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INTRO TO TOPIC
HISTORICAL CONTEXT - CL&SM
ANALYSIS OF CONTEXT
QUESTIONS TO ADRESS
HOW TO ADRESS THOSE QUESTIONS
INTRODUCE CASE STUDIES
TOTAL LOSS OF DEPTH PERCEPTION
To determine how and what an artists intentions are we can think of a Bubble, and if it were a work of art.
3 situations will now be posed that incite us to question how and what an artists intention is:
Situation 1- Is the work the bubble itself with its iridescent beauty and fragile surface structure?
Situation 2.a- Is the work about how the bubble was formed, perhaps this could be understood in a performance
of the process of blowing the bubble?
Situation 2.b- Is the bubble used to direct our attention to its means of production, whether it be the object
used to create the bubble, the light that bounces off it surface, creating and refracting an abundance of colour,
or the soapy water
Situation 3- Or, is the bubble being used to expose an entirely different not so obvious entity for example how it
distorts our vision when we peer into it.
Olafur Eliasson uses light to reveal something to us whereas James Turrell shows us how Light is a revelation in
itself.
INTRODUCTION CHALLENGING THE
TOPIC HISTORICAL VIEWERS PERCEPTIONS
SUMMARY/ANALYSE/UNDERSTANDING CONTEXT
WITH LIGHT.
INTRODUCE
QUESTIONS DESCRIPTION CASE STUDIES CITE: CITE:
TO ADDRESS ON HOW TO ART AND VISUAL PERCEPTION: A
PHENOMENAL PHYSCHOLOGY OF THE CREATIVE EYE
QUESTIONS : ADDRESS CITE:
COMPARISON? ART AFTER THE CALIFORNIA
QUESTIONS SCIENTIFIC
LIGHT AND SPACE MOVEMENT
AND
CITE: CALIFORNIAN LIGHT ARTISTIC
JUDITH BUTLER AND SPACE DESCRIPTION QUALITIES
MOVEMENT CITE:
LIGHT OF LIGHT DEREK JAARMAN
DESCRIPTION
QUALITIES
JAMES TURRELL ARTIST CITE: CITE:
HOW TO USE IT
WHAT IT IS
GANZFELD 1 INTENTION JOHNATHAN
DESCRIPTION CRARY
OLAFUR ELIASSON
BOOKS
DIFFERENT
i. TOTAL LOSS OF DEPTH PERCEPTION
WAYS TO USE IT
ii. SEEING YOURSELF SEE
SUMMARY/ANALYSE
BUBBLE THEORY
CITE:
JAMES TURRELL BOOKS ARTIST 2 OLAFUR ELIASSON
CITE:
CITE: INTENTION ROOM FOR ONE COLOUR
JOSEF ALBERS
DISPLACEMENTS OF SHADOW, CITE:
ART PAPERS SUMMARY/ANALYSE SURRONDINGS SORROUNDED
OLAFUR ELIASSON
CITE:
HISTORICAL-
ROBERT IRWIN
BOOKS (PERCEPTION)
PAPERS CONTEMPORARY-
VIDEOS DAVID BATCHELOR
EXHIBITION (LIGHT AND
PRESS RELEASE COLOUR)
ESSAYS
ART HISTORICAL
ART-THEORETICAL
CONTEXTS
BIDGET RILEY
PURKINJE IMAGES
JOSEF ALBERS: THE MAGIC OP ART
1960S
AND LOGIC OF COLOR 1996 AFTERIMAGES
PERCEPTION. PERCEPTUAL PHENOMENA. ROOM
S FOR ONE ART AND SCIENCE
N COLOUR THOMAS YOUNG
GERMAN WORD
IMPRESSION OF
SITE SPECIFIC
TO DESCRIBE
TOTAL LOSS OF
O ANOTHER
MINIMALISM: VIVID IMAGE
HERMAN HELMOLTZ
THRICHROMATIC
DEPTH W ART AFTER RETAINED BY
THEORY OF
ROBERT IRWIN PERCEPTION THE EYE
TRANSPARENT,
B CALIFORNIA
JAMES TURRELL
COLOUR VISION
TRANSPARENCY, LIGHT AND (RECEPTOR LEVEL)
EFFERVESCENT GANZFELD L THE AFTERIMAGE 1850
CONSTRUCTIONS SPACE
REFLECTION, LIGHT, I FRUIT MARKET PHENOMENA IN THE OPPONENT
ABSTRACT EXPRESSIONISM SPACE GALLERY 2016 VISUAL SYSTEM PROCESS
MAXIMALISM N
1971 UCLA ART GALLERY THEORY OF
D COLOUR VISION
CALIFORNIA LIGHT NEON, GLASS, RESIN, ACRYLIC, FLOURESCENT LIGHTS (NEURAL LEVEL)
GEOMETRIC ABSTRACTION MINIMALISM AND SPACE MOVEMENT 1964
1960s COLOUR THEORY EPHEMERA, COLOUR, THE EYE
OLAFUR ELIASON:
ANNE APPLEBY DEMATERIALISATION
AMBIENT, ENVIRONMENTAL, EPHEMERAL WILLIAM TURNER VISIONARY EVENTS
COLOUR FEILD PHIL SIMMS
CALIFORNIA MINIMALISM DAVID SIMPSON CAMERA OBSCURER
FINISH FREDERICK
OLAFUR ELIASON JOHNATHAN CRARY
NEW YORK MINIMALISM FETISH L.A. GLASS AND PLASTIC SPRATT
TECHNIQUES OF THE
SEAMLESS, GROUP KUNSTHALLE BASEL OBSERVER 1990
CONCRETE, LITERAL, MATERIAL YELLOW VS. SUSPENSIONS OF
STREAMLINED, OLAFUR ELLIASON
PERCEPTION:
GLOSSY CRAIG KAUFFMAN PURPLE 8/1997 CATALOGUE ATTENTION, SPECTACTLE
LARRY BELL & MODERN CULTURE
2000