About:David Overfield is a contemporary artist currently based in Fairmont, West Virginia. Overfield recieved his bachelors in Fine Arts from Fairmont State and studied the figure under the acclaimed painter Lynn Boggess. Overfield specializes in figurative art and the powerful transience of life, energy, and the human form. Overfield highlights the importance of the immediacy, energy, and vitality of his pieces and works to bridge the old mythic and heroic figures with contemporary processes. Overfield uses a process of scraping away wet paint to create his lines and layering washes of paint. Overfield explores gesture and minimalism to an advanced degree to produce sophisticated, moving, and dynamic pieces. Artist Statement:I paint powerful and expressive figures that would feel at home in both the ancient and contemporary world. My style is rooted in the passions of antiquity, while being refreshing and raw in its modernity. My figures are relics from a more heroic time - fragmented and mysterious. Energy and vitality are dear to me, so I craft works of immediacy that display a balance of precise control and gestural abandon. Devoid of ornamentation, they are instead simple and spontaneous; minimal, yet compelling. My work brings with it a bold and heroic presence, a one-of-a-kind and unique experience. Similarly, I feel honored to be a part of the age old tradition of figurative art. Collectors of my work partake in that venerated tradition as well. They too celebrate the primal yet divine nature of mankind, the potent and strange force of humanity. To learn more about Overfield check out his website at: https://www.derekoverfield.com/about.html The Process:Reflection: Overfields work is absolutely extraordinary. His movements and figures are so powerful. I enjoy watching his processes and how he builds up his figure. Overfield masterfully incorporates gesture and loose yet highly realistic painting. It is interesting, Overfield does pre-plan his work, and so his "spontaneity" is carefully posed rather than actually in the moment. I love his use of layering and minimalism. I want to try incorporating his technique of scraping away paint to build line as well as use more washes to build more texture and line. I have been using washes in my work and I'd like to build up and develop more technique with the application of washes. I additionally love how for some of Overfields work he depicts only gesture which is a fascinating parallel to be drawn. I did use some gestural markings with chalk in my last piece, however, I'd like to take a bit of Overfield and pull some parts of simply gesture into my pieces. Works Cited:
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Marina Abramović
“The function of the artist in a disturbed society is to give awareness of the universe, to ask the right questions, and to elevate the mind." - Abramović Nightsea Crossing (1981-1987) Heather Rose: An Account of 'The Artist is Present'In the atrium of MoMA, visitors were observing a woman in a long red dress sitting at a table. It was a blond wood table with blond wood chairs, as if it had come from IKEA. Opposite the woman in the red dress, a younger woman sat wearing a lightweight beige coat. The two women were gazing into each other’s eyes. Levin noticed white tape on the floor marking out a square. People rimmed this square. Some were standing, others were sitting cross-legged, and all of them were watching the two women at its center. Levin heard a small girl ask, “Mom, is that lady plastic?” “No, of course she’s not,” the mother replied in a hushed voice. “What is she, then?” the girl asked. “Mom? Mom?” The mother had no answer and her gaze did not leave the spectacle in front of her. Levin could see the child’s point. The woman in the red dress was like plastic. Her skin looked as if the floodlights had bleached her to alabaster. Suddenly, without any cue, the young woman got up and left the table. The woman in the long dress closed her eyes and bowed her head, but remained seated. After some moments a man sat down in the empty chair. The woman now raised her head and opened her eyes to look directly at him. The man had a crumpled face with untidy gray hair and a short hooked nose. He looked small opposite the woman. The two of them gazed into each other’s eyes. More than gazing, Levin thought. Staring. The woman did not smile. She hardly even blinked. She was entirely still.... read more Check out this Link to read more about the interactive piece 'The Artist is Present' 2010: https://news.artnet.com/art-world/marina-abramovic-inspired-novel-1425469 ThoughtsI love the idea of performance art. If I were to continue with my cinematography work, I would like to incorporate performance. I really like the idea of Abromovic's 'The Artist is Present' almost as literal way to "see into the eyes" and truly experience the artist. I think If I were to do performance it would have to be recorded and then incorporated into a video rather than in the moment presentation.
Mary Abbottb. 1921 Mary Abbot in her Studio c. 1950, photographer unknown Biographical Information:
Untitled, c. 1950, mixed media on paper, 18 x 24 in The Amazon/Dancers In The Jungle, C. 1990 , Oil and pastel on linen canvas, 13 ¾ x 10 ⅝ in The Women of Abstract Art: Helpful Links:More about Abbot's work: https://denverartmuseum.org/article/women-abstract-expressionism-artist-mary-abbott Examples: https://www.artsy.net/artist/mary-abbott Questions:1. After watching the video, what were some challenges that women in the New York art World of the 1950’s faced? What were some of the barriers? How could this affect the presentation and display of these women painters’ art? 2. Looking at Abbott’s work, what are some common elements and motifs that you see throughout her work? Does she use any expressionistic techniques? 3. How does Abbott’s work reflect nature? Does she effectively portray the feeling and emotion of this subject? Why or why not? Sources: denverartmuseum.org/article/women-abstract-expressionism-artist-mary-abbott www.huffingtonpost.com/diane-saxton/mary-abbott-quintessentia_b_1862702.html Portrait of François Boucher Gustaf Lundberg C. 1741 Drawing - pastel 65 cm x 50 cm Paris France An Academy study: A Seated Male Nude François Boucher Red Chalk 285 x 413 mm Paris. France For a higher definition Image you can go here: http://www.sothebys.com/en/auctions/ecatalogue/2015/old-master-british-drawings-l15040/lot.148.html Madam de Pompadour at Her Toilette Francois Boucher C. 1750 Oil on Canvas 81.2 x 64.9cm Fogg Art Museum, Harvard Notes:
Additional Links: https://www.khanacademy.org/humanities/monarchy-enlightenment/rococo/a/a-beginners-guide-to-rococo-art https://www.wikiart.org/en/francois-boucher/madame-de-pompadour-1756-1 Questions:
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