Shoichi Ida by Ursula T.

Biography

Shoichi Ida is a Kyoto based artist who studied at the Oil Painting Department of Kyoto Municipal University of Art. Living from 1941-2006, he worked primarily throughout the 50 s -70s, but the images here are from the 1989 and 1992. Ida was influenced by three main movements in Japan - anti-art ,Gutai, and Mono-ha. Anti art and Gutai were prevalent in the 50s and 60s, while mono ha came to the forefront in the 70s.

Form/presentation

Formal Charictaristics

Primarily central

Minimal amount of lines to achieve image

Uses color to show image

Familiar and new at the same time

Minimal color palette

Personal thoughts

See what is not there

Represents an idea rather than a physical object

Final - Time( uses color, not lines to show, apparently goes on forever.

Personal response

I chose this artist due to a fun name and relative ease to research. I had tried to look at some others, but I found that they did not interest me as much or I struggled to find anything. For me, I find trying to turn an idea into a picture or a written piece is extremely difficult. It requires a complete breaking of the traditional art styles. In these, color is placed after textures and lines for the most part. What Ida wants the viewer to see may not be the image itself, but the image those shapes form. There is also a play of what can be clearly seen and what is blurry. In the second image, There are faint lines in the background that form to look like a diamond. The image may represent a concept that may look clear cut at first, but is actually incredibly blurry once questioned.

Between air and Water No.1

Well From Karma-Trap in Echo #12

Between Air and Water No.9

Well from Karma-Echo-RedThe second is Well from Karma-Trap in Echo #2. 

Martha Glowacki

Martha Glowacki is a current artist from Milwaukee whose work is inspired by the natural sciences, the power of objects and artifacts, and the psychology of collecting. From a young age, she was inspired by the skeletons in her local museums. Her art is made up of scientific illustrations. Her art is a collection of woodwork, metalwork, etching, painting and taxidermy. She has an antique aesthetic. In addition to her more traditional work, Glowacki puts on extraordinary displays of objects she acquires. For example, she has a collection of cabinets filled with odds and ends and these are one of her works of art. Display is important in her work. What interests me is her Starry Transit installation at the Madison Museum of Contemporary Art. This installation is inspired by planetarium experiments which showed that birds rely on star positions for their migration patterns. I am attracted to the antique aesthetic of her work, and her prints showing illustrations of natural sciences.

Post By Emma Draisin

Shoichi Ida

Shoichi Ida was born in Kyoto, Japan in 1941. He passed away in 2006. Shoichi was a printmaker and paper artist. Since the 1960’s, he focused on a concept which he called, The Surface is the Between. He states, about his concept, that “The surface can be the paper or canvas or whatever; it is the point of contact between me and the ideas I am working on. Through my work I try to make invisible phenomena visible by showing the point of contact.”  He told Constance Lewallen in a 1989 interview that he was moved to begin making prints in the early 1960s when a stone left an impression on a piece of paper in his studio. He had done a lot of work in Japan, though he had also done five etching projects with Crown Point Press in 1984 through 1992. I choose Shoichi because I like the aesthetic of his work. A lot of his prints are very clean and organized yet messy at the same time. There is a lot of hand drawn lines that draw me in and is something that I try to use in my work.

http://www.crownpoint.com/artists/shoichi-ida/biographical-summary

http://www.myjapanesehanga.com/home/artists/ida-shoichi-1941-2006-1

Here is some of his work:

Lynda Benglis

Tiffany Yuen 

October 9, 2016 

Benglis is widely known for her sculptures, although she has done printmaking, cast paper, painting, and magazine advertisements, to name a few.  Her work has been labeled as expressionist, feminist, exhibitionist, pop, funk, minimalist, and post-minimalist. She is always experimenting with new materials. Many people describe her work as, “curious hybrids between Greenbergian abstraction and a sort of manic post-minimalism unafraid of chaos or quick movement.” 

As a child, Benglis did not have a lot of experience with art, but she got started because of her mother. Benglis considered herself to be an inventor when she was a child. She saw her mother’s work and she was very curious; she developed a growing passion for art. She started to make things for sticks, sand, and mounds of clay. She learned how to make sculptures just by doing it herself. He father owned a business in building materials, which became the basis of her work. She never really liked working with flat surfaces and canvases; she poured paint directly on the floor so the corners of the room would shape her work.

When she started working as a teenager, she felt very underrepresented in the workplace. At the time, men were mostly making art, going to school, and running businesses. This led her to create some controversial feminist magazine advertisements. She posed nude for one her her pieces to stand up against male domination. Her work represented the sexual and cultural power of feminism.  Now, Benglis believes that men do not dominate the art world. She says, “There are so many women artists since I began and I really think of both energy and talent as coming from both men and women equally. Women feel their bodies differently from men because they have different resources.”

Pop art and minimalism were two art forms that were starting to dominate in the 1960s and 1970s, just when she was starting to get noticed for her work. Many of her art pieces are labeled as minimalism and post-minimalist.

Benglis works with a range of material -- fabric, wire mesh, bronze, steel, cast aluminum, polyurethane, beeswax, glitter, and even handmade paper. The materials and the processes that she uses to make the art shows in her final piece. If she was using wax, you would see the “pouring” and the “spilling” of the wax. As she progressed in her artwork, the spills turned to mounds of lava-like sculptures. Benglis says that she does not like working on a blank, flat canvas. She prefers to pour wax or other materials directly on the floor; the art shapes itself, so you can sense the true form and texture of the material. Benglis treats art as an experiment, and you can see the risks that she is taking in her work. She works in a carefree way. Her work inspired many modern artists like Cindy Sherman and Rachel Harrison.

Benglis’ work is a representation of her inner feelings. The magazine ads she did represent the way she feels about women in the workplace, and about how men were very dominant in the art world. The carefreeness of her personality is reflected in her work.

I chose this artist because I was drawn to the range of colors and overlapping quality of her work. The pieces themselves have a personality, especially her sculptures; they look like they are still moving and forming. I liked how carefree she was with her work and I liked the style that she used to accomplish the outcome of the artwork.

I would like to work in the way she does, and I want to experiment more. Benglis saw art in everyday materials, like glitter, mesh, clay, and wax. I want to get more hands on in my art and be more engaged in the artistic process. In most of her pieces, a little bit of her personality is shown in the piece. I would also like to make art that I feel a personal connection to.

Artwork by Lynda Benglis:

Art Installation of Lynda Benglis: October 1, 2010 until January 9, 2011

Tandem Series #28, 1988.

Relief, Hand Painting (Watercolor), Monoprint;

38.5 by 24.5 inches.

Tandem Series #14, 1988

Relief, Hand Painting (Watercolor), Monoprint;

38.5 by 24.5 inches.

Contraband, 1969.

Minimalism, Abstract

Tandem Series #35, 1988.

Style: Relief, Hand Painting (Watercolor), Monoprint;

38.5 by 24.5 inches.

Tandem Series #33, 1988.

Relief, Hand Painting (Watercolor), Monoprint;

38.5 by 24.5 inches.

Galisteo, 2012.

Handmade paper, paint, shellac and phosphorescence;

24 3/4 x 25 1/8 x 6 inches.

Links:

1. http://tandempress.wisc.edu/?project=lynda-benglis
2. http://www.interviewmagazine.com/art/lynda-benglis/#page2
3. http://www.aaa.si.edu/collections/interviews/oral-history-interview-lynda-benglis-15741
4. https://en.wikipedia.org/wiki/Lynda_Benglis#Theory
5. http://www.dazeddigital.com/artsandculture/article/23484/1/lynda-benglis
6. http://www.theartstory.org/artist-benglis-lynda.htm

David True

David True is an American painter who lives in New York City. He is also a teacher at Cooper Union, an art institution. He was born in Marietta, Ohio in 1942. He attended Ohio University and received both a BFA and MFA during his years there. His career took off when his work was included in the New Image Painting exhibition at the Whitney Museum of American Art.

David True mostly painted human images during his career, but in the 80s, he transitioned the nature of his subjects. He enjoyed painting the parts of the body such as the eyes. Later in his career, he found nature to be very interesting. In some of his paintings, like the Zen of Alarm, he used materials like acrylic and ink to portray surrealism in his work. He also worked on canvas with water-based paint. Apart from other young artists, True used recognizable images, with bold and simple shapes. This is evident in many of his pieces. 

What I find interesting about David True is that he claims his body has been inhabited by ghost, who determines the type of art. In an interview, he explained this along with other information about his inspirations. He identified his greatest hero as Giorgio de Chirico. He is fond of him because he invented surrealism, a 20^th century art movement, which allowed the creative potential of unconscious minds. An example of the type of art is the juxtaposition of images. David True really believed in the “power of the unconscious process.”[1] He claims that people disregard the unconscious mind, but he believes it has great significance.

I like his work because it is simple yet intriguing. When I look at some of his pieces, I really have to look and think about what the piece actually is. I also really in enjoy the light colors he used is some of his new pieces. I like the balance of abstract and real objects.

Sources: 

http://cooper.edu/art/people/david-true

https://en.wikipedia.org/wiki/David_True

http://articlejournal.net/2008/01/10/a-true-story/

http://www.davidtrue.com/?page_id=4

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[1] http://articlejournal.net/2008/01/10/a-true-story/

Yunhee Min

Yunhee Min was born in 1964 in Seoul, Korea and now works and lives in Los Angeles. In 1991 she studied painting at the Art Center College of Design in Pasadena California. After that she moved to Germany to study, and then later moved back to California. In order to support herself financially she began working in Hollywood as part of the production crew, painting sets that were up to 20 feet tall and 50-60 feet wide. While she was working in Hollywood she also began exhibiting and getting more of her own paintings seen. 

Her paintings are focused on "exploring ...possibilities in abstraction." Min, through her abstraction tries to make her paintings seem like objects themselves, rather than them simply holding objects. She uses her abstract style to do this, focusing less on composition (the placement of certain elements) and more on color and color gradients.

For me, one of the most interesting things about Yunhee Min’s paintings are the paints she uses. Her preferred paints are house paints, and not only that but mistints. When someone goes to a paint store to buy house paint, they often get custom paints made to match various aspects of the room they're painting. If for some reason a person is unsatisfied with that particular mix and returns it, they are placed on a special “mistints” shelf and are considerably marked down. For the majority of her art pieces Min uses these mistints claiming that there was "something seductive about their status being rejected colors” and about “choosing those that were not chosen”.

• She often uses interesting materials and tools such as squeegees and sprayers. 
• Her primary focuses are "material presence and optical effects, physical scale and palette"

Movements (Swell 2)--Acrylic on Canvas

Untitled--Acrylic on Canvas

Luminaire Delirium--fluorescent lights,

steel, ballasts, electrical wires and power cord, paint

Events in Dense Fog 1 55”x48”--Painting

Attraction 2--Monotype Print

I chose Yunhee Min as my artist because I really love how her art evokes so much emotion in the viewer without throwing a specific emotion in the viewers face. I also love how each painting has some aspect that could be considered a mistake, but in these paintings and prints, they come together in such a beautiful way.

In my work I love making things seem kind of messy but still held together and I think that Min does this really well. Her paintings may seem to have no rhyme or reason, but somehow each aspect of her paintings seem like they belong and fit together.  

http://www.artspace.com/yunhee-min

https://www.vielmetter.com/artists/yunhee-min/biography.html

http://www.aurobora.com/yunhee-min/

https://www.youtube.com/watch?v=940FsxvetrU