Tag: contextual

Franz Kafka – Der Bau (The Burrow), 1931

A story about a badger and his burrow. As often with Kafka his stories are written from an animal perspective but need to be translated and looked at from a human inner perspective. The story is about the self consciousness and self-perceptions of the badger struggling between the homely burrow and the alienated outside. Inside his burrow he cannot see…

Stefan513593 - Assignment 5 - mindmap #3-left

Assignment 5: Mindmap and development of ideas

My personal encounter alongside the process of deterioration and memories and the notion of the uncanny. Step#1: Overview achievements, scope of project and context in a corner of my studio … a kind of triptych – a narrative of my process: => quite a complex picture of various aspects => I need to reduce and focus Step #2:  I will consider my goal and questions that I will ask myself…

Contexual research: Narratives in painting

My last assignment 4 was about serial painting and cluster assembly as a format for narrative. I experimented in part 3 also with other narrative in perhaps rather illutrative way of narrative, telling a story – see Project 3  ‘Telling a Story – Keti Koti‘. I was wondering how I could work on other formats of narrative for my personal…

Assignment 5: Contextual research ‘The Uncanny’

Researching ‘The Uncanny‘ in relation to visual arts, personal encounters and sensations and buildings. My initial sketch for my project related to the deteriorating residential ‘haunted’ building and I associated this with the uncanny. In reference to E. Jentsch and S. Freud the main aspect of the german word ‘Das Unheimliche‘ is linked to the fearful and emerging aspect of something…

Project 1 – Research Point 2: Abstract Expressionism_Tachism

I already looked briefly in my previous research on paint application on dripping and splashing in the context of the American Abstract Expressionist movement what I will investigate a bit deeper in this research (Schaffeld, weblog post 16 Jan 2016) American Abstract Expressionism One main aspect connected with this movement is Action Painting alongside the dripping and splashing of paint. This is…

Project 1 – Research Point 1: Applicaton of Paint

At the beginning of this course I already looked up some ways to apply and blend paint – the rather  ‘traditional’ way including impressionists (Schaffeld, weblog post 17 Feb 2016). Blending techniques with brushes: Gradient blending: control of transition (eg. Tim Maguire ‘Slits 94.27‘, 1994) Wet-in-wet blending: randomly spaced brush blots (eg. Richard Diebenkorn ‘xxx‘, ) Scumbling: a motted effect…

Assignment 4 – A Landscape Painting – Initial thoughts and context

Conclusion and consolidation for my work forward: A landscape is a cultural constructed image. In visual art and especially painting typically viewed as a framed image. For me the question can I embed this in my work? How can I apply perspective in a different way (see my painting in Project 1 Ex 1 ‘Linear perspective‘)? How can I incorporate architectural…

Contextual Research: suggested readings – Drawing as narrative

As part of my assignment 3 feedback received we discussed the topic of narratives and visual images. My tutor suggested some further reading. I do not spend that much time here on the research just taken short notes and links. I have to come back to this at a later stage. Besides serial paintings as such it involves other media, moving…

Contextual research: Juhani Pallasmaa – ‘The embodied image’

  “One of the greatest paradoxes of contemporary culture is that at a time when the image reigns supreme the very notion of a creative human imagination seems under mounting threat. We no longer appear to know who exactly produces or controls the images which condition our consciousness. – Richard Kearney ‘The Wake of Imagination’, 1994 I placed this quote by…

Contextual research: Moving images, architectural images and the embodied image

”In a work of art we encounter ourselves and our own being-in-the-world in an intensified manner.”   –   J. Pallasmaa Following my last tutor’s feedback and an earlier discussion with her I am interested in the embodied experience of images in a wider context. Painting could be seen as an illusion on a more or less flat surface, it can also the seen time…

Project 3 – Research Point: Expressive Landscape

Images related to this research are also available on my Pinterest board at: https://de.pinterest.com/sjschaffeld/landscape-art-emotive/ All online images accessed between 20 and 24 Nov 2016 Symbolism (1880 – 1910) see: http://www.theartstory.org/movement-symbolism.htm Symbolism was a movement in art and literature that emphasised the expression of ideas through the symbolic meaning of forms, lines, shapes and colors. It was not any longer about realistic and naturalistic depiction…

Part Four – Research point: Landscape Painting

Landscape painting is a wide area and I feel that I have to condense my research to the most relevant ones to my own approach. I will look rather at those artists that attract my attention either by visual impact, uncommon use of material, or unique perspective and approaches. Landscape can have a meaning from idyl, refuge and retreat from…

Contextual notes for part 4 (3): Large scale painting

In this third part I am looking how large scale works can be made.  For all projects especially assignment work:  Large paintings can be considered as one single large canvas like executed by Richard Diebenkorn (1922 – 1993) with his ‘Ocean Park‘ series of very large (up to 8 1/2 to 6 1/2 feet) abstract paintings (non-gestural) as a kind “gorgeous compositions of color…

Contextual note for part 4 (2): The Sublime

In this second part I will have a short sneak in the sublime and its meaning for visual art. For all projects ‘Sublime‘:  My tutor suggested me to look at the concept reps. theory of the Sublime. I am currently residing in Switzerland in the canton Bern and would have easily access to the mountains around me and the snow dropped already down there. Sublime…

Contextual notes for part 4 (1): Looking Out

Before embarking on part 4 with the outdoor resp. ‘looking out’ elements I consider key aspects for me to keep in mind and to reflect on till next assignment. My tutor provided me some helpful suggestions to look out for. In the first part I am looking at the architectural elements in context with the relationship between the viewer, the artist, me and…

Exhibition: Juliette Blightman – Extimacy, Kunsthalle Bern

Today I went to the newly opened exhibition at the Kunsthalle Bern, Switzerland (24 September – 13 November 2016). Available from: http://www.kunsthalle-bern.ch/eng/extimacy. Images (drawings, paintings, photographs) as a visual diary. Room 2: Cluster 1 => The drawings (each A5 format, each titled with the Day Number e.g. ‘Day 193,2016‘ top left) do show daily and unspectacular objects and scenes. Some reminded me…

Project 3 – Research Point: Figures in Interiors

I am going to make first an overview about figures in interior in art history before looking specifically at some painting I find appealing. Overview: In part 2 I researched the interior genre in art history (Schaffeld, 12 Jul  2016) and found that in the Dutch genre paintings quite often people, mostly women and children, were depicted. I think for obvious reason…

Painting atmosphere: Kaye Donachie

After my assignment 2 my tutor gave me feedback on some of my sketchbook pages where I developed a sense of luminosity. In this context she suggested my to look at the works by Kaye Donachie (b. 1970), Glasgow born british painter. She works mostly at medium range of formats (40×50 to 50x60cm) on figurative paintings.  Her paintings are depictions of utopian,…

Contextual research: Broken or muted Colors

My tutor suggested me after assignment 2 to look into using broken colors by other artists. Broken or muted colors are colors mixed by tertiary or complementary secondary colors (see exercises from part 2 – click here) Walter Sickert (1860 – 1942) was born in Munich, Germany, a printmaker and painter and was a member of the Camden Town Group…

Project 2 – Research Point: Portraits that convey mood and atmosphere

See also my research on ‘Self portraits in art history’ – click here. The color blue: Pablo Picasso (1881 – 1973) ‘Blue Series’, 1902 – ‘Two Sisters’, 1902  (http://www.arthermitage.org/Pablo-Picasso/Two-Sisters.html) or – ‘Blue Nude‘, 1902 (http://www.pablopicasso.org/blue-nude.jsp) or – ‘Melancholy Woman‘, 1902 (http://www.dia.org/object-info/d1442e0a-e2b0-43cb-ac03-07f34acd5471.aspx?position=6) Edvard Munch (1863 – 1944) – ‘Melancholy III‘ (http://www.moma.org/learn/moma_learning/edvard-munch-melancholy-evening-on-the-shore-1896). Picasso’s ‘Blue series’ is known as his transition period towards…

Project 2 – Research Point: Self-Portrait

An overview of self-portraits in art history From previous researches and exhibition visit dedicated to the self-artists-portraits (Schaffeld, Sep and Dec 2015) I understand self-portraits as I wide area that goes far beyond representing merely the image of the self. It can help to reflect on the artist’s identity or to mirror the image of the “ME” the artist wants to convey.…

Project 2: Linear qualities in painting – Contextual research

In preparation for this exercise I was curious to see what else I can learn form drawing with paint and linear qualities. How artists using this in different approaches and if I can build on one or the other for my own work. Contextual research: This exercise is searching for drawing, line markings in a painting. At first the bold…

Project 2 – Research Point: Still life

During my last OCA course unit ‘Drawing 1’ I did a thorough research on still life in art history and pulled up a table that illustrated for me the evolution of still-life (Schaffeld, 2015). What I know so far about Still life : A range from illusionistic painting with Trompe d’Oeil effect (e.g. Pieter Aertsen, Jan Fyt, Juan Sanchez Cotan) towards more coloristic…

Project 3 – Research Point: Chiaroscuro

Chiaroscuro  (form ital. Chiaro = light, scuro=dark) is one of four painting concepts from the Italian renaissance. The other three are: sfumato (rendition of blurred edges around the contour), unione (gradual transition of light and shadow areas), and cangiante (rendering shadows by changing color). Two of the first artists working in this method was Massacio (1401 – 1428) and Leonardo da Vinci (1452 – 1519).…

Contextual painting: Rothko and stained glass

I got curious about the interplay of light and color, the visual effect color can do, and the ‘accidental’ color that light brings. Mark Rothko used quite opaque layers (to my understanding) and in the context of stained glass. One early example of light and color is the stained glass image of the Prophet Hosea in the Augsburg Cathedral (c. 1130):…

Contextual Research: Mark Rothko – Seagram murals

To place my experiments with color washes into context I am looking the the large color field painting of Mark Rothko (1903 – 1970). The course material suggested to look at the Seagram Murals at Tate. The group of paintings were initially part of a larger commission for the Four Seasons Restaurant in the new Seagram Building in New York (designed…