DOCSLIB.ORG

H&R Block Artspace at the Kansas City Art Institute

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
H&R Block Artspace at the Kansas City Art Institute H&R Block Artspace At the Kansas City Art Institute Image: Rebecca Swanson ('19 Photography & Art History) double_phones.jpg, 2019 Digital photomontage, archival inkjet print (detail) 2019 Annual BFA Exhibition April 5 – May 4, 2019 The H&R Block Artspace is pleased to present the 2019 Annual BFA Exhibition featuring new work throughout the Artspace galleries created by graduating seniors earning their Bachelor of Fine Arts degree from the Kansas City Art Institute and majoring in Animation, Art History, Ceramics, Creative Writing, Fiber, Filmmaking, Graphic Design, Illustration, Interactive Arts, Painting, Photography, Printmaking, and Sculpture. This annual exhibit is among the most popular and widely attended exhibitions at the Artspace – anticipated by the KCAI community and the business and arts communities alike. Commencement Speaker Sean O’Harrow, Executive Director, Kemper Museum of Contemporary Art Honorary Degree Recipients John Buck (’68 Sculpture) and Deborah Butterfield 2019 Current Perspectives Distinguished Alumni Speaker Mel Ziegler (’78 Sculpture) BFA Awards Jurors Anne Austin Pearce (Attended ‘85-88 Painting), Professor of Art and Director of the Greenlease Gallery, Rockhurst University, Kansas City, MO Mel Ziegler (’78 Sculpture), Paul E. Schwab Endowed Chair of Fine Arts, Director of Undergraduate Studies and Professor of Art and Community Engagement, Vanderbilt University, Nashville, TN 2019 Annual BFA Exhibition April 5 – May 4, 2019 Public Programs First Friday Meditation Friday, April 5, 11:00 a.m. A one-hour guided meditation led by Lisa Murphy, inspired by the exhibition on view. Sponsored by the Kansas City Volunteer Lawyers & Accountants for the Arts (KCVLAA) Opening Reception Friday, April 5, 6:00 – 8:00 p.m. Sponsored by the Kansas City Volunteer Lawyers & Accountants for the Arts (KCVLAA) Current Perspectives: Visiting Artist & Scholar Lecture Series Thursday, April 11, 7:00 p.m. 11th Annual KCAI Distinguished Alumni Speaker Mel Ziegler (’78 Sculpture) Kansas City Art Institute: Epperson Auditorium, 4415 Warwick Boulevard TNT (the noon thing) Fridays, April 12, 19 and 26, 12:00 p.m. Noon-time public engagement series offering additional context to the exhibitions on view. PDF Club Thursday, April 18, 6:30 – 8:00 p.m. Reading and discussion subject: Ahmed, Sara. Chapter Six: In the Name of Love. The Cultural Politics of Emotion. Second edition, Routledge, Taylor & Francis Group, New York, NY, 2015, pp. 122-143. Artspace After Hours Friday, April 26, 5:00 – 7:00 p.m. Open House during the KCAI End-of-Semester Exhibition & Sale TNT (the noon thing): 2019 Art History and Creative Writing Compendium Readings Friday, May 3, 12:0 p.m. Closing Reception Friday, May 3, 5:00 – 7:00 p.m. 2019 Annual BFA Exhibition April 5 - May 4, 2019 Marty Arnold Hannah Brown Ceramics/Art History Sculpture/Creative Writing get your dance'n shoes, 2019 Totem, 2019 Ceramic, grout, and wood Fence post, limestone, sweetgum pods, seeds, and peat moss Julian Barlow Painting Shontaja Brown The Erroneous Conscription, 2019 Ceramics/Art History Mixed media Pizza, Pizza, Daddy-O, 2019 Ceramic and enamel Gerre "B-WEZZY" Barnwell Ceramics Sydney Brown Thug Commemoration, 2019 Printmaking Ceramic Productivity, 2019 Pen and ink with watercolor Fannie Berlau Fiber Anastasia Eien Carpenter Life-Size, 2019 Illustration Window Sling adhesive backed vinyl The Hanged Man, 2018 and original garments Digital media Michael Bond Michelle Chan Sculpture Fiber/Art History Mental Topography, 2019 MADE IN CHINA FLAG, 2019 Expansion foam, Elmer's glue, sand, Plexiglass and jump rings India ink, pigments, acrylic paint, and acrylic polyurethane Austin B. Chapman Illustration Arianna Bonner Poogn-Oogn, 2019 Fiber Acrylic on oak LATE NIGHT, 2019 Cotton and print ink Lizbeth Contreras Fiber Bryce Brown Cats and Chamomile Triptych, 2019 Sculpture Naturally dyed cotton fabric and plywood Huayra, 2018-2019 Fiberglass, bondo, joint compound, gold Allie Davenport leaf, and acrylic Illustration Silence, 2018 Ink on paper 2019 Annual BFA Exhibition April 5 - May 4, 2019 Shannon Deatrick Baylee Duzenberry Painting Fiber 4626, 2019 Untitled, 2019 Oil on panel Fabric, thread, fake flowers, and PVC Kharrington DeBose Josie Eckerman Filmmaking Fiber My Hair, My Peace, 2019 Transference from the Untouched, 2019 Synthetic/human hair blend, wood 35mm film and 8 mil Absolute Backlit paper chair, ottoman, and performance Paige Edson August DeMarea Painting/Creative Writing Illustration Kickback, 2019 Death XIII, 2019 Wood, canvas, spray paint, acrylic, oil, thread Glass mosaic inserts, machine screws, and wood screws Andrea DiCarlo MacKenzie Fulmer Filmmaking Illustration My Mother is a Fish: Three Stills from A SKETCHBIG, 2018 Fish on Ice, 2019 Corrugated plastic, canvas, rope, mixed media, Ink, water, and acrylic on laser-printed and paper film still Juliana Garcia Rachel Doll Painting/Art History Illustration Implements Of, 2018 Bleeding Christ, 2019 Silkscreen, charcoal, graphite, marker, crayon, Watercolor on paper and thread Hannah Gibbs Cara Dunkerley Illustration Painting/Art History Woman, 2019 Drain (deprive of strength), 2019 Pastel and charcoal on paper Acrylic, wood, found objects, colored pencil, video, cardboard tube, plastic Marina "Nina" Gookin bags, and thread Illustration Burren Travel Sketchbook, 2018 Ink and marker on paper 2019 Annual BFA Exhibition April 5 - May 4, 2019 Alyssa Gorecki Suzanna Haydt Painting Painting/Creative Writing Tummy Touch, 2018-2019 A Table Thing: Feel Free to Grab a Recipe, Paper, acrylic, chalk pastel, marker, 2019 adhesive, pencil, glitter, tape, colored Baking and MDF table pencil, and hot glue Jesse Hiser Samantha Haan Sculpture Painting Flight From Egypt, 2018- 2019 Two Perspectives, 2019 Glass Paper, cotton, and wood Alexander Isgriggs Muriel Hansen Filmmaking Ceramics/Art History/Social Practice Hamburger Heaven: The Official Movie Ripe for the Plucking, 2019 Companion Book, 2019 Porcelain, glaze, gold luster, flocking, Laserjet print, paper, and staples and fabric Ben Johnson Willow Hardman Painting Illustration Gifting Water Back to the Pool, Gathered Bathroom Light, 2019 by the Sensation But Not by the Action, Mosaic and diorama sculpture 2019 Acrylic and house paint on unstretched Em Harford canvas Animation Noah Jones il ragno è hello zucchero, 2018-2019 Filmmaking Mixed media time-lapse and The Catfish Capital of the World, 2019 experimental stop-motion Framed photograph, shadowbox with family photos, and wooden table Eli Harris Illustration Michelle Julmisse Sheep in Wolf's Clothing, 2019 Illustration/Creative Writing Digital/Photoshop Edit, 2019 Acrylic on canvas Kayla Haubenschild Nick Kerns Printmaking Sculpture Nightcrawler, 2019 Untitled, 2019 Two-layer lithograph with colored Video pencil on paper 2019 Annual BFA Exhibition April 5 - May 4, 2019 Minji Kim Nina Littrell Fiber Fiber Untitled, 2019 Rebuilder, 2018 Tencek and MX Dye, hand-dyed Iron hoop, chains, clips, recycled textiles, and hand-woven and thread Annelise Kinney Cesar Lopez Sculpture Painting Soft Spots, 2019 Sphere Test No. 2, 2019 Oil on paper Recycled foam, fiber, and sound Alexis Lorenz Merrick Knudsen Sculpture/Creative Writing Fiber Lucy, Monty, and Eleanor (models for Snug as a Bug (With Paula Deen's animated series Lucy and Eleanor by Bree Eyes), 2019 Shanaj and Alexis Lorenz), 2019 Print on cotton, dyed cotton, linen, and silk Resin, PLA and acrylic Felix Maull Raegen Koepsel Filmmaking Ceramics/Art History What Did They Have To Say?, 2019 Remember?, 2019 Ceramic, glaze, and wood Digital projection Kathryn Taylor Merrill Lucas Latimer Painting Ceramics In Art I Trust, 2019 A Pediment to My Soul, 2019 Oil and charcoal on canvas Ceramic Chloe Michaelis Lana Laughlin Painting Illustration Dead Guy F(r)ame, 2019 Persephone, 2019 Watercolor on paper Acrylic Mol Mir Austin Lionberger Interactive Arts Painting They Live In Brush Creek, 2019 The Ultimate Boon, 2019 Serial block-face scanning, Plaster and fabric on wood shelf electron microscopy on custom wood table 2019 Annual BFA Exhibition April 5 - May 4, 2019 Daisy Montano Makenzie Parrish Photography Illustration Liberty Memorial, 2019 Thesis Sketchbook, 2018-2019 Watercolor, ink, and goauche on paper Laser inkjet print on luster paper Alyza Perez Rafael Morales-Silva Printmaking/Art History Sculpture Till We Meet Again, 2019 Whirl Wall, 2019 Mixed media sculpture Aluminum, acrylic, plywood, paint, Troy Perry and hardware Interactive Arts Surf the Internet, 2019 Morgan Nix Unity Engine Painting/Art History Armory: Blue A) Indigo Montoya's Saber Matt Phillips - Princess Bride; Yellow B) The Bride's Painting Katana - Kill Bill; Red C) My Bitch Mylar Descending a Staircase, 2018-2019 Artemisia, 2019 Canvas, pigment, medium, and paper Acrylic on canvas Grace Powell Claire O'Grady Filmmaking Ceramics INTUITIVE, 2019 House Millennial, 2019 Single channel video installation Porcelain and oak Jacob Powell Sculpture Hattie Odell & Zane Smith Arrangement of Starship Troopers by Sculpture & Interactive Arts Robert Heinlein Printed on a Theory of Winner Takes All, 2019 Mind as Pure Act by Giovanni Gentile, Steel, plywood, paint, hardware, 2019 and wax Charcoal on paper Gabriela Pabon Miranda Pratt Illustration Fiber/Creative Writing Cultural Safari, 2019 Your Muscles Help You Move, Hop, Jump, Skip, Bend, Pet Your Cat, 2019 Mixed media Hand embroidery, hand-dyed and found fabrics, cotton quilt batting, laser- Vaughn Parish etched plexiglass, and MDF Illustration Look On My Works, H&R Block
Load more

Recommended publications
  • Photography and Photomontage in Landscape and Visual Impact Assessment
    Photography and Photomontage in Landscape and Visual Impact Assessment Landscape Institute Technical Guidance Note Public ConsuDRAFTltation Draft 2018-06-01 To the recipient of this draft guidance The Landscape Institute is keen to hear the views of LI members and non-members alike. We are happy to receive your comments in any form (eg annotated PDF, email with paragraph references ) via email to [email protected] which will be forwarded to the Chair of the working group. Alternatively, members may make comments on Talking Landscape: Topic “Photography and Photomontage Update”. You may provide any comments you consider would be useful, but may wish to use the following as a guide. 1) Do you expect to be able to use this guidance? If not, why not? 2) Please identify anything you consider to be unclear, or needing further explanation or justification. 3) Please identify anything you disagree with and state why. 4) Could the information be better-organised? If so, how? 5) Are there any important points that should be added? 6) Is there anything in the guidance which is not required? 7) Is there any unnecessary duplication? 8) Any other suggeDRAFTstions? Responses to be returned by 29 June 2018. Incidentally, the ##’s are to aid a final check of cross-references before publication. Contents 1 Introduction Appendices 2 Background Methodology App 01 Site equipment 3 Photography App 02 Camera settings - equipment and approaches needed to capture App 03 Dealing with panoramas suitable images App 04 Technical methodology template
    [Show full text]
  • Mary Walker Phillips: “Creative Knitting” and the Cranbrook Experience
    Mary Walker Phillips: “Creative Knitting” and the Cranbrook Experience Jennifer L. Lindsay Submitted in partial fulfillment of the requirements for the degree Master of Arts in the History of Decorative Arts Masters Program in the History of Decorative Arts The Smithsonian Associates and Corcoran College of Art + Design 2010 ©2010 Jennifer Laurel Lindsay All Rights Reserved TABLE OF CONTENTS LIST OF ILLUSTRATIONS.............................................................................................iii PREFACE........................................................................................................................... x ACKNOWLDGEMENTS ............................................................................................... xiv INTRODUCTION .............................................................................................................. 1 CHAPTER 1. CRANBROOK: “[A] RESEARCH INSTITUTION OF CREATIVE ART”............................................................................................................ 11 Part 1. Founding the Cranbrook Academy of Art............................................................. 11 Section 1. Origins of the Academy....................................................................... 11 Section 2. A Curriculum for Modern Artists in Modern Times ........................... 16 Section 3. Cranbrook’s Landscape and Architecture: “A Total Work of Art”.... 20 Part 2. History of Weaving and Textiles at Cranbrook..................................................... 23
    [Show full text]
  • DIY-No3-Bookbinding-Spreads.Pdf
    AN INTRODUCTION TO: BOOKBINDING CONTENTS Introduction 4 The art of bindery 4 A Brief History 5 Bookbinding roots 5 Power of the written word 6 Binding 101 8 Anatomy of the book 8 Binding systems 10 Paper selection 12 Handling paper 13 Types of paper 14 Folding techniques 14 Cover ideas 16 Planning Ahead 18 Choosing a bookbinding style for you 18 The Public is an activist design studio specializing in Worksheet: project management 20 changing the world. Step-by-step guide 22 This zine, a part of our Creative Resistance How-to Saddlestitch 22 Series, is designed to make our skill sets accessible Hardcover accordion fold 24 to the communities with whom we work. We Hardcover fanbook with stud 27 encourage you to copy, share, and adapt it to fit your needs as you change the world for the better, and to Additional folding techniques 30 share your work with us along the way. Last words 31 Special thanks to Mandy K Yu from the York-Sheridan Design Program in Toronto, for developing this zine What’s Out There 32 on behalf of The Public. Materials, tools, equipment 32 Printing services 32 For more information, please visit thepublicstudio.ca. Workshops 33 This work is licensed under the Creative Commons Attribution- NonCommercial-ShareAlike 3.0 Unported License. To view a copy of this Selected Resources 34 license, visit http://creativecommons.org/licenses/by-nc-sa/3.0/. Online tutorials 34 Books & videos 34 About our internship program Introduction Bookbinding enhances the A brief history presentation of your creative project. You can use it to THE ART OF BINDERY BOOKBINDING ROOTS Today, bookbinding can assemble a professional portfolio, be used for: Bookbinding is a means for a collection of photographs or Long before ESS/ producing, sharing and circulating recipes, decorative guestbook, R the modern • portfolios • menus independent and community or volume of literature such as G-P Latin alphabet • photo albums • short stories • poetry books • much more work for artistic, personal or a personal journal or collection RINTIN was conceived, • journals commercial purposes.
    [Show full text]
  • Clark's “Love Letters” Exhibition to Display Language As
    Clark’s “Love Letters” Exhibition to Display Language as Art Wednesday, October 03, 2012 Jeffrey Starr, GoLocalWorcester Contributor "Timeline" by Don Tarallo Clark University will be holding an almost two month long Fall art exhibition entitled "Love Letters: The Intersection of Art and Design." The exhibition begins Wednesday, October 3 at the Traina Center for the Arts, with an opening reception to kick off the show at the Schiltkamp Gallery in the Traina Center from 5-7 pm. The exhibition will run through November 26. The show will display a wide variety of letter forms in an array of different mediums from a number of different artists. These mediums include video animation, photomontage, ceramic sculpture, drawing and paper collage. "We want to connect people with artists and designers who love letters," said the co-currator of the show Sara Raffo explaining the overall purpose of the show. "We want to create awareness for people who pay attention to typography and letterform." The purpose and uniqueness of the art show will be shown in the imaginative ways the artists play with typographic form and function involving letters. To put simply, the show portrays "letter form as aesthetic", according to Raffo. For those who may not be familiar with the concept of "typography", or the visual aspects of language, as a type of art, Raffo explains. "Typography animates the language and makes it come to life." For the artists involved, the style and form of a letter can convey just as much if not more meaning than words themselves. Words, style and form all combine together to create more meaning in what we read than is often thought.
    [Show full text]
  • The Study on History of Photomontage and the Efficiency of Art Schools on It
    Journal of History Culture and Art Research (ISSN: 2147-0626) Tarih Kültür ve Sanat Araştırmaları Dergisi Vol. 6, No. 4, September 2017 Revue des Recherches en Histoire Culture et Art Copyright © Karabuk University http://kutaksam.karabuk.edu.tr ﻣﺠﻠﺔ ﺍﻟﺒﺤﻮﺙ ﺍﻟﺘﺎﺭﻳﺨﻴﺔ ﻭﺍﻟﺜﻘﺎﻓﻴﺔ ﻭﺍﻟﻔﻨﻴﺔ DOI: 10.7596/taksad.v6i4.1038 Citation: Dianat, F. (2017). The Study on History of Photomontage and the Efficiency of Art Schools on it. Journal of History Culture and Art Research, 6(4), 176-191. doi:http://dx.doi.org/10.7596/taksad.v6i4.1038 The Study on History of Photomontage and the Efficiency of Art Schools on it Fereshteh Dianat1 Abstract Photomontage is a combination of several shots joined together for artistic effect or to show more of the subject than can be shown in a single artwork. Images were composed by cutting, gluing, arranging and overlapping two or more photos or reproductions of photos together, sometimes in combination with other non-photographic material such as text or other abstract shapes. The process of creating a collage photo can be traced back to the first darkroom printing attempts, when photographers experimented with direct contact printing of objects placed on photographic plates, or techniques such as double exposure and masking. Manipulation has a long history exactly as long as history of photography. With invention of photography, photomontage played an important role. It is interesting to say that also many years has passes that time, it is important as much as before. The question in this article is searching on the importance of photomontage and the important effect of other art schools on it.
    [Show full text]
  • Strange Beauty: Hannah Höch and the Photomontage Author(S): Kristin Makholm Source: Moma, No
    Strange Beauty: Hannah Höch and the Photomontage Author(s): Kristin Makholm Source: MoMA, No. 24 (Winter - Spring, 1997), pp. 19-23 Published by: The Museum of Modern Art Stable URL: http://www.jstor.org/stable/4381346 Accessed: 10-08-2014 15:44 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The Museum of Modern Art is collaborating with JSTOR to digitize, preserve and extend access to MoMA. http://www.jstor.org This content downloaded from 128.230.234.162 on Sun, 10 Aug 2014 15:44:42 UTC All use subject to JSTOR Terms and Conditions StrangeBeauty: m HANNAHEUocH and the Ph)otomo n tage KRISTIN MAKHOLM THE NAME HANNAH HOCH is probablynot thefirst to come to mind when consideringthe anticsof Berlin Dada. Artists such as George Grosz,John Heartfield,or RaoulHausmann seem moresuited to Dada'spolitical and social critiquesand its loud-mouthed,rowdy contempt of traditionalbourgeois art and aesthetics.Yet it is Hannah Hoch, whom HansRichter dubbed the "goodgirl" of Berlin Dada, who took the characteristicDada medium of pho- tomontageto its most provocativeand challengingheights. With photographsfrom mass-marketperiodicals, Hoch's -J, ~ ~ ~ 9 photomontagesdisplay the chaosand combustionof Berlin's visual culture from a particularlyfemale perspective.By chartingher preoccupation with photomontagefrom I9I8 to A -i'w,'u' , * 7 the earlyI970s, the exhibitionThe Photomontages ofHannah Hoch, on view at The Museumof ModernArt from Febru- ary27 to May 20, demonstratesHc&hs remarkable achieve- ments in this quintessential modern medium and her sensitivityto the powerof an explosivemedia culture.
    [Show full text]
  • Ceramic Sculpture 1 Art 3764C
    Ceramic Sculpture 1 Art 3764C Fall, 2016 Tuesday& Thursday Class Times: 8:30 am- 11:30 am Classroom: FAC B14 Instructor: Nan Smith, Professor Office: FAC B15, Hours: 1:00pm-2:00 pm on Thursdays or by appointment E-mail: [email protected] Credit Hours - 03 Syllabus Course Description: This course provides an introduction to Ceramic Sculpture with a specific focus on hand building processes. Contemporary Ceramics is an expansive art form including pottery and vessel making, sculptural works and painted tile work. The options for working with fired clay are limitless and the technical subject matter complex. This course presents projects which give the student experiences in developing ideas based on contemporary culture. Sculpture processes which are additive and subtractive, plaster mold making, plus pinch, coil building, and slab construction methods as applied to sculpting will be taught. Glaze lectures, an introduction to electric kiln firing will also be presented. The class format will include image presentations and demonstrations of hand building and sculpture techniques. Class lectures will incorporate highlights from ceramic history along with many contemporary examples. The course will consist of three major projects and group "lab work"; loading, firing and unloading class kiln firings. You will have an average of six class periods to work on each assigned project. Course Goals: 1. The course is designed to teach sculpting techniques using clay including the fundamentals of modeling, carving, coil, pinch, and slab building. 2. Students will be taught technical skills including: model making, the basics of plaster mold-making, glaze testing and sculpture surfacing methods. 3.
    [Show full text]
  • Twenty-Nine Students to Exhibit Art Work
    Twenty-nine students to exhibit art work Released: March 26, 2008 TOPEKA - Charlemagnes Window, a truck hood embellished with urethane paint, and Octopus, fashioned from driftwood, suction cups and tacks, are two of the more unusual works of art by 29 Washburn University students featured in the 2008 student art show open May 3 to July 13 at the Mulvane Art Museum, Washburn University. No admission is charged. The show will open with a reception for the artists from 4:30 to 8 p.m. Friday, May 2, at the museum. Media featured will also include drawings, photographs, paintings, ceramic and raku stoneware. The students take the responsibility for installing their works in the museum and producing wall labels. The exhibition gives the students and community an opportunity to see these works in a professional setting. Juror for the event was Linda Ganstrom, a member of the art faculty at Fort Hays State University. According to Glenda Taylor, chairwoman of the WU art department, the annual juried student exhibition is the highlight of the year for the department. "Our students have the opportunity to exhibit their best work in a professional gallery and experience the accomplishment of artistic acceptance by the outside juror," she said. "We always look forward to seeing our best student works presented together. As faculty we often see individual works made by students in our classes, but only at the student show do we get to view the best works of all media as one exhibition. The students and faculty are proud to share this exhibition with the public at the Mulvane Art Museum." For Mulvane hours and more information, call (785) 670-1124.
    [Show full text]
  • Southwest Rising: Photomontage
    Southwest Rising: Contemporary Art & the Legacy of Elaine Horwitch The exhibition Southwest Rising pays tribute to Elaine Horwitch, one of the most powerful and influential art dealers from Arizona and New Mexico. It celebrates the many artists who contributed to the rise of contemporary art in the Southwest. Their paintings, sculptures, and works on paper represent a specific time and place in a transition from traditional Western to contemporary art. Works in the exhibition, such as Robert Rauschenberg’s Support, and Bob Wade’s Fandango, demonstrate the use of photomontage either as a final work or as a part of the artist’s creative process. In this project we will explore the process to create a photomontage using pre-existing photos cut from magazines and newspapers that are then arranged into a personal work of art. Photomontage Make your own Photomontage is the cutting and putting together of images and sometimes text to form a new picture. The new picture is often then photographed to suggest a seamless reality. You can make your own photomontage by following these instructions: Materials you will need: • Sheet of blank paper • Magazines or newspapers • Scissors • Glue stick • Crayons or colored pencils 1. Choose a background (such as construction paper, computer paper, decorative paper, or a magazine image). 2. Choose the cut-out images and/or text you want to use. Good places to look for images and/or text to cut out include magazines, newspapers, and advertisements. Image credit: Select a variety of images. © L.Gorian Southwest Rising: Contemporary Art & the Legacy of Elaine Horwitch 3.
    [Show full text]
  • César Domela-Nieuwenhuis and the Art of Photomontage
    César Domela-Nieuwenhuis and the Art of Photomontage Andrés Mario Zervigón Some time around the year 1930, the increasingly famous Dutch artist César Domela-Nieuwenhuis set to work designing a brochure (prospekt in German) for the port of Hamburg.1 The photomontage Hamburg, Germany’s Gateway to the World (Hamburg, Deutschlands Tor zur Welt; fig. 1), now in the Thomas Walther Collection at The Museum of Modern Art, reportedly graced the cover of what was essentially intended to be promotional literature for the large north German city. This fact would already make Domela’s work noteworthy, given that it neatly rep- resents the move of many fine artists from the isolation of their bohemian garrets to the popular realm of advertising, where they could disseminate the fruit of their avant- garde experimentation to vast audiences. But even more striking is the montage’s size and quality, characteristics suggesting that Domela intended this enlarged version to be placed in an exhibition venue, where the piercing eyes of critics, as well as everyday gallery-goers, could inspect the work carefully. Hamburg is, in other words, most likely a showpiece produced by one of the era’s leading advocates of photomontage in the realization of a high-end commis- sion. As such, the object demands careful attention. fig. 1 César Domela-Nieuwenhuis. Hamburg, Germany’s Gateway to the World César Domela-Nieuwenhuis (Hamburg, Deutschlands Tor zur Welt). 1930. Gelatin silver print, 1930–32, 15 ⅞ × 16 ½" (40.3 × 41.9 cm). The Museum of Modern Art, New York. Thomas Walther Collection. Born in 1900 to Holland’s first prominent socialist, César Abbott-Levy Collection funds, by exchange (MoMA 1665.2001) Domela-Nieuwenhuis was well groomed for the frequently rough political terrain of avant-garde art in interwar Europe.
    [Show full text]
  • Expanding Interactive Digital Photomontage
    Expanding Interactive Digital Photomontage Sean P. Dukehart∗ University of Maryland Baltimore County Social Security Administration Abstract see the results of actions performed on those images provides the necessary feedback to make the system truly useful. This paper expands the unique pipelined work flow called FUSE, to enable the combination of some of the best features of multi- 2 Related Work ple image synthesis processes into a possible framework. The goal is to develop the flexibility and usability of this work flow into a The paper “Interactive Digital Photomontage,” [Goldman and Chen more fluid process by filling a large gap in the current functional- 2005] presents a framework that the authors dubbed FUSE for the ity by the inclusion of an image registration process. Additionally, compositing of images through graph-cut optimizations [Boykov other novel enhancements are explored to increase the responsive- et al. 2001] and gradient-domain fusion [Fattal et al. 2002; Parez ness of imaging objectives, such as multi-scale graph cutting and et al. 2003]. In essence, their process enables a user to stitch to- alpha transparency region-exclusion. gether a number of images based on imaging objectives to produce a final composite image. Seams which would be the least obvi- Keywords: photomontage, registration, panorama, image mosaic, ous transition from one image to the next are derived and used to image synthesis, cut desired regions of individual images out. While this process is incredible, it lacks the ability to do any sort of practical image reg- istration, thus requiring that all images be from basically the same 1 Introduction viewpoint, or have registration done externally from the applica- tion.
    [Show full text]
  • Romare Bearden
    Romare Bearden Romare Bearden, Tomorrow I May Be Far Away, 1967, collage of various papers with charcoal and graphite on canvas, National Gallery of Art, Paul Mellon Fund © Romare Bearden Founda- tion / Licensed by VAGA, New York, NY Bearden’s Journey 1 Born in Mecklenburg County in North Carolina, Romare Bearden (1911 – 1988) was just three years old when his family moved from the rural South to a vibrant section of New York City called Harlem, a growing center of African American life and culture. There, Bearden grew up amid the city’s diverse people, the new sounds of jazz, and a wide variety of art, including paintings by Pablo Picasso and sculpture from Africa. When he decided to become an artist, Romare Bearden in his New York Bearden had the knowledge and experiences of Harlem City studio with his beloved cat from which to create his art. He also drew from his Gypo (detail), 1974, Estate of Romare Bearden, courtesy of the memories of his return trips to North Carolina to visit Romare Bearden Foundation, New his grandparents and of the summers he spent working York (photo: Nancy Crampton) in steel mills in Pittsburgh when he was a teenager. 146 Questioning Traditions “My purpose is to paint the life of my people as I know it.” Romare Bearden 3 Piece by Piece To make this image, Bearden began by collecting pat- terned papers, including magazine illustrations, wall- paper, and hand-painted papers. He cut them into shapes and glued them onto a large piece of canvas, layering the pieces to make the picture.
    [Show full text]