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Process Overview: Our world view is expanding with technological evolution. Art embraces this expansion, matching it with a human scale. A convergence of ancient time with future time plays within these ideas. Philosophical unity seeks the expression of consciousness in art by resolving the appearance of dualities through a greater unity. The process of art juxtaposes these dualities momentarily on the way to symbolic evolution. The ancient art of the bushmaster joins the techno-age polymath in creating an art validated by classic values. New Media Mosaic: New Media Mosaic is a synthesis of many of my periods converging in a scalable installation expression. The modular unit assembled installation began with the "Big Picture" This was a "Time" based construction using elements from 1969 to 2007. The new media mosaics of 2012 bring together the forms of these periods in a unified motif. The scale-ability of these installations means that they may be created in any desired size. "Scalable" Digital works are at the core of this media. Mixed Media Mosaic: Growing out of the New Media Mosaic is a re-combination of periods converging back on to the canvas as an installation series. The Mixed Media units are an assembled installation using 13"x19" sheets of canvas. The mixed media mosaics feature configurations of 4x, 6x, 9x, and 16x. As an example, 16x would be 16 units of 13"x 19" canvas sheets painted with mixed media. Digital Art: New Media is birthed in the digital domain. This modern context is home to the migrated human intelligence. The quality of creation remains the responsibility of individual artists working in the digital media. A sequence of crossing and recrossing borders effects interactions adapting the Digital to the Analog and back to the digital. River has been programing and adapting digital equipment to play, print, and produce images for near three decades. Computer sequencing is separate from sampling where the illusion of perfect replication, permeates a myth of perfection. All time based works are complicated by translation and incorporate process-based and inherently flawed perceptions as part of direct experience. The digital artworks, are a realization of the migration to the inevitability of technology. These pieces embrace the tradition of playfulness as a core to insights of aesthetic virtue. Technophobia brings established perspectives, which hearken to a simpler age. The fact that in "the good old days" the artists of the time were scrambling to incorporate mathematics, geometry, camera obscura and new pigments gets lost in the haze. The strength of art migration to new technology is in the affirmation that the artist is the spiritual guide bringing what is necessary to surpass technological limitations. Oil Paintings: These works are painted on paper, canvas, or hardboard panel. The attitude I bring to individual works is related to the subject and requirements of the image. Generally ways of working can be categorized by a manor depicted by Frans Hals, and Rembrandt van Rijn. The Frans Hals example is of a carefully constructed architecture maximizing luminosity with no re-working, and the Rembrandt example of re-working the painting until the image is satisfied. The re-working method can become extensive in layering glazes as well as solid painting. In some extreme instances the original image is obscured in the eventual outcome. In addition to the long life of the oil painting, aesthetic quality in the ability for refined subtleties of color mixing makes it desirable. Acrylic Paintings: These works are also painted on paper, canvas, or hardboard panel. Fast drying time makes this media good for extensive glazing process. The new abstract mosaic installations of 2010 are painted with acrylic. The large format and need for flexibility in the installation process, epically for site specific works makes acrylics the media of choice. Mixed Media: The idea of mixed-media is like players in a band using their art to reach beyond individual abilities to the greater vision. Mixed- media ... one spirit. The transcendence of language, beyond media into the realm of meaning is the heart of literature. It is this commonality of shared meaning I seek to discover in the new evolving mixed media works. acrylic and oil painting has several advantages. I always start with acrylic as it is fast in blocking in the work. The physical architecture for a durable work also requires that acrylics are not painted over oils. The acrylics also have a punch, even when glazed down. This contrasts the elegant subtleties of oils refined micro structure. There are also different properties in color mixing which can be a strategic advantage. When a work is reworked extensively, it occasionally occurs that the acrylic part of the painting is completely obscured. Usually the combination exist side by side offering the particular strengths each has to offer. Similarly the more complex combination of inks, watercolor, pastel and print, which may be combined with oil and acrylic, offer a unique range of expression. This combination can offer subtleties seldom experienced. As the complexity of combination evolves, respect for structural architecture must temper inspiration. A masterful work will be strong as well as beautiful. I find the continuing mixing of these visual media languages makes me more prepared to find the precise voice each individual painting needs. Mixed Media and Giclée Print: What is Giclée? Giclée (zhee-clay) is a French word that means "to spray", and this term has become the descriptive name for high-quality prints and reproductions that are produced on professional ink-jet printers, using pigment-based inks rated 200 years lightfast, on archival substrates (paper/canvas). If your print is a copy of an existing work, even though it may be a different size than the original, it is a reproduction. It may be labeled as a fine art giclée reproduction if it is printed on archival art paper using archival pigmented inks. If you are working digitally, and have created a new work digitally, and are making multiple copies of this new work, each copy is a giclée print. If you have created a new work, and make only one copy, then it is labeled a giclée original, or a unique giclée. Mixed Media Originals: This process often starts with a print. It is then re-worked significantly, with other media. The additional media may include, watercolor, inks, acrylic, pastel, drawing pencils, oil stick, oil paint with a variety of application technique. Limited Editions: Usually consisting of 100 copies or less, each print or reproduction in the edition is hand-signed and numbered. Each comes with a certificate of authenticity stating the number of prints in the edition, the paper (known as the substrate) used and the date the edition was released. This certificate also tells what number the print is in the edition, expressed as a fraction: the first print in an edition of 25 would be 1/ 25, the second print 2/25 and so on. The artist signs these certificates, guaranteeing the buyer that they are getting a particular print in the edition, and also guaranteeing that when the edition is complete, no more prints of this image will be made. Open Editions: the option of making an unlimited number of copies of an image. Prints in open editions are not numbered or hand signed, and do not come with a certificate of authenticity. Definition Of Art art noun : something that is created with imagination and skill and that is beautiful or that expresses important ideas or feelings : works created by artists : paintings, sculptures, etc., that are created to be beautiful or to express important ideas or feelings : the methods and skills used for painting, sculpting, drawing, etc. art noun (Concise Encyclopedia) A visual object or experience consciously created through an expression of skill or imagination. The term art encompasses diverse media such as painting, sculpture, printmaking, drawing, decorative arts, photography, and installation. The various visual arts exist within a continuum that ranges from purely aesthetic purposes at one end to purely utilitarian purposes at the other. This should by no means be taken as a rigid scheme, however, particularly in cultures in which everyday objects are painstakingly constructed and imbued with meaning. Particularly in the 20th century, debates arose over the definition of art. Figures such as Dada artist Marcel Duchamp implied that it is enough for an artist to deem something “art” and put it in a publicly accepted venue. Such intellectual experimentation continued throughout the 20th century in movements such as conceptual art and Minimalism. By the turn of the 21st century, a variety of new media (e.g., video art) further challenged traditional definitions of art. - Merriam-Webster NOUN 1The expression or application of human creative skill and imagination, typically in a visual form such as painting or sculpture, producing works to be appreciated primarily for their beauty or emotional power: the art of the Renaissance great art is concerned with moral imperfections she studied art in Paris MORE EXAMPLE SENTENCES 1.1Works produced by human creative skill and imagination: his collection of modern art an exhibition of Mexican art [AS MODIFIER]: an art critic MORE EXAMPLE SENTENCES 1.2Creative activity resulting in the production of paintings, drawings, or sculpture: she’s good at art MORE EXAMPLE SENTENCES 2 (the arts) The various branches of creative activity, such as painting, music, literature, and dance: the visual arts [IN SINGULAR]: the art of photography - Oxford Dictionaries Stanford Encyclopedia of Philosophy Contemporary definitions are of two main sorts. One distinctively modern, conventionalist, sort of definition focuses on art's institutional features, emphasizing the way art changes over time, modern works that appear to break radically with all traditional art, and the relational properties of artworks that depend on works' relations to art history, art genres, etc. The less conventionalist sort of contemporary definition makes use of a broader, more traditional concept of aesthetic properties that includes more than art-relational ones, and focuses on art's pan-cultural and trans-historical characteristics. 5. Conclusion Conventionalist definitions account well for modern art, but have difficulty accounting for art's universality – especially the fact that there can be art disconnected from “our” (Western) institutions and traditions, and our species. They also struggle to account for the fact that the same aesthetic terms are routinely applied to artworks, natural objects, humans, and abstracta. Aesthetic definitions do better accounting for art's traditional, universal features, but less well, at least according to their critics, with revolutionary modern art; their further defense requires an account of the aesthetic which can be extended in a principled way to conceptual and other radical art. (An aesthetic definition and a conventionalist one could simply be conjoined. But that would merely raise, without answering, the fundamental question of the unity or disunity of the class of artworks.) Which defect is the more serious one depends on which explananda are the more important. Arguments at this level are hard to come by, because positions are hard to motivate in ways that do not depend on prior conventionalist and functionalist sympathies. If list-like definitions are flawed because uninformative, then so are conventionalist definitions, whether institutional or historical. Of course, if the class of artworks is a mere chaotic heap, lacking any genuine unity, then enumerative definitions cannot be faulted for being uninformative: they do all the explaining that it is possible to do, because they capture all the unity that there is to capture. In that case the worry articulated by one prominent aesthetician, who wrote earlier of the “bloated, unwieldy” concept of art which institutional definitions aim to capture, needs to be taken seriously, even if it turns out to be ungrounded: “It is not at all clear that these words – ‘What is art?’ – express anything like a single question, to which competing answers are given, or whether philosophers proposing answers are even engaged in the same debate…. The sheer variety of proposed definitions should give us pause. One cannot help wondering whether there is any sense in which they are attempts to … clarify the same cultural practices, or address the same issue.” (Walton, 1977, 2007) From Wikipedia Art is a diverse range of human activities and the products of those activities; this article focuses primarily on the visual arts, which includes the creation of images or objects in fields including painting, sculpture, printmaking, photography, and other visual media. Architecture is often included as one of the visual arts; however, like the decorative arts, it involves the creation of objects where the practical considerations of use are essential—in a way that they usually are not in a painting, for example. Music, theatre, film, dance, and other performing arts, as well as literature and other media such as interactive media, are included in a broader definition of art or the arts.[1] Until the 17th century, art referred to any skill or mastery and was not differentiated from crafts or sciences. In modern usage after the 17th century, where aesthetic considerations are paramount, the fine arts are separated and distinguished from acquired skills in general, such as the decorative or applied arts. Overview: The act or process of investigating. 2. A detailed inquiry or systematic examination. Research: '"Research and experimental development (R&D) comprise creative work undertaken on a systematic basis in order to increase the stock of knowledge, including knowledge of man, culture and society, and the use of this stock of knowledge to devise new applications." (OECD (2002) Frascati Manual: proposed standard practice for surveys on research and experimental development, 6th edition.)[1] It is used to establish or confirm facts, reaffirm the results of previous work, solve new or existing problems, support theorems, or develop new theories. A research project may also be an expansion on past work in the field. To test the validity of instruments, procedures, or experiments, research may replicate elements of prior projects, or the project as a whole.' From Wikipedia In art, the process of art as Investigation often includes "Research" The Merriam-Webster Online Dictionary defines research in more detail as "a studious inquiry or examination; especially : investigation or experimentation aimed at the discovery and interpretation of facts, revision of accepted theories or laws in the light of new facts, or practical application of such new or revised theories or laws". Research In The Art Investigation: Growing out of the traditions and precedents accumulated through the history of a quest for art, many artists seek to prove their theories and developed a new definition of art. The investigation is the process of making of art guided by the research supporting a vision. The investigation therefore is an accumulated group of works whose combined research supports the vision which is the subject of the investigation. Example of Art As Investigation: 1. Works "After" an other artist's work of art.
2. Works exploring conceptual theory governing creation of works of art.
3. Works exploring technical methods governing creation of works of art.
All of the examples would be "Research" included in the investigation leading to the visual art Thesis called "The Big Picture". The Big Picture Mixed Media Mosaic is a re-combination of periods converging back on to the canvas as an installation series. The Mixed Media units are an assembled installation using 13"x19" sheets of canvas. The mixed media mosaics feature configurations of 4x, 6x, 9x, and 16x. As an example, 16x would be 16 units of 13"x 19" canvas sheets painted with mixed media. |
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