covert and obscured unit 2 fine art pdf

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AS FINE ART 2013 UNIT 2 COVERT AND OBSCURED

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Page 1: Covert and Obscured Unit 2 Fine Art pdf

AS FINE ART 2013 UNIT 2

COVERT AND OBSCURED

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ASSESSMENT OBJECTIVESAO1Develop their ideas through sustained and focused investigations informed by contextual and other sources, demonstrating analytical and critical understanding.AO2Experiment with and select appropriate resources, media, materials, techniques and processes, reviewing and refining their ideas as their work develops.AO3Record in visual and/or other forms ideas, observations and insights relevant to their intentions, demonstrating an ability to reflect on their work and progress.AO4Present a personal, informed and meaningful response demonstrating critical understanding, realising intentions and, where appropriate, making connections between visual, oral or other elements.

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COVERTcover

ADJECTIVESnot openly acknowledged or displayed: covert operations against the dictatorship.

ORIGIN Middle English (in the general senses ‘covered’ and ‘a cover’): from Old French, ‘covered’.

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OBSCUREDADJECTIVES( obscurer, obscurest )1 not discovered or known about; uncertain: his origins and parentage are obscure.• not important or well known: a relatively obscure actor.

2 not clearly expressed or easily understood: obscure references to Proust.• hard to make out or define; vague: grey and obscure on the horizon rose a low island | I feel an obscure resentment.verb [ with obj. ]keep from being seen; conceal: grey clouds obscure the sun.• make unclear and difficult to understand: the debate has become obscured by conflicting ideological perspectives.• keep from being known: none of this should obscure the skill and perseverance of the workers.

DERIVATIVESobscuration nounobscurely adverbORIGIN late Middle English: from Old French obscur, from Latin obscurus ‘dark’, from an Indo-European root meaning ‘cover’.

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USE THIS AS A STARTING POINT THEN ADD MANY MORE...THE MORE YOU ADD THE MORE IDEAS

YOU CAN GENERATE.

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Use this sheet to help you respond to art work.

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This is also a great sheet to help you think

and write about

others’ art work.

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INTERIORS/EXTERIORS

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DANIELA GULLOTTA(b.1974)

Her work depicts large empty interiors, often of an industrial nature. Her intention is to draw the viewer's attention to the dramatic nature of space. Sometimes individual objects are emphasised and human presence is always suggested though never depicted.

http://www.marlboroughfineart.com/artist-Daniela-Gullotta-97.html

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The Cemetery Gates 1825-30

CASPER DAVID FRIEDERICH

A painter and draughtsman, Friedrich is best known for his later allegorical l a n d s c a p e s , w h i c h f e a t u r e contemplative figures silhouetted against night skies, morning mists, barren trees, and Gothic ruins. His primary interest as an artist was the contemplation of nature, and his often symbolic and anti-classical work seeks to convey the spiritual experiences of life.

http://www.caspardavidfriedrich.org

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CAROLINE WALKER

www.carolinewalker.org

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N I N A M U R D O C H

C o r r i d o r s , s t e p s , w e d g e s o f l i g h t a n d o t h e r w o r l d l y c o l o u r , N i n a

M u r d o c h ’ s p a i n t i n g s e v o k e a n u n i n h a b i t e d b u t h a u n t i n g w o r l d i n w h i c h t h e s u n a n d m o o n s e e m t o r i s e a n d s e t i n c h a m b e r s i n d o o r s .

A l t h o u g h s o m e o f t h e s e i m a g e s m a y i n f a c t b e s t r e e t s u b j e c t s , t h e s e n s e o f e n c l o s u r e i s s t r o n g , p a r t l y b e c a u s e t h e f o c u s h a s b e e n t a k e n

i n w a r d s , a n d i n s t e a d o f w i d e r v i e w s o f a r c h i t e c t u r e ( a s a p p e a r e d i n h e r e a r l i e r w o r k ) , w e a r e o f f e r e d

b r o a d y e t c o n f i n e d s p a c e s . T h i s c o n t r a d i c t i o n g o e s t o t h e h e a r t o f h e r w o r k : s h e e n g a g e s w i t h m a c r o

a s w e l l a s m i c r o , w i t h t h e i n n e r w o r l d a s m u c h a s w i t h e x t e r n a l

r e a l i t y . H e r p a i n t i n g s w e r e n e v e r e s p e c i a l l y d e s c r i p t i v e o f p l a c e ,

m o r e e v o c a t i v e o f m o o d , a n d n o w t h e y a r e i n c r e a s i n g l y a b o u t

e m o t i o n a l s t a t e s .

w w w . n i n a m u r d o c h . c o . u kFrom a series of works titled

‘Concrete Fields’

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Other possible artists to study

ADRIANA VAREJAO http://www.adrianavarejao.net/home/

DAVID HEPHER www.flowersgallery.com

EDWARD HOPPER www.edwardhopper.net

ANDREW WYETH http://www.andrewwyeth.com

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SCULPTUREFIGURATIVE AND NON-FIGURATIVE

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CHRISTO AND

JEANNE-CLAUDE

http://www.christojeanneclaude.net

Art critic David Bourdon has described Christo's wrappings as a "revelation through concealment." To his critics Christo replies, "I am an artist, and I have to have courage ... Do you know that I don't have any artworks that exist? They all go away when they're finished. Only the preparatory drawings, and collages are left, giving my works an almost legendary character. I think it takes much greater courage to create things to be gone than to create

things that will remain."

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JOSEPH BEUYS

Coming to terms with his involvement in the war was a long process and figures, at least obliquely, in much of his artwork. Beuys often said that his interest in fat and felt as sculptural materials grew out of a wartime experience--a plane crash in the Crimea, after which he was rescued by nomadic Tartars who rubbed him with fat and wrapped him in felt to heal and warm his body. While the story appears to have little grounding in real events (Beuys himself downplayed its importance in a 1980 interview), its poetics are strong enough to have made the story one of the most enduring aspects of his mythic biography.

http://www.tate.org.uk/art/artists/joseph-beuys-747

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ANTHONY GORMLEYhttp://www.antonygormley.com

Antony Gormley has over the past 30 years revitalised the human form in sculpture through a radical investigation of the body as a place of memory and transformation. “I am interested in the body”, he says, “because it is the place where emotions are most directly registered. When you feel frightened, when you feel excited, happy, depressed somehow the body registers it.”

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ABSTRACT PAINTING AND COLLAGE

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ROBERT RAUSCHENBERG

A m e r i c a n p a i n t e r , s c u l p t o r , pr intmaker , photographer and performance artist. While too much of an individualist ever to be fully a part of any movement, he acted as an important bridge between Abstract Expressionism and Pop art and can be credi ted as one of the major influences in the return to favour of representational art in the USA. As iconoclastic in his invention of new techniques as in his wide-ranging iconography of modern life, he suggested new possibil it ies that continued to be exploited by younger artists throughout the latter decades of the 20th century.

http://www.tate.org.uk/art/artists/robert-rauschenberg-1815

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RICHARD DIEBENKORN

R i c h a r d D i e b e n k o r n achieved a rare feat in the life of an artist, which is to approach painting from many different angles and to take earnest inspiration from other art ists while maintain ing or ig inal i ty . Although Diebenkorn did not reach the level of fame of Abstract Expressionists of the New York School, his influence on artists of the latter half of the twentieth century is undeniable.

latimesblogs.latimes.com

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FIGURATIVE PAINTING

TRADITIONAL, MODERN AND CONTEMPORARY

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CARAVAGGIOLayers of traditional paintings reveal the story and history of

how paintings were made. Revealing secrets and

unknown facts.

http://www.telegraph.co.uk/culture/art/art-news/8376970/Caravaggio-exhibition-gives-fresh-insight-into-painters-

technique.html

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FRANCIS BACON

http://www.francis-bacon.comFrancis Bacon (28 October 1909   – 28 April 1992) was an Irish-born British figurative painter known for his bold, g r a p h i c a n d e m o t i o n a l l y r a w imagery.[1] Bacon's painterly but abstracted figures typically appear isolated in glass or steel geometrical cages set against flat, nondescript backgrounds.

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JUSTIN MORTIMER

justinmortimer.co.uk

These pictures are characterized by depictions of the human figure isolated in landscapes or interior chambers and surrounded by medical apparatus, machinery and in several works acid coloured balloons which hover around these anonymous figures. While the specific subject or location of the paintings remains mysterious, they s u g g e s t a n u n d e r w o r l d o f

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STILL LIFETHE HUMDRUM OF EVERYDAY LIFE

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MORANDI

http://www.guardian.co.uk/artanddesign/2013/jan/13/morandi-lines-poetry-review-giorgio

Giorgio Morandi (1890-1964) is not known for his lines. Rather the opposite: in the hazy world of his painted still lifes, everything appears muzzy and soft. The famous objects appearing on the miniature stage of his table – the bottles, bowls, decanters   and jugs – do so in something as hazy as limelight. You would not expect to look deep into these masterpieces of 20th-century art and see a sharp edge, an outline or anything as concise as a dot.

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WINIFRED NICHOLSON

http://www.winifrednicholson.com

Flowers mean different things to different people - to some they are trophies to decorate their dwellings (for this plastic flowers will do as well as real ones) - to some they are buttonholes for their conceit - to botanists they are species and tabulated categories - to bees of course they are honey - to me they are the secret of the cosmos.This secret cannot be put into i m a g e , f a r l e s s i n t o t h e smallness of words - but I try to. Their silence says to me - 'My rootlets are moving in the dark, in the wet, cold, damp mud - My leaflets are moving in the brightness of the sky - My f lower face has seen the darkness which cannot be seen, and the brightness that is too bright to see - has seen earth to sun and sun to earth.' 

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JANET FISHKnown for large still l i f e s o f c o m m o n objects with bright colors-- l ime green, pink, yellow--, Janet Fish works from a loft in the SoHo section of New York City and takes pride in the fact t h a t s h e p a i n t s "forbidden subjects," realistic still lifes. Her work, expressive of her highly independent spirit, is a reaction a g a i n s t t h e p u r e abstraction that has been prevalent for so many years in the American art world, especia l ly in New York.

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PHOTOGRAPHYPORTRAITS, FIGURES AND ABSTRACT

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CINDY SHERMAN

http://www.cindysherman.com

By turning the camera on herself, Cindy Sherman has built a name as one of the most respected photographers of the late twentieth century. Although, the majority of her photographs are pictures of her, however, these photographs are most definitely not self-portraits. Rather, Sherman uses herself as a vehicle for commentary on a variety of issues of the modern world: the role of the woman, the role of the artist and many more. It is through these ambiguous and eclectic photographs that Sherman has developed a distinct signature style. Through a number of different series of works, Sherman has raised challenging and important questions about the role and representation of women in society, the media and the nature of the creation of art.