Action Painting : Historical context (from Wiki)
It is essential for the understanding of action painting to place it in historical context. A product of the post-World War II artistic resurgence of expressionism in America and more specifically New York City, action painting developed in an era where quantum mechanics and psychoanalysis were beginning to flourish and were changing peoples perception of the physical and psychological world; and civilization’s understanding of the world through heightened self-consciousness and awareness.
The preceding art of Kandinsky and Mondrian had freed itself from the portrayal of objects and instead tried to evoke, address and delineate, through the aesthetic sense, emotions and feelings within the viewer. Action painting took this a step further, using both Jung and Freud’s ideas of the subconscious as its underlying foundations. The paintings of the Action painters were not meant to portray objects per se or even specific emotions. Instead they were meant to touch the observer deep in the subconscious mind, evoking a sense of the primeval and tapping the collective sense of an archetypal visual language. This was done by the artist painting "unconsciously," and spontaneously, creating a powerful arena of raw emotion and action, in the moment. Action painting was clearly influenced by the surrealist emphasis on automatism which (also) influenced by psychoanalysis claimed a more direct access to the subconscious mind. Important exponents of this concept of art making were the painters Joan Miró and André Masson. However the action painters took everything the surrealists had done a step further.
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March 5th: This is a link to a great powerpoint about how to use sketchbooks in schools
March 4th: Please find a way in to participate each week - we'll be using these techniques later and you need to simply become familiar with them. You don't have to love them or feel your good at them - you just need to try them and be frustrated or elated at your efforts, to know more about what you will do next and what you might want to try next. We have so little time together ~ Just act as if you can do it, and that will work out fine.
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I will add expectations here and list our studio titles for each week. Keep in mind that we can all write actual blog entries--I will share details with Erika for that...although Artist and Teachers will be moderators for entries, everyone should feel free to add their work and ideas for entries.
It is essential for the understanding of action painting to place it in historical context. A product of the post-World War II artistic resurgence of expressionism in America and more specifically New York City, action painting developed in an era where quantum mechanics and psychoanalysis were beginning to flourish and were changing peoples perception of the physical and psychological world; and civilization’s understanding of the world through heightened self-consciousness and awareness.
The preceding art of Kandinsky and Mondrian had freed itself from the portrayal of objects and instead tried to evoke, address and delineate, through the aesthetic sense, emotions and feelings within the viewer. Action painting took this a step further, using both Jung and Freud’s ideas of the subconscious as its underlying foundations. The paintings of the Action painters were not meant to portray objects per se or even specific emotions. Instead they were meant to touch the observer deep in the subconscious mind, evoking a sense of the primeval and tapping the collective sense of an archetypal visual language. This was done by the artist painting "unconsciously," and spontaneously, creating a powerful arena of raw emotion and action, in the moment. Action painting was clearly influenced by the surrealist emphasis on automatism which (also) influenced by psychoanalysis claimed a more direct access to the subconscious mind. Important exponents of this concept of art making were the painters Joan Miró and André Masson. However the action painters took everything the surrealists had done a step further.
----------------------------------------------------------------------------------------------------------
March 5th: This is a link to a great powerpoint about how to use sketchbooks in schools
March 4th: Please find a way in to participate each week - we'll be using these techniques later and you need to simply become familiar with them. You don't have to love them or feel your good at them - you just need to try them and be frustrated or elated at your efforts, to know more about what you will do next and what you might want to try next. We have so little time together ~ Just act as if you can do it, and that will work out fine.
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I will add expectations here and list our studio titles for each week. Keep in mind that we can all write actual blog entries--I will share details with Erika for that...although Artist and Teachers will be moderators for entries, everyone should feel free to add their work and ideas for entries.
Blogs are really chronologies, they go from most recent to oldest and they can share favourite links, resources for projects, images of what we do, ideas for other work, sketchbook pages, etc.
I will post each week in the main blog: our project from that week, a reflection, and what we are doing the next week(briefly with an example) and I will try to post those by Sunday evening latest.
To comment on a post you like click the comment at the bottom of the post. To add your own post, we will have to discuss the best method for that on Wed. Something In-Class?
Sylvie
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