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How Can Value Support the Creation of Space? Art

Elements of Art: Space | KQED Arts Credit... CreditVideo by KQED Art Schoolhouse

Welcome to the 6th piece in our Seven Elements of Fine art series, in which Kristin Farr matches videos from KQED Art Schoolhouse with work from The Times to help students make connections between formal art instruction and our daily visual civilization.

Here are the other lessons in the series: shape , form , line , colour , texture and value .

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How does the transformation of space support communication of an creative person's intentions?

Space is the surface area in which an artwork is organized, and encompasses both what is inside and what is immediately outside, or effectually, the work. Space tin can be filled on a page, a sheet, in a room or outdoors, and it is inherent in any concrete artwork.

The use of space and the way it is transformed play a role in carrying a creative message. To begin to understand this element, watch the video at the top of this mail. And so do exploring it farther with the five ideas below.

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1. Ii-Dimensional Works and the Element of Space

Epitome <a href="https://www.nytimes.com/2017/09/28/upshot/the-high-price-of-failing-americas-costliest-patients.html">Related Article</a>

Credit... Jody Barton

After y'all've watched the video at the meridian of this mail service, endeavor finding some of the elements you lot learned about past looking through just ane collection of images, The Times's Year in Illustration 2017.

For example, Antonio De Luca, a Times art director, said most the epitome higher up, "Jody Barton's drawing uses the desktop's white negative infinite to extend the artwork's narrative." How? How does the image contribute to the ideas in the article?

Which of the other pieces in the drove utilise the chemical element of infinite in interesting ways? How?

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2. Site-Specific Artwork

Image

Credit... Thousand. Paul Burnett/The New York Times

Site-specific fine art is created for one particular space and tin can't exist realized in the aforementioned way anywhere else. Artists build immersive environments and structures of many different scales to create site-specific artwork.

The British sculptor Anish Kapoor evokes emotional reactions through his apply of space, filling and transforming it to create an immersive experience. For example, "Memory," the work pictured higher up, is described by the Times critic Ken Johnson this mode:

The Anish Kapoor exhibition at the Guggenheim Museum consists of just one work, but information technology's a doozy. Viewable only from three partial perspectives, "Retentivity" is an enormous egg-shaped volume of Cor-Ten steel, wedged into a indigestible side gallery like a dirigible that drifted off course and got stuck.

When yous approach information technology from the gallery's main entryway, all y'all come across is a curved, heavily ribbed section, its rusty, flanged parts held together by heavy bolts. It evidently fills the gallery from floor to ceiling and wall to wall. Only yous cannot enter this way, and so you go effectually through rooms belongings the permanent collection and enter a dimly lighted space with a square hole in the wall. From the side yous can come across steel plates sloping away from the edges of this aperture, just from straight on merely an cryptic black is visible. It could be pigment on a wall or a window onto countless dark. But y'all understand that you are looking into the pitch-black interior of the sculpture, and since you tin't see more a few feet of the inner surface, the space seems limitless, every bit in the light and space works of James Turrell, only dark.

Mr. Johnson goes on to draw his own emotional response to this fabricated dark void.

More poetically, the idea of memory — or, mayhap more appropriately, amnesia — is evoked past the nearly absolute darkness and seeming limitlessness of its interior. It could be read it as a cosmic space into which all individual and collective memories eventually disappear, like raindrops falling into the bounding main.

How do Anish Kapoor and other artists use scale and space to evoke feelings of memory? View the Times slide bear witness of more than sculptures by Mr. Kapoor and notice how he plays with depth and fills space in different means. Remember: In sculpture, positive infinite is the area the objects occupy, and negative space is the areas between and effectually.

• What are your immediate thoughts and reactions to these artworks?

• How does Mr. Kapoor juxtapose the positive and negative, both emotionally and physically, with the utilise of color and dimension?

The German painter Katharina Grosse is another artist who takes on large-scale space, pushing paint and pigment across flat, two-dimensional space and into 3 dimensions. She often covers geometric forms with paint, and she painted an unabridged abandoned armed forces construction at the Rockaways in Queens using an industrial paint sprayer.

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Credit... 2016 Katharina Grosse/Artists Rights Society (ARS), New York

In "A Peppery Splash in the Rockaways and Twists on Motion picture at the Whitney," the Times writer Robin Pogrebin quotes the curator Klaes Biesenbach equally he describes this special project:

"Here'south a very beautiful establish object," said Mr. Biesenbach, who has a house in the Rockaways. "It has history as existence a military fortress, as beingness ecologically changed because of the hurricane. Now it's being restored to its natural habitat."

The site-specific artwork by Ms. Grosse was merely temporary and part of a restoration project after Hurricane Sandy that would presently see the dilapidated building torn down — but not before the artist turned it into a dusk-colored surreal artwork. View MoMA'south video below nigh this projection and encounter the building before and afterwards Ms. Grosse painted it.

How was the infinite transformed from its previous aesthetic? The layers and history of a edifice create meaning and a forced dialogue. How does the creative person emphasize the space and its history in this projection?

The French artist JR is known for his big-scale photographic wheat-pasted works on buildings, bridges and other massive structures. See the Times slide show "'Unframed,' a JR Installation on Ellis Island" for more images of his artwork in multiple rooms of the historic and derelict infirmary.

For a site-specific project on Ellis Island, he juxtaposed archival images of immigrants with the layered history of the island'south Immigrant Hospital. Using figures who have come up back from the past to reinhabit a infinite, JR increased their scale, emphasizing the lives and history of the 12 meg people who passed through Ellis Island. And for a piece at the United States-Mexico edge, a photo of a fiddling boy with dark hair and curious eyes peers advisedly over the bulwark wall that separates Tecate, United mexican states, from San Diego Canton. Rise up nearly 70 feet, his easily seemingly grip the barrier tightly, as if he were property onto his mother'south trunk.

As you read about and expect at these pieces, consider how site specificity, the creation of an artwork for a item space, affects its bulletin.

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3. Land Art

Prototype

Credit... Isaac Brekken for The New York Times

Ugo Rondinone's "Seven Magic Mountains" installation could exist considered both site-specific art and land art (as well know every bit earth fine art or earthworks). Country art is a movement that is naturally site-specific because information technology is integrated into outdoor environments. Mr. Rondinone fabricated an installation in the desert of Las Vegas, which was labeled Pop Land Art by his partner, the author John Giorno. Juxtaposing natural world tones with towering, fluorescent-colored stone formations, Mr. Rondinone had to debate with the vast open infinite of the desert, every bit he explained in this 2016 article, "Edifice an Artist's 'Magic Mountains' to Depict Visitors to The Desert."

His original intention, he said, had been something a bit more humble in the landscape, cone-shaped piles of stones instead of the irregular, almost teetering columns he eventually conceived, inspired by natural hoodoo rock formations in Utah. "But then I realized that size doesn't mean anything out here," said Mr. Rondinone, 51, who was raised in the Swiss resort boondocks of Brunnen and lives and works in Harlem. "The scale makes everything look small. That'south what you quickly effigy out in the desert."

The article goes on to describe Mr. Rondinone's mental attitude about the sustainability of the artwork in its original, pristine grade: "He said he welcomed whatever the desert would practice to the pieces over the next 2 years. The erosion, fading and dirt would go part of the works."

Country fine art can be considered a collaboration with the environment, gaining a "patina" of wear and tear by atmospheric condition and the elements. Some artists see this process as a record of time passing, of the space surrounding the artwork moving in to reclaim its territory. Artists often consider the space in which the artwork is placed, too as the context of the surrounding expanse.

Ane of the best-known works of land art is "Spiral Jetty," a "huge curlicue of blackness basalt rock" congenital by Robert Smithson in 1970, and named an official state piece of work past Utah in 2017.

Paradigm

Credit... Tom Smart for The New York Times

The piece was submerged for many years after its construction as lake h2o rose but has been visible again since about 2002. In a 2004 article, The Times reflected on how time and nature had affected the piece:

For virtually three decades Robert Smithson'southward "Spiral Jetty" lay underwater in the Nifty Salt Lake. Since 1999, as drought has lowered the water level, this famous American earth sculpture — a ane,500-foot coil of black basalt rocks — has slowly re-emerged. Now it is completely exposed; the rocks encrusted with white table salt crystals are surrounded by shallow pink water in what looks like a vast snow field.

In 1970, when Smithson built the "Jetty," which is considered his masterpiece, the giant blackness coil contrasted starkly with the dark pink h2o of the lake. Just fourth dimension and nature have left their marks.

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four. A Times Scavenger Hunt

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Credit... Vincent Tullo for The New York Times

At present that y'all've explored how space is used to communicate and emphasize intentions, and gained an understanding of site-specific art and the state art movement, browse through features in the New York Times Art & Design section — or elsewhere on NYTimes.com — and claiming yourself to a scavenger hunt. For instance, how does the work of Yayoi Kusama, some of which is pictured above, play with the element of infinite?

As you look at a variety of Times images, come across if yous can find some with the following characteristics:

• A iii-dimensional sculptural artwork that fills a space.

• A 2-dimensional painting or photo that emphasizes positive and negative space.

• A two-dimensional painting or drawing that gives the strong illusion of three-dimensional space, and an caption for how this is achieved.

• An image of an artwork that could be considered site-specific.

• A two-dimensional painting or photograph in which the composition fills the space completely.

• An example of land art.

• An paradigm in The Times in which the use of space could be described using i of these words: "dumbo"; "open"; "cluttered"; "symmetrical"; "shallow"; and "apartment."

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5. Your Turn: Site-Specific and State Art of Your Own

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Credit... Sara Krulwich/The New York Times

Inspired by the site-specific and land art examples higher up? Although yours will not likely exist equally monumental every bit "A Subtlety, or the Marvelous Sugar Infant," the installation pictured above, nosotros have some ideas:

a. Create a site-specific work.

Using only found objects, such as recycled materials, or anything you can collect, choose a specific space in which to arrange the objects in an intentional and artful way. Consider the space your objects sit in, and the space immediately around them. How can you convey a message through the manner these items are placed in their surround?

Try to create a message with your installation, thinking carefully about your location and how it speaks to the objects yous are placing within information technology. Enquire friends to "read" or critique your artwork, and document your project from different angles. Review your images and decide which bending all-time supports the success of your installation. Finally, attempt rearranging the objects to create a different message.

b. Create a piece of work of land art.

Stretch a string across a basketball court or along a path. Cover the string completely with pebbles, bark, leaves or other natural materials (ones that aren't fastened to the globe).

Where does your path of textile begin and end, and how does that contribute to the context of your new country art slice? What feeling exercise your chosen materials evoke? From balancing rocks to creating forts on the beach, state fine art is an easy and expansive way to experiment with infinite and natural materials.

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Desire to read the whole series? Hither are our lessons on shape, form, line, color, texture and value. How do you lot teach these elements?

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Source: https://www.nytimes.com/2018/01/03/learning/lesson-plans/analyzing-the-elements-of-art-five-ways-to-think-about-space.html

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