Creating Your Own Instruction and Reference Art
One of the most popular techniques artists use to improve their skill is looking at reference art. It is artwork created by someone else that an artist uses as a guide to create something similar. This method is not a form of copying or cheating; it is a way to improve an individual's technique. Many famous artists were trained in their techniques while still young. However, not everyone has access to a famous artist's reference art.
Various techniques are employed when using artwork as teaching and reference materials. Using questions to guide analysis helps students to engage directly with the work, generate higher-level thinking, and arrive at a well-reasoned analysis. Students are not required to answer every question, as this would result in excessively long responses. Instead, they should focus on the areas they find most useful. Some questions are specific to paintings and sculptures, while others are general enough for any medium. The questions for analysis should also cover context and meaning.
Artists have often used instructions and illustrations as teaching aids. Works by Will Nicholls and Erwin Wurm have both exhibited these skills. While these artists use illustrations as reference materials, they also have a wider range of styles. They create a mixture of techniques in creating their work. It is important to understand how these techniques affect their creation. This article will discuss some of these techniques. In addition, we'll discuss how you can use them in your own work.
Among all library activities, using references in instruction is perhaps the most individualized. Students tend to start their research too late and miss the most effective resources. Those students may not have enough time to wait for reference librarians to teach them about research strategies. Regardless of their motivation, they may learn important lessons about research at the last minute. Using references in instruction is the best way to make students aware of the resources available to them.
In your reference list, include electronic catalogs, databases, conferences proceedings, and journals. For each document, include the author(s), title, and version consulted. When citing software or citable data objects, include the repository's name and version, if applicable. If the document is available online, include the URL of the repository, as well as a copy number. However, avoid citing articles from personal web pages, general informational sites, or computer code.
The Code of Best Practices for Fair Use in the Visual Arts was developed by a group of visual arts professionals to establish common standards and guidelines for the use of copyrighted materials. Members of the community surveyed their constituencies and convened small discussion groups to explore recurring practice scenarios. The consensus positions expressed in those discussions were included in the final code. The document was reviewed by a distinguished panel of copyright experts who found that it was consistent with current fair use law.
While legal experts disagree about what constitutes fair use, a recent case has found that entire works are fair use. In these cases, the educational purpose of the activity is paramount. Such activities are considered to be "fair use" even when they are used in highly transformative contexts, such as a classroom setting. Similarly, participants in small group discussions believed that the educational purpose is what matters. While the Code may be vague, it is consistent with key visual arts communities' values, including privacy and cultural sensitivities.
Creating your own
Creating your own instruction and reference art is an exciting way to express your creativity. Many artists and other parties employ the services of an assistant to help with their work, for various personal and commercial reasons. For instance, in 2004, artist Angela De la Cruz suffered a stroke and has had to rely on assistants to complete her work. Using a graphic sequence as instructions, she works with her assistants through instructions.
Using photos as a study guide
When using photos as a study guide, teachers should look for clues and evidence to create context. These clues might include material culture, the faces of the people, weather conditions, or the location the photo was captured in. If students have a particular interest in a particular period or subject, it can be helpful to use photos to help explain their understanding of history. However, teachers should be aware of their legal responsibilities and check with their publishers or photographers to ensure they are not violating any rules and policies.
Besides, using photos in a study guide can make learning more engaging and easier. However, citing sources is an absolute must! When selecting photos for your study guide, think like a book illustrator. Choose photographs that are visually stimulating and connect to narrative. Consider impressions that will stay with your students. Also consider the content that cannot be conveyed in text format. Hopefully, by mid-2020, Photos For Class will have an improved option available for educators.
A collection of artworks by Marcel Duchamp explores the role of the viewer in the artist's works. Although he did not engage in the practice of making sculptures, he used ready-made objects as an alternative to the traditional method. After he had given up painting in 1918, Duchamp focused on the scientific principles of perspective and optics and sought to create illusions of depth on two-dimensional surfaces. Duchamp first used shadows to create these illusions, but later experimented with stereoscopic images and elaborate motorized devices.
Duchamp's works often incorporate elements of mathematics, philosophy, chess, literature, and science. These influences have been noted in his work, but the works themselves aren't intended as educational materials. However, they are intended to serve as a visual reminder of his ideas, while still provoking a critical reflection. For this reason, Marcel Duchamp's artworks often bear a profound connection to the past.
Known as one of the most influential conceptual artists of the 20th century, Sol LeWitt's work bridges the gap between minimalism and conceptual art. His works feature geometrical shapes in an abstract, non-objective manner. Among his favorite subjects were musical scores and architecturally scaled wall drawings. He later exhibited his work in galleries throughout the world. This book features a range of works by Sol LeWitt.
While the works on display are simple to the naked eye, many of them require critical thinking strategies in order to interpret. Instructions include a detailed description of the overall theme of each work, ten geometric figures, and information regarding the placement of these figures. Each drawing contains detailed instructions, and the artist provided his assistants with enough information to produce a high quality piece. The book also contains step-by-step images that can be reproduced by a number of people.
Wall Drawing 273 by Sol LeWitt, which was made in 1995, is a perfect example of this type of artwork. It is a large-format combination of rectangles and cubes. This piece of art was made with students in mind, and four Amherst College sculpture students helped execute the work. The work is a return to linear repetition, revealing the complexities of line.
In Instruction & Reference Art, John Baldessari adopts the role of teacher, often using found or decontextualized images to illustrate his point. He is also fond of jokes, aphorisms, sight gags, and linguistic pranks. This irreverent work continues his tradition of borrowing from the past and adapting images from everyday found sources. In Instruction & Reference Art, Baldessari also discusses his artistic relationship with other artists and the role of teaching in his career.
In the mid-1960s, John Baldessari served as an art teacher at San Diego State University, where he taught lettering and life drawing classes. While his work remained largely isolated from the Los Angeles art scene, his early works ridiculed traditional rules of art instruction manuals. His most famous piece, I Will Not Make Any More Boring Art, a 22-by-30 inch lithograph, is in the permanent collection of many museums and art galleries.
In Instruction & Reference Art, John Baldessari questions the systems of communication, narrative, and art-making. The process of perception and the way we view art are subject to intense scrutiny in his works. The artist's early video works explore the role of the media in teaching, including the school curriculum. While many contemporary artists are addressing the effects of digital media on classroom learning, John Baldessari's art has a more profound effect.