INTRODUCTION TO COLOR

INTRODUCTION TO COLOR

            

                                                                   HUE COLOR TEST

MUNSELL HUE TEST:

LECTURE ON HUE:

TIP TOLAND : OB3

                                          TIP TOLAND

INTRODUCTION

• Tip Toland is a Ceramic Artist.
• A hyper-realistic sculptor.
• Born in America Pottstown in 1950.

                                                             ABOUT HER

Tip Toland is a ceramic artist whose work is subtly autobiographical: within a frozen moment, teeming with humanity, exists a vessel for her thoughts and feelings.

BACKGROUND : 

                        Tip was born in an American family having 2 sisters and a younger brother, she never got the attention she wanted, her mom and dad knew at a very early age that she is very talented and put her up with pastel classes.While studying in high school she also attended art school and she was very interested in the line quality.

At the age of 14 her mother sent her to the boarding school. She knew her mother don't want her. Her mother had a very bossy nature and she make decisions for the family and no one is allowed to say a word , she confronted her, denied her decisions. Boarding was a thrust of independence for her, she decided who she wants to be. She said "Goodbye Debbie(her real name),I'm gonna be Tippy or Tip and that's the new me. " 

Tip has a very different ideas and she thinks and act very differently toward things people call her psychoses got eating disorders, she did know what was actually emotionally going on; she just wants to get over it. after completing boarding, she went to Washington DC, in 1969 when the war was going on, She was really interested in protesting for war she thinks it was as important as going to art school. She even got involved in drugs, as all of that was very new to her. She was even admitted to a mental hospital for 6 weeks. 

                                                  HER EDUCATION

• 1975                                 B.F.A., Ceramics, University of Colorado, Boulder,
   CO
• 1981                                 M.F.A., Ceramics, Montana State University, 
  Bozeman, MT
  In the University of Colorado she started as a fine arts major in 1970, started ceramics just for kicks.in graduate school she entered with a terracotta plate with underglaze painting. then was asked to do some dimensional work in clay. She studied human anatomy from
  Gage Academy.
  She earned her BFA in Ceramics at the University of Colorado and later received an MFA in Ceramics from Montana State University. Her previous accolades include a Visual Arts Fellowship from the National Endowment for the Arts, Artist-in-Residences in Wyoming, Oregon, Montana, and Washington, an Artist Trust GAP grant, and the Virginia A. Groot Foundation Grant among others. She is a full-time studio artist and a part-time instructor in the Seattle area. In addition, she conducts workshops across the United States. Her work has been shown in numerous galleries, including Nancy Margolis in New York City and Pacini-Lubel in Seattle. Her work is represented in both private and public collections, including the Renwick Gallery of the Smithsonian, Kohler Art Center, and a promised gift to the Metropolitan Museum of Art.
  
  

                                               HER PERSPECTIVE

  I have always pursued my career, even though I say that I wanted to be happy, I have always been making some kind of art. It hasn’t always been clay, but there’s always been an aspect of clay that’s been in the work. Ever since graduate school that’s been on the back burner; my interest in furthering my career. When I got to Seattle, I wanted to get affiliated with the gallery and I knew that if you wanted to get affiliated with the gallery I had to make the work. William Trever was interested and said “come back to me in six months and show me what you have.” Then I was in a little Jackson Street Gallery and all these things were good, they were a little stepping stones. Finally, Bill Trever said “we want to give you a one-woman show, sign here & here.” Once you start down that path and you know you want a gallery to represent you then you have to make the work so that you can have new things to show the galleries. Once you’ve signed up with a gallery then you have shows and then they want to have new work. You have a contract and you are committed. It’s been like that ever since for me. For some reason I keep signing up for these shows and I have to do the work! Sometimes, I’m like ‘wait a minute, will I ever get a break?’ but that’s how it goes. It’s just like that. Once you put the whole engine in motion, it has a life of its own.
  

  
  

  
  

  
                                        ART WORK
  

  The hyper realism of Toland’s figures comes from her attention to detail and unique use of materials. Using an encaustic technique, Toland creates a waxy finish for the skin that mimics real flesh. She even goes so far as to incorporate actual human hair into the works. The porcelain eyes create a doll-like realism that is both haunting and entrancing, while carefully defined wrinkles, skin tone, tooth enamel, and bone structure, are remarkably realistic.

  MATERIAL's which she used in her sculpture:

  
  

  
  
                                                                             

    ·                   terracotta clay 

     ·                   stoneware clay

        ·                   chalk pastels    

             ·                   synthetic hair     

  ·                 porcelain      

  ·                    paint           

  ·                   stains          

  ·                   gold leaf     

  
  
  

   
                                                       

  And Now Her Own

  Stoneware clay, Paint, Chalk pastel, Paint, Synthetic Hair

  13” H x 17” W x 9 “ D

The Moment I Disappeared

clay, paint, chalk pastel

6" H x 32" W x 16" D

Ancestor

porcelain, paint, mixed media

3 1/2" H x 18" W x 8" D

Cloud

clay, paint, chalk pastel

7" H x 31" W x 11" D

Her work bring viewer into extreme sensitivity of the characters, so you help yourself, pulled into the world of what they are doing and how they feel. A very honest look her sculptures make people mind comfortable and edgy at the same time. She never get out to make edgy work. her sculptures like tantrum, refugee are pointy  and sad, children with Albinism pieces are so reflective. What is human to be ? vulnerability probably at sometimes. She allows us to encounter us with these very human like characters almost a kind of interaction you could have been with any human being with specific story. Thoughtful, troubled human condition. Tip statement 

" Don't pretty it up just say it like it is so I know that it lives in me "

FINGERPRINT's IN CLAY

                                                   

                                         MARIA ORIZA

María Oriza is a Spanish artist who was born in 1964. She studied at the Francisco Alcantara Ceramic School and at the Moncloa Municipal School in Madrid. She began working as an artist in the '90s and immediately turned to sculpture.

She tried various techniques and materials such as iron or concrete, but it was in ceramics that the artist found her true vocation. Through this material, she developed a moving relationship between material and volume. Her creations exude finesse and lightness, through which the essential artist delivers her vision of sculpture.


María Oriza has been a member of the International Ceramic Academy since 2007. Her works have been the subject of eleven solo exhibitions and numerous group exhibitions in Spain, Italy, France, England, the Netherlands, Japan and China.

                                                                               ART WORK

SIN FIN , 2016

20*27*22 cm

Sculpture

FLOR CELDA , 2010

25*34*17 cm

Sculpture

ERINEA I ,  2012

43*37*36 cm

Sculpture

If we talk about her sculptures we can see different Principles of Design  like we see the blance in her sculpture we can also see the pattern  and the pattern  is repeated mostly in her sculpture so we can also says that  repeatition  and  important thing over  eyes movement show 's that  movement of  design is also available in her sculptures  and  also unity .If we talk about the Elements of Design we can  see  the value , Texture in her sculpture and the line form  which she made  and the beauty.

                          

OBSERVATION: OB2

                                               

•                                    RON MUECK

                                                   HANS RONALD MUECK

BIOGRAPHY

Born in 1958 to German parents in Melbourne, Australia, Ron Mueck grew up in the family business of puppetry and doll-making.

 He began his carrier making puppets for children television, including a stint with Jim Henson and Sesame street .He  initially worked as a creative director in Australia.

                                                           EDUCATION

          He has studied in the Royal Academy Of Arts.

                                                        

                                            ART WORLD

In 1996, he was asked by Paula Rego to make a small figure of Pinocchio for her group exhibition Spellbound: Art and Film, at the Hayward Gallery, London.

Mueck first came to public attention with his sculpture "Dead Dad". This portrayal of his recently deceased father - at roughly half-scale and made from memory and imagination - was included in the 1997 exhibition Sensation at the Royal Academy of Arts, London.

Ron Muick's first solo show was at the Anthony d’Offay Gallery, London in 1998. His 5-metre (16 ft.) high sculpture Boy 1999 was a feature in the Millennium Dome, and later exhibited at the 49th Venice Biennale in 2001. Today it sits in the foyer of the Danish Contemporary Art Museum ARoS in Aarhus.

                                                   HIS PERSPECTIVE

His subject matter is deeply private, and is often concerned with people's unspoken thoughts and feelings. Ron looks at the object in a very different way he thinks, the way one looks at something is very much important rather than the way it actually is . he does the salvish recreation of reality depicting every stage of life from birth to old age till death.HIs work has a powerful psychological range, focusing not only on universal experiences like birth, life and death but on emotional states such as isolation, fear and tenderness. His startling manipulations of scale are key to our experience of each work.

MUSECK does not want to depict our life as something better than it actually is, he wants us to see all the realities, the genuine struggles and real issues in his work, he does not want to make fake interpretations that hide the truth, sweeping it under the rug of dishonesty.   



         

                                                        SCULPTURE

Mask
1997
Polyester resin and mixed media
158 x 153 x 124 cm

Ron Mueck, Mask II, 2001. Mixed media, 77.0 x 118.0 x 85.0 cm. Image courtesy Anthony d'Offay, 

LANDON

Two Women, 2005

Mixed media

33 1/2 × 33 1/2 in

85.1 × 85.1 cm

                                                               PUBLIC EXHIBITION 

• Sensation Exhibition at the Royal Academy in London in 1997. 
• Courtesy Anthony D'Offay, London 2002.
• Foundation Cartier exhibition 2005. 
• Scottish National Gallery 2006.
• Christ Church art Gallery 2010
• Hauser Wirth Exhibiton 2012 London. 
• Foundation Cartier Pour I'Art Contemporiom 2013 .
• Moderen Art Museum of Fort Warth 2018.
• MC CLELLAND GALLERY.