Howardena Pindell's Website: https://www.howardenapindell.org/ Howardena Pindell was born in Philadelphia, in 1943. She attended both Boston University and Yale, and later went on to teach at State University of New York, Stony Brook, and Yale. Pindell worked at the Museum of Modern Art for around 12 years, with her focus being on Prints and Illustrated Books. Pindell's art-making process involves destruction, as well as reconstruction, and an emphasis on layering and texture. Her work has become more politically driven overtime. Here is a list of some of Pindell's most notable solo exhibitions (taken from howardenapindell.org): "Spelman College (1971, Atlanta), A.I.R. Gallery (1973, 1983, New York), Just Above Midtown (1977, New York), Lerner-Heller Gallery (1980, 1981, New York), The Studio Museum in Harlem (1986, New York), the Wadsworth Atheneum (1989, Hartford), Cyrus Gallery (1989, New York), G.R. N’Namdi Gallery (1992, 1995, 1996, 2000, 2002, 2006, Chicago, Detroit, and New York), Garth Greenan Gallery, New York (2014), and Spelman College Museum of Fine Art, Atlanta (2015).” Some of Pindell's work and my personal reflections: Untitled #98:
I really like this piece, and for some reason it kind of reminds me of Picasso's work - maybe because of the colors. More specifically, I like the texture and dimension of this piece, as well as the inclusion of not only paper dots, but the paper that those dots were cut out of. I also appreciated that the dots sort of come off the edges of the board, making the whole piece not just a perfect rectangle. Although I like the use of colors in this piece, I do not love the actual tone of the colors. I typically prefer more vibrance, rather than a chalkier look. I look forward to experimenting with the use of paper scraps with holes punched out of them in my pieces in the future. Prism #3: I was immediately drawn to this piece, Prism #3. I appreciate the incorporation of the paper dots into the paper itself. I feel like this gives the whole piece a certain richness, that it may have lacked if it was simply layered collage. I also like the organic shape of this piece and how that contrasts with the straight lines and geometry of the triangle, or "prism". I think this particular contrast could easily be incorporated in some form into my work, as it, at least to me, goes along with the idea of chaos and order. Untitled #4: I love this piece and its overall simplicity. It reminds me that art can be rich and interesting, even when it involves very few elements. I am curious how Pindell was able to create such depth in this piece. I'm thinking that some of the dots are under some sort of transparent paper, while other are over. This reminds me of what I did with mesh on one of my most recent pieces.
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I chose to focus on Tony Orrico for this post because he is referred to as the "human spirograph" and I have been incorporating spirograph drawings into my pieces recently and plan to continue. Tony Orrico creates highly technical pieces that mirror drawings of spirographs, but he does it all with his own body. His art includes both the performance of creating the pieces and the pieces themselves, Tony Orrico's Website : https://tonyorrico.com/ CV Highlights (most recent): solo exhibitions 2015 Movement Toward Definition, Marso Gallery, Mexico City, Mexico (May 21 – September 12). 2014 Petrified Acts, P.P.O.W, New York, New York (May 29 – June 28). Tony Orrico, Finlandia University Gallery, Hancock, Michigan (February 27 – March 15). group exhibitions 2016 An Unnamed Need: Pattern and Beauty in Contemporary Art, The Wriston Art Galleries at Lawrence University, Appleton, WI ( January – ) residencies 2016 Resident Artist at Centro de las Artes San Agustín, Oaxaca, México. select performances 2014 Penwald: 2: 8 circles, 8 gestures, Center Pompidou-Metz, Metz, France (June 12). Penwald: 3: circle on knees, Center Pompidou-Metz, Metz, France (June 12). /Vessel for Governing and Conception/, P.P.O.W., New York, New York (May 28). Prepare the plane, P.P.O.W., New York, New York (May 27). Penwald: 8: 12 by 12 on knees, SCAD, Savannah, Georgia (February 18). collaboration 2011 Canyon, John Jasperse Company Visual Design for Choreography Harvey Theater, Brooklyn Academy of Music, NY Wexner Center, Columbus, OH Wilma Theater, Philadelphia, PA. performance history 2010 Marina Abramovic’s Retrospective MoMA, Museum of Modern Art, NY education MFA Choreography University of Iowa BS Dance Theater Illinois State University Some of Orrico's Work: Penwald: 2: 8 circles: 8 gestures (Shoshana Wayne Gallery, Santa Monica, CA. 25 panels) 2011 I was immediately drawn to this piece because of the scale and the similarities to my work. I am so impressed with the precision and level of detail in this piece considering Orrico does this all by hand. I also like the repetition and the idea of multiple circles forming one unified circle, something I have played around with myself. Lastly, whether this was purposeful or not, I really appreciation the slight imperfections in this piece, specifically the tears. Currently in my piece I am attempting to convey chaos and have been encouraged to make something messy, and I had never even considered tears or folds in the piece prior to now. Penwald: 12: prone to stand | 2011
Performance, graphite on paper 3 hours 96 x 96 inches I was inclined to feature and reflect on this piece because it is a piece done through the same technique as Orrico's other pieces, but has a different appearance. The design or drawing still appears highly technical, details, repetitive and geometric, but the lines do not form a circle. I have found myself obsessed with circles in my pieces recently, but actually really like this piece. I am aware that spirographs can be used to make shapes other than circles but have never even considered experimenting with that feature and am not sure why. Now, after seeing this piece, I am inspired to do so. Article: https://www.dailymail.co.uk/sciencetech/article-2015173/The-human-spirograph-Artists-amazing-geometric-drawings-produces-body.html This article was actually how I first found out about Tony Orrico. It talks about his style, background, and technique. I find it particularly interesting that he had a background in dance, which explains how be can be so precise with his movements throughout the making process. I also found it interesting to see how important the performance art of creating the pieces are to the pieces as a whole. Lastly, I found it interesting how throughout the performance, Orrico's pens typically run out and he just goes onto it. This shows me that you can achieve a level or detail and precision without being fully concerned with imperfection. I chose to look into Fiona Ross for this post because of my recent interest in the use of circles. For my current in class project, I am incorporating repeating circular cut outs, something I've never included or even thought to include in my work before. So far I have thoroughly enjoyed playing around with the use of this shape , and was shown a few of Fiona Ross's pieces for inspiration. I fell in love with many aspects of her work and wanted to know more about this artist and her work, and how that can all relate to me and my own work. website: https://fionarossart.com/home.html a few exhibitions:
CV Highlights:
This ppersonal reactions to pieces: Fractal Eclipse #32: This was one of Fiona Ross' pieces that I was originally drawn to. The current piece I am working on reflects the repetition of circle within this piece. I love how this piece at first glance seems in a way simple visually, but is actually extremely intricate and detailed. I really like her use of negative space and overlap within this piece, two things I would like to experiment with in the future. Dislocation of a More Complete Pattern #61: When I see this piece I immediately and drawn to the delicacy. The level of craft is extremely high, with such intricate lines and use of color. Color is one of the main aspects of many of my pieces, but I have never thought to really overlap color or focus on how I can manipulate it, which I am now inspired to do. Complement of Closure #5: This piece is very compelling to me. I love the detail within the piece and how these details create depth. My favorite aspect of this piece is by far is the intersection of the faint lines and the bolder lines on the far right and left of this piece. This is honestly something I would have intentionally avoided in my own work, but is my favorite part of this piece....really makes me think I need to be taking more risks and exploring more opportunities. Float #2: I think this is probably my favorite piece of Fiona Ross' I have seen. One of the original reasons I was drawn to it was because it reminds me a lot of my uncle's art, but that's kind of irrelevant. I really like the use of earthy tones when creating a more free flowing, natural piece. The layering creates interest in the piece, encoding curiosity in the piece, it's like I just want to look closer and closer. short article: https://www.vmfa.museum/connect/fellowship-dollars-bought-painter-fiona-ross-more-than-just-materials/ This is just a short article the VMFA did on how Fiona Ross spent her fellowship money. I decide to include this to just show an example of how an artists kickstarted her career. I found it interesting that Ross used some of her money for travel, which just emphasized the importance of the inspiration behind art, something I look for more and more everyday. I chose Michael Murphy due to his use of layering and hanging in his sculptures. His work is actually what inspired me to change the path of my sculpture, I know am suspending the wire birds with clear string between wooden dowels. I hope to be able to take inspiration from Murphy's precision and impressive craftsmanship while hanging the different layers. Michael Murphy currently liven in Brooklyn, New York, working as a sculptor. He attended both Kent State University, and the Art Institute of Chicago. He focuses a lot of using optical illusions and space to engage the viewers and get a specific point across. The precision of these pieces make his works appear practically perfect at a specific angle, these are known as anamorphic sculptures. Murphy became well known during the presidential elections of 2008, making political work, such as the Obama pieces shown above. Sources used for statement above and for more information, use these to answer questions below: www.perceptualart.com/index.html (explore all pages) https://www.collater.al/en/anamorphic-sculptures-michael-murphy/
City Landscape 1955 Oil on canvas 80 x 80 inches The Art Institute of Chicago In 1925, Joan Mitchell was born in Chicago, and lived there throughout her youth. Her childhood was fairly typical, but unfortunately she was emotionally abused by her father, shaping who she was later in her life. She originally went to college to study art and english, but then transferred to the Art Institute of Chicago where she focused on painting. After college she moved to New York. She ended up not studying Hans Hoffman, which is why she moved, but she did discover the art of the New York School. This was her big introduction to Abstract Expressionism. Mitchell then went to Paris on a fellowship where she continued to paint. Her paintings were clearly becoming more and more abstract, eventually leading to what she called her "expressionist landscapes." After Paris. Mitchell moved back to New York and was officially an Abstract Expressionist. The more sje painted, the more she found her style. This style included lots of colors and unique compositions. Later in her life, she moved back to Paris. She continued to paint while in France, but her subject matter moved over to nature and landscapes. Mitchell also started to make much larger work. Even in her later years of life, Mitchell painted, these works seem to be more linear than previous. Throughout her life, Mitchell supported many young artists, she was overall a very generous person. Looking back, it is clear that she mainly painted landscapes on large canvases, and this is still what she's best known for today. Sources used above: www.theartstory.org/artist-mitchell-joan-life-and-legacy.htm joanmitchellfoundation.org/work Sources to learn more: 1. the links above - just some general background info 2.this article that goes more in depth into her personality - www.artsy.net/article/artsy-editorial-abstract-expressionist-joan-mitchell-complicated-driven-genius 3. the brief video below Questions: 1. How did Mitchell's personality seem to translate into her work, or did it at all? 2.How was Mitchell and her art influenced by her environment? 3. What parts of Mitchell's work seem to be drawn from other Abstract Expressionist that she may have been around, and what parts seem unique to her? Fresken des Wurzburger Residenzchlosses, Szenen zur Apotheose des Furstbischofs, Detail. 1750-1753 fresco Wurzburg Residence Treppenhaus Walking Man, before 1762 pen with brown ink and brown wash over black chalk 7.5 in x 5 in Ackland Art Museum Rinaldo Enchanted by Armida 1742-1745 oil on canvas 73.81 in x 85.35 in Art Institute of Chicago Giovanni Battista Tiepolo was an Italian painter, born in 1696, mostly known for his frescoes. He grew up well off with his 4 siblings and widowed mother. He learned different painting and art techniques from various artists and teachers, which helped him create his own style. He started out mainly working in chiaroscuro, but his style continued to evolve throughout his life, as did the rest of art and expression in Europe. After completing just a few frescoes, he became very popular and was often asked to paint more in Italy, and later, other countries in Europe. He worked late into his life and continued to be influenced by other artists, many of whom were his friends. His legacy still lives on with many of his frescoes being well know and influential to later artists. This information was compiled from the sources listed below. Helpful Resources (use to answer questions): https://www.britannica.com/biography/Giovanni-Battista-Tiepolo https://www.nga.gov/collection/artist-info.1927.html the following video contains pictures of Tiepolo's work, however no biographical information: Questions:
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