composition
DESCRIPTION
Composition. Where composition lives…. In literature In music In dance In visual art. Composition is a collection of individual parts to create a unified whole. Robert Wilson/Philip Glass ’ Einstein on the Beach 1975. http://www.youtube.com/watch?v=WmX_GgozpQs. - PowerPoint PPT PresentationTRANSCRIPT
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Composition
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Where composition lives…
• In literature• In music• In dance
• In visual art
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Composition is a collection of individual parts
to create a unified whole
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Robert Wilson/Philip Glass’ Einstein on the Beach 1975
http://www.youtube.com/watch?v=WmX_GgozpQs
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Composition in Visual Art
…is made up of Variety (individual parts)
& Unity (unification of those different parts)
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Vija Celmins’ Ocean Series, Graphite Drawing
http://c4gallery.com/artist/database/vija-celmins/vija-celmins.htmlhttp://www.pbs.org/art21/artists/vija-celmins
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“Excessive unity can be monotonous, while excessive variety can be chaotic”
–Mary Stewart
We are looking for a delicate, yet charged balance between the two.
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Michael Burmeister’s Spiderman Series, oil on canvas, 2008
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Sol Lewitt’s Wall Drawing #65, National Gallery of Art, DC“Lines not short, not straight, crossing & touching, drawn at random using four colors, uniformly dispersed with maximum density, covering entire surface of the wall.” 1971: 1st installation
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Jackson Pollock’s #1, house paint on canvas, 1948
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Gestalt Theorypsychology that visual information is identified all-at-once,
before it is examined by individual parts.
• Grouping• Containment• Repetition• Proximity• Continuity
• Closure
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Grouping
Visually similar elements grouped together by location, orientation,
shape, color
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Michael Burmeister –Spiderman series 2007-2009
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Marc Chagall’s Binding of Isaac – The Akiba
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Containment
A type of border or boundary surrounding parts of whole
composition
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Wassily Kandinsky’s Circle in a Circle 1923
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Proximity
The distance between forms: the more space creates isolation, the less space
creates tension. Some forms can be so close together, they merge or fuse, resulting in
shared edges.
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Kazimir Malevich’s Suprematist Painting: Eight Red Rectangles, oil on canvas, 31.5 x 24.4”, 1915
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Michelangelo’s Excerpt: Creation of Adam Sistine Chapel, Fresco painting, Rome, Italy 1475
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close-up
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in context…
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Repetition and “The Grid”
Same visual unit repeats itself over & over again…Creates a motif
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Piet Mondrian’s Broadway Boogie Woogie, oil painting on canvas, 1944
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Wassily Kandinsky’s Trente, steriograph, 1937
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Andy Warhol’s Campbell’s Soup, screen print, 1962
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Continuity
Fluid connection from one component into another, suggesting
movement or visual pathways.
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Van Goghs’ Self Portrait, oil on pasteboard, 1887
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Frank Stellas’ Agbatana III., acrylic on canvas, 1968
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Closure
Our mind fills in the blank, closes the gap, completes the information an
artist leaves out—invites viewer participation.
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Jim Dine’s Untitled (C Clamp) from Untitled Tool Series. Graphite, charcoal, and crayon on paper, 25 5/8 x 19 3/4"1973
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All examples of Gestalt . . .
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The Rama Setu to Lanka being built by Monkeys and Bears Kangra, Himachal Pradesh, India 1850
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In-Class Exercises
Exploring new terrain: discovering a variety of Textures, inventing new Marks, and unifying those textures
1) Revisit Name: create All-Over GESTALT 2) Go on a hunt. Explore our room, the hallway &
outdoors, identifying & collecting 20 different textures. Are you viewing it from the micro level or macro?
Invent a new MARK for each new TEXTURE. Media: artist pen/markers/ink pen & pencil in sketchbook.
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3) Create 2 value scales inside your sketchbook: 2” tall and 9” wide. Each value should be 1”wide X 2”tall. Make a smooth transition from light to dark, excluding pure white and black.
Using your black pen/ink/maker pick a texture you collected today and with varying density and proximity, create a range of 9 values from light to dark, left to right. Do the same with a new texture for your 2nd Value Scale
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4) On a scratch piece of paper, delineate 7 spaces (diagonal, vertical, horizontal, spiral, circular etc.)This will be the UNITY part of your composition: organizing your
textural motifs in a Repetitive GRID-like system.
5) Choose 7 different TEXTURES and assign them to their own space. Set your textures in motion, moving them across their space allowing them to repeat and grow, creating a PATTERN of evolving marks.
This is a visual unit that REPEATS itself—aka MOTIF
INTRODUCTION TO: Project #2: Master Textures