course: florence sketchbook · (ideas for final project) prof. virginia lopez course: florence...

(ideas for final project)

Prof. VIRGINIA LOPEZ

COURSE: FLORENCE SKETCHBOOK Step 1. Grand Tour drawings

Step 2. Exhausting a space in Florence (on Georges Perec) Step 3. Transforming the space-final project

•1.Mixing ideas

2. Drawing (with) the nature

• 3. Drawing and animation

• 4. Drawing and photography

5. 3d drawing, cut, bending, collage…

Christo & Jean Claude

source : https://www.facebook.com/pages/Casabianca/109867455747004

Andrea Gnudi, Senza Titolo, 2010, disegni plastificati source: www.casabianca12.it

Bianco - Valente, Senza titolo, 2012, cartine geografiche intrecciate source : https://www.facebook.com/pages/Casabianca/109867455747004

source : https://www.facebook.com/pages/Casabianca/109867455747004

Using collage and newspapers (this Photo was made at Art first, Bologna 2012)

Jaume Plensa | words

The process

inspiration

Nancy Spero • Nancy Spero(1926-2009) contributed most significantly to

the development of the potential of print-based media as a vehicle for installation work. As discussed in Christopher Lyon’s recent critical survey (Nancy Spero: The Work, Prestel, 2010, 186-192), Spero developed her signature large hand-printed works on paper in the early 1970s in response to her struggle with Rheumatoid arthritis. The disease prevented her from painting and drawing on the level she had previously, and she discovered that printmaking media allowed her to continue to work on the scale and production level she desired. Spero eventually developed a lexicon of over 450 stock letterpress plates based on her drawings, which she used in combination with letterpress typeface to create tableaux of interwoven images and text. Though early work was invariably on paper, over time she began to print on other surfaces and incorporate additional materials into her installations. All of Spero’s work is unique and hand-printed – for installations, she mounted the paper on the wall in panoramic or floor-to-ceiling banners. Her uniquely expressionistic and simple figures – which convey pain, mystical power, and monstrosity – are frequently surrounded by text in French, Latin, or English (some borrowed, some of her own creation). Spero combined these elements to expose the cruelty of political oppression, war, and violence against women – subjects to which she was dedicated throughout her career.

• http://www.youtube.com/watch?v=XjPU4BL7RJM&feature=player_embedded

2.Drawing (with)the nature

Richard Long | Line made by walking, 1967 source tate.org

See references with the Neolithic period: the empathic, magic –mystic space, organizing the empty space with full objects, from the original caos to the

antropic space of a nomadic society.

Walkscapes: Bubord, Dada and surrealism

Errare humanum est… • Walking we transform the physical and symbolic space.

We create effemeral traces and we fill the space with new feelings, thoughts, we become self -conscious of the relationship between nature and human beens, positive and negative space, full and emptiness… .

• 14 april 1914 la visite Dada: visit the banal |commonplaces in the city, anti future, anti art, just action, present, la flânerie ( finesecle bohemien lost in the modern city), as aesthetic!

• 1924 Breton|Surrealism : from the banal city to the inconscious city| the deambulation, the surrealist walk is outside the city, small villages, in order to get lost in an oniric trip, something similar to an automathic writing on a real space.

• 50’s la Dérive (Guy Dubord) an organized collective trip|collective art , an intervention in the urban space, a psyco-geography. The subjective experience of the surrealim becomes a real and practical method in order to change the space and create a new collective civilization.

Walkscapes: mapping

http://www.cosebellemagazine.it/2012/03/15/la-bici-che-lascia-il-segno/

http://www.tum-project.net/eventi/festival-contemporanea-11/

Andy Goldsworthy working with the time

• http://www.youtube.com/watch?v=AT3lveJmjY8&feature=related

• http://www.youtube.com/watch?v=iBcdL8uO71E&feature=BFp&list=FLx0z0zDz9CPI&index=1

Smithson

Gordon Matta-Clark

• Gordon Matta-Clark, a graduate of Cornell’s architecture program, refers to his work as “Anarchitecture.” This was also the name assumed by a group of artists he co-founded with the aim to produce critical alternatives to urban environments.

• “Compelled to focus attention on the dehumanization of the modern world, Matta-Clark developed a personal idiom that combined Minimalism and Surrealism with urban architecture His best-known works of the ’70s, including abandoned warehouses and empty suburban houses that he carved up with a power saw, offered potent commentary on both the decay of the American city and the growing sense that the American dream was evaporating. “[...] the crude homemade video ‘Splitting’ (1974) [...] shows the artist carving through the various floors of a quintessential suburban American home, literally splitting it in two. The act evokes the disintegration of the American family, as well as more personal trauma.

3. Drawing and animation

• WILLIAM KENTRIDGE The world as process (chapter 2) http://video.pbs.org/video/1619754531/

• BLU wall painting http://www.blublu.org/sito/video/muto.htm

• ERICA ILCANE wall painting and collage http://www.ericailcane.org/sito/?cat=8

4. Drawing and photography

Anselm kiefer photos from the monographic catalog Anselm Kiefer, Charta ed.

kiefer

kiefer

Ki efer

Francesca Woodman

woodman

Arnulf Rainer

• Austrian painter, printmaker and photographer. He began painting as a self-taught artist in the mid-1940s, after leaving school, and first came into contact with contemporary art through a British Council exhibition in 1947 that included work by Paul Nash, Francis Bacon, Stanley Spencer, Henry Moore and Edward Burra.. From 1948 to 1951 he produced Surrealistic drawings representing underwater scenes and mystical forms, rendering these fantastic images in pencil as a densely worked surface. In 1950 he produced the first of his prints; over the next 20 years he explored a variety of media, including etching, drypoint, lithography and screenprinting. In works such as Winnetou (pencil, 920×745 mm, 1950) he explored microstructures and sought to expose repressed impulses in defiance of bourgeois hypocrisy. Deeply suspicious of rationality, he investigated the potential of dreams, madness and the subconscious;

• During a visit to Paris in 1951 he first saw gestural abstractions by painters such as Georges Mathieu, Jackson Pollock, Jean-Paul Riopelle and Wols; the spontaneous marks and physical interaction with the surface characteristic of Art informel and Abstract Expressionism were emulated by him in his subsequent work, although he remained attached to representational subject-matter. Although he met André Breton during this stay in Paris, he began to turn away from fantastic Surrealism. From 1951 to 1954 he worked on a series entitled Blind Drawings (e.g. 1952), in which he studied optical disintegration and the destruction of form, replacing pictorial composition and illusion with the immediacy of accidentally encountered textures. Basing his methods in part on the Surrealist technique of Automatism, he produced paintings such as Atomization (oil on hardboard, 1950–51) and drawings dominated by clusters of strokes and sometimes worked over with coloured chalk crayon. After moving to the countryside at Gainfarn, near Vienna, in 1953, where he remained until 1959, he sought to counter this exploration of irrational and arbitrary impulses by producing works based on objective mathematical principles, beginning with a series of Proportion Studies in 1953–4 (e.g. Proportion Study, 1953). During these same years he produced black-and-white pictures and the first of his many works painted over photographs for which he himself often served as the model (e.g. Dead Self-portrait, 1955).

• From 1956 Rainer became concerned with religious theories and practices, particularly in a group of paintings dominated by cruciform shapes, such as Black Cross (1956; Munich, Lenbachhaus). The interest in extreme emotional states hinted at in such works became even more pronounced in 1963, when he began to collect paintings by the insane, and in 1964, when he experimented with hallucinogenic drugs. From 1968 he used photographs of his hands and often grimacing face as the basis of partly overpainted works, such as Face in Face (1968–70). His concern with the variety of facial expression and from 1969 with the expressiveness of body language was a conscious means of breaking taboos against what is ugly, absurd or instinctual. As with the Austrian performance artists associated with Aktionismus, in deliberately calling forth extreme emotional states Rainer sought to convey a sustained and intense experience to the viewer.

• From the mid-1970s Rainer reworked photographs on a variety of subjects, including rocks (1974–5), caves (1975–7), women (1977) and the work of a number of other artists including Gustave Doré, Leonardo da Vinci, Franz-Xavier Messerschmidt, Vincent van Gogh, Rembrandt van Rijn and Francisco de Goya; he also used images of Greek sculptures and of mummies, death-masks and corpses to similar ends. From 1973 he collaborated on a series of works with Dieter Roth. His return to the image of the cross in a series of monumental paintings (e.g. Cross, oil on mixed medium on cardboard, 1020×730 mm, 1980–83) attested to his interest in the relationship between life and death, between the physical and the spiritual, redemption and sacrifice. Such themes were also broached in his Hiroshima series of 72 overpainted photographs (1982), in which he drew over photographs taken after the city was destroyed by an atomic bomb in 1945. Constantly adding to his repertory of images—for example, by making use from 1985 of botanical and zoological illustrated books produced in the 18th century and 19th—Rainer continued to exploit the interaction of intellectual meditation and bodily expression.

Paolo Gioli

4. 3D drawing

Eduardo Chillida (San Sebastian , Spain 1924-2002)

chillida

Art First-Arte Fiera| Bologna 2012

Photo : Arte Fiera Bologna 2012

Instable balance,

composition., rythm, collage,

mix media

Giuseppe Penone

Lips: golden leave and acacia seeds glued to the paper

Santa Maria Novella square III. transforming the space

Thanks and good work!

Virginia Lopez | drawing lectures 2011-2012