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- 저자 : ( Marc Aronson ) (검색결과 1 건)
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( Marc Aronson ) 한국영상미디어협회 2008 예술과 미디어 Vol.7 No.1
The purpose of this study was to explore the impact of the work of one artist on another through the responses of this artist/researcher to the works of Richard Diebenkorn. This included my creating four paintings that reflect those understandings. Critics, historians, and philosophers offer valuable theoretical background, but they usually work with already existing art and concepts. They provide a context or categories by which art can be evaluated. The artist, on the other hand, is involved in formulating a mixture of something to come which has yet to be defined. The artist while he usually does not define or describe his own work objectively, nevertheless produces the amalgam of ideas that is represented within the object itself. The emerging artist must mix his own concoction out of the ambiguities that surround him. In the process of concocting the model of another artist`s trials and tribulations sustains and helps him understand the processes involved. They provide standards, allow one to recognize the possible boundaries as well as show one how to avoid the banal and the easily attainable. The emerging artist must choose those artists from whom to learn, and he usually does so intuitively, based on a hunch, along with some experience. Benedetto Croce related this paradigm of intuition as it applies to the artist. central to his aesthetics .... He regards aesthetic experience as a primitive type of cognition. Intuition involves an awareness of a particulsr image, which constitutes a nonconceptual form of knowledge. Art is the expression of emotion but not simply for its own sake. The expression of emotion can produce cognitive awareness in the sense that a particulsr intuited image can have a cosmic aspect, so the in it the universal human spirit is terceived.1) This paradigm can be used by the artist as a means of making ideological connections between himself and others. Little has been formally written about how an artist chooses whom to study, yet this means of development has been noted in artists` sketchbooks, in records of their conversations, and in their collected works of other artists. Two recent Metropolitan Museum of Art exhibitions, for example, have dealt with this idea: Notebooks of Jackson Pollock and The Private Collection of Edgar Degas. The Pollock exhibition enabled a viewer to trace the development of Pollock`s work and the influence of particular artist at different stages of its genesis. The Degas exhibition also documented Degas` personal art collection that he had amassed during his lifetime, which demonstrates the extent to which Degas was influenced by the work of those other artists. In his New York Times reviewof the exhibit, Michael Kimmelman cites how a particular Degas painting illustrates the influence of both Ingres and Delacroix, whose work Degas collected: Degas somehow seamlessly melded into his art. Look at his Morbilli double portrait, for instance, in which he seems to mimic lngres` precision in the portrait of her and Delacroix`s looser approach in the portrait of him. Combined they m 맏 something disctinctly Degas. 2) In addition to Pollock and Degas, artists who have studied other`s works include Brice Marden, who has emulated Diebenkorn and Rothko: Rothko, who emulated Miro and Milton Avery; Frank Stella, who emulated Barnett Newman at an early point in his artistic production and who also incorporated ideas from Caravaggio and Kandinsky and the painterliness of DeKooning; and Diebenkorn himself. Studying the work of another artist is a rigorous but insightful enterprise for a developing artist. By looking and understanding the work of others, an artist can begin to understand his own work better. This is due, in part, because it allows him to place his own art in history and interrelate it with the work of the other artist. By understanding his art historical precedents, an artist can place his own work within a context, whine, in turn, leads to growth and innovation. Careful observation of that artist`s work may lead the developing artist to an understanding of how they both might have worked toward resolving an idea; the developing artist, in turn, can then proceed with confidence in his own art production. Diebenkon using this method himself, found his own place in the history of painting by a life-long pursuit of carefully examining and exploring the works of artists that the admired. Through this careful attention, he developed something that was uniquely his own. Diebenkorn often cites Matisse, Mondrian, and Cazanne as major influences, and they are evident in the work of this period. However, perhaps the most important was Matisse, whose lush color, use of pattern, flat shapes, and interest in the contrast of indoor with outdoor light appealed mightily to the younger artist. I have always been interested in the impact that one artist has on another. I noted that my own work had been affected by the art of other artists and that this is a regular occurrence in the work of other artists, as well. This study exemplifies how focusing on areas of affinity between two artists can generate new avenues that an artist can use to develop his work in interesting and unexpected ways. It describes how one artist (Aronson) manifested a process of understanding (Diebenkorn). In conducting this study, I considered several broad but relevant questions regarding how artists learn from each other: What practices have artists employed to absorb the work of other artists? How does the artist establish relationships with periods of art history and art historical personalities that assist him in his development? How does an artist choose the problems he will pursue and react to problems being pursued by other artists with whom the artist has an affinity? This study is also attempt to provide insight into the importance of teaching studio art at the college level using a structured artist-teaching-artist philosophy. Having a student study the work of another artist is a common teaching studio practice. Comparisons are always made between the path the student seems to be exploring and work of those of earlier artist who have already traversed similar issues of the student or have come up with discoveries that contribute or significantly characterize the student`s oeuvre. Unfortunately, little has been done to structure the way and artist can study and learn from another artist. This study was an attempt to do so. It provides an example of how one may proceed in studying other artists that can be useful to both developing artists and their teachers.
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