101 things parte1

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Au

Art is

an

idea rhat belongs r

Whatever physical form it m

or psychological challenge

i

sense of itself. I have tried

oped the

content

of this boo

might be its most natural rea

prerequi site Q reading this b

lessons that pertain to almo

separate from life; it

is

the v

so, this book is really for eve

enriches our being.



Humans

ha

ve

been producing art objects for tens

of

thousands of

years,

but

art schools are a relatively rece

nt ph

enomenon. Traditionally,

artists received their training as

app

rent ices to working artistS or in

ateliers pres

id

ed over by a mas ter. But the contemporary an schoo l as

part of a larger liberal arts education, is an altogether different

expe

ri

ence. reAecting the ways in which we ha

ve

come to

und

erstand

art as an extens ion of our daily cultur

e. Art

is everywhere. The way we

make it look at it ,

and

analyze it

is

eve r-evolvin

g. t is

that constant ,

ceaseless.

ecoming

and transformation of art that has determined this

book's co

nt

e

nt

j some

of

the lessons have to

do

with ways

of

making

and representing,

but JUSt

as many re

mind

us

of

the necessity

of

searchin g knowing, and doubting.

s a teacher, I still believe

that

technique has an imponant place in

an

education because artists are, at their core, makers. One has a

diff

erent und erstandi ng of an image or object, how it does what it

does,

if

one knows the de tails a

nd

processes

of

i

ts

creati

on

int

imately.

This is one reason imitation has always been a part of art istic training.

Art ists

ass

imilate a whole range

of

psychological, aesthetic, political,

and

emotiona l data points,

and

they then make forms

to

orga

ni ze and

give meaning to them.

That

takes skill and practice,

workin

g in

tandem with intelligence

and

to fashion the form, it is

li

ke

often

about

as effective. Ba

make the bridge between

tho

art is the best manifestation

lessons

in

thi s book with imag

works of art to g

ive

each ide

correlative or apposite image.

a

nd

disto rtions, are

min e and

what the words are largely a

and attempting to

capt

ur

e

successfu

ll

y executed by

ot

he

ho

w difficult it is to replica

artist's image, this sho uld be

the difference between what

imitation accomplishes. Thes

substitut

es

for the originals o

that

are my own work,

or to

statements I have made.

Th

ideas,

and

works

that

I believ



might

want

to consider. Notwithstanding these qualifications, am

grateful that so many artists whose works I represented expressed their

understanding and approval of my intent, and I appreciate their

willingness [ be my collaborators, in that sense.

When

I was an

an

studenr, I never imagined becoming a teacher. I

was focused only

on

becoming a maker. My feelings then mirrored

the sentiment attributed [ George Bernard Shaw,

He

who can,

does; he who cannot, teaches. I discovered after a couple of decades

of

pracrice, however,

that all

of those critical, initial discussions

that

rose out of the need to know and the passion to do became increasingly

less a part of the conversations I was having with my fellow artists. I

missed the exercise of going back to the beginning, reexamining basic

premises, asking first questions. s the ability to gain new perspectives

at each

turn in

the road became more difficult, more distant, I began

to reflect on the things we discussed in art school and

on

why those

conversations should never stop.

The

issues

we

encounter as students

of art are life lessons

and

should always stay with us. Without them,

we are not students oflife.

Kit White

March 2 11

ckn

I had

not

entertained the idea

suggested it to me. At first, t

challenging. I remained reti

notes, the project

took

on a

by its possibilities. This

boo

and

debates with Roger,

in

p

Throughout,

his persuasion

a

My special thanks to Andrea B

me; William Fasolino, who

be a dedicated teacher and w



onnaMoran who opened many doors for me; my readers:

Kun

An-

dersen Jack Barth ier Consagra Patricia Cronin Rochelle Gurstei n

Deborah Kass Dana Prescott and David True; Wi lliam Strong who

guided me through the finer points of copyright; Deborah antor-

Adams whose diligence and careful eye assu red the integrity of my text;

Yasuyo Iguchi for her elegant design; Janet Rossi who managed this

book

s

production; Anar Badalov who responded to

all

queries before

I could fini sh them;

and

especially all

of

my student

s,

who have taught

me far more than 1 have taught them.

1 1

Things

t



fterMarcel Duchamp

Art

ca

t is nOt defined by medium

co llective sense

th

at it belong

to know s art.



fterJean-Baptiste

arp

eaux

Lea

Drawing is more than a tool

is a language with its own sy

draw is about learning to see.

tivity. Whatever its form dra

in to image a

nd

teaches us how



fterGiorgio Mo rand i

To return to

thing

that

world

whi(h pre

knowledg

Maur

ice Merleau-

P

Whatever we know we

kno

w

studies the world in all its m

simply how we see but how w

as a consequence of that seei

relat ionship

s

social

and

politi

world

not

apart from it.



fterRobert Smi[hson

Art

is

the p

Whether conceptual exper m

yo u develop yields the image

the methods

of

production

reAect the interests that

comm

Stop with each work complete

that process is a body of work



fterEdouard Maner

rawing

or

a

paint

first

and

foremost

a

T he me

dium

is the artwo r

k s

it depi cts. Form shapes conte

significant . Awell-constru cte

c m can be m sterful. In a

ll

which

it

is

rend

ered are in

se

p

y

our

co

nt

ent.



fter Pier Mondrian

Composition

is

the

f

I is the spat ial relationship be

a drawing a painting a sculp

lation how a thing is comp

meaning. ompositional var



AfierJ M W Turner

Tradit

of imagin

- Kathleen R

The tradi tion of art making

former is [he record of explor

tion in a particular time and

it

is mad

e

T hat is its value

where we are.



fter fourth century

Be

reek sculpture

Art is ontinuing

through t

hat you make is yo ur con

conscious o what has come

rounds you. Try not to repe

histo

y

and stay alert to the d



~ ~

J \

4

fter

Martin

uryear

Art

is

o

ow it describes

is

its form a

looking at your work, ask, W

form should th at descriprion

you choose;

it

must be approp

right form for the content.



fterAndy Warhol

drawn

by

Kit White)

Art

is

not

J is

the self expressing all of h

it. We filter the ambient

inf

families, from

OUf

communiti

us every day from myriad sou

it

helps to create us. We in tu

ourselves and to others s a

impulse. Even works

of

pure i

selves. Know your sources.



fter Meret Oppenheim

All

art

i

-

Art isn t u tilitarian,

and

if

it

practical role in

our

liv

es, bu

or necessar

y.

One s individua

culture have

no

clear servicea

to function as a society.



J

fter Jan Groth

Perception

i

Viewers bring

to

the act

of

se

conscious reactions

that

affec

before them.

This is

the beau

form such

as a single line. A

of their own

and

accrue mea

activate the thing perceived.

reaction

to

it.



fter

Kara Walker

ach

generati

in its

Because art is an act

of

descri

will reflect every generation s

tion

of

a time

but

an interpre

in a State

of

nansformarion

uz



fter

Rene

Magrine

All

images

Eve

n photographs.

hey

are

ceptual or mechani

cal

repro

obvious but it has everythin

images. As pictures are symbo

not they are always metapho

language and is the language

greater

rhe art

the greater the

p



The

unconscious

is

experienced

but for

w

Walke

r

Perc

Images are catalytic as well as

special power and why thro

to have dangerous and mag

memory

as

experience.



:lL

T-I

l-I lJ

El

l

THEe

AI

ELL

II-IEI

I)

fter Chr istopher Wool

Word

T he power of

th

e visual belon

ten word is bo

th

symbol a

nd

bod ied But words also conju

non-embodied o

bj

ec

t

Some

and exist as epheme

ral

fleetin



Drawing

is

a

Every mark has a distinct cha

ture. Variation in pressure and

i on. Ma r

ks

or lin

es of

cons

figure

or

object will flarten th

curve can connote a high ght

line

will

read

as

such. Gi

ve

ev

it

serves a purpose. Try

to

use



-

ft

er Philip Gus

t n

You

work to divest

y

I want to

end with

s

for s

- Philip Gu



The

human

figure

composed of

a igid

rounded e

Its main volumes can be descr

There are

no

srraighr lines in a

out a figure drawing. try to

do

w ll

insure that the figure main

space.

This

roundness applies



Clear sigh

Observation lies at the heart o

from mimicking nature or ex

ers of observation are critical

you cannot descri

be

it . Train

received understandings

whe

before you n

ot

what you

thi

•



Experience

of

m

The

majority of information

and distorted y politics. com

of

its delivery. Primary expe

levels ofinrervention. Parsing

challenge. rt

is

itself a form



3

~ ~ - - - - - - t - - - - - + - - - - - - - - - - - 4 - - - - - - - - - ~

3

t

Learn to

Perspective drawing is

one

of

formula. Mastering

it

is critica

ment to

all

rendering. he two

and two point perspective. h

ing points on the horizon w

perspective occurs when the

lookingdown a railroad track)

ing obl iquely at an object in s

Establish {he horizon (your eye

Establish (he vertical height of

Establish the vanishing point(s

the lines establishing the vertic

4 Fill

in

all other vertical element

back to the vanishing poim(s).



-

fterSouthern Sung painting

Not

ll

images

persp

Asian painting employs a shif

projection: parallel lines with

vanis

hin

g points.

t

is a nonl

conve

ntion r merth n tromp

edges

th t all

visual descriptio

p



fter K simir Malevich

ll

ar

The choices you make in w

choose,

will

always be subjec

implications. The choice to

content speaks s much of he

that

carries an overt political

made omissions

s

well

s

scribes

is

the world

that

you,



fter

Eva Hesse

tyle

is

the

conseq

described

in

the

to

i

It

is nOt a

hemline height o r a

modi f or embellish an im

age.

to be said in the most ap

prop

style emerges from the necess

self conscious s

el

ec tion.

101 things parte1

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