IBDP VISUAL ARTS ONLINE WORKSHOP MODULE 3 INVESTIGATION ASSIGNMENT Making Connections

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WORKSHOP EXAMPLE 1 Comparing a 12th century Russian icon to a Jeju Harubang.

OVERVIEW Both artworks seems so entirely different to each other that at first it seems quite difficult to make a clear comparison, but hopefully by doing so we can find exciting links that might stimulate the creation of new artwork. The Russian icon is a piece of stylised art made to illustrate the Christian motif[s] of the Virgin Mary with her new born baby, Jesus, who according to Christian faith grows up to become the Christ, the figurehead of the Christian church. The image made in Russia by an unnamed artist some time during the 12th century, has been made following strict rules of iconography, including the use of colour, stylised pattern and gold embellishment. The Virgin seems curiously emotionless – at best she appears stoic or possibly grumpy, but in reality the style of art is unconcerned with her emotion. She is a symbol of a faith and needs no subtleties of emotion. The image would probably have been placed within a Russian Orthodox church, with the hope that it would be used as a target of devotion for the community that worshipped there. The Baby Jesus, to a certain extent follows a visual stereotype that can be seen more frequently in later religious art from the Italian Renaissance, in that he appears more as a ‘little adult’ than he does a baby. However he does appear to have one clear emotion – that of devotion to the Virgin Mary – clearly helping the viewer of the picture express their own devotion to the mother rather than the child. https://www.google.co.uk/search?aq=&rlz=1T4AURU_enGB504GB504&q=russian+icons&um=1&ie=UTF-8&hl=en&tbm=isch&source=og&sa=N&tab=wi&ei=wslNUYv0G8OQ7Abtt4DACg&biw=1151&bih=698&sei=yMlNUd3eMIWc0QWPv4DgDA#imgrc=T90dz-7qyTN0yM%3A%3BboSjVdWwVhdPdM%3Bhttp%253A%252F%252Fwww.britishmuseum.org%252Fimages%252F05_ec_preface_image.jpg%3Bhttp%253A%252F%252Fwww.britishmuseum.org%252Fresearch%252Fpublications%252Fonline_research_catalogues%252Fa_catalogue_of_russian_icons.aspx%3B367%3B488 The Jeju harubang is obviously different, in that it is sculpture form granite made at any time in the last 800 years. The sculpture is of a single figure, which we can guess  from  its  title  ‘stone  grandfather’  is  male,  but  gives  us little other information about character. statues or type. However there are strong connections to be made between the harubang and the Russian icon.

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Both pieces have been made following strict conventions which deny us from seeing any obvious emotion within the character. Both images are stylised depictions of the human. Furthermore we might observe that the stylisation and lack of emotion lends both figures a dignified silence. Both figures have assumed some kind of timelessness and as such work as icons of the culture they represent. A more obvious visual connection is that both artworks look weatherworn and have interesting surface qualities that may not have been given to them directly by the artist that make them. To be fair the unnamed creator of the Russian icon would probably not have hope that his/her painting would one day be so badly knocked about that some viewers might find the damaged surface more interesting than the image beneath it, whereas the sculptor of the harubang, must surely have known that his/her sculpture would feel like craggy granite even before it was finished. I have suggested that both artworks suggest timelessness – wrongly of course, they both suggest that they come from the beginning of art for the region that they created. I’m  not  going  to discuss here the entire history of ancient art, but both artworks obviously have been created with the inspiration of

artistic forbears, but that seems to be invisible within both pieces, possibly because they are both so obviously part of the very strict stylistic codes that have been imposed upon them. I  don’t  know  enough  about the histories of the times that each piece was made, but I have identified a peace to be found within both artworks that belies any turmoil that we might associate with the time each was  created.  They  don’t  tell  us  about  famine,  war,  disease  – both pieces have a stony impregnability [one literal, one metaphorical – what is the Virgin thinking?] that suggests they exist over and above the suffering of the people who interact with them. We might argue that Matthias Grunewald’s Isenheim altarpiece is constructed to encourage its viewers that they are not alone. Located, I believe in a plague hospital, Grunewald’s  artwork made obvious links between  the  flagellation  marks  on  Christ’s  body  and  the  sores  that  the  diseased  viewers  would  have  carried  on their bodies. But the Russian icon and the harubang are far too stylised to be suffering individuals – they are icons and not therefore ‘human’, even if they are representations of the human figure. Where to go next? Iconography – historic or modern? Modern day images of mother and child? As I am based in East Asia, Buddhist or other Eastern depictions of mother and child? Degradation within an artwork – Robert Rauschenberg or Antony Tapies. Does the artwork look better or worse once it has a history? The other outcome from the comparison of a 2 and 3D work is that the student could take photographs

or make drawings in the studio of figure[s] – even a mother with baby [we have many parent/teachers on site] and develop it into a stylised 2 or 3d work. Indeed they could make a stylized painting of a harubang [or better still a piece of more detailed Buddhist sculpture] or vice-versa – make a sculpture based on a painting.

There are, of course, obvious ethical concerns of adapting iconography associated with a religion, which is why I chose the harubang as a pagan image. This might be a reason why we might encourage students to

Dol hareubangs, also called tol harubangs, hareubangs, or harubangs, are large mushroom-like statues found on Jeju Island off the southern tip of Korea. They are considered to be gods offering both protection and fertility and were placed outside of gates for protection against demons travelling between realities. The dol hareubangs are carved from porous basalt (volcanic rock) and range in size up to three metres high. The statues' faces feature grinning expressions, bulging eyes without pupils, a long, broad nose, and slight smile, and their hands rest on their bellies, one slightly above the other. In sets of two, one has a higher left hand, and the other a higher right hand. The hat is commonly referred to as phallic or mushroom-like http://en.wikipedia.org/wiki/Dol_hareubang http://en.wikipedia.org/wiki/File:Dol_Hareubang_at_Tamna_Mokseokwon.jpg

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impose their stylisations upon photos/drawings taken from real figures rather than from either Christian or Buddhist religious icons. I would love to see students explore the folds of clothing and the lit form using the same level of stylisation as can be seen in the gold fabric. Certainly, the more neutral subject of draped fabric might make a useful stepping stone into a more ambitious piece working with the whole figure. 20th century artists such as Brancusi and Modigliani might also supply students with helpful drawing methods to help them develop their own imagery. Investigation assignment Making Connections Connections can be CONTEXTUAL – when was the image made ? who made it ? when was it made ? what was happening in their public or personal life when they created this artwork ? CRITICAL VISUAL The Jeju Harubang. They cover our island. They fill our souvenir shops. We even use the word as a name for one of our houses. But What are they ? Who are they why are they ? Investigate On our museum trip this afternoon, see how many harubangs you can find ? – are they all the same ? How are they different ? Consider the formal elements when you are writing your answer: Shape, size, colour, scale, texture, structure [what is each harubang made of ?] photograph them, draw them, if you want and you can, you could even buy one. Harubangs  are  a  strange  kind  of  art,  aren’t  they  – usually we ask you NOT to touch the art, but you can feel a harubang – what does it feel like ? can you climb on it ? Can you hold it in your hand ? How does a harubang change when it becomes smaller or bigger than you ? Make notes about the harubangs you see and aim to draw 3 different harubangs during today. What do you know about the meanings  behind  them  ?  Some  of  them  are  quite  ‘adult’  and  are  about  the island’s  status  as  a  honeymoon  island  – does that make them an inappropriate icon for Jeju. Argue: Present your findings and answers in your work book. What did you find out ? [remember to quote all sources  using  the  proper  referencing  system  we’ve  learnt  in  class].

Making more connections: what type of art is a Harubang ? Is it an icon or a portrait or landscape art ?

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Choose one of the artworks below and juxtapose it in your INVESTIGATION WORKBOOK with one of your Harubang drawings. Russian icon Picasso:  ‘Woman  with  chignon’ Brancusi:  ‘Mlle  Pogany’ Visit the website linked to this artwork and use it as a starting point to consider how and why each artwork was made. Analyse the differences and connections between your chosen image and one of the harubang you have seen on our museum trip. You should consider subject, genre, purpose and style. Again use the language of the formal elements to help you make your comparison. Consider shapes and forms, posture, texture, colour and how these elements create mood and meaning. Develop. Using one of the images above as your starting point make a drawing of your harubang that extends its meaning and purpose. Develop your drawing with an appropriate medium that enables you to reproduce textures and colours from the artwork you have connected it with. Reflection: Is your new harubang image still a harubang ? Have you been able to retain its meaning or have the changes you have made transformed it too far from its original purpose ? Write your thoughts on this on your workbook.

IBDP VISUAL ARTS ONLINE WORKSHOP MODULE 3 INVESTIGATION ASSIGNMENT

Making Connections

WORKSHOP EXAMPLE 2 Mother and Child.

This assessment is focusing on the critical investigation of female portraiture and the representation of motherhood in Art History.

NOTE: Initiating a discussion is a key objective of this unit of work. The information presented by the teacher must not dominate the lesson, students should be active participants as the lesson progresses. Workbooks should be used at all times for recording ideas and making critical statements about the artworks. The images below would be given to the students as a starting point:

Artist: Unknown icon painter Title: Our Lady of Vladimir Year: First third of the 12th century Media: Painting Medium:Wood, tempera Dimensions:104 x 69cm

Artist: Dorothea Lange Title: Migrant Mother (Florence Owens Thompson Year: 1936 Media: Photography Medium: Photograph

Artist: Joy HESTER Title: Mother and child

Artist: Russell Drysdale Title: Sunday evening

IBDP VISUAL ARTS ONLINE WORKSHOP MODULE 3 INVESTIGATION ASSIGNMENT

Making Connections

Year: 1955 Media: Drawing Medium: brush and ink Dimensions: 75.4 cm x 55.0 cm (sheet)

Year: 1941 Media: Painting Medium: Oil on asbestos cement sheet Dimensions: 60.0 x 76.0cm board; 75.3 x 92.0 x 6.0cm frame

“Mother  and  Child” task is designed as an introduction to portraiture.

The aim is to make it relevant to each student by encouraging them to reflect on the images subjectively by making personal connections. The relationships between mother and child in the images are discussed. The words such as: love, tenderness, affection, connection, touch, feelings, understanding, devotion, sacrifice, beauty, emotion are written on the board by students.

The students are asked to analyse the images provided.

Questions such as: How can we see the connections between Mother and Child in each of the works? How did the artist show the tenderness and love between them? What makes us sympathise with the mothers in the images?

- The teacher will encourage students to see beyond the cliché interpretations of the images. A discussion is initiated by a teacher.

o How  are  the  mothers  viewed  in  today’s  society?   o How  does  society  value  the  mother’s  role  compared  to  a  role  of  a  career  man  

or woman? o Why is it traditionally diminished by Western society as something easy to do

and unimportant, since it has no financial or status rewards?

A teacher encourages students to research each of the images. What were the stories behind each of the pictures?

- What was the purpose of the images? Some of the options:

o worship, o record of the event, o personal memory, o story telling.

Who were the artists behind the images?

A reference to the Conceptual Framework is made by the teacher:

What were the relationships between: o Artist- Subject of the work, o Artwork- Audience, o Artist- Artwork

Artist

Artwork

Audience World

IBDP VISUAL ARTS ONLINE WORKSHOP MODULE 3 INVESTIGATION ASSIGNMENT

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o World- Artwork

Independent investigation task: Students are asked to research and make visual as well as contextual connections between artworks by different artists that explored the “Mother  and  Child”  theme.  The  following  list of artists is provided for consideration:

1. Gustav Klimt 2. Mary Cassatt 3. Raphael 4. Gerard David 5. Pablo Picaso 6. Ron Muesk 7. Henry Moore 8. Auguste Rodin 9. Fernando Botero 10. Del Kathryn Barton

The  following  lesson  will  be  allocated  for  reflection  and  analysis  of  students’  work.  

The teacher will provide students with oral feedback.

Sources:

http://memory.loc.gov/ammem/awhhtml/awpnp6/migrant_mother.html

http://www.artgallery.nsw.gov.au/work/7217/

http://nga.gov.au/Hester/Index.cfm?WorkID=38784&View=2

http://www.tretyakovgallery.ru/en/collection/_show/image/_id/2216

http://www.boardofstudies.nsw.edu.au/syllabus_hsc/pdf_doc/visual-arts-st6-syl-from2010.pdf

IBDP VISUAL ARTS ONLINE WORKSHOP MODULE 3 INVESTIGATION ASSIGNMENT Making Connections

WORKSHOP EXAMPLE 3 Investigation Assignment Chosen Artworks

Tony Cragg, Bent of Mind, 2002 (Exhibited in Edinburgh, 2011) Hans Holbein, The Ambassadors, (1533, National Gallery London) Connections General Traditional attention to balance and harmony is evident in both works. Cragg is linked to a tradition that extends back to the Greeks whereby it was felt important to breath life into works. As a Renaissance artist, Holbein draws on that tradition. It follows that each artist explores what lies beneath the surface. In the sculpture there is an organic energy within the elegant structure and beneath both pieces lie deeper meanings. Cultural Both artists work in a sophisticated culture and are aware of developing technologies. Printmakers of the Northern Renaissance, far from merely illustrating the ideas of others, contributed to scientific investigations of their time. Holbein worked with cosmographers and instrument makers on some of the earliest sundial manuals published. In the Ambassadors he depicts many astronomical instruments, including a torquetum, one of the most valuable and complex clocks of the period. Cragg uses the computer as a contemporary tool that can be used for the manufacturing process and creates state of the art digital computer models for his works. The two works under discussion are most closely connected through anamorphosis, showing a further link between Maths and Art. (An explanation of the discovery of anamorphosis could be introduced here). Both artists, however, were aware that technology should always play a subservient role to the inventiveness of the artist. So, how has Anamorphosis been used by each artist? By placing the skull in so central a position, avoiding the traditional placement of figures in the centre, Holbein is daring

IBDP VISUAL ARTS ONLINE WORKSHOP MODULE 3 INVESTIGATION ASSIGNMENT Making Connections

and  revolutionary  in  his  composition.  As  has  pointed  out  by  Stephanie  Buck,  ‘Holbein  is  possibly  challenging the viewer to ponder the illusion of realism created by individual elements and by painting in general’  (Hans Holbein, Cologne, 1999, p.104). A frontal viewing shows the skull to be distorted. By looking at the work from an extreme oblique angle the skull transforms into a recognizable skull and at the same time all that which appears recognizable from a frontal viewing, now distorts and appears unreal, thus changing our perception of the picture. In  Cragg’s piece the same interplay between recognisable form and distortion is at work. Walking round the piece, faces emerge, elongate, distort and disappear back into the form. “I  want  to  give  a  new  definition  of  the  image  in  a  dynamic, continuous morphogenesis that opens onto multiple interpretations,”  says  Cragg.   Both pieces thus make us ask questions about reality that might touch on religious or metaphysical themes. Further Directions Sculptors such as Rodin and Michelangelo are known influences on Cragg, especially how they created surface  textures  to  recreate  life,  and  this  could  be  explored.  David  Mach’s  sculptures  and  collages  based  on verses from the King James Bible could be introduced to further show connections between a contemporary artist and the Renaissance. The connection between Mach and Brueghel could be explored. For example, both depict subjects from the bible in the context of a modern urban society, concentrating on ordinary people. (both interpreted the tower of Babel) The multi-viewpoint works of Cézanne, Braque and Picasso  and  how  they  question  our  notions  of  reality,  are  another  link  to  Cragg’s  work.   Possible Directions for Creative, Practical Work A  sculpture/painting/mixed  media  project  exploring  the  ‘reality’  of  an  object  or  human  form, concentrating on how our views of reality might be challenged/expanded by exploring the subject in a multi-dimensional, layered way. The sense of opening up the object would be the main focus of this exercise. A series of drawing exercises could be used to introduce how artists like Cragg, Rodin, Leonardo, Picasso use multiple lines to depict form in a fluid, dynamic way. Different weights of line could be emphasized through the use of various media and different surfaces could be prepared to add diversity. String could be used as a drawing material. Wire could be used in a linear way and with other materials added to add a three-dimensional element. Working from these initial experiments, progress could be made to produce a final piece/s of a scale dictated by the nature of the experimental work and of the medium/media chosen by the artist. Image sources http://www.nationalgalleries.org/whatson/368/tony-cragg-sculptures-and-drawings/rational-beings http://en.wikipedia.org/wiki/File:Hans_Holbein_the_Younger_-_The_Ambassadors_-_Google_Art_Project.jpg https://www.google.co.uk/search?q=ambassadors+skull&hl=en&rlz=1T4AURU_enGB504GB504&source=lnms&tbm=isch&sa=X&ei=tLVNUcfaH8WR0QWJmoDoDg&ved=0CAoQ_AUoAQ&biw=1151&bih=698#imgrc=7uM4CBOmwY0FwM%3A%3Be9Fb9L_6ocI_HM%3Bhttp%253A%252F%252Ffarm4.staticflickr.com%252F3077%252F2570822496_f8f03345ff_z.jpg%3Bhttp%253A%252F%252Fwww.flickr.com%252Fphotos%252Fravensthorpe%252F2570822496%252F%3B640%3B480 http://www.google.co.uk/imgres?imgurl=http://upload.wikimedia.org/wikipedia/commons/d/dd/Holbein's_%2522Ambassadors%2522_-_skull_with_fixed_perspective.png&imgrefurl=http://commons.wikimedia.org/wiki/File:Holbein's_%2522Ambassadors%2522_-_skull_with_fixed_perspective.png&h=305&w=346&sz=414&tbnid=En9RSW_e-XfUnM:&tbnh=93&tbnw=106&zoom=1&usg=__cmVGGXx9h5jS19RRdeWQfp16JtM=&docid=NEy2RlkbSHeSZM&sa=X&ei=tLVNUcfaH8WR0QWJmoDoDg&ved=0CD8Q9QEwAQ&dur=627

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WORKSHOP EXAMPLE 4

This investigation assignment involves choosing two paintings and looking for connections as a means for finding a new direction for studio work.

In the investigation workbook take the time to

dissect the artworks and try to compare and

contrasts the two pieces of art work. It would

be helpful to place the two images into a work

book as a reference.

It may also be interesting to make drawings

based on the two images to see things that

may have been missed on your initial viewing

of the images.

Try to verbalize the context, cultural, historical

and sociological implications of the artwork.

For the purpose of this exercise I have chosen two paintings which seem very different from each other.

The first painting is Matthias Grunewald’s The

Crucifixion.

This painting gives the viewer a shocking image of the last few moments of life for Jesus Christ on the cross. This painting was completed in 1515 and is just one of the many religious paintings which Grunewald created during his lifetime.

It is almost impossible to look at this image without thinking of all the religious implications of the painting because that is why it was created. It was created to help people understand exactly how much Jesus Christ suffered for our salvation.

For this investigation it could also be helpful to try to look at the painting purely from the point of view of what is actually in the painting. In The Crucifixion the figure is the central focal point of the painting and it is distorted, and the flesh is soft on torn. There are issues with the dimensions of the people in the painting. The central figure on the cross is substantially bigger than some of the other people in the painting. This makes the central figure more important than the other figures. One feature which seems to capture the pain of the scene is the hands which are nailed to the cross.

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The hands are so deformed that they seem to scream out in pain.

The body also seems to show every sign of the torment which it had to endure prior to death. In the painting  there  are  the  words  “He  must  increase,  but  I  must  decrease”  which  are  written  in  Italian.    

These words seem to repeat over and over in the mind. What exactly does this mean? The image stays with the viewer long after the image is no longer visible.

The second painting is Marcel  Duchamp’s  painting  Nude

Descending a Staircase.

The painting was completed in 1912 during the cubist artistic movement. The painting, however does not seem to fit the cubist definition.

Duchamp  had  written  on  the  “Nude  Descending  Staircase” translated from French, which makes the viewer look for the figure. If the painting did not have these words written on the canvas would we see the figure? The  figure  in  Duchamp’s painting is broken into different pieces which make up the movement of descending a staircase.

There is a mechanical aspect to this painting it all seems shinny and new. The feeling of movement in the painting is unmistakable. The viewer can almost see each step which the figure is taking. It is a wonderful gesture of the motion of the human body.

Duchamp may have been hard to categorize but he was always on the cutting edge of art. Duchamp was often connected to the artistic movement deferred to as Dada. Dada was an artistic movement which seemed to question everything about art.

This painting, however does not represent that movement, it is a beautiful painting which keeps the viewer always looking for more. The painting does make us question what a painting can be because it captures several moments rather than just one moment.

The two painting involve a figure as the central theme. The paintings both seem to have a similar color scheme. There are lots of yellows and browns giving the paintings an earthy feeling. The idea of descending seems to carry through both paintings.

In The Crucifixion there is a desire to simple help bring Cfrist down from the cross. The words written on the canvas refer to increasing and decreasing, but how do we interpret these words. Could these words be changed to ascend and descend maybe not but that is what is about to happen.

In The Nude Descending the Staircase there is the sense of the figure moving down from left to right. In The

Crucifixion there is also a movement but this time it is in the opposite direction. The figure on the right points

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towards the upper left corner of the painting which leads the eye towards Jesus Christ. Both paintings seem to capture a moment in time. One seems frozen for eternity while the other seems to be in a constant state of movement.

I want to stand in front of both paintings to really feel the full range of emotions which both paintings bring forth. The painting by Grunewald has always been the painting of the crucifixion that seems to truly capture the harshness of the scene. There is not an attempt to make the image any more pleasing, rather there is a truthful look at the agony of what can happen when the powers that be turn against someone or something.

In  Duchamp’s  painting  there  is  none  of  the  extra  information  available  to  see  into  the  painting  for  anything  more than what it represents. We are fascinated by the way the human body moves and this painting breaks down the individual movements in to pieces. All of these pieces of the movement then fit together to make the overall movement clear to the viewer. At first look the paintings seem so different, but as you look closer at the images you do find similarities.

I placed the paintings on top of each other to look more closely at the two compositions and found that there is a central section of both paintings which is lighter and draws the viewer’s eye to this area. Several different ideas come to mind regarding studio work based on the comparing and contrasting of the two images.

The  first  thought  would  it  be  possible  to  used  Duchamp’s  sense  of  motion  in  the  image  of  a  crucifixion?    Could  the motion of Jesus Christ ascending be added to the crucifixion image?

Would abstracting the image of the crucifixion allow the image to have a new vision and more of a sense of hope?

Are there ways that a three dimensional piece could be developed from these images. Certainly trying to make creative connections can lead to new discoveries.

Image Sources

https://www.google.co.uk/search?q=matthias+grunewald+the+crucifixion&hl=en&source=lnms&tbm=isch&sa=X&ei=GrhNUaPaAfOT0QXmyoDgAQ&ved=0CAcQ_AUoAQ&biw=1151&bih=698#imgrc=2gkd4XYUZdvVJM%3A%3B99vZQ_e4OBrgOM%3Bhttp%253A%252F%252Fwww.ibiblio.org%252Fwm%252Fpaint%252Fauth%252Fgrunewald%252Fcrucifixion%252Fcrucifixion.jpg%3Bhttp%253A%252F%252Fwww.ibiblio.org%252Fwm%252Fpaint%252Fauth%252Fgrunewald%252Fcrucifixion%252F%3B988%3B860

https://www.google.co.uk/search?q=matthias+grunewald+the+crucifixion&hl=en&source=lnms&tbm=isch&sa=X&ei=L7hNUcXMMMHa0QXvsIHIBg&ved=0CAcQ_AUoAQ&biw=1151&bih=698#imgrc=Vd2P46JnR1s-AM%3A%3BJ3bbwTOa7CUiCM%3Bhttp%253A%252F%252Fvenetianred.files.wordpress.com%252F2010%252F01%252Fgrunewaldchrist1.jpg%3Bhttp%253A%252F%252Fvenetianred.net%252Ftag%252Fmathias-grunewald%252F%3B1329%3B966

https://www.google.co.uk/search?q=Nude+Descending+a+Staircase&hl=en&rlz=1T4AURU_enGB504GB504&source=lnms&tbm=isch&sa=X&ei=-7hNUYOmKoGm0AX0qICYDg&ved=0CAoQ_AUoAQ&biw=1151&bih=698#imgrc=glvjPlLW2SzrnM%3A%3BTwZfZhNxyJnKiM%3Bhttp%253A%252F%252Fwww.theartworlddaily.com%252Fwp-content%252Fuploads%252F2013%252F01%252FDuchamp.jpeg%3Bhttp%253A%252F%252Fwww.theartworlddaily.com%252F%253Fattachment_id%253D1590%3B711%3B1173