PRELIMINARY MATERIAL REVIEW
Remaining calm….
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Practice
Conceptual Framework
Frames
Andy Goldsworthy
Some important terms
Different representations of the world
There is a special name for images in Exams. They are called ‘plates’.
PRACTICE.
In the HSC Syllabus, the word ‘Practice’
refers to all the content of this course. It’s
divided up into 3 areas. (They all start with
the word ‘art’….)
PRACTICE
CONCEPTUAL FRAMEWORK
Why do I insist on a picture of David Beckham? Why
why why. What is this Conceptual Framework all
about??? Someone who has NOT answered this
before needs to respond this time. Come on. Try for
goal…imagine the roar of the crowd…
Re-visiting Andy Goldsworthy.
Quote: “For me looking, touching, material, place
and form are all inseparable from the resulting
work. It is difficult to say where one stops and
another begins. Place is found by walking, direction
determined by weather and season. I take the
opportunity each day offers: if it is snowing, I work
in snow, at leaf-fall it will be leaves; a blown over
tree becomes a source of twigs and branches.”
Goldsworthy creates a work, then photographs it, then
leaves it. It gradually (sometimes quickly, as with this
work) will fall apart. His work is ephemeral. No one may
see it in place at the time he’s creating it. It may be just
him out in the environment, creating these installations.
Floating hole,
Lougborough
Leicestershire 1986
• Uses just the natural materials , whatever
he finds in the environment.
• Doesn’t go in with high-tech gear to create
the works. It’s what he can do himself or
with an assistant.
• Because he simply goes out and sees what
he might come across, he does not have
total control over what will be created on
any given day. This is deliberate.
• Rather than describing his world, he
intervenes in it in a non-damaging way,
then lets it return to what it was, in it’s own
time.
• A bit like John Wolseley, he collaborates
with his environment.
Large fallen oak tree - used leaves
with branches still attached for
supporting structure inside ball.
Dumfriesshire 15 September 1985
Bright sunny morning, frozen snow, cut slab,
scraped snow away with a stick, just short of
breaking through.
Izumi-Mura, Japan. 19 December 1987
“My approach to photograph is kept
simple, almost routine. All work, good
and bad, is documented. I use standard
film, a standard lens and no filters. Each
work grows, strays, decays—integral
parts of a cycle which the photograph
shows at its height, marking the moment
when the work is most alive.”
Thinking about the Conceptual Framework, what could we say about his
audience?
Which is the artwork? Is it the ephemeral installation, or the photographic
documentation he makes and then sells?
If we were asked to discuss Goldsworthy’s work using the Conceptual Framework,
What would that question actually be asking us to do?
Take a few moments to
Discuss his art practice,
using
The Conceptual
Framework.
Name at least 3 aspects
or features.
Ends of Bamboo, 1987, Japan.
What are the Frames?
FRAMES
• They are different ways of looking at, or talking about, or thinking about, an
artwork.
• There are four Frames…but for the exam we’ll only concern ourselves with
three (YIPPEE!!)
.
• And our three finalists are….
These cats will give you absolutely
no help in answering questions
about Frames.
Subjective Frame. What could we say about this image, using the Subjective Frame?
JMW Turner , (U.K. 1775-1851)
Snow Storm: Hannibal and his
Army Crossing the Alps, 1812, oil
paint on canvas, 146 x 237 cm
Now please stand up…..
The Cultural Frame…What could we say about this image, using the Cultural Frame?
Tom Roberts (Aust.1856-1931)
The Slumbering Sea, Mentone,
1887, oil on canvas, 51 x 76 cm
Structural Frame:
What could we say about this image, using the Structural Frame?
Arthur Streeton (Aust. 1867-1943), Fire’s
on, 1891, oil on canvas 184 x 122 cm
There is a critical difference between they way
these two images describe space. Around the
time of the Renaissance (14th century) artists
started using techniques to give a sense of
depth to their work.
Psalter page from 13th Century.
Piero Della Francesca, ( Italian, 1415 –
1492) The Flagellation of Christ,1455,
Oil and tempera on panel, 59 x 82 cm
A different perspective technique can be seen here….
Let’s have another go with the
Structural Frame with this plate.
What can we say about
Its composition, style or use of
symbols/codes?
Claude Lorrain (French, 1600 -1682.) Pastoral Landscape:
Roman Campagna, 1639, Oil on canvas 101 x 135 cm.
Another painting by Claude, this time describing a scene from Greek mythology. Paris
was asked to judge the most beautiful of three Goddesses. Using ancient myths, historical
figures or stories from the Bible is referred to as what genre?
Claude was probably not all that
interested in myths. He was
very interested in describing
beautiful skies and atmospheres
though, as we can see. He lived
in a time where describing
landscape just for itself was not
seen as really worthwhile,
hence the addition of historical
or mythical figures.
Claude Lorrain (French, 1600 -1682) The Judgment of Paris, 1645/1646
oil on canvas, 112 x 149 cm.
Some more practice….using the
Structural frame, what can we
say about this work? Try to
name 3 features or aspects.
Arthur Streeton (Aust. 1867-1943)
Spirit of the Drought, c.1895, oil
on wood panel, 35 x 37 cm
In their artworks, artists represent various ideas about their world. What can we say
about the ideas represented in this work by Australian Impressionist Tom Roberts?
Tom Roberts (Aust.
1856-1931) Shearing
the Rams,1890, oil on
canvas, 122 x 183cm
What ideas are being represented here? It’s always more than a simple
image…there are messages being conveyed with an artwork. There is
meaning.
Arthur Streeton
(Aust. 1867-1943)
Golden Summer
Eaglemont, 1889,
oil on canvas, 81cm
x 152cm
Seen the WIKI site yet? You can view all our PowerPoints, with notes, in
full living colour…Google ‘gymea TAFE wiki’ to get you there…
WIKI