Instructional Art. Scores for Visual Arts

Q

Give me a few examples, where, in painting or another fine art medium, the instructions were used like score in music, thus separating the role of composer and performer. The cases where the composer and performer were the same person are also OK.

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In the realm of painting and fine art, there have been several notable instances where the concept of an “instruction” or “score” was used, akin to the distinction between composer and performer in music. This approach is particularly prevalent in conceptual and performance art, where the idea or concept behind the work often takes precedence over the physical execution.

Here are a few examples:

Sol LeWitt’s Wall Drawings: Sol LeWitt was a pioneer in this approach. He created “wall drawings” where he provided a set of instructions for others to execute. These instructions acted like a musical score, and the actual drawing – done by others following his guidelines – was like a performance. This separation emphasized the idea over the physical craft.
Yoko Ono’s “Grapefruit”: Yoko Ono’s book “Grapefruit” is a classic example of instructional art. It contains a series of “event scores” which are essentially instructions for art pieces. The scores are poetic, open-ended, and often require the participation of the audience or reader to complete the work.
John Cage’s Visual Art: Known predominantly for his experimental music, John Cage also applied his ideas about chance and indeterminacy to visual art. He created works that involved processes akin to musical scores, where the “performance” involved executing these processes, sometimes leading to unpredictable results.
Fluxus Movement: This art movement, which included artists like George Maciunas and Nam June Paik, frequently used instructional scores in their work. Fluxus pieces often blurred the line between life and art and relied on simple, everyday actions as art, guided by sets of instructions.
Do It Project by Hans Ulrich Obrist: This ongoing project involves artists submitting instructions for art, which can then be executed by others. It’s a clear example of separating the ‘composer’ (the artist who creates the instructions) and the ‘performer’ (the individual who executes the instructions).

In these cases, even when the composer and performer are the same, the conceptual division remains significant, emphasizing the process and idea over the traditional craftsmanship of the artist.

Q

Give me example from an earlier art history.

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Delving into earlier art history, the use of instructions or scores akin to the separation of composer and performer in music is less common, as this concept is primarily a feature of modern and contemporary art. However, there are instances in earlier art history where artists followed certain guidelines, instructions, or established conventions, which can be seen as a precursor to this idea. Here are a few examples:

Medieval and Renaissance Workshop Practices: During these periods, it was common for master artists to run workshops with several apprentices. The master would often create detailed sketches or plans for a painting, and the apprentices would execute large portions of the work under these guidelines. This practice can be likened to a composer creating a score for performers to execute.
Iconography in Religious Art: In the Byzantine, Medieval, and early Renaissance periods, religious art was often created following strict iconographic guidelines. These guidelines detailed how certain figures and scenes should be depicted, almost like a set of instructions or a score. Artists, while skilled, were more like performers executing these predetermined guidelines.
Pattern Books in Gothic Architecture: During the Gothic era, master builders used pattern books that contained designs and templates for architectural elements like arches, columns, and window tracery. These books served as a set of instructions or guides for craftsmen to follow, ensuring consistency and adherence to the Gothic style across different regions.
Albrecht Dürer’s Manuals on Measurement and Proportion: Dürer, a Renaissance artist, wrote and illustrated manuals on artistic techniques, such as “Underweysung der Messung” (Instruction in Measurement). These manuals provided detailed instructions on creating art, particularly in terms of geometry and proportion, and were used by other artists as guides for their own work.
Japanese Ukiyo-e Woodblock Prints: In this tradition, the creation of a print involved several craftsmen: the artist who designed the print, the carver who carved the woodblocks, and the printer who printed the final image. The artist’s design acted as a ‘score,’ which the carvers and printers ‘performed’ to produce the final print.

While these examples do not exactly mirror the composer-performer relationship as understood in contemporary conceptual art, they do show historical instances where the creation of art involved following specific guidelines or instructions, separating the design and execution phases.

Q

Could you consider the series of almost identical sunflowers of Van Gogh?

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The series of Sunflowers paintings by Vincent van Gogh is an interesting case to consider in the context of your question about the separation of roles akin to composer and performer in music. While van Gogh’s approach doesn’t exactly fit the modern concept of instructional art or the division between the creation of an idea (composer) and its execution (performer), the series does offer a glimpse into how repetition and variation can play a role similar to musical variations in visual art.

Van Gogh created several paintings of sunflowers during his career, with the most famous ones painted during his time in Arles, France, between 1888 and 1889. These paintings, while similar in subject, each possess unique qualities — differences in the number of flowers, arrangement, and tone. Here are some points to consider:

Variation on a Theme: Like a composer creating variations on a musical theme, van Gogh explored different aspects of the same subject — sunflowers. Each painting, while recognizable as part of the series, has its own mood, composition, and color palette.
Artistic Exploration: The Sunflowers series can be seen as van Gogh’s personal exploration of certain artistic elements such as color, light, and texture. He was “composing” each piece with a slightly different “score,” experimenting with how changes in these elements affected the overall impact of the work.
Repetition and Mastery: The repeated painting of sunflowers allowed van Gogh to delve deeply into the subject, much like a musician practices and performs variations of a piece to master it. This repetition was not about creating identical copies, but rather about exploring and expressing the subject in varied ways.
Emotional and Personal Expression: Each Sunflowers painting reflects van Gogh’s emotional and psychological state at the time of painting. This personal expression is akin to a performer imbuing a musical piece with their own interpretation and emotion.

In van Gogh’s case, he is both the composer and performer, creating the idea and executing it himself. The Sunflowers series doesn’t involve a set of instructions for others to follow, but it does demonstrate the idea of variations on a theme, which is a concept closely related to musical composition and performance.

Q

If it involved a set of instructions, which Van Gogh had been giving to himself to make these paintings, what could these instructions be?

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If Vincent van Gogh had created a set of self-instructions for painting his series of Sunflowers, these instructions might have focused on key elements that were central to his artistic approach and the specific characteristics he wanted to explore in the series. Let’s imagine what these instructions could have looked like:

Subject: Choose sunflowers as the central subject. Focus on the natural and varied states of the flowers, from full bloom to wilting.
Palette: Use a vibrant and warm color palette. Emphasize yellows, oranges, and browns, with contrasts of blue and green. Experiment with different shades and tones to express mood and atmosphere.
Composition: Arrange the sunflowers in a vase. Experiment with different numbers of flowers and positions. Some compositions should feel full and lush, others sparse or even wilting, to convey different emotional tones.
Brushwork: Employ bold, impasto brushstrokes to create texture and depth. Use these strokes to convey the vibrancy and energy of the flowers.
Lighting: Experiment with the effect of light on the flowers. Consider how different lighting conditions alter the mood of the painting.
Emotional Expression: Infuse each painting with emotional content. Whether it’s a sense of joy, melancholy, or something else, let your current mood and feelings guide the painting process.
Style Variations: While keeping the subject consistent, vary your stylistic approach in each painting. Some may be more realistic, others more abstract or expressive.
Background and Context: Experiment with different backgrounds. Consider how the background color and treatment interact with the subject to create harmony or tension.
Scale and Perspective: Vary the scale and perspective of the sunflowers. Some paintings might focus on a close-up of the flowers, while others take a step back for a wider view.
Reflection and Iteration: After each painting, reflect on the process and outcome. Consider what elements were most successful and what could be altered in the next iteration.

These imagined instructions encapsulate some of the key elements that van Gogh might have considered important in his exploration of the Sunflowers theme. They provide a framework for variation and experimentation, much like a musical score offers a structure within which a musician can interpret and express.

Q

What other, similar to the above, examples from art history could you bring?

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Considering art history, there are other examples where artists have approached their work with a set of self-imposed instructions or guidelines, akin to a composer creating a score. These artists often explored variations on a theme, much like van Gogh with his Sunflowers. Here are a few notable examples:

Claude Monet’s ‘Water Lilies’ Series: Monet painted approximately 250 oil paintings of the water lilies in his flower garden at Giverny. His self-imposed ‘instructions’ might have included capturing the pond’s natural beauty under varying light conditions and different times of the day, focusing on the interplay of light, shadow, and reflection, and experimenting with color and brushstroke techniques to capture the essence of the scene.
Pablo Picasso’s ‘Bull’ Series: Picasso’s series of eleven lithographs of a bull, created in late 1945, showcases a progressive simplification and abstraction of the subject. His guidelines could have involved systematically reducing the bull’s form to its most basic elements, exploring how abstraction affects the representation and essence of the subject.
Giorgio Morandi’s Still Lifes: Morandi was known for his simple yet deeply contemplative still lifes. His self-instructions might have included focusing on mundane objects (like bottles and vases), experimenting with subtle variations in composition, light, and color, and seeking to evoke tranquility and the essence of the objects through minimalism.
Joseph Albers’ ‘Homage to the Square’: Albers explored color theory through hundreds of paintings in his “Homage to the Square” series. His guidelines likely involved using a consistent square shape to systematically study and demonstrate the effects of color interaction and perception.
Mark Rothko’s Color Field Paintings: Rothko’s large, abstract works featuring soft, rectangular bands of color could have followed self-imposed instructions focusing on color harmony, the emotional impact of color, and the creation of a meditative or transcendent experience for the viewer.
Andy Warhol’s ‘Marilyn’ Series: Warhol’s series of Marilyn Monroe portraits following her death could be seen as exploring the theme of celebrity and tragedy. His ‘instructions’ might have included using a recognizable image of Marilyn, repeating it with variations in color and detail, and employing his signature screen-printing technique to comment on mass production and media.

In each of these cases, the artist set guidelines or a theme to explore in-depth, much like van Gogh did with his Sunflowers. The repeated exploration of a subject or theme allowed these artists to delve deeply into certain aesthetic, emotional, or conceptual concerns, much like variations in a musical composition.

Q

Describe to me the Do It Project by Hans Ulrich Obrist

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The “Do It” project, conceived by curator Hans Ulrich Obrist, is a pioneering and unique venture in the world of contemporary art, emphasizing the process and concept over the final product. The project began in 1993 and represents a radical departure from traditional exhibition formats. Here’s an overview of its key aspects:

Conceptual Foundation: The core idea behind “Do It” is the creation of art based on written instructions by artists. These instructions are open-ended, leaving room for interpretation and variation in their execution.
Collaborative and Evolving: The project involves a diverse range of artists from around the world, each contributing their set of instructions. The list of participating artists is extensive and includes renowned names as well as emerging talents.
Dynamic and Interactive: “Do It” is unique in that it is not a static collection of works. Instead, it is an evolving series of instructions that can be interpreted and executed differently each time, leading to a myriad of outcomes. This makes each iteration of “Do It” unique.
Global and Accessible: The project has been exhibited globally in various venues, including museums, galleries, and public spaces. Its flexible and open-ended nature allows it to adapt to different cultural and spatial contexts.
Democratization of Art: One of the most significant aspects of “Do It” is its democratizing effect. By emphasizing instructions over specific, physical works, the project blurs the line between artist and viewer. Anyone who follows the instructions and creates an artwork becomes a participant in the artistic process.
Reflection of Conceptual Art: “Do It” is deeply rooted in the traditions of conceptual art, where the idea or concept behind the work is more important than the physical object. It draws inspiration from the Fluxus movement and artists like Sol LeWitt, who were known for their emphasis on ideas and instructions in art.
Educational Aspect: The project often has an educational component, where workshops and interactive sessions encourage participants, including the general public and students, to engage with the instructions and create their own interpretations of the artworks.
Documentation and Publication: The instructions and outcomes of “Do It” have been documented and published, adding a scholarly and archival dimension to the project. This documentation serves as a resource for understanding the diverse interpretations and executions of the instructions.

In summary, Hans Ulrich Obrist’s “Do It” project is a dynamic, collaborative, and global art project that challenges traditional notions of authorship, creativity, and the exhibition format, placing the power of artistic creation in the hands of anyone willing to engage with an artist’s instructions.

Q

Was any artist or curator attempting to conceptualize copying somebody else’s artworks or paintings as an alternative performance of a score?

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Yes, the concept of copying or reinterpreting existing artworks as an alternative performance of a score has been explored in the art world, both by artists and curators. This approach is often seen in the context of conceptual and performance art, where the act of replication or reinterpretation is used to explore themes like authorship, originality, and the nature of art itself. Here are a few notable examples:

Sherrie Levine’s Re-photography: Levine is famous for her work in the 1980s where she re-photographed famous photographs by other artists, such as Walker Evans. Her work raises questions about originality and authorship. In this sense, Levine’s re-photography can be seen as performing the ‘score’ of the original photograph, much like a musician interprets a piece of music.
Elaine Sturtevant’s Replications: Sturtevant was known for her replicas of works by other famous artists like Andy Warhol and Roy Lichtenstein. Her practice wasn’t just about copying; it was a sophisticated commentary on the production, circulation, and consumption of images in contemporary art. In a way, Sturtevant ‘performed’ the artworks of others, raising questions about creativity and the meaning of originality.
Mike Bidlo’s Not-Warhol, Not-Pollock: Artist Mike Bidlo created exact replicas of famous paintings by artists such as Andy Warhol and Jackson Pollock. His work directly engages with the idea of copying as a form of artistic expression, challenging the viewer to reconsider the value and meaning of the original work.
Yasumasa Morimura’s Self-Portraits: Morimura’s work involves inserting his own image into famous historical paintings or photographs. This act of re-creation and reinterpretation is like performing an existing score, where the original image provides a framework for Morimura’s conceptual explorations.
Richard Prince’s Re-photography: Prince is another artist who re-photographed advertisements and other images, re-contextualizing them as art. His work interrogates notions of ownership and originality in the age of mass reproduction.
Appropriation Art Movement: This art movement, particularly active in the 1980s, involved artists using pre-existing objects or images in new contexts or combinations. Artists like Barbara Kruger and Jeff Koons are notable figures in this movement. The act of appropriation can be likened to performing a score, where the original artwork is interpreted or transformed into a new context.

In each of these cases, the artists used existing artworks much like a score to be performed or interpreted. This approach challenges traditional views of art, proposing that the act of replication or reinterpretation can be as creatively significant as the creation of an original work.

Q

Would you consider a model or a natural landscape to be an instruction, a score for a painting?

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Considering a model or a natural landscape as an instruction or a score for a painting opens up an intriguing perspective on the creative process. This analogy aligns with the broader understanding of instructions or scores not just as written directives but as any form of input that guides the creation of an artwork. Here’s how this concept might apply:

Model as Instruction

Direct Interpretation: A model, whether a person, object, or arrangement for a still life, can be seen as providing a “score” for the artist. The physical presence, pose, lighting, and textures offer a set of visual cues or instructions the artist interprets through their medium.
Creative License: Just as musicians might interpret a score with personal flair or emotion, artists may choose to follow the “instructions” provided by the model closely or use them as a departure point for more abstract or expressive works.

Natural Landscape as Score

Observational Framework: A landscape offers a vast array of visual instructions — colors, forms, light, and spatial arrangements. The artist’s role is to interpret these elements, deciding what to include, omit, or emphasize.
Seasonal and Temporal Variations: Just as a score can be performed in various styles or tempos, the changing aspects of a landscape (due to seasons, time of day, weather) provide different “versions” of the score for the artist to interpret.

Conceptual Alignment

Interpretation and Expression: The analogy supports the idea that the act of painting (or any art-making) involves interpreting a set of given parameters — in these cases, the visual and spatial information provided by a model or landscape. The artist’s decisions on how to represent these instructions mirror a musician’s interpretative choices.
Variability of Outcome: Similar to how different performances of the same musical score can result in varied experiences, different artists will interpret the same model or landscape in unique ways, influenced by their personal style, technique, and emotional state.

Conclusion

Viewing models and landscapes as instructions or scores for paintings enriches our understanding of the creative process. It highlights the interpretive act at the heart of artistic creation, underscoring the similarities between visual and performing arts. This perspective fosters a deeper appreciation for the nuances of both observation and expression, recognizing the dynamic relationship between artist, subject, and medium.