45) This presents a problem for painting however, because objects that are portrayed in the picture plane
remain flat and adhere to only one viewpoint and one angle of vision.
I wonder if, at the start of Kiaer's career, this was the crux of his turn toward disseminating both found and handmade objects in the exhibition space, therefore emphasizing the idea of a void waiting to be filled by the viewer, who composes a narrative thread out of the scattered elements that would have once been captives of the picture plane
Spatial depth and placement on the picture plane
is very important too.
Four aspects were isolated: Structuring the Schema, Organization of the Picture Plane
, Amount and Quality of Detail, and Repertoire and Quality of Mark-Making.
Painted on top of the allover pattern--bringing attention to the picture plane
as well as to the layered texture of canvas's surface--these forms also convincingly reside within the space described by the painting, as objects resting on the floor, steps, and platforms.
In looking at the composition we discuss what else is needed to fill the picture plane
After introducing the terms horizon line, vanishing point, guidelines, converging lines, and perspective, I demonstrated the fundamentals of creating the illusion of depth on a two-dimensional picture plane
Several of the assemblages show a tabletop view of collage in process, including the standard implements (rolls of tape, Post-it notes, magazines), at once literalizing Leo Steinberg's notion of the flatbed picture plane
and signaling a metaphorical perspective on the medium itself.
We are illusionist in our attempt to create the sensation of three-dimensionality on a flat, oftentimes white, picture plane
We laid the pencil (normally held at arm's length for sighting lines) directly on the photograph in order to show that a line at eye level is actually parallel to the bottom and top edge of the picture plane
Recalling the main arguments of Frankenthaler's 1989 MOMA retrospective, also curated by Elderfield, this exhibition emphasized the breathtaking pace of her progress in the '50s, beginning with Painted on 21st Street, 1950, a canvas that exploded the figure/ground binary that had structured her previous paintings, dispersing heterogeneous gestures across the picture plane
in a breathable meshwork.
In using the work of Caravaggio, I show how he, in his Baroque manner, used diagonals and foreshortening to bring viewers into the picture plane
and engaged us visually by leading us in and around the lights and darks.