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Drawing is a form of visual art in which a person uses various drawing instruments to mark paper or another two-dimensional medium. Instruments include graphite pencils, pen and ink, inked brushes, wax color pencils, crayons, charcoal, chalk, pastels, various kinds of erasers, markers, styluses, various metals (such as silverpoint), and electronic drawing.
An artist who practices or works in technical drawing may be called a drafter, draftsman, or draughtsman.[1]
A drawing instrument releases small amount of material onto a surface, leaving a visible mark. The most common support for drawing is paper, although other materials, such as cardboard, plastic, leather, canvas, and board, may be used. Temporary drawings may be made on a blackboard or whiteboard or indeed almost anything. The medium has been a popular and fundamental means of public expression throughout human history. It is one of the simplest and most efficient means of communicating visual ideas.[2] The wide availability of drawing instruments makes drawing one of the most common artistic activities.
Drawing is one of the major forms of expression within the visual arts. It is generally concerned with the marking of lines and areas of tone onto paper, where the accurate representation of the visual world is expressed upon a plane surface.[3] Traditional drawings were monochrome, or at least had little colour,[4] while modern colored-pencil drawings may approach or cross a boundary between drawing and painting. In Western terminology, drawing is distinct from painting, even though similar media often are employed in both tasks. Dry media, normally associated with drawing, such as chalk, may be used in pastel paintings. Drawing may be done with a liquid medium, applied with brushes or pens. Similar supports likewise can serve both: painting generally involves the application of liquid paint onto prepared canvas or panels, but sometimes an underdrawing is drawn first on that same support.
Drawing is often exploratory, with considerable emphasis on observation, problem-solving and composition. Drawing is also regularly used in preparation for a painting, further obfuscating their distinction. Drawings created for these purposes are called studies.
There are several categories of drawing, including figure drawing, cartooning, doodling and shading. There are also many drawing methods, such as line drawing, stippling, shading, the surrealist method of entopic graphomania (in which dots are made at the sites of impurities in a blank sheet of paper, and lines are then made between the dots), and tracing (drawing on a translucent paper, such as tracing paper, around the outline of preexisting shapes that show through the paper).
A quick, unrefined drawing may be called a sketch.
In fields outside art, technical drawings or plans of buildings, machinery, circuitry and other things are often called "drawings" even when they have been transferred to another medium by printing.
Drawing as a Form of Communication Drawing is one of the oldest forms of human expression, with evidence for its existence preceding that of written communication.[5] It is believed that drawing was used as a specialised form of communication before the invent of the written language,[5][6] demonstrated by the production of cave and rock paintings created by Homo sapiens sapiens around 30,000 years ago.[7] These drawings, known as pictograms, depicted objects and abstract concepts.[8] The sketches and paintings produced in prehistoric times were eventually stylised and simplified, leading to the development of the written language as we know it today.
Drawing in the Arts Drawing is used to express one's creativity, and therefore has been prominent in the world of art. Throughout much of history, drawing was regarded as the foundation for artistic practise.[9] Initially, artists used and reused wooden tablets for the production of their drawings.[10] Following the widespread availability of paper in the 14th century, the use of drawing in the arts increased. At this point, drawing was commonly used as a tool for thought and investigation, acting as a study medium whilst artists were preparing for their final pieces of work.[11][12] In a period of artistic flourish, the Renaissance brought about drawings exhibiting realistic representational qualities,[13] where there was a lot of influence from geometry and philosophy.[14]
The invention of the first widely available form of photography led to a shift in the use of drawing in the arts.[15] Photography took over from drawing as a more superior method for accurately representing visual phenomena, and artists began to abandon traditional drawing practises.[16] Modernism in the arts encouraged "imaginative originality"[17] and artists' approach to drawing became more abstract.
Drawing Outside of the Arts Although the use of drawing is extensive in the arts, its practice is not confined purely to this field. Before the widespread availability of paper, 12th century monks in European monasteries used intricate drawings to prepare illustrated, illuminated manuscripts on vellum and parchment. Drawing has also been used extensively in the field of science, as a method of discovery, understanding and explanation. In 1616, astronomer Galileo Galilei explained the changing phases of the moon through his observational telescopic drawings.[16] Additionally, in 1924, geophysicist Alfred Wegener used illustrations to visually demonstrate the origin of the continents.[16]
Notable draftsmen[edit]
Since the 14th century, each century has produced artists who have created great drawings.
Notable draftsmen of the 14th, 15th and 16th centuries include Leonardo da Vinci, Albrecht Dürer, Michelangelo and Raphael.
Notable draftsmen of the 17th century include Claude, Nicolas Poussin, Rembrandt, Guercino, and Peter Paul Rubens.
Notable draftsmen of the 18th century include Jean-Honoré Fragonard, Giovanni Battista Tiepolo, and Antoine Watteau.
Notable draftsmen of the 19th century include Paul Cézanne, Aubrey Beardsley, Jacques-Louis David, Pierre-Paul Prud'hon, Edgar Degas, Théodore Géricault, Francisco Goya, Jean Ingres, Odilon Redon, Henri de Toulouse-Lautrec, Honoré Daumier, and Vincent van Gogh.
Notable draftsmen of the 20th century include Käthe Kollwitz, Max Beckmann, Jean Dubuffet, George Grosz, Egon Schiele, Arshile Gorky, Paul Klee, Oscar Kokoschka, Alphonse Mucha, M. C. Escher, André Masson, Jules Pascin, and Pablo Picasso.
The medium is the means by which ink, pigment or color are delivered onto the drawing surface. Most drawing media are either dry (e.g. graphite, charcoal, pastels, Conté, silverpoint), or use a fluid solvent or carrier (marker, pen and ink). Watercolor pencils can be used dry like ordinary pencils, then moistened with a wet brush to get various painterly effects. Very rarely, artists have drawn with (usually decoded) invisible ink. Metalpoint drawing usually employs either of two metals: silver or lead.[18] More rarely used are gold, platinum, copper, brass, bronze, and tinpoint.
Paper comes in a variety of different sizes and qualities, ranging from newspaper grade up to high quality and relatively expensive paper sold as individual sheets.[19] Papers can vary in texture, hue, acidity, and strength when wet. Smooth paper is good for rendering fine detail, but a more "toothy" paper holds the drawing material better. Thus a coarser material is useful for producing deeper contrast.
Newsprint and typing paper may be useful for practice and rough sketches. Tracing paper is used to experiment over a half-finished drawing, and to transfer a design from one sheet to another. Cartridge paper is the basic type of drawing paper sold in pads. Bristol board and even heavier acid-free boards, frequently with smooth finishes, are used for drawing fine detail and do not distort when wet media (ink, washes) are applied. Vellum is extremely smooth and suitable for very fine detail. Coldpressed watercolor paper may be favored for ink drawing due to its texture.
Acid-free, archival quality paper keeps its color and texture far longer than wood pulp based paper such as newsprint, which turns yellow and become brittle much sooner.
The basic tools are a drawing board or table, pencil sharpener and eraser, and for ink drawing, blotting paper. Other tools used are circle compass, ruler, and set square. Fixative is used to prevent pencil and crayon marks from smudging. Drafting tape is used to secure paper to drawing surface, and also to mask an area to keep it free of accidental marks sprayed or spattered materials and washes. An easel or slanted table is used to keep the drawing surface in a suitable position, which is generally more horizontal than the position used in painting.
Almost all draftsmen use their hands and fingers to apply the media, with the exception of some handicapped individuals who draw with their mouth or feet.[20]
Prior to working on an image, the artist typically explores how various media work. They may try different drawing implements on practice sheets to determine value and texture, and how to apply the implement to produce various effects.
The artist's choice of drawing strokes affects the appearance of the image. Pen and ink drawings often use hatching—groups of parallel lines.[21] Cross-hatching uses hatching in two or more different directions to create a darker tone. Broken hatching, or lines with intermittent breaks, form lighter tones—and controlling the density of the breaks achieves a gradation of tone. Stippling, uses dots to produce tone, texture or shade. Different textures can be achieved depending on the method used to build tone.[22]
Drawings in dry media often use similar techniques, though pencils and drawing sticks can achieve continuous variations in tone. Typically a drawing is filled in based on which hand the artist favors. A right-handed artist draws from left to right to avoid smearing the image. Erasers can remove unwanted lines, lighten tones, and clean up stray marks. In a sketch or outline drawing, lines drawn often follow the contour of the subject, creating depth by looking like shadows cast from a light in the artist's position.
Sometimes the artist leaves a section of the image untouched while filling in the remainder. The shape of the area to preserve can be painted with masking fluid or cut out of a frisket and applied to the drawing surface, protecting the surface from stray marks until the mask is removed.
Another method to preserve a section of the image is to apply a spray-on fixative to the surface. This holds loose material more firmly to the sheet and prevents it from smearing. However the fixative spray typically uses chemicals that can harm the respiratory system, so it should be employed in a well-ventilated area such as outdoors.
Another technique is subtractive drawing in which the drawing surface is covered with graphite or charcoal and then erased to make the image.[23]
Shading is the technique of varying the tonal values on the paper to represent the shade of the material as well as the placement of the shadows. Careful attention to reflected light, shadows and highlights can result in a very realistic rendition of the image.
Blending uses an implement to soften or spread the original drawing strokes. Blending is most easily done with a medium that does not immediately fix itself, such as graphite, chalk, or charcoal, although freshly applied ink can be smudged, wet or dry, for some effects. For shading and blending, the artist can use a blending stump, tissue, a kneaded eraser, a fingertip, or any combination of them. A piece of chamois is useful for creating smooth textures, and for removing material to lighten the tone. Continuous tone can be achieved with graphite on a smooth surface without blending, but the technique is laborious, involving small circular or oval strokes with a somewhat blunt point.
Shading techniques that also introduce texture to the drawing include hatching and stippling. A number of other methods produce texture. In addition to the choice of paper, drawing material and technique affect texture. Texture can be made to appear more realistic when it is drawn next to a contrasting texture; a coarse texture is more obvious when placed next to a smoothly blended area. A similar effect can be achieved by drawing different tones close together. A light edge next to a dark background stands out to the eye, and almost appears to float above the surface.
Form and proportion[edit]Measuring the dimensions of a subject while blocking in the drawing is an important step in producing a realistic rendition of the subject. Tools such as a compass can be used to measure the angles of different sides. These angles can be reproduced on the drawing surface and then rechecked to make sure they are accurate. Another form of measurement is to compare the relative sizes of different parts of the subject with each other. A finger placed at a point along the drawing implement can be used to compare that dimension with other parts of the image. A ruler can be used both as a straightedge and a device to compute proportions.
When attempting to draw a complicated shape such as a human figure, it is helpful at first to represent the form with a set of primitive shapes. Almost any form can be represented by some combination of the cube, sphere, cylinder, and cone. Once these basic shapes have been assembled into a likeness, then the drawing can be refined into a more accurate and polished form. The lines of the primitive shapes are removed and replaced by the final likeness. Drawing the underlying construction is a fundamental skill for representational art, and is taught in many books and schools. Its correct application resolves most uncertainties about smaller details, and makes the final image look consistent.[24]
A more refined art of figure drawing relies upon the artist possessing a deep understanding of anatomy and the human proportions. A trained artist is familiar with the skeleton structure, joint location, muscle placement, tendon movement, and how the different parts work together during movement. This allows the artist to render more natural poses that do not appear artificially stiff. The artist is also familiar with how the proportions vary depending on the age of the subject, particularly when drawing a portrait.
Perspective[edit]
Linear perspective is a method of portraying objects on a flat surface so that the dimensions shrink with distance. Each set of parallel, straight edges of any object, whether a building or a table, follows lines that eventually converge at a vanishing point. Typically this convergence point is somewhere along the horizon, as buildings are built level with the flat surface. When multiple structures are aligned with each other, such as buildings along a street, the horizontal tops and bottoms of the structures typically converge at a vanishing point.When both the fronts and sides of a building are drawn, then the parallel lines forming a side converge at a second point along the horizon (which may be off the drawing paper.) This is a two-point perspective.[25] Converging the vertical lines to a third point above or below the horizon then produces a three-point perspective.
Depth can also be portrayed by several techniques in addition to the perspective approach above. Objects of similar size should appear ever smaller the further they are from the viewer. Thus the back wheel of a cart appears slightly smaller than the front wheel. Depth can be portrayed through the use of texture. As the texture of an object gets further away it becomes more compressed and busy, taking on an entirely different character than if it was close. Depth can also be portrayed by reducing the contrast in more distant objects, and by making their colors less saturated. This reproduces the effect of atmospheric haze, and cause the eye to focus primarily on objects drawn in the foreground.
This is an image from the exhibition at the Illinois State Museum Chicago Gallery entitled: Pro-Text: When Words Enter Visual Art
The show explores the combinative practices of artists who use language or text in their visual art. This exhibition showcases art that incorporates words, letters, or text, for narrative or graphic impact. The scope of the exhibition ranges from folk/ visionary art, to contemporary works in traditional media such as drawing, painting and sculpture, to experimental installation, mixed media and new media work. Works by emerging and mid-career artists are featured alongside select works drawn from the ISM Fine Art Collection. Exhibition is curated by Robert Sill, Assistant Director of Art, Illinois State Museum. Exhibition runs from September 8, 2014 through February 6, 2015.
Artists: Joanne Aono, George Blaha, Stan Bly, Mark Booth, Shayne Brantley, Jaun Angel Chavez, Michael Dinges, Don Colley, Betsy Dollar, Howard Finster, Indira Freitas Johnson, Ellen Greene, Phil Hanson, Kathy Halper, Jesse Howard, Kate Ingold, Allison Lacher, Gina Litherland , Jim Lutes, Ruth Ann Mazarim, Mike Miller, Michael Nakoneczny, Terry Rathje, Hollis Sigler, Brian Sullivan, Kevin Veara, Thom Whalen, Andrew Young.
Pro-Text is part of Chicago Artists Month 2014, the 19th annual celebration of Chicago's vibrant art community presented by the Chicago Department of Cultural Affairs and Special Events. For more information, visit www.chicagoartistsmonth.org
This is a compilation of 56 photos taken on the 19th of April with a few mates. It is for my Yr 12 Visual Art Practical.
I was inspired by the lichtfaktor crew , who are just unbelievably talented at this kind of stop motion photography.
This is only a trial and still rough around the edges.
Song: Steamworks - The Presets
Edited in Adobe Lightroom
Compiled in Adobe Premiere
: Visual Art & Craft Fair. 5/6 November 2022, Easterbrook Hall Dumfries/ Images by Ruari Barbour Fleming
Minimalism in visual art, sometimes referred to as "literalist art"[3] and "ABC Art"[4] emerged in New York in the 1960s. It is regarded as a reaction against the painterly forms of Abstract Expressionism as well as the discourse, institutions and ideologies that supported it. As artist and critic Thomas Lawson noted in his 1977 catalog essay Last Exit: Painting, minimalism did not reject Clement Greenberg's claims about Modernist Painting's reduction to surface and materials so much as take his claims literally. Minimalism was the result, even though the term "minimalism" was not generally embraced by the artists associated with it, and many practitioners of art designated minimalist by critics did not identify it as a movement as such.
In contrast to the Abstract Expressionists, Minimalists were influenced by composer John Cage, poet William Carlos Williams, and architect Frederick Law Olmsted. They very explicitly stated that their art was not self-expression, in opposition to the previous decade's Abstract Expressionists. In general, Minimalism's features included: geometric, often cubic forms purged of all metaphor, equality of parts, repetition, neutral surfaces, and industrial materials.
Robert Morris, an influential theorist and artist, wrote a three part essay, "Notes on Sculpture 1-3," originally published across three issues of Artforum in 1966. In these essays, Morris attempted to define a conceptual framework and formal elements for himself and one that would embrace the practices of his contemporaries. These essays paid great attention to the idea of the gestalt- "parts... bound together in such a way that they create a maximum resistance to perceptual separation." Morris later described an art represented by a "marked lateral spread and no regularized units or symmetrical intervals..." in "Notes on Sculpture 4: Beyond Objects," originally published in Artforum, 1969, continuing to say that "indeterminacy of arrangement of parts is a literal aspect of the physical existence of the thing.” The general shift in theory of which this essay is an expression suggests the transitions into what would later be referred to as Post-Minimalism.
This panel involves writers and visual artists about text-image collaborations, as well as writers who have gotten inspiration from visual art, and it explores ways writers make connections with art and the visual artistic process, furthering the continuum of the artist’s studio as school, gallery, political stance, sanctuary, and muse. This event is part of the “Studio Chicago” calendar of events.
Contemporary writers and artists need a clean, well lit room of their own to create. Whether physical as a cabin in the woods or ubiquitous as online presence, the studio matters to Chicago culture makers because of the many out-of-time or out-of-ethics rituals it suggests. Making art doesn’t have to be political: this freedom is what makes art radically political. We will consider how Chicago institutions and colloquia opportunities might support Chicago artists and writers.
We will also discuss details about the spaces in which we work, whether those spaces are separate industrial studio space, home offices, or other kinds of spaces. Also, the nature of the work that happen in those studio spaces relates to how the spaces themselves are set up, whether the work involves what is done in solitude, or with collaborations (in physical and virtual spaces).
Participants will include Annie Heckman (Owner + Director, StepSister Press), Krista Franklin (writer, artist, and educator, Kathryn Born (editor of Chicago Art Magazine), Valerie Wallace (writer and educator), and Gene Tanta (writer, visual artist, and educator), moderated by Dan Godston (writer, musician, and educator).
Project choreographed by Gerry Turvey at Whitworth Gallery, Manchester, to run alongside the 'Walls Are Talking: Wallpaper, Art and Culture' exhibition. Performers included Vanessa Grasse (dance), Stuart Waters (dance), Daniel Weaver (music), Lynette Willoughby (visual art). Video/photos: Andy Wood.
This panel involves writers and visual artists about text-image collaborations, as well as writers who have gotten inspiration from visual art, and it explores ways writers make connections with art and the visual artistic process, furthering the continuum of the artist’s studio as school, gallery, political stance, sanctuary, and muse. This event is part of the “Studio Chicago” calendar of events.
Contemporary writers and artists need a clean, well lit room of their own to create. Whether physical as a cabin in the woods or ubiquitous as online presence, the studio matters to Chicago culture makers because of the many out-of-time or out-of-ethics rituals it suggests. Making art doesn’t have to be political: this freedom is what makes art radically political. We will consider how Chicago institutions and colloquia opportunities might support Chicago artists and writers.
We will also discuss details about the spaces in which we work, whether those spaces are separate industrial studio space, home offices, or other kinds of spaces. Also, the nature of the work that happen in those studio spaces relates to how the spaces themselves are set up, whether the work involves what is done in solitude, or with collaborations (in physical and virtual spaces).
Participants will include Annie Heckman (Owner + Director, StepSister Press), Krista Franklin (writer, artist, and educator, Kathryn Born (editor of Chicago Art Magazine), Valerie Wallace (writer and educator), and Gene Tanta (writer, visual artist, and educator), moderated by Dan Godston (writer, musician, and educator).
Pictures from the Drumoyne Demons' Govan Armada boat building workshop as part of 'Nothing about us without us is for us.'
'Nothing about us without us is for us' was a public art event using obsolete technology to hurl language across Glasgow's River Clyde. Organised and conceived by artists TS Beall and Matt Baker, the project commissioned 15 artists to partner with 18 local organisations. Together, they delivered 6 weeks of activities, culminating in an event on Saturday 28 April, 2012 where over 1500 people sang, shouted, and sailed across the Clyde. Visitors to the Glasgow International Festival were invited to the Govan waterfront to participate in transmissions using human megaphones, siege engines, string-and-cup telephones, messages-in-bottles (‘The Govan Armada’), choral serenades, and more…
www.glasgowinternational.org/index.php/events/view/nothin...
We relaxed and took shelter from the bitter winds in the excellent Reykjavík Art Museum. We explored the exhibitions, perused the well stocked library, played chess with giant pieces and debated when we should next have lobster soup.
APPARATUS for EPISODICAL VIDEO and SCULPTURE in ABANDONED LOTS. EPISODE 1.
permanent installation DRAKE HOTEL
this work is about discovery; anthropology and archeology. It is a process driven exploration of the vacant lot as a self-organizing and governing system.
land lying fallow forms its own function and culture while continually hiding it through new growth.
"Into the chasm gaping we
Mirrors multy reflecting this
Between spunk stained sheet
And odourous whim"
the painting, In the Flat Fields, is viewed through a vitrined mirror array opposite and complimented by a vacuum tube video exploration of a single space; bookended by a cantilevered sculpture meat hook. this apparatus for collection and description of landscape will be refit episodically by exploration of a new scape.
an evenings program of past and new video will give context to, and hopefully spur vitriolic discussion of, this new installation and its relation to cultural anthropology as mild drunkenness ensues.
above the sky and atmosphere are ominous, other worldly, the sun's rays reach out and suggest an annunciation; a visitation. The central clearing gives way to treed and over grown brush. On closer inspection the trees appear constructed and ooze liquid, they harbour tiny figures. The brush is rife with artifact and tiny people engaged in curious behaviors; this psycho-sexual landscape.
"I do get bored, I get bored
In the flat field"
Nyah-Bunyah (Temple)
Curated by Bindi Cole
Artists: Tony Albert, Daniel Boyd, Marree Clarke, Vicki Couzens, Fiona Foley, Denis Nona, Zane Saunders, Yhonnie Scarce
the Arts Centre, Gallery I
October 2010 - Melbourne Festival
Ray Schamp’s unique style of origami was influenced by his long-time interests in visual art and the sciences. Raised in Baltimore by working artists and science professionals, he emerged from his childhood with an appreciation for order, the natural world, and design. His art reflects his experiences growing up, his studies of biology at Oberlin College, and his current work as a web developer.
Schamp characterizes his style of origami as ‘corrugation’, in reference to the pleated surfaces that comprise the work. Through the development of this genre, Schamp has become involved in the greater community of origami artists, especially those who focus on the creation of repeated patterns in paper. His participation in this community has refined Schamp's understanding of his own work by challenging him to deeply explore the nuances of his technique and theory.
For Schamp, the experience of making each piece is as important as the piece itself – the art of origami lies in the evolution of the flat piece of paper into its final form. He understands his work as a form of emergence, where the end result is not pre-meditated, but is a function of the process by which it was created.
Corrugations differ from traditional origami not only because they are non-representational, but also because the role of each crease is apparent in the final piece. As described by a colleague in the origami community, “The bare bones of the fold displayed are stripped to their essentials. Here is folding from first principles…” Schamp’s work demonstrates the basic mechanics of paper, because each crease visibly contributes to the larger structure.
Teaching is a vital part of Schamp’s artistic practice. He understands origami corrugations as a medium for expressing mathematical and scientific ideas, and encourages others to do so as well. By sharing his method and philosophy of folding, he hopes to inspire artists, both within and outside of the origami community, to further explore his ideas.
This panel involves writers and visual artists about text-image collaborations, as well as writers who have gotten inspiration from visual art, and it explores ways writers make connections with art and the visual artistic process, furthering the continuum of the artist’s studio as school, gallery, political stance, sanctuary, and muse. This event is part of the “Studio Chicago” calendar of events.
Contemporary writers and artists need a clean, well lit room of their own to create. Whether physical as a cabin in the woods or ubiquitous as online presence, the studio matters to Chicago culture makers because of the many out-of-time or out-of-ethics rituals it suggests. Making art doesn’t have to be political: this freedom is what makes art radically political. We will consider how Chicago institutions and colloquia opportunities might support Chicago artists and writers.
We will also discuss details about the spaces in which we work, whether those spaces are separate industrial studio space, home offices, or other kinds of spaces. Also, the nature of the work that happen in those studio spaces relates to how the spaces themselves are set up, whether the work involves what is done in solitude, or with collaborations (in physical and virtual spaces).
Participants will include Annie Heckman (Owner + Director, StepSister Press), Krista Franklin (writer, artist, and educator, Kathryn Born (editor of Chicago Art Magazine), Valerie Wallace (writer and educator), and Gene Tanta (writer, visual artist, and educator), moderated by Dan Godston (writer, musician, and educator).
Test Tone vol. 35: Miclo Diet + Onnacodomo (visuals)
Miclo Diet
Melding dense and chaotic textures with complex beats, Miclo Diet aka Yasunobu Suzuki has created a diverse sound palette that ranges from eminently danceable rhythms to glitch-ridden madness. An organizing member of the Shinjuku-based Soup collective and a contributing member of the eclectic Tokyo-based NIkO label, Miclo Diet has his hands full with a range of enduring projects. We're a bit unsure where the name comes from, but it's possible to imagine that if you find yourself dancing to the music, you might also find yourself losing weight as quickly as you would drinking one of those similarly-named amphetamine-laced shakes. Fans of glitch, beats, thump and bop will not be disappointed. Tumultuous techno to keep the children awake at night.
Miclo Diet: www.myspace.com/miclodiet
Onnacodomo (visuals)
Taking their inspiration from moments and objects from everyday life, visual unit Onnacodomo make the ordinary decidedly extraordinary. Eschewing computer-generated graphics or recorded material, the three members (DJ Codomo, Yasuko Seki and Ruka Noguchi) perform in real time using a video camera to capture their spontaneous creations. Shimmering projections are created using water, mirrors and an array of lights, while a world of fantastic images is constructed with found photos, kitchen utensils, toys, stationary and improvised artwork. Kaleidoscopic, absurd and unreal, Onnacodomo takes you into a slightly-unhinged world that is absolutely original in its conception.
onnacodomo (visuals): web.mac.com/djcdm
Taken from the Test Tone homepage:
www.soundispatch.com/ttsnews/previous-events/test-tone-vo...
In Japanese:
www.soundispatch.com/ttsnews/ja/previous-events/test-tone...
This panel involves writers and visual artists about text-image collaborations, as well as writers who have gotten inspiration from visual art, and it explores ways writers make connections with art and the visual artistic process, furthering the continuum of the artist’s studio as school, gallery, political stance, sanctuary, and muse. This event is part of the “Studio Chicago” calendar of events.
Contemporary writers and artists need a clean, well lit room of their own to create. Whether physical as a cabin in the woods or ubiquitous as online presence, the studio matters to Chicago culture makers because of the many out-of-time or out-of-ethics rituals it suggests. Making art doesn’t have to be political: this freedom is what makes art radically political. We will consider how Chicago institutions and colloquia opportunities might support Chicago artists and writers.
We will also discuss details about the spaces in which we work, whether those spaces are separate industrial studio space, home offices, or other kinds of spaces. Also, the nature of the work that happen in those studio spaces relates to how the spaces themselves are set up, whether the work involves what is done in solitude, or with collaborations (in physical and virtual spaces).
Participants will include Annie Heckman (Owner + Director, StepSister Press), Krista Franklin (writer, artist, and educator, Kathryn Born (editor of Chicago Art Magazine), Valerie Wallace (writer and educator), and Gene Tanta (writer, visual artist, and educator), moderated by Dan Godston (writer, musician, and educator).
This set of performance images is from our collaboration with the NY vocal ensemble Ekmeles, entitled
"In the Sky I am Walking"
that featured the music of
Raven Chacon, Asdzaa Nádleehé & Yoolgai Asdzaa (2016)
Karlheinz Stockhausen, In the Sky I Am Walking (1972)
We created visual art/video/titling/staging elements for this special event, that was streamed live from the singers’ home in Brooklyn, NY on July 18, 2020.
Performers
Charlotte Mundy, Soprano
Elisa Sutherland, Mezzo Soprano
Steven Beck, Piano
For video documentation of the performance and additional information please visit www.mayarouvelle.com/?p=1178
The Linenhall Arts Centres Visual Art Programme for Schools run in conjunction with artist Leonora Neary's exhibition Coast in Dec/Jan 2010/11. Each class attending took part in a gallery tour focusing on the subject matter and techniques used in the works with focused discussion on composition, light and mood in the works. The tour was followed by a workshop in which the students created landscape collages, using a layering technique to create foreground, mid ground and background. Photo: copyright Michael Donnelly
This panel involves writers and visual artists about text-image collaborations, as well as writers who have gotten inspiration from visual art, and it explores ways writers make connections with art and the visual artistic process, furthering the continuum of the artist’s studio as school, gallery, political stance, sanctuary, and muse. This event is part of the “Studio Chicago” calendar of events.
Contemporary writers and artists need a clean, well lit room of their own to create. Whether physical as a cabin in the woods or ubiquitous as online presence, the studio matters to Chicago culture makers because of the many out-of-time or out-of-ethics rituals it suggests. Making art doesn’t have to be political: this freedom is what makes art radically political. We will consider how Chicago institutions and colloquia opportunities might support Chicago artists and writers.
We will also discuss details about the spaces in which we work, whether those spaces are separate industrial studio space, home offices, or other kinds of spaces. Also, the nature of the work that happen in those studio spaces relates to how the spaces themselves are set up, whether the work involves what is done in solitude, or with collaborations (in physical and virtual spaces).
Participants will include Annie Heckman (Owner + Director, StepSister Press), Krista Franklin (writer, artist, and educator, Kathryn Born (editor of Chicago Art Magazine), Valerie Wallace (writer and educator), and Gene Tanta (writer, visual artist, and educator), moderated by Dan Godston (writer, musician, and educator).