Memento is a 2000 American neo-noir psychological thriller film written and directed by Christopher Nolan and presents a unique narrative structure.
To view the movie click here.
Please write a response considering the narrative structure of the film as well as how it relates to the concepts of labyrinth. This is to be posted to your blog and be about one page long.
Monday, July 15, 2013
Thursday, July 11, 2013
Matthew Barney
Matthew Barney is a contemporary American Visual Arts. He is most known for his Cremaster Cycle which is a collection of epic videos, sculpture, photgraphs etc.
From Wikipedia -
Gugenheim Museum curator Nancy Spector has described the Cremaster cycle (1994–2002) as "a self-enclosed aesthetic system."[2] The cycle includes the films as well as photographs, drawings, sculptures, and installations the artist produced in conjunction with each episode. Its conceptual departure point is the male cremaster muscle, the primary function of which is to raise and lower the testes in response to temperature.
The project is filled with anatomical allusions to the position of the reproductive organs during the embryonic process of sexual differentiation: Cremaster 1 represents the most "ascended" or undifferentiated state, Cremaster 5 the most "descended" or differentiated.
The cycle repeatedly returns to those moments during early sexual development in which the outcome of the process is still unknown — in Barney's metaphoric universe, these moments represent a condition of pure potentiality. As the cycle evolved over eight years, Barney looked beyond biology as a way to explore the creation of form, employing narrative models from other realms, such as biography, mythology, and geology.
The films were not made in numerical order (1–5), but rather in the
order 4, 1, 5, 2, 3 – precisely, 4 in 1994, 1 in 1995, 5 in 1997, 2 in
1999, 3 in 2002. The numerical order is the thematic order, while in
order of production the films increase in production quality and
ambition, and they can alternatively be viewed in any order, as
different views of a set of themes and preoccupations.
The films are significantly different in length; the longest (and last-made) is #3, at over 3 hours, while the remaining four are approximately 1 hour each, for a total of approximately 7 hours – #3 itself is almost half the total length. There is precious little dialog in any of the films; only #2 features significant dialog.[3]
An important precursor of the Cremaster Cycle is Drawing Restraint, which is also a biologically inspired multi-episode work in multiple media, also featuring the field emblem.
He is featured in Art 21. Please click here to see the segment about his work. Further viewings of the Cremaster cycle can be found on youtube, click here.
From Wikipedia -
Gugenheim Museum curator Nancy Spector has described the Cremaster cycle (1994–2002) as "a self-enclosed aesthetic system."[2] The cycle includes the films as well as photographs, drawings, sculptures, and installations the artist produced in conjunction with each episode. Its conceptual departure point is the male cremaster muscle, the primary function of which is to raise and lower the testes in response to temperature.
The project is filled with anatomical allusions to the position of the reproductive organs during the embryonic process of sexual differentiation: Cremaster 1 represents the most "ascended" or undifferentiated state, Cremaster 5 the most "descended" or differentiated.
The cycle repeatedly returns to those moments during early sexual development in which the outcome of the process is still unknown — in Barney's metaphoric universe, these moments represent a condition of pure potentiality. As the cycle evolved over eight years, Barney looked beyond biology as a way to explore the creation of form, employing narrative models from other realms, such as biography, mythology, and geology.
The films are significantly different in length; the longest (and last-made) is #3, at over 3 hours, while the remaining four are approximately 1 hour each, for a total of approximately 7 hours – #3 itself is almost half the total length. There is precious little dialog in any of the films; only #2 features significant dialog.[3]
An important precursor of the Cremaster Cycle is Drawing Restraint, which is also a biologically inspired multi-episode work in multiple media, also featuring the field emblem.
He is featured in Art 21. Please click here to see the segment about his work. Further viewings of the Cremaster cycle can be found on youtube, click here.
Wednesday, July 10, 2013
Labyrinth
Labyrinth-
1.
Please read the short story by Borges entitled "The Library of Babel". Click here to go to the PDF. The story begins on page 251. Please compose a short written response to the story considering the concept of a labyrinths (and the numerous forms of a labyrinth in the story).
In addition, consider the story of King Sisyphus from "The Odyssey". As Odysseus enters Hades to consult the blind prophet Tiresius, the first tormented soul he encounters is Sisyphus, punished by the gods for repeatedly tricking them and escaping death/ Hades.
“And I saw Sisyphus at his endless task raising his prodigious stone with both his hands. With hands and feet he' tried to roll it up to the top of the hill, but always, just before he could roll it over on to the other side, its weight would be too much for him, and the pitiless stone would come thundering down again on to the plain” (Homer).
1.
an intricate combination of paths or passages in which it is difficult to find one's way or to reach the exit. Synonyms: maze, network, web.
2.
a maze of paths bordered by high hedges, as in a park or garden, for the amusement of those who search for a way out.
3.
a complicated or tortuous arrangement, as of streets or buildings. Synonyms: warren, maze, jungle, snarl, tangle, knot.
4.
5. ( initial capital letter ) Classical Mythology . a vast maze built in Crete by Daedalus, at the command of King Minos, to house the Minotaur
any confusingly intricate state of things or events; a bewildering complex: His papers were lost in an hellish bureaucratic labyrinth. After the death of her daughter, she wandered in a labyrinth of sorrow for what seemed like a decade. Synonyms: wilderness, jungle, forest; morass.
Please read the short story by Borges entitled "The Library of Babel". Click here to go to the PDF. The story begins on page 251. Please compose a short written response to the story considering the concept of a labyrinths (and the numerous forms of a labyrinth in the story).
In addition, consider the story of King Sisyphus from "The Odyssey". As Odysseus enters Hades to consult the blind prophet Tiresius, the first tormented soul he encounters is Sisyphus, punished by the gods for repeatedly tricking them and escaping death/ Hades.
“And I saw Sisyphus at his endless task raising his prodigious stone with both his hands. With hands and feet he' tried to roll it up to the top of the hill, but always, just before he could roll it over on to the other side, its weight would be too much for him, and the pitiless stone would come thundering down again on to the plain” (Homer).
Wednesday, July 3, 2013
FACIAL FEATURES
The
eye is an important yet complex element within a portrait. A great deal
of emphasis is placed in the eyes as they relate to likeness and
psychology. Understanding its form is the beginning of depicting it
properly. In words, think of its structure, a ball settle into a bone
socket. The brow bone or ridge overhangs the ball slightly. This ball is
then draped, above and below, with two lids that have thickness. To the
center of the face and slightly below middle we find the tear duct.
These lids do not make an opening like a symmetrical football, but
rather peak closer to center on the upper lid, and slightly toward the
outside in the bottom lid. In the eye ball we the sclera (whites of the
eye) the iris (the eye color), pupil (dark spot the resides in the
iris), and the cornea (the lens on the surface). While drawing the eye
it is important to remember these structures as light falls across all
differently.
In
the mouth we find a structure that wraps around the cylinder of the
teeth and head. It is composed of three masses in the upper lip, a
center flanked by two wings. The lower lip is composed of two masses
parted slightly in the middle. The upper lip tappers quickly at the
corners and curls down. The upper lip is usually in shadow since its top
protrudes and then rolls under as it meets the opening. The lower lip
receives light, along the two masses, and sharply descends to shadow
along the middle underside, yet descends to shadow slowly along the
edges as the lip rejoins the facial mass.
The
nose is often one of the hardest features to capture. Again think of
its structure as an aid in depicting it properly. There are three basic
masses to consider- the ball, nostrils and bridge. It has four basic
planes- one top, two sides, one bottom.
SKULL and HEAD
The
skull provides the basis for understanding the form of the head. The
three large masses of the head are the cranium, the skeleton of the face
and jaw. Consider the forms of these masses simply. The cranium as a
sphere, the face as a flat plane that descends off the cranium and
tapers toward the chin and the jaw as a horse shoe shape that hinges
underneath. Notice where the skull protrudes to provide landmarks, where
it recedes under the flesh. (Following two examples are from
Szunyoghy's Human Anatomy for Artists)
The
profile of skull. Notice the ear hole location, not centered but 2/3 of
the way toward the back. Also see how the head rests slightly forward
on the neck.
Below
we have an example from Bridgman's Constructive Anatomy. Here he
illustrates some of the muscles in the head. Good to consider as for
developing from and gesture in the face.
BEGINNING THE CONSTRUCTION OF THE HEAD
In
the construction of the head, it is better to begin with a cube in
stead of the familiar oval. The oval is non -specific, the eye won't
rest on a curve and cannot find a register point. The cube gives a sense
of mass, perspective, foreshortening, angle/ tilt. Also importantly, it
gives a sense of the third edge. From this starting point we can begin
thinking of planes as they relate to the head - top, front, two sides,
back, and bottom.
The
basic measurements for the cube are 2/3 wide, 3/3 high. The side of the
cube (profile) is 7/8 of the height. ( From the profile it looks ALMOST
square, from the front (face) it is a tall rectangle.)
The
basic proportions and location of the facial features can be
constructed as the example demonstrates (Example is from the website
Draw23.)
-A Vertical Line down the center from top of head to chin. Through this line we see the Bilateral Symmetry of the features.
-A Horizontal Line is placed at the halfway point. This indicates the lower lids of the eyes.
-
The whole height can be again divided, but this time in thirds. The
upper horizontal line indicating the middle of the forehead, the second
the base of the nose. In the bottom third, two thirds of the way up to
the nose is the center line of the mouth.
- The corners of the mouth line up vertically with the center of the eyes.
- The top of the Ear lines up horizontally just above the eye at the eye brow.
-The bottom of the ear lines up with the base of the nose.
Most of these guidelines can be drawn in on the cube, allowing you to place the head spatially and in perspective.
Below
we see an example from Bridgman's Constructive Anatomy demonstrating
the planes in the head. These are very basic, but a good way to begin to
refine your head form.
Below
is an example from Szunyoghy's Human Anatomy for Artists. It further
illustrates some of the agreed upon proportions in the head. Included
are the space between the eyes equals one eye width. The whole width of
the head is five eye widths. Also illustrated is the top and bottom of
the ear as they relate to the eye brow and nose (good marker). The width
of the nose is also illustrated to be approximately the space between
the eyes.
IMPORTANT
NOTE*- All these proportions were largely agreed upon during the
Renaissance, and are considered guides, not hard and fast rules. they do
not necessarily account for the variation of people, races, ages, etc.
Below
is another Bridgman example providing some insight into the neck and
head the muscles track and connect with the skull. Of particular note is
the Streno -cleido- mastoid (#8) a great reference point in figure
drawing, spanning from the clavicle to behind the ear.
Student Example
Student Example
Student Example
Tuesday, July 2, 2013
FIGURE- PLANES AND CONSTRUCTION
Student Example
Spatial
direction and position are important terms for us to consider. This
allows the eye to read if a plane is sloped toward or away, what angle ,
and what the profile of the shape is. Joining of multiple planes begins
to create form or the impression of three dimensions. A simple example
is to think of a diamond (the precious stone) it has a form that is
composed of a multitude of planes or facets. Drawing the human body can
be approached this way, thinking of the three big masses (head, rib
cage, pelvis) as blocks with cubic limbs extending. Gradually more and
more subtle planes can be added making more complex transitions and
form. It is best to WORK FROM BIG TO SMALL- the whole to the detail, the
big body masses to smaller masses, etc. The following examples are all
from Bridgman's Complete Guide to Drawing From Life. These are also presented in an order of process , more or less. Remember basic to more complex.
The
3 Masses of the body (Head, Rib Cage, and Pelvis) note how they are
consider blocks (and their proportions) and their stacked position. The
twist and bend are easy to see and describe as the relationship of these
blocks turn or lean. Essential for carrying the basic movement of the
figure.
Horizontal
Axis of shoulders, pelvis, knees. This gives an understanding of where
the balance is, how the body manages to distribute its weight evenly,
and where the body opens or compresses etc.
Basic
example of planes going up the back and side (almost two sided at its
simplest).What is important to notice is the forward and backward slope
as it moves upward or downward.
This
is a good way to think about each body part, as a cross section. Is its
mass similar to a cylinder, box or pyramid- round, square, triangle.
Further example of this shape of mass. Notice how the shapes alternate as they transition through a limb.
This
example of the arm is interesting to see how planes can rise up and dip
down as they meet another mass. To use Bridgman's term, they wedge
together and interlock.
Planes of the leg from behind, notice how the planes begin to describe muscles.
The
torso is a complex structure with a multitude of planes describing its
surface. these planes all change as the torso twists and bends. Again we
see the muscle groups beginning to be described by planes.
Student Example
Student Example
Student Example
ANATOMY- TORSO
The strength
of all figure drawing comes from a mixture of formal skill and
anatomical knowledge. Understanding the human body, interior as well as
exterior, is essential. Through out history many cultures have
preoccupied themselves with depicting the human form. Western
Civilization Art reached its investigative height during the
Renaissance, also a coinciding focus of science and art. Below is an
example of Leonardo DaVinci's Vitruvian Man.
This is a clear demonstration of the need to make sense of the human
form- in this case the perfection of human form and its relation to the
perfect language of Geometry, the perfect circle and square. The figure
is inscribed with its proportions measured and reach touching these
shapes. Also note Leonardo's proportions for the figure using the
measure of a head.
In
1747 we see the example of one of the most accurate representations of
the human skeleton in the work of Bernard Siegfried Albinus- Corporis Humani. The following three examples are taken from Drawing Lessons from the Great Masters, Robert Beverly Hale. Here
we see the human skeleton displayed not as static, but as if in motion.
All bones and structures are presented in fine proportion, accuracy and
rendering. Of specific interest is the TRUNK, or the area composed of
the Cage and Pelvis. Please note the volume and form of each of these
structures and how the artist represented them using line and value.
Below is the Ventral position.
The Dorsal Position.
The Lateral Position.
The following four examples are taken from Human Anatomy for Artists by
Andras Szunyoghy and Dr Gyorgy Feher. Below is an example focusing on
the trunk. Note the relationship of the shapes, proportions, and
location of the cage and pelvis. Also see how the top of the cage tapers
and slips up into the shoulder girdle (a horizontal ring composed of
the clavicles and scapula.) Notice the hollow in the pelvis as it
completes the volume of the cage.
Below
is an example of just the Cage (or Thorax.) It is important to note the
volumetric shape of this structure (the space inside is loosely egg
shaped). Again we see the taper at the top, and the opening at the
bottom. All ribs radiate from the spinal column and MOST attach at the
sternum, some being short arcs others being long loping arcs. It is
important to note that these ribs are not cylindrical curves, but thick
flat curves, and in most cases with flex joints (look just to the left
and right of the sternum to see a plane shift at that junction.)
Below
is the Dorsal View of the Cage. Here we see the spinal column and ribs
reaching around to the front. Again we see a plane shift on these flat
rib shapes- they are not round rings, but a segmented arc (think about
breathing and how important it is for some flex to happen.)
In
this and the last example note how the artist presented the sense of
volume inside the cage, through the ribs we see the continuation of each
rib but it recedes through value shift and line (possibly atmospheric
perspective!)
Below
we see the Dorsal trunk (back) focusing of the shoulder girdle. Note
the shape and form of the scapula, where it lies on the cage, the angle
at which it rises to meet the clavicle on the front.
Below is an example of the Pelvis take from The Human Figure,
Jon H. Vanderpoel. Here we see a good description of contour line as it
relates to the undulating form of the pelvis. Notice the butterfly
shape of the structure and the hollows within. Important landmarks are
the ilium crest(upper most point of the pelvis, the semicircular shapes) and the Ischium (rings at the bottom) and the Sacrum (on the backside the area around the Coccyx)
Here is an example of the Spinal Column (Human Anatomy for Artists)
illustrating the three views and most importantly the gentle S- like
curve. Notice the shapes of the vertebrae, cylindrical in front and wing
protrusions in the back. Also observe the relative size of the
vertebrae big to small top to bottom.
Another
Example from John Vanderpoel illustrating the angles of these forms
with the body. Note how and where they open and constrict on opposite
sides.
Please take a moment to see Robert Beverly Hale give a lecture on basic anatomy.
Rib Cage 1
Rib Cage 2
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