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Au
Art is
an
idea rhat belongs r
Whatever physical form it m
or psychological challenge
i
sense of itself. I have tried
oped the
content
of this boo
might be its most natural rea
prerequi site Q reading this b
lessons that pertain to almo
separate from life; it
is
the v
so, this book is really for eve
enriches our being.
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Humans
ha
ve
been producing art objects for tens
of
thousands of
years,
but
art schools are a relatively rece
nt ph
enomenon. Traditionally,
artists received their training as
app
rent ices to working artistS or in
ateliers pres
id
ed over by a mas ter. But the contemporary an schoo l as
part of a larger liberal arts education, is an altogether different
expe
ri
ence. reAecting the ways in which we ha
ve
come to
und
erstand
art as an extens ion of our daily cultur
e. Art
is everywhere. The way we
make it look at it ,
and
analyze it
is
eve r-evolvin
g. t is
that constant ,
ceaseless.
ecoming
and transformation of art that has determined this
book's co
nt
e
nt
j some
of
the lessons have to
do
with ways
of
making
and representing,
but JUSt
as many re
mind
us
of
the necessity
of
searchin g knowing, and doubting.
s a teacher, I still believe
that
technique has an imponant place in
an
education because artists are, at their core, makers. One has a
diff
erent und erstandi ng of an image or object, how it does what it
does,
if
one knows the de tails a
nd
processes
of
i
ts
creati
on
int
imately.
This is one reason imitation has always been a part of art istic training.
Art ists
ass
imilate a whole range
of
psychological, aesthetic, political,
and
emotiona l data points,
and
they then make forms
to
orga
ni ze and
give meaning to them.
That
takes skill and practice,
workin
g in
tandem with intelligence
and
to fashion the form, it is
li
ke
often
about
as effective. Ba
make the bridge between
tho
art is the best manifestation
lessons
in
thi s book with imag
works of art to g
ive
each ide
correlative or apposite image.
a
nd
disto rtions, are
min e and
what the words are largely a
and attempting to
capt
ur
e
successfu
ll
y executed by
ot
he
ho
w difficult it is to replica
artist's image, this sho uld be
the difference between what
imitation accomplishes. Thes
substitut
es
for the originals o
that
are my own work,
or to
statements I have made.
Th
ideas,
and
works
that
I believ
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might
want
to consider. Notwithstanding these qualifications, am
grateful that so many artists whose works I represented expressed their
understanding and approval of my intent, and I appreciate their
willingness [ be my collaborators, in that sense.
When
I was an
an
studenr, I never imagined becoming a teacher. I
was focused only
on
becoming a maker. My feelings then mirrored
the sentiment attributed [ George Bernard Shaw,
He
who can,
does; he who cannot, teaches. I discovered after a couple of decades
of
pracrice, however,
that all
of those critical, initial discussions
that
rose out of the need to know and the passion to do became increasingly
less a part of the conversations I was having with my fellow artists. I
missed the exercise of going back to the beginning, reexamining basic
premises, asking first questions. s the ability to gain new perspectives
at each
turn in
the road became more difficult, more distant, I began
to reflect on the things we discussed in art school and
on
why those
conversations should never stop.
The
issues
we
encounter as students
of art are life lessons
and
should always stay with us. Without them,
we are not students oflife.
Kit White
March 2 11
ckn
I had
not
entertained the idea
suggested it to me. At first, t
challenging. I remained reti
notes, the project
took
on a
by its possibilities. This
boo
and
debates with Roger,
in
p
Throughout,
his persuasion
a
My special thanks to Andrea B
me; William Fasolino, who
be a dedicated teacher and w
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onnaMoran who opened many doors for me; my readers:
Kun
An-
dersen Jack Barth ier Consagra Patricia Cronin Rochelle Gurstei n
Deborah Kass Dana Prescott and David True; Wi lliam Strong who
guided me through the finer points of copyright; Deborah antor-
Adams whose diligence and careful eye assu red the integrity of my text;
Yasuyo Iguchi for her elegant design; Janet Rossi who managed this
book
s
production; Anar Badalov who responded to
all
queries before
I could fini sh them;
and
especially all
of
my student
s,
who have taught
me far more than 1 have taught them.
1 1
Things
t
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fterMarcel Duchamp
Art
ca
t is nOt defined by medium
co llective sense
th
at it belong
to know s art.
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fterJean-Baptiste
arp
eaux
Lea
Drawing is more than a tool
is a language with its own sy
draw is about learning to see.
tivity. Whatever its form dra
in to image a
nd
teaches us how
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fterGiorgio Mo rand i
To return to
thing
that
world
whi(h pre
knowledg
Maur
ice Merleau-
P
Whatever we know we
kno
w
studies the world in all its m
simply how we see but how w
as a consequence of that seei
relat ionship
s
social
and
politi
world
not
apart from it.
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fterRobert Smi[hson
Art
is
the p
Whether conceptual exper m
yo u develop yields the image
the methods
of
production
reAect the interests that
comm
Stop with each work complete
that process is a body of work
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fterEdouard Maner
rawing
or
a
paint
first
and
foremost
a
T he me
dium
is the artwo r
k s
it depi cts. Form shapes conte
significant . Awell-constru cte
c m can be m sterful. In a
ll
which
it
is
rend
ered are in
se
p
y
our
co
nt
ent.
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fter Pier Mondrian
Composition
is
the
f
I is the spat ial relationship be
a drawing a painting a sculp
lation how a thing is comp
meaning. ompositional var
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AfierJ M W Turner
Tradit
of imagin
- Kathleen R
The tradi tion of art making
former is [he record of explor
tion in a particular time and
it
is mad
e
T hat is its value
where we are.
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fter fourth century
Be
reek sculpture
Art is ontinuing
through t
hat you make is yo ur con
conscious o what has come
rounds you. Try not to repe
histo
y
and stay alert to the d
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~ ~
J \
4
fter
Martin
uryear
Art
is
o
ow it describes
is
its form a
looking at your work, ask, W
form should th at descriprion
you choose;
it
must be approp
right form for the content.
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fterAndy Warhol
drawn
by
Kit White)
Art
is
not
J is
the self expressing all of h
it. We filter the ambient
inf
families, from
OUf
communiti
us every day from myriad sou
it
helps to create us. We in tu
ourselves and to others s a
impulse. Even works
of
pure i
selves. Know your sources.
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fter Meret Oppenheim
All
art
i
-
Art isn t u tilitarian,
and
if
it
practical role in
our
liv
es, bu
or necessar
y.
One s individua
culture have
no
clear servicea
to function as a society.
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J
fter Jan Groth
Perception
i
Viewers bring
to
the act
of
se
conscious reactions
that
affec
before them.
This is
the beau
form such
as a single line. A
of their own
and
accrue mea
activate the thing perceived.
reaction
to
it.
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fter
Kara Walker
ach
generati
in its
Because art is an act
of
descri
will reflect every generation s
tion
of
a time
but
an interpre
in a State
of
nansformarion
uz
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fter
Rene
Magrine
All
images
Eve
n photographs.
hey
are
ceptual or mechani
cal
repro
obvious but it has everythin
images. As pictures are symbo
not they are always metapho
language and is the language
greater
rhe art
the greater the
p
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The
unconscious
is
experienced
but for
w
Walke
r
Perc
Images are catalytic as well as
special power and why thro
to have dangerous and mag
memory
as
experience.
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:lL
T-I
l-I lJ
El
l
THEe
AI
ELL
II-IEI
I)
fter Chr istopher Wool
Word
T he power of
th
e visual belon
ten word is bo
th
symbol a
nd
bod ied But words also conju
non-embodied o
bj
ec
t
Some
and exist as epheme
ral
fleetin
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Drawing
is
a
Every mark has a distinct cha
ture. Variation in pressure and
i on. Ma r
ks
or lin
es of
cons
figure
or
object will flarten th
curve can connote a high ght
line
will
read
as
such. Gi
ve
ev
it
serves a purpose. Try
to
use
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-
ft
er Philip Gus
t n
You
work to divest
y
I want to
end with
s
for s
- Philip Gu
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The
human
figure
composed of
a igid
rounded e
Its main volumes can be descr
There are
no
srraighr lines in a
out a figure drawing. try to
do
w ll
insure that the figure main
space.
This
roundness applies
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Clear sigh
Observation lies at the heart o
from mimicking nature or ex
ers of observation are critical
you cannot descri
be
it . Train
received understandings
whe
before you n
ot
what you
thi
•
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Experience
of
m
The
majority of information
and distorted y politics. com
of
its delivery. Primary expe
levels ofinrervention. Parsing
challenge. rt
is
itself a form
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3
~ ~ - - - - - - t - - - - - + - - - - - - - - - - - 4 - - - - - - - - - ~
3
t
Learn to
Perspective drawing is
one
of
formula. Mastering
it
is critica
ment to
all
rendering. he two
and two point perspective. h
ing points on the horizon w
perspective occurs when the
lookingdown a railroad track)
ing obl iquely at an object in s
Establish {he horizon (your eye
Establish (he vertical height of
Establish the vanishing point(s
the lines establishing the vertic
4 Fill
in
all other vertical element
back to the vanishing poim(s).
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-
fterSouthern Sung painting
Not
ll
images
persp
Asian painting employs a shif
projection: parallel lines with
vanis
hin
g points.
t
is a nonl
conve
ntion r merth n tromp
edges
th t all
visual descriptio
p
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fter K simir Malevich
ll
ar
The choices you make in w
choose,
will
always be subjec
implications. The choice to
content speaks s much of he
that
carries an overt political
made omissions
s
well
s
scribes
is
the world
that
you,
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fter
Eva Hesse
tyle
is
the
conseq
described
in
the
to
i
It
is nOt a
hemline height o r a
modi f or embellish an im
age.
to be said in the most ap
prop
style emerges from the necess
self conscious s
el
ec tion.