Exploration
Research Assessment 4 Subject: Painting Differently Works Cited (MLA 8 citation[s]) Rosa Nanini, Luiz Fernando. Painting with my Hands. 2017, Frisco, TX. In a previous assessment I wrote about trying new techniques, stepping out of my comfort zone. I decided to do just that in my latest painting. It is not complete, but I have done enough to gain a grasp of the technique and my feelings about it. The idea was to paint a painting entirely with my hands; because it is difficult to create detail with my hands, I decided to paint something larger than usual, which is also not something I am used to. It is difficult to describe how rewarding the experience was. I painted a hand on cardboard with my hands, which, in reality, is not something unique. However, it was something different for me, and that was the goal of the exercise.. Not only was it extremely enjoyable, but it also seems to fit well into my style. Hard, straight, polished lines are not easy to make with one’s hands, so the painting tends to look more fluid in a way that almost resembles expressionism. The painting reminds me of the sketchy drawings I am incredibly fond of; it also looks similar to most of my paintings in that sense. I have never been the person to paint in a, well, polished way, so this technique seems to work well with me. To find something that fits me this well is reassuring and motivating. There is an infinite amount of styles, techniques, mediums, and subjects I could explore; to think the first technique I delved into was not only extremely enjoyable, but also resembles something I have an inclination towards is amazing. I am excited, to say the least, to explore more and to continue to step out of my comfort zone because it is clearly something I am meant to do. I am a student; I am supposed to try new things in order to learn. I am meant to find my own style and technique. Stepping out of my comfort zone is the best way to do that. I feel as though I am walking a path towards an ultimate destination, which seems to be a discovery of myself and my passion. All the knowledge I gain seems to propel me forwards. I consistently learn more about myself and my passion for painting. This experience, in a way, validates the article I read about Helen Frankenthaler's exploration of new styles of painting. Stepping out of my comfort zone will allow me to grow as a painter and I plan to continue doing so. This idea of exploration could be a theme for my original work. Maybe I could make something different, something I usually would avoid. It would allow me learn something new about painting and myself. Maybe I could try abstract; I have always strayed away from abstract. I struggle to see the meaning in that kind work, and I have never made something abstract that is truly meaningful. At the very least, I know I will try to do something unique. I will continue exploring new methods of painting and see where that leads me. Hopefully, I will find something that is truly different, but also enjoyable.
0 Comments
Purpose
Research Assessment 3 Subject: How an artist brings a painting to life Works Cited (MLA 8 citation[s]) Zinsser, William. "Two men and a portrait: one wondered how an artist brings paint to life. The other showed him." Smithsonian, Apr. 2007, p. 98+. Science In Context. Accessed 22 Sept. 2017. Finding the right article is difficult; I have been attempting to learn more about painting, but I consistently find articles about artists’ lives, not their paintings. This article, however, was different. It was written to teach me something, not to share a story with me. The article follows the narrator as he describes his experience of being painted by a cousin. Zinsser describes the long process of painting by sharing what his cousin taught him. The article describes the thought behind each painting the artists makes; it showcases the importance of purpose in art. The painter himself mentions that someone becomes a painter once they know how to paint their thoughts. I have always known that purpose is important, but I had never thought of it as the backbone of a painting. Purpose guides the painter and allows him to focus on what expresses that purpose. Observational details matter little because they do not express anything; it is the painter’s job to find aspects of his or her subject that expresses the purpose of the painting. This is achieved early on through the broad composition that should capture the purpose. Later as the artists begins to finalize and polish his work he must choose whatever details exemplify his goal. By working this way, the artist clearly showcases the meaning behind his work. This knowledge is invaluable. I have always leaned towards observational painting because it is easier. I have never known how to implement purpose; this article, in a way, details specific steps I should take in order to achieve this goal. I feel as though, with this knowledge, I am able to create better artwork and actually express something through painting, as any painter should. Most of the articles and most artists I have talked to, that mention purpose, always stress the importance of purpose. I am positive I can formulate a plan to use this article as a stepping stone into creating meaning in my work. Admittedly that has been a large goal of mine, so it is reassuring to think that I might actually accomplish it. Here is my plan: I know my purpose does not have to convey something philosophical or intellectual, but it should portray something with meaning. Once I establish meaning I should think of a way to portray that meaning, be it through form, composition, contrast, or a combination of these and other principles of art. Having a general plan will allow me to focus on one aspect of the painting at a time, which is exactly what I did with my One Hundred Apples without noticing. Focusing on one aspect at a time should make it easier to commit more time into my work; it will also provide me with a better foundation in which to build a more complex painting. I am honestly surprised by how helpful the article was. It did not teach me revolutionary knowledge, but it made what I already should know clearer to see. The article allowed me to more clearly visualize what I want to create and the process I should go about creating it. I am confident can better my artwork and work ethic not because this article has given me a formula for better artwork, but because it showed me that I have not been as involved with my paintings as I can be. By focusing on smaller, simpler, aspects of the painting I can devote more to it. As I mentioned earlier, it is what I did with my one hundred paintings, and it is what I plan to more actively do in my future projects. Paradoxical Risks
Research Assessment 2 Subject: Helen Frankenthaler’s exhibition at the Clark Art Institute Works Cited (MLA 8 citation[s]) Princenthal, Nancy. "Rules Set Fearlessly Aside." New York Times, 1 Sept. 2017, p. C13(L). Science In Context. Accessed 14 Sept. 2017. Although I enjoy painting and consider myself fairly knowledgeable on the subject, I still struggle to understand meaning behind painters’ work. In an effort to address this issue, I have decided to study different painters and their paintings. I originally intended to study Richard Diebenkorn because I was intrigued by his shape-focused artwork Ms. Vernon introduced to me last spring. While searching for valuable documents, however, I stumbled on this article detailing a paradoxical painter that caught my eye. Understanding abstract has never been an easy task for me, so I thought looking into an artist who worked with just that would be useful. Admittedly, there are many abstract painters; my reasoning for studying Helen Frankenthaler was the author’s mention of how Frankenthal abstract painting seemed to portray realistic, or naturalistic- as the author puts it- subject matters. Everything about Frankenthal seems contradictory. How does someone paint realistic subjects through abstract painting? Why did she decide to do this? Frankenthal seems to have valued risk-taking above everything when it came to painting; maybe because risks can result in inspiring creativity. The author claims Frankenthal did not believe in any rules; in fact, she disregarded various norms of painting. Her paintings were not intended to have any subject matters, but still managed to display, ever so slightly, the outdoors environment in which she painted. It seems impossible, yet a quick search a Frankenthal paintings defend the author’s claims. I was caught by one of the paintings I saw, “Redshift”. The all-red painting, in the small google window seemed to show a dark horizon line. Two people- one close (on the left) and another far (on the right)- seem to be looking down, but they are not. Well, they are not even people, just a few blotches of paint. I do not know how she did it or why, but I instantly realized something. The painting intrigued me, an abstract painting; usually that is not the case. At first glance it seems to display contradictory emotions. The deep reds look passionate, but also eerie. They almost seem to haunt the people-blotches I saw earlier. Frankenthal’s risk-taking seems to have paid off. Not only did she grow to become a successful artists, but also painted images I have never seen before. Each seems to portray some form of contradiction; they all intrigue me. Of course, I cannot be certain, but I feel as though I am beginning to understand and analyze paintings. It is undeniably motivating. Over time, this career is becoming more approachable. I now know, the rules attributed to painting are not set in stone; they are merely guidelines to understanding others’ painting. Maybe an art school is not meant to teach me how to paint, but, instead, meant to guide me into developing myself into a painter. Maybe I should begin looking at all my teacher’s lessons as guidelines, and not rules. Maybe I should begin taking more risks; not because Frankenthal did it, but because it could allow me to discover something unique, as Frankenthal did. In fact, that is what I will do. I have no doubt, this perspective centered on risk-taking will benefit me. I have already begun stepping out of my comfort zone by painting more; taking more risks seems like the next logical step. I am excited to see where ambition can take me. I am a student after all, learning should be my primary goal. I should have no fear. Failure is inevitable, but it is not debilitating, it is motivating. In my art class I will soon be able to paint whatever I would like; it will be the perfect opportunity to begin taking some more risks. This article has been invaluable in motivating me. Not only has it allowed me to see my analytical growth, but has also motivated me to grow as a painter. There is absolutely no doubt I will use this motivation. Only, a few questions do arise. What will I paint, in other words, what will be my risks, and how will I work towards taking these risks? I have always wondered what a painting of mine would look like if I painted it without contacts or glasses. That will be my first risk, a sort of blind painting. Ms. Vernon always stressed the importance of painting shapes over detail, and painting like this could allow me to see shapes more clearly. This could be a great way to follow her advice and grow as a painter. Painting: An Actual Job
Research Assessment 1 Subject: Painting as a Career Works Cited (MLA 8 citation[s]) “Crafts and Fine Arts: Occupational Outlook.” U.S. Bureau of Labor Statistics, U.S. Department of Labor, 17 Dec. 2015. Accessed 8 Sept. 2017. It is a new year, and quite a while has passed since I have looked deeply into the prospects of a career in painting, so, despite being in ISM II and studying the same topic, I decided it would be a good idea give myself a refresher of the career. To my surprise, the U.S. Bureau of Labor Statistics had an article over Craft and Fine Artists; to me, it is another reason to consider painting as an actual career. Although I already knew a large portion of what was said in the article, there was quite a bit I did not know. Most of the article explained the usual: painting is a difficult career in which an artists has to pour themselves into their work, and may still have to work a second job. Success in art is derived from an artist’s reputation and dedication; if they are able to build a brand and a consistent clientele they will create a sustainable salary. Painters can build their reputations by participating in local shows, galleries, and exhibitions. They develop their skills through practice, apprenticeship programs, a college education, visiting museums, and from other artists’ advice. Although a college education is not necessary, it allows a painter grow and prepares them to the brutal realities of the job. I remember my mentor suggested I seek out a Masters Degree. Despite the fact that I already knew this, reading over it helps me ground myself. It is important to think of the realities of being a painter and not just my ideal vision of the future. Refreshing myself in this knowledge also allows me to better prepare myself as I move forwards in this second year of ISM. However, I must admit, there was quite a bit of knowledge I lacked on the subject. I learned that the median pay for an artist is $48,780 per year. I will be frank, that is more than I expected. Although, I do not know how reliable that number is because the incredibly wealthy artists ought to have affected the calculations. I also found that the economy has a large impact in an artist’s success; a thriving economy allows people to spend their money on paintings, but in a struggling economy less people are able to buy paintings. Nevertheless, museums and collectors are always looking for paintings, so even in a recession, a painter may find success. All this new information is encouraging; it compels me to believe success is possible regardless of the situation. The most important lesson I was taught, however, is that a most paintings are not commissioned To succeed in painting an artist does not need to only paint commissioned paintings. Hold on. I had to take a moment to soak that information in. To me, this is incredibly heartwarming. To succeed as a painter I do not need to paint what others tell me; instead, I need to paint what I want. My success is derived from my creativity and dedication not my style of painting. This may be similar to the previous information, but it is even more impactful because it means I can succeed no matter what occurs. I thought reading this would discourage me, but it had the opposite effect on me. I feel encouraged, even motivated. Yeah, it is insanely challenging to live as a painter; that does not matter, though, because I can overcome these challenges. Even if I have to work another job, I can and will find success if I put my mind to it. Passion and dedication are the only things that can limit me, but why would they? I already am passionate about the subject and that will only grow. In the other hand, my dedication will be my main focus this year; I already want to improve it, so this only reinforces my goals. My first instinct, as I began reading the article, was that it was not useful to me. Most of the knowledge was not new; it did not seem to impact me. However, most of the knowledge did reinforce my plans. It must mean I am following the right path. With this knowledge, I find that my pains have not changed. In fact, I have only been invigorated. If anything, my attempts to make painting a habit will be even more passionate; I will continue to continuously paint in order to make painting a habit. It is the best way to consistently paint and improve, which, I just learned, are both invaluable to my success. I feel especially motivated to paint an art piece every eleven days. Not only do I want to, but I need to in order to thrive in this future career. |