What Do You Call Art That Focuses More on the Process Than the Art

Art Fundamentals: Theory and Practise
Ocvirk, Stinson, Wigg, Bone, Cayton
Twelfth Edition

Chapter one
Introduction
pp. 10-13

The Iii Components of Art

Subject area, form, and content have always been the three basic components of a piece of work of art, and they are wed in a fashion that is inseparable. In general, subject may exist thought of as the "what" (the topic, focus, or image); grade, as the "how" (the development of the work, composition, or the substantiation); and content, every bit the "why" (the artist'due south intention, advice, or meaning behind the work). Subject The field of study of visual art can be a person, an object, a theme, or an thought. Though there are many and varied ways of presenting the subject affair, it is just important to the degree that the artist is motivated by it.

Objective images, which represent people or objects, look every bit close equally possible to their real-world counterparts and can be clearly identified. These types of images are also called representational.

Dennis Wojtkiewicz, Kiwi Series #i, 2005.
Oil on sail, 36 x 66 in. Marilyn Levine, Anne's Jacket, 1999.
Ceramic, 36 x 20 1/2 x 7 1/4 in.

Gus Heinze, Expresso Cafe, 2003. Acrylic on gessoed console, 32 x 35 ane/2 in.

Artists who explore the procedure of abstraction (simplification and rearrangement) create images that wait less like the object on which they are based, although they may nonetheless be recognizable. Barbara Hunt-Riboud, Bathers, 1973. Floor relief, bandage aluminum and silk in xvi pieces, 400 x 400 ten 12 cm.

Piet Mondrian, The Grey Tree, 1911.
Oil on canvass, 30 i/ii x 42 7/eight in. Ismael Rodriguez Rueda, El Sueno de Erasmo (The Dream of Erasmus), 1995.
Oil on canvas, 39 1/2 x 47 1/2 in.

DeLoss McGraw's "The Story of Eutychus," mixed-media Marcel Duchamp, Nude Decending a Staircase, No. two, 1912
Oil on sail, 58 10 35 in. Harold E. Edgerton, Baseball game hit-fly ball, 1950s-1970s. Gelatin silver impress In the most extreme type of brainchild, the subject area does non refer to whatsoever physical object, and this nonrepresentational image is thus considered non-objective. Here, the subject may be hard for the observer to identify, since information technology is based solely on the elements of art rather than real-life people or objects. This type of subject frequently refers to the artist'due south idea about free energy and motility, which guides the utilise of raw materials, and it communicates with those who tin can read the language of form. Piet Mondrian, Limerick, 1916. Oil on canvas and wood strip, 47 1/4 x 29 1/ii in. Music, like visual art, deals with subjects and provides an interesting comparison. Unless in that location are lyrics, information technology is frequently hard to identify a specific subject in a piece of music. Sometimes, the subject field is recognizable - the thunderstorms and birdsongs in Beethoven's Pastoral Symphony or the taxi horns in Gershwin's An American in Paris. Other times, even so, the subject is more abstract, and it is an emotion or idea that comes across strongly in the music. Aaron Copland's Fanfare for the Common Man is a good example of this: he does not try to draw the subject literally but creates a nobel, attainable, and uplifting musical theme that honors the plight of the mutual man. In a similar way, nonobjective fine art seeks to nowadays a more general theme or thought as the field of study.
Marker Rothko, Number ten, 1950.
Oil on canvas, seven ft. 6 3/8 in. 10 4 ft. nine 1/8 in. Regardless of the type of art, the nigh important consideration is what is done with the subject. After you recognize the subject in a work (whether it is obvious or not), enquire yourself whether the artist has given it expression. Jackson Pollock, Autumn Rhythm (Number xxx), 1950.
Oil on canvas, 8 ft. 9 in. x 17 ft. iii in. Charles Sheeler, Golden Gate, 1955.
Oil on canvas, 25 1/viii in. x 34 7/8 in.

Form

As a component of art, the word form refers to the full overall organisation or organization of an artwork. It results from using the elements of fine art, giving them lodge and significant through the principles of organization. When studying a work's form, we are analyzing how the slice was created. More specifically, nosotros are examing why the artist made certain choices and how those choices interact to form the artwork'southward final appearance. In this sense, the word form may really be idea of as a verb rather than a noun.

The elements of art, which include line, texture, color, shape, and value, are the most basic, indispensable, and immediate building blocks for expression. Their characteristics, adamant by the artist's choice of media and techniques, tin can communicate a wide range of complex feelings. All artists must deal with the elements singularly or in combination, and their organization contributes to the aesthetic success or failure of a work.

Based on the intended expression, each artist can arrange the elements in whatsoever style that builds the desired character into the piece. However, the elements are given lodge and meaningful construction when bundled according to the principles of organization, which assistance integrate and organize the elements. These principles include harmony, variety, residue, proportion, dominance, move, and economy. They help create spatial relationships and finer convey the creative person's intent. The principles of organization are flexible, not dogmatic, and can be combined and applied in numerous ways. Some artist adjust intuitively, and others are more computing, but with experience, all of them develop an instinctive feeling for organizing their work. So important are these concepts of elements and principles that they are studied separately.

Content

The emotional or intellectual message of a work of art is its content - a statement, expression, or mood adult by the artist and interpreted by the observer. Of the three components of art, content may exist the nearly difficult to identify, considering the audition, without straight advice with the artist, must decipher the artist'south thoughts by observing the work's field of study and form. For case, in Young Girl in the Lap of Death, the hitting emphasis of the left-to-right diagonals, the sharp contrasts of light and dark values, and the aggressive and powerful drawing strokes give us some insight into Kathe Kollwitz's concern for life, though we may not understand the depth of her passion.

Kathe Kollwitz, Immature Daughter in the Lap of Death, 1934.
Crayon lithograph, 42 x 38 cm.

Ideally, the viewer's interpretation is synchronized with the artist's intentions. However, the viewer's diversity of experiences tin impact the advice between creative person and viewer. For many people, content is determined by their familiarity with the subject; they are confined to feelings aroused by objects or ideas they know. A much broader and ultimately more than meaningful content is not utterly reliant on the image but is reinforced past the form. This is particularly so in more abstract works, in which the viewer may not recognize the prototype as a known object and must, thefore, interpret meaning from shapes and other elements. Images that are hardly recognizable, if representational at all, tin can still deliver content if the observer knows how to interpert form.

Occasionally, artists may be unaware of what motivates them to make certain choices of image or class. For them, the content of the piece may be subconscious instead of deliberate. For example, an creative person who has had a fierce confrontation with a neighbor might subconciously demand to express anger (content) and is thus compelled to work wit sharp jagged shapes, bitter acid reds, slashing agitated marks (form), and exploding images (subject).

Sometimes the meaning of nonobjective shapes becomes clear in the artist'due south heed only after they evolve and mutate on the canvas.

Although it is non a requirement for enjoying artwork, a little research about the artist's life, time period, or culture can help expand viewpoints and lead to a fuller interpretation of content. For case, a deeeper comprehension of Vincent van Gogh'southward specific and personal apply of colour may be gained by reading Van Gogh'due south letters to his brother Theo. His messages expressed an evolving belief that color conveyed specific feelings and attitudes and was more that a mere optical experience. He felt that his use of color could emit power similar Wagner's music. The letters likewise revealed a developing personal color iconography, in which red and green symbolized the terrible sinful passions of humanity; blackness contour lines provided a sense of anguish; cobalt blueish signified the vault of heaven, and yellowish symbolized love. For Van Gogh, color was non strictly a tool for visual false but an instrument to transmit his personal emotions. Color symbolism may not have been used in all his paintings, just an understanding of his intent helps explain some of his choices and the power in his work.

Vincent van Gogh, The Night Cafe, 1888. Oil on canvas, 27 ane/2 x 35 in.

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Source: https://personal.utdallas.edu/~melacy/pages/2D_Design/Components_of_Art/Components_of_Art.html

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