Author Archives: Mark

Events – Films – !Women Art Revolution

March 25, 2022 4pm – TODD 204 – Middle Tennessee State University

An entertaining and revelatory “secret history” of Feminist Art, !Women Art Revolution deftly illuminates this under-explored movement through conversations, observations, archival footage and works of visionary artists, historians, curators and critics. Starting from its roots in 1960s antiwar and civil rights protests, the film details major developments in women’s art through the 1970s and explores how the tenacity and courage of these pioneering artists resulted in what is now widely regarded as the most significant art movement of the late 20th century.

For more than forty years, filmmaker Lynn Hershman Leeson (TeknolustStrange Culture) has collected a plethora of interviews with her contemporaries and shaped them into an intimate portrayal of their fight to break down barriers facing women both in the art world and society at large. With a rousing score by Sleater-Kinney’s Carrie Brownstein, !W.A.R. features Miranda July, The Guerilla Girls, Yvonne Rainer, Judy Chicago, Marina Abramovic, Yoko Ono, Cindy Sherman, Barbara Kruger, B. Ruby Rich, Ingrid Sischy, Carolee Schneemann, Miriam Schapiro, Marcia Tucker and countless other groundbreaking figures. (https://zeitgeistfilms.com/film/womenartrevolution)

Hoyte Van Hoytema

Written by: Maeve Graham

I have been fascinated with film since I was little (You can thank star wars for that) and as time went on my love for it grew. Now today I’m a video production major who cant stop ingesting good movies and shows, and probably thinks too deeply about it all.

I genuinely believe that a cinematographer is a true artist, along with anyone else who works on a film/tv production (for the most part). A movie is a gigantic work of art from what can be 6-600 people. My true interest though lies in the visuals, it makes a movie to me. Like Spectre in the James Bond series, the movie, storywise, is not good, but the visuals are what make me watch it over and over. The man to thank for that is Hoyte Van Hoytema, and he is a true artist.

He grew up in Switzerland and later moved to Poland to attend film school. Which he tried many times to get into, but was rejected. Until he got into the “Lodz Film School” in Poland. Where he left without a degree, but with many film credentials. He worked on small documentaries from there, gaining traction in his area. It wasn’t until he worked on “LEt the right one in” that he got his international recognition. From there he has grown astronomically and helped produce some of my favorite movies.

He is a man of subtlety when he shoots, he likes to highlight the characters but is so careful to never overexpose them. more often than not his light source is off-camera and is so precise you wouldn’t even notice. Which I guess is his whole “thing”, he portrays the way he thinks the scene feels so well that we can’t help but feel it with him.

Her, for example, its set in a futuristic world where the main character falls in love with his operating system. Hoytema felt that the future would feel warm, almost like you’re in a dream, rather than what we usually imagine as cold and harsh. He thought it should be soulful, warm, and tactical, so eliminated almost all blue lights, using only red or yellow (or some mixture of them). It made the whole movie feel very intimate, which is exactly as it should feel, its about love.

He worked so incredibly close with others and was so meticulous about what he used that he got perfect shots. For the shots below he used an LED lightbox so he could achieve the perfect lighting without having to use post for it. He always tries to do everything practically, its never the same if you rely to heavily on post-production. Along with that he used an Alexa on set, which is a very clean digital camera. Its especially good at handling low light, which is perfect because night scenes often need the most work in post. The camera worked well with that LED light box and helped create some beautiful scenes.

(It’s worth noticing that the visuals were inspired by Rinko Kawauchi, the Japanese photographer whose work captures pristine moments from everyday life.

He started working with Christopher Nolan when he created “Interstellar” which as a story is already fantastic, but add the visuals, and it’s phenomenal. The same goes for “Dunkirk” Which is one of my personal favorites, That was filmed on 65mm IMAX film, most of the time the heavy camera was strapped to his shoulder making it already hard. Which impressive as is, but mix that with harsh weather and handheld action sequences and you’ve created something amazing. That movie is just a visual showcase of his talents, that also happens to be about WWII.

 

Hoytema describes his idea for the film as, “We wanted people to be immersed in the situation, in the terror. Disorientation is a very important emotion in those kids on the beach. You’re constantly bounced out of your comfort zone, and not being classic in your storytelling helps convey that feeling.” so with that he strapped the film camera to wings of dogfighting planes, and periscope cameras to pilots. All the while using natural lighting for his shots (As much as he could), making the whole experience as realistic as possible. Though he tried to film it all handheld when he could, finding those made the best shots for the film and portrayed what he really wanted for it. He constantly thanks his Key Grip who made sure he didn’t topple off a boat or run into actors, thanks to the heavy film camera.

While Id considered Roger Deakins and Robert Richardson for this project, they were a bit too well known. Roger Deakins has literally done everything (most recently 1917) and Robert Richards worked on almost half of Tarantino’s films. I loved the subtle nature of Hoytema and his genuine love for practical effects in film. His incredibly stunning style is so driven by emotion it makes me want to go film anything I can. He’s been an inspiration for past and present projects. I deeply respect his detail in light and color and I will be seeing anything he makes, Ad Astra is next on the list.

Trenton Doyle Hancock- Samantha Siwko

“Trenton Doyle Hancock: …And Then It All Came Back to Me” (2012) art21.org

Trenton Doyle Hancock was born in 1974 in Oklahoma City, OK and was raised in Paris, TX. He earned his BFA at Texas A&M University, Commerce and his MFA at Tyler School of Art at Temple University, Philadelphia. One of his accomplishments was being featured in the 2000 and the 2002 Whitney Biennial exhibitions- this being especially notable with the fact that he was one of the youngest to ever be featured in this event at 26 and 28 years old. His mixed media pieces focus on building a narrative that is part autobiographical and part fictional. He draws inspiration from his past experiences, history, and numerous pieces of fiction. Hancock uses color, language, and pattern to create and further develop his characters, sub-plots, and symbolic meaning in his story.  His compiling of experience and fiction “result[s] in a complex amalgamation of characters and plots possessing universal concepts of light and dark, good and evil, and all the grey in between” (jamescohan.com). He often depicts tales from the Bible in his paintings, and mixes moral dilemmas with wit and “a musical sense of language and color” to “create a painterly space of psychological dimensions” (art21.org).

As to why I chose to look at this artist, I was originally drawn to him due to sharing the same name as my little brother. I, of course, did look at his content before choosing to use him for my project and was fascinated by his colorful and textured pieces. He was one of the few (mostly) 2d artists that I could find, and the first one whose art appealed to my aesthetic tastes. Also, his choice to focus on the story behind his piece further drew me in, as I believe having story and meaning to a piece is the most important part of the art process. Overall, his artwork is outstanding and well deserving of the awards and features he has received.

Artist At Work art21.org

https://art21.org/artist/trenton-doyle-hancock/

Beth Cavener Stichter

written by:Desere’ Carlson

A Modest Proposal, 2006 clay/cloth, 8.5 x 15 x 11 in.

Education

Beth Cavener is a full-time studio sculptural artist based in Montana who makes her large life-like animal pieces out of clay.  She has a BA in sculpture from Haverford College and an MFA in ceramics from Ohio State. She was awarded the artist trust fellowship in 2009. She fondly remembers her first career aspirations to become a scientist like her father and although she did not continue on that path she carries with her her dads inquisitive thought process. It’s his teachings to ask more direct questions that prompts her to understand deeper meanings behind human behavior. She has created a professional studio space or  “think tank” called Studio 740 where emerging artists can apply for a space for a period of time. The studio allows artists to connect collaboratively, bounce ideas off one another, and just be able to explore the creative process among other creatives all while adding to their body of work.

Inspiration

“The sculptures i create focus on human psychology, stripped of context and rationalization, and articulated through animal and human forms. On the surface,these figures are simply feral and domestic individuals suspended in a moment of tension. Beneath the surface they embody the impacts of aggression, territorial desires, isolation, and pack mentality.”

Beth’s body of work has intensely Baroque sculptural roots that draw the viewer into the drama of the sculpture. The sweeping motions of the fur on her animals offers a modern twist of a whimsical fairytale her sculptures seemed to have jumped out of. Her attention to detail captures the intense emotional state of the creatures she sculpts making them appear human in their emotional vulnerability. Cavener is careful in her incorporation of human expression and gesture as well as sometimes incorporating human genitalia, aiming to blur the lines between human and animal behavior. Her pieces often deal with those uncomfortable feelings we all experience such a anger, fear, helplessness etc. portraying them through animal bodies allowing the viewer to take on these otherwise touchy subjects as if they are at the base of their carnal roots.

“I rely on animal body language in my work as a metaphor for these underlying patterns, transforming the animal subjects into human psychological portraits.”

Tangled Up in You, 2014 stoneware/ink/paint/rope, 65 x 42 x 24 in.

Process

To make one of these sculptures, Cavener first builds a solid form on armatures. She then cuts the sculpture into sections; hollowing out each section as she goes. She them combines the smaller cut sections back together- leaving them in larger sections (such as a full leg) and then fires them in the kiln. Following the firing of the larger reassembled pieces, she  assembles the sculpture in its entirety. After refining details, painting solid washes or elaborate details on the figures may be the finishing touches she adds to a piece.

https://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&ved=2ahUKEwjBwsCVsoHpAhWRmuAKHR3mDnoQtwIwAHoECAYQAQ&url=https%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3DIXPSXKdlA_U&usg=AOvVaw13FPtaqDLxLw2zjc3gf8SE

Hiroshi Sugimoto Blog by Jacquelyn Casas

Hiroshi Sugimoto was born in 1948 in Tokyo, Japan. He has worked and lived in New York and Tokyo. He graduated from Saint Paul’s University in Tokyo in 1970 and from the Art Center College of Design in Los Angeles right after in 1974. Also in 1974, he moved to New York to pursue his career in photography and art.Art was a big interest early in his life. He discovered Surrealism and Dada while reading Andre Breton’s writings and also had a lifelong connection to the work and philosophy of Marcel Duchamp. The basic idea of Hiroshi’s work is that photography is a time machine and a way of picturing memory and time. He uses his camera to capture the objects’ essence and create great images. He places extraordinary value on craftsmanship and is very keen and attentive about his work. Hiroshi has won many awards and grants in his life between the years 1977 and 2018 for his exceptional work.

https://art21.org/watch/extended-play/hiroshi-sugimoto-becoming-an-artist-short/

The link for this video was filmed in his New York studio in 2011. He looks back on his student days when studying Western philosophy in Tokyo and Oriental philosophy in California. Back then he was really interested in modernism.

Down below are a few examples of his photography:

Hyena – Jackal – Vulture, 1976

Birds of the Alps (2012), Hiroshi Sugimoto © Hiroshi Sugimoto

This set of photographs is from a a collection called the Chamber of Horrors. Hiroshi went to London in 1994 and found these murderous instruments and said they looked very real to him. So in order to capture that realness he took photos of them to keep the memory of death aware. Years later, he went back to visit again and found out that the exhibit was gone and had been removed due to a gesture of political correctness.

Franklin Park Theater, “Rashomon” 1950, Boston, 2015
Palace Theater, “Snow White” 1937, Gary, 2015
Everett Square Theater, “Mujo” 1970, Boston, 2015

These last three images are from his collection of abandoned theaters.

His images seem to reflect lots of depth and stories. He always wanted to capture the memory and feeling from an object or place.

Most of these images are from the link below:

blog by: Jacquelyn Casas

Buckminster Fuller

Buckminster Fuller had many lifelong interests one of them being to use technology to revolutionize construction and improve human housing. Bucky had a life changing turn around in his life when he almost committed suicide. he worked towards making the world better. by making things for humanity, to help us out while being efficient as he possibly could.

What are the lessons from Bucky Fuller's Dymaxion House? | TreeHugger

Dymaxion house

The Dymaxion Car was invented to reduce water use by a “greywater system”, “packaging commode”, and a “fogger” to replace showers.

Bucky also invented a car during the great depression that was lightweight held up to 11 people (20 feet in length), got up to speeds of 90 mph and had 30 miles per gallon.

A Test Drive of the Death-Trap Car Designed by Buckminster Fuller ...
The Dymaxion car

Bucky also had a passion for constriction and design. He made another invention that most people are aware of its called the Geodesic dome 

AD Classics: Montreal Biosphere / Buckminster Fuller | ArchDaily
AD Classics: Montreal Biosphere / Buckminster Fuller
AD Classics: Montreal Biosphere / Buckminster Fuller | ArchDaily
AD Classics: Montreal Biosphere / Buckminster Fuller

A geodesic dome is a circular thin-shell structure based on a geodesic polyhedron. The triangular elements of the dome are “structurally rigid and distribute the structural stress throughout the structure”, making geodesic domes able to withstand very heavy weight for their size.

Spaceship Earth (Epcot) - Wikipedia
Epcot: Spaceship Earth
EPCOT: SPACESHIP EARTH
april 18, 2016 by jodi whisenhunt

The geodesic Dome at Disney was manufactured and and designed by disney, but was made in a way for Buckminster.

Buckminster Fuller's 50-Foot "Fly's Eye" Dome to be Restored ...
Fly’s Eye

“Fly’s Eye” A 50 foot dome.The dome was originally intended to provide economical, efficient housing.

Fly's Eye Dome™ Restoration, Development and Commissions | The ...
Fly’s Eye

Buckminster was someone Ive come to respect as a designer, he was thinking about the bigger picture from what I’ve researched and he was using his skill to benefit not only for what the purpose of his invention was but for the better of the earth.

Website

Antony Gormley by Lathrop Schmidt

Antony Gormley is a British sculptor and draftsman who was born on August 30, 1950 in London England.

Antony attended Trinity College In Cambridge for a degree in art history, archaeology, and anthropology. Gormley’s interest in making art continued throughout his degree as he found paid work painting murals for university balls, nightclubs and private parties. In 1971 he had saved up the money he earned from his college gigs to be able to travel to India as well as Sri Lanka. Antony returned home after three years. When returning back to London, he attended the Central School of Arts and Crafts, Goldsmiths College, and the Slade School of Fine Art. Some of his first sculptures were based off of the homeless people that he would see sleeping in the streets around India and Sri Lanka.

Antony’s first major breakthrough came in 1981 with his creation of “Bed”. The sculpture was the size of a double bed made entirely from bread bed stacked on top of one another. The center of the bed has two body like carvings out of it. They were actually eaten by Antony himself to replicate his own body.

He would then move onto creating figurative sculpture made from lead. he would later abandon this project though because he realized the lead was poisoning him. He then began making body castings during this time. He would use his own body as a “spiritual signifier” for all people, particularly when multiplied, as seen in works such as Three Ways, and Land, Sea and Air II. His wife, Vicken Parsons, Would become his primary studio assistant around this time.

Vicken would help Antony cover his entire body with plastic food wrap and plaster in a grueling and lengthy process of creation. This would set in motion some of Antony’s most famous work.

Antony has won many awards for his art throughout the years and I think that this is because his art brings something unique to the world of sculpture. One of Antony’s more recent endeavors was short term with figures made from delicate tangles of wire or geometric blocks that fit into one another like a puzzle. these are what attracted me to his work. Theres a mixer of modern elements as well as classical elements.

He has also moved into the realm of technology for one of his most recent works that was a collaboration project with Priyamvada Natarajan who is an astrophysicist. Lunatick,  a virtual reality experience that would allow viewers to fly over the surface of the moon.

Ansel Adams – by Devin Spivey

The Ansel Adams Gallery
Ansel Adams, 1902-1984

Ansel Adams was born February 20th, 1902 in San Fransisco, California. In 1915 he was taken out of school because he despised the normal routine of the educational system, because of this his father bought him a season pass to the Panama Pacific Exposition. This was a crucial phase in his life that led him into later on pursuing photography.

He actually considered himself more of a musician, a pianist first and a photographer second. In San Fransisco he was locally renowned as a great pianist but he new that this talent could only spread his fame locally. That was until 1927 Ansel Adams took, or as he would like to say made, his first acknowledge photograph at Yosemite National Park.

Monolith, the Face of Half Dome, Yosemite National Park
Monolith, the Face of Half Dome, 1927
On the Heights, Yosemite National Park, CA
On the Heights, 1927

Adams was presented with this opportunity to make this portfolio when his mentor Albert Bender challenged him into photographing large format landscapes of mountains. He excepted the challenge and his results set a trajectory for what he would continue to photograph years to come.

Clearing the Winter Storm, 1944

For example, in Clearing the Winter Storm he again returned to Yosemite; he often photographed there. With many landscape photographs there isn’t just one subject, you’re meant to see everything. But they often have place’s of focus and attention that then lead you to exploring other parts of the scenery.

Mount Williamson, 1944
Ansel Adams: Half Dome, Apple Orchard, Yosemite
Apple Orchard, 1933

With the black and white photography done by Ansel Adams a main challenge that he addressed, aside from the moving around the large, awkward equipment, was that the viewer will never be able to feel the same emotion he felt. This is because of the loss of color, but in that he gained much more with having such huge principle removed from the equation. It was clear that communicating to audience couldn’t be done through color, therefore narrowing the focus and telling the story differently through things like line, repetition, pattern, value, texture and symmetry.

Canyon de Chelly
Evening, McDonald Lake, Glacier National Park

The reason work done by Ansel Adams resonates with me is because the photographs he makes felt like they were worth taking. In photography you have the ability to eternalize a moment that was only meant to last a second, but you can’t truly recreate that moment with a camera. So, in order to come close to that you must use precise compositions to show the audience why that moment was worth eternalizing. Every piece by Adams you can feel his desire to capture a moment even though he knew he’d lose the color yet still successfully give you enough of a story to tell for yourself.

Work-cited

http://www.zpub.com/sf/history/adams.html

https://www.artsy.net/article/artsy-editorial-photograph-made-ansel-adams-famous

https://www.britannica.com/biography/Ansel-Adams-American-photographer

Josephine Halvorson- by Morgan Haymer

Josephine Halvorson is an American painter and print maker based out of Massachusetts. Halvorson’s approach to her paintings are very unique in both style and choice of content.The content she chooses to paint may appear flat, mundane, and uninteresting at first glance, but a closer look demonstrates her good understanding of presenting these seemingly flat objects in a way that feels tangible and familiar through her use of shading and texture.

From Solo Exhibition: What Looks Back
From Solo Exhibition: What Looks Back

Halvorson was raised by her mother and father who were also artists that also ran a metal and blacksmithing shop, likely contributing to the rustic, almost industrial feel to some of her paintings.



From Solo Exhibition: Facings

Halvorson is known to paint her pieces on-site and in one session, which really helps solidify the idea that she captures these objects as she sees them, as they were physically in that moment. It is clear that time is a big factor for the inspiration of many of Halvorson’s works. The natural scuffs, scratches, burns, rusting, grungey textures created by Halvorson is a physical representation of time and establishes a relationship between the object/material and their deterioration throughout time.

From Solo Exhibition: Facings

Halvorson’s use of analogous color schemes also add a lot room for detail in the shading as well as showing the contrast of values. This allows for these paintings (which are often painted from a straight-on perspective) to feel three dimensional and physically tangible to the touch. This in turn puts all sorts of emotion into these objects/surfaces and what they may represent.

To me personally, this painting of these green barn doors gives me nostalgic flashbacks to my own childhood when I would roam my rural town seeing different barns with these types of patterns and grungy textures.

From Solo Exhibition: Slow Burn
From Solo Exhibition: Slow Burn

SOURCES:

https://art21.org/artist/josephine-halvorson/

http://www.josephinehalvorson.com/about/

http://www.josephinehalvorson.com/slow-burn/

http://www.josephinehalvorson.com/facings/

http://www.josephinehalvorson.com/what-looks-back/