E5 .$! l- o F -tne -o --L (! tte -(! tr - o*, e -o v) a- l-(! o. E o (.J F -a; F -'= L(! U-o o o 3 a- L o t! (,) q) U QJ ! CE q) .AJt ! o OD qJ o C).o o(^ CE a- tr o(J q s *i *g ;:=*e= EE qi :f;€€E.e'-- b 6' F o ro E I;F flH ::FE€ = iEiiEiiigjE€ii iIEfEigEIEEEgI iggiiigigEFEigF 5iEgcEii gggEiiFgEi€€gEE E;E= HEt'l$€ $Ei+ l;€€s;*fi€l=E*€re gT,/TO/9Z :Passaf,lv I urlq'lr erilodlruor'1qro[:ap.reou.mananTTiO$q Section 3 at Gaudi's 'La Pedrera'was commissioned by the wealthy Mild family in Barcelona (1906-10)' Buildings can be considered as labels, the upper class use their houses as a way of showing their wealth and success, this allowed Gaudi to develop a different style to make it stand out. For that period La Casa Mild was cutting edge, as nothing similar had been seen before. The family Mild asked Gaudi to build their house, because he was a famous architect, so they could expose their wealth and moreover have a house with a good functionality' a factor which it is assumed an expensive house includes. This is clearly seen as it follows that houses in hotter countries need small windows to keep the interior cool and to include balconies. The colour scheme is also an important consideration, with lighter tones. The fagade is made up of curved cast iron balustrades, brick parabolas, forming the shape of flowing waves. Not only in tf e fagade but also the house includes a lot of abstract structure, due to the irregular shaped roof and variable ground plan. Above is my photograph taken from the roof of the house and below is my AutoCAD drawing of the fagade to analyse the flowing art nouveau forms inspired by nature. A This student has used their freehand sketches together with drawingto make a ver| coherent and well- presented sequence of Pages. use of graphics to comPare the visual forms in the architecture of three ditrerent buildrngs as well as developingthe contrasts in her text. rr l t ,H 2: ,tr"{w How to present gour comparative studg Your work will be awarclecl urarks for prc.sentation. It should Lle clear, cohcrcnt, crrgaging ancl crcative . The cor-nparative stucly will bc. uploaclcci lor assc'ssr-r-rL'nt as a clocLrntent file (PDF). The systcm does not support animatior-rs or anirnalcd slidc' transitions, so clor-r't waste tirne planning these. You may wcll wish to Lrse software such as Microsoft's PowerPointo or Applc's I(cynotc'@, but there are no prescribed ways of presentinq yollr study - it rc'ally is your choicc.. Lctok at really well- designecl wetr pagcs, for c'xar.t-tple, tl-tose of the major lrlLtseLlms, or onlir-rc magazir.tcs, ftrr s<llutions as to how tu clfectively cclutbine text and irnage. The exanrplc's in this book will show you ways that other students have made goocl prcscnlations, but hcre arc sontc extra poiltters. o EnsLrre you show tl'rings clearly. hr othcr words. the text t-r-tust be legiblc'. Avoicl subtlc ovc'rlays, distractir-rg trackgrounds, sntall text (less thar-r l2pt) or con-rplex for-rts. o Bkrcks of text look bcttcr and are easier to read than cor-rtir-rr-ror-rs lirres that span thc entire scrc'c'n (as ir-r a ntagazine or olt a web page). o Ncvcr split yorrr tcxt across illuslratior-rs. o Consider crc'atil-lg a cor-tsistcnt dcsign for yor-rr screens. This will look good anci save you tinre reclcsigning c'ach one. r Avoicl clownkradine pre-clesigncci tcmplates; these are rarely appropriate 1o the artwork bcing prese nted, besides this is a visual arts collrsL' ancl yrlu arc' expcclcd to show your personal visr-ral skills. r Makc slylc cl'roices that arc visually appropriate to the works you arc prcscnting. Do r-rot use clecoration, but choose colortr schencs and fonls that c'nhance the artworks. For exar-r-rple, a gothic fttnt is r-rot appropriate for text alrout an Andy Warhol prir-rt, but cor-rld be for an Alc'xancler McQueen dress. o Ret-ncnrbc'r that grapl-rics and visuals can show infomation urore effectivc'ly than jusl words. Try to achieve a balance between the two. . Son-lc' of thc' exarlplcs in this book are scanned sketchbook pages - as krng as they arc easy to read tl-ris is a perfectly acceptable way to presc-l]t a conrparativc' study. o Do ltot scan pages that arc illegible and then provicle a typed transcript - this is r.rot cor-rsiclered to bc' clc'ar and coherent prese ntation. . JLlxtaposine inrages can cllcctivc'ly conr-nunicate comp.rrisor-rs, espc'cially when supported by simple altnotation. r Make yollr stucly engaging. This rrcans being creative in the dcsign of scrc'c'r-rs so thcy arc appealir-rg trl read. Perhaps using collage, photor:raphy, skclchcs or c'vt'lr r-r-roc'lels to expkrrc and explain colrcepts. Section 3 Julia compared different artists' portragal of the storg of Adam and Eve in her comparative studg. This is one of her connections slides. She has taken a more straightforward approach than the other examples bg using bullet points, but this is effective. Her sculpture is reallg original; she is not atte mptingto copg stgle or technique. lnstead she has been inspired bg the ideas of the artists, especiallg the wag theg have used sgmbolism. Signalthe connections between the artworks and gourwork clearlg bg usingthe names of the artists and the titles of the artworks studied. Then give clear evidence in words and images of the link. Trigger plrrases such as these will help . I was influenced bg .. . Theaspectsoftheartworkslstudiedthatmostaffectedmgdevelopmentweretlrewagthat... . As ldeveloped mg ideas Iconsidered howthe artworksthat lhad str"rdied ... . The ideas from this artistthat are most evident in mg work are ... . This influence is evident in mg use of ... . Mg choice of colour/forms shows how I was influenced bg ... . I then developed the concepts I had researched into ... . The influence can be seen inthewagthat I .. In pairs, explain how gour personal artworks have been influenced bg other artists. Are these descriptions convincing? Suggest to each other wags that the ideas could be more clearlg communicated. '14 '/ ' \ ,lt*a Brianna has made athematic comparative studg that considers seve ra I a rtists' re s p o n se s to co nfl i ct including Goga, Fra ncis Bacon and Marina Abramovic. Here in her final connections s/ides she has concentrated on her response to Francis Bacon's "Three Figures at the Base of a Crucif ixion". The screens include her painted copies ofthe work, which give a good sense of her exploration of his stgle, but she has then reinterpreted the paintingin new forms. She clearlg explains how it is in her final paintingthatthe influence of these artists has become assimilated into a personal work of art rather than being just a transcription. Notice the use of bullet points to reinforce the main Iinks bewveen her work and Baconb.These slides are also legible, visuallg appropriate and engaging with their soitlbre olive green and blood red theme. Connections to my work On the left is my final exhibition piece. Here the inlluence of Bacon and Abramovic is more hidden. I have used my own pictorial style and the life size te)dile limbs break out into the space to confront the viewer. ln this and in my performance (on the right) I want to shock the viewer. This is similar to the artists I have analysed in the comparative study. I feel that in this piece I moved away from r- consciously imitating artists and instead to a more individual response that used their idea process rather than their style. There were tour stages in the development of my work from lhe study ol Francis Bacon. The first stage was to explore the expressive nature of his forms through photography (the triptych below) ; then a reconstruction in textile ol the screaming mutated figure that is central to his painting; lhis became part of my performance piece, that in turn was influenced by Abrramovic; the tinal stage was to develop this into a personal painl and textile response using the imagery of the holocaust. (above) ln the photographs below I wanted to capture the sense of containment that is so important to Bacon's placement ol the figure. There is a link to the Post War theme 'Geometry of Fear'where organic forms, such as the human ligure ,are trapped by architectural spaces. I chose the shower cubicle because it has the sinister empty associations of a torture room that Bacon suggests in his interiors, as well as the disturbing pipes that suggested harsh surgical instrumenls. Similarly I used the steel armature for my perlormance that was inspired by the sculpture turn tiable that Bacon's figure perches on. lllq li!**+ I responded to the expanding form of Bacon's figure. I wanted mine to have the same latent fearfulness. Section 3