2. Painting Machine Task
• To create your own painting machine out of found objects
and things around the house.
• To create a simple machine that paints for you that does
not involve your hands.
• Jackson Pollock was one of the first action painters in the
1950’s, it is now 2013 and I want you to experiment with
creating something that paints for you.
• Document the process of the painting machine in at least 6-
10 images and or video.
• Also photograph and in the paintings.
• You are to work in groups of 3 people and this should be a 3
hr task. At the end of the session you will demonstrate your
painting machine to the whole group.
27. Painting Machine Task
• To create your own painting machine out of found objects
and things around the house.
• To create a simple machine that paints for you that does
not involve your hands.
• Jackson Pollock was one of the first action painters in the
1950’s, it is now 2013 and I want you to experiment with
creating something that paints for you.
• Document the process of the painting machine in at least 6-
10 images and or video.
• Also photograph and in the paintings.
• You are to work in groups of 3 people and this should be a 3
hr task. At the end of the session you will demonstrate your
painting machine to the whole group.
In his brief, seven-year artistic career—cut short by his premature death in 1962—Yves Klein created a heterogeneous and critically complex body of work that anticipated much of the art of the succeeding decades, from Conceptual art to performance art. Although Klein began by creating monochrome canvases in the mid-1950s, he abandoned the specificity of the pictorial in favor of a conception of art as independent of any particular medium or technique. A postmodern artist ahead of his time, Klein conceived of art that was invisible, composed the Monotone Silence Symphony (SymphonieMonoton Silence), imagined an "air architecture," presented his actions in public, turned to photography, and commissioned "documentation" recording his more ephemeral works. His program focused less on the particular skill of the artist and more on the artist's ability to put forth a mythic presence generating works in every genre: "A painter has to create only one masterpiece—himself, constantly—and to become a kind of atomic battery, a kind of generator of constant radiation that impregnates the atmosphere with all of his pictorial presence, which remains fixed in space after he passes through it."[1]Anxious to break with all forms of expressionism, Klein had, practically from the outset of his career, "rejected the brush," which he felt was "too psychological," in favor of rollers, which were more "anonymous" and enabled him to "create a ‘distance' between [himself] and [his] canvases.[2] Between 1958 and 1960 he perfected a technique that allowed him to expand on this idea: he used nude models as "living brushes" (pinceauxvivants) that created marks and impressions under his supervision. The Anthropometries, as they would be branded by Klein's friend, the critic Pierre Restany, maintained Klein's insistent separation between the work and his own body, and also allowed him to revive the nude without resorting to traditional means of representation. Klein presented a demonstration of the technique at the GalerieInternationaled'ArtContemporain in Paris on March 9, 1960, attended by approximately one hundred guests. As musicians played Klein's Monotone Silence Symphony, the tuxedo-clad artist directed the actions of three nude models, who spread paint on their torsos and thighs and pressed or dragged their bodies on sheets of white paper. In addition to one "corporeal monochrome," the resulting paintings comprised both simple static impressions and dynamic traces of bodies in motion.MoreEnlargeYves KleinLarge Blue Anthropometry [ANT 105] [La grandeAnthropométriebleue (ANT 105)], ca. 1960 Dry pigment and synthetic resin on paper mounted on canvas280 x 428 cmGuggenheim Bilbao MuseoaDownloadBiography of Yves KleinOtrasobras del artista
Niki de Saint PhalleShooting Picture 1961
Many of Pinot-Gallizio's works were industrial paintings. Rather than a small image to be interpreted, these huge canvases were intended to cover a large area. The first of these was the cavern of anti-matter, prepared in 1957 after the formation of the SI. It was composed of 145 meter canvases which were painted by hand or with the aid of spray guns and machines using resins invented by Pinot-Gallizio himself. It was displayed at the Galerie René Drouin in 1959, draped around the gallery and sold by the meter.
Gallizio produces painting by the meter.Not a reproduction of the Mona Lisa stretched across fifty meters of wallpaper. No, his painting by the meter is original, its reproduction is forbidden, its process patented.Its cost price beats all competition. Its sale price too: Gallizio is honest.His production is unlimited. No more speculators on canvases: if you have money to invest, be content to buy shares in the Suez Canal.His sales take place preferably outdoors. Also in small shops and large department stores: Gallizio dislikes galleries.It is hard to grasp all at once the myriad advantages of this astonishing invention. At random: no more problems of size -- the canvas is cut before the eyes of the satisfied customer; no more bad periods -- because of its shrewd mixture of chance and mechanics, the inspiration for industrial painting never defaults; no more metaphysical themes -- industrial painting won't sustain them; no more doubtful reproductions of eternal masterpieces; no more gala openings.And, of course, soon no more painters, even it Italy.Obviously one can laugh, and classify this phase of art as an inoffensive joke, or as bad taste. Or get indignant in the name of eternal values. One can pretend to believe that easel painting, which isn't doing so well these days, won't get any worse.The progressive domination of nature is the history of the disappearance of certain problems, removed from "artistic" -- occasional, unique -- practice to massive diffusion in the public domain, until finally they tend even to lose any economic value.
Svayambh is a forty-ton train-like mass that slowly creeps its way through the arches of the galleries, smearing and discarding its excess as it travels along a carefully positioned track. I can’t help but think of Rachel Whiteread’s sculptures that collectively toy with positive forms constructed from negative space. The impenetrable, innately fragile, blood red block is at once captivating and unsettling.
Another key piece, the most audacious and exhilarating of the exhibition, is Shooting into the Corner, which appropriates an archaic weapon of war in a shocking, humorous, and dynamic artwork. Here the same deep-red composition used in Svayambh is systematically fired out of a canon, from one large empty white gallery space into another smaller gallery. As the molten red mass makes contact (adding to an ever growing pile of used pellets), the walls of the gallery become a canvas, a surface with which to play. Here, with lumps of red gloop (surely referencing Richard Serra, amongst others), Kapoor presents a new breed of action painting.
Her practice involves the production of painting machines. Most recent large-scale projects have included Rising Main at the Bonnington Gallery, Nottingham and Flow and Return at the Lowry, Manchester. Natasha was the winner of the Celeste Art Prize in 2006. The Painting Machines (1998 – 2005)use a motor and timer to lower and raise a canvas into and out of a vat of white emulsion paint. With each dip a new layer of paint adheres to the surface of the canvas. Although products of a machine no two paintings have ever been the same.
The more recent worksOver Flow (2006) and Flow and Return (2006) use the structural practicalities of domestic plumbing. Operating on a timer, paint is pumped through a system of copper pipes to a hidden reservoir within an aluminium panel. As the reservoir fills, the paint overflows through holes cut in the aluminium surface. Any residual paint is collected and fed back to start the journey again.
Switched on and off at short intervals these works fill the space with the sound and smell of dripping, wet paint. Over time, through evaporation and unpredictable changes in the paints consistency – bumps, ridges and stalactites form as layer after thin layer of paint accumulates.
The works stop when the systems clog or run out of paint. In preparation for installation they are rigorously designed but in their realisation things are constantly changing. The work is unpredictable yet it is within this unpredictability that my true fascination lays
Roxy paine is an artist that has used a machine to create his artwork. PMU (Painting Manufacturing Unit), from 1999-2000, involves a metal painting arm that is programmed to expel white paint onto a canvas according to specific instructions programmed into the machine. The resulting works often can evoke landscapes or possibly layers of geological sediment.
contraband (1969)contraband (1969)its pigmented latex.lyndabenglisive found an artist called lyndabenglis, although her work isnt paint i feel it would still work perfectly in my exhibition.her website is here; http://www.cheimread.com/artists/lynda-benglis/#
