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Informazioni sul libro
In Talking Art, acclaimed ethnographer Gary Alan Fine gives us an eye-opening look at the contemporary university-based master's-level art program. Through an in-depth analysis of the practice of the critique and other aspects of the curriculum, Fine reveals how MFA programs have shifted the goal of creating art away from beauty and toward theory. Contemporary visual art, Fine argues, is no longer a calling or a passion—it's a discipline, with an academic culture that requires its practitioners to be verbally skilled in the presentation of their intentions. Talking Art offers a remarkable and disconcerting view into the crucial role that universities play in creating that culture.
I shot approximately 300 photographs in preparation for the painting, changing the camera angle and directing Jakub to make slight adjustments to the position of his body between each shot. The figure depicted in the painting is a composite of these images initially constructed digitally via Adobe Photoshop. I kept this composite image in several layers in this program so that I could adjust the color and value of each composite part independently. . . . I then purchased the stretcher bars and a yard of high quality Belgian linen. I like a medium texture because it shows just enough of the warp and the woof of the linen threads. I carefully stretched the linen and then applied the first coat of acrylic gesso. After this was dried I sanded the surface just enough to remove the roughness. If sanded too much, it would lose the beautiful quality of the linen, the uneven nature of the threads, the knots that randomly come about when the linen is made. [He chooses not to use cotton duck canvas.] The type of painterly effect one is trying to achieve determines every aspect of the painting process, down to the actual support, be it wood, linen, or cotton. . . . After the first coat is applied and sanded, I repeated this process two more times, for a total of three sanded coats of gesso. Then, when dried, I applied an imprimatura which is a colored stain of paint that is applied to the surface. This kills the brightness of the canvas, allowing me to paint accurately, as it is nearly impossible to judge a color or value on a white surface. Once dry I started my drawing on the surface with charcoal. I slowly sketched out the entire image, starting with generic shapes and then slowly moved into detail. Then I drew the outlines with paint. . . . I then went in using Cremnitz white, burnt sienna, and raw umber, creating a sepia value structure. I use Cremnitz white, a thick ropey, lead based white that has a translucent nature to it. Skin is translucent so it makes sense to use Cremnitz white instead of titanium white . . . because it is so opaque it makes the skin look like plastic, like the skin of a Barbie doll. . . . As I continued developing the underpainting, I made more changes. . . . I then worked over a month and a half painting this underpainting, rendering the values, sculpting the form. The highlights must be the thickest and must have the most detail to attain this appearance of volumetric relief. I do this using small brushes, creating thick impastos with great nuance. Once the underpainting was done I glazed color over it. . . . I use about 12 colors in any given painting, employing not only transparent layers but translucent and opaque layers as well. By putting these colors down in succession, suspended in oil, they give the painting an incredible sense of volume. After the major color layers have been laid on the canvas, I do a series of touch up layers, slightly altering tones with subtle glazes.9