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California State University, Northridge
SUBURBAN OBJECTS
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An abstract submitted in partial satisfaction of the
requirements for the degree of Master of Arts in
Art
by
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Joanne Julian
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·January, 1973
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The abstract of Joanne Julian is approved:
California State University, Northridge
January, 1973
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TABLE OF CONTENTS
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.• .• • • .• . 1
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DEVELOPMENT OF THEME • • •
• •
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.. • . . . • • • . • . . .3
MATERIALS AND TECHNIQUES
CONCLUSION • • •
. . . . . . . ... ... .. .. . • • . 5
. . . . . . . .. . . . . . . . . . • • • • 6
PLATES • • • • •
STATEr·1ENT OF PURPOSE •
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ABSTRACT
SUBURB~~
OBJECTS
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by
Joanne Julian
r1aster of Arts in Art
January, .1973
STATEt4ENT OF PURPOSE
This series of dra\'lings and prints constitutes a development of
several personal, figurative images.
What the work attempts to do is
bring to the viewer a different look at some commonplace objects, and
to exchange their vulgarity for pride.
Although they are banal ob-
jects, these images were chosen because they have become meaningful
and indicative of my life in suburbia.
Most of the images were
chi 1dhood objects that were renewed to me. through newspapers, magazines and adver·tisements.
DEVEL0Pt4ENT OF THH1E
I made some stipulations about the subject matter.
dra\'li ng and print would contain a figurative image.
image would be repeated within that picture.
Second, each
Third, in each drawing
and print these repeated images \'lould work as a unit.
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First, each
images were used to fonn assymetrica1 compositions.
Fourth, these
Fifth, the
I images wou 1d have comp 1ementary surfaces, for examp 1e, meta 1 and
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muscle (figure 6); sandpaper and vapor (figure 3),
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Finally and most
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importantly, each image would be drawn in an environment other than
its norma 1 one-one that viol a ted or changed the meaning of that image.
This environmental change was probably one of the most noticeable
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, aspects of these works.
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l objects
The unconventional juxtaposition of these
attempted to make them appear
bizat~re
or l'lhimsical.
In
figure 3, for example, sandpaper clouds are fonihld in tile image of a
train; they are solid, have weight, and are placed at the bottom of
the picture.
They are linked together with nuts and bolts.
The
clouds are not light, but heavy, and they balance on a single thin
graphite line that is not likely to support them.
Another example
of the object juxtaposed in an unusual environment were metal cookies
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(figure 6) that float at the top and edge of a large white space.
II These animal crackers are bronze and silver and are wrapped in
I stringy elastic muscle fiber. Despite their density, I intended to
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make them appear quite llloyant and float them right out of the picture.
I A third example was an anti-syphon valve salad (figure 9}. Metal
I sprinkler valves are to'Ssed carelessly into a glass bowl, an unlikely
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place for such crude hardware.
/ say:
Instructions at the top of the page
.. Combine first four ingredients.
well.
Pour over oil mixture.
35 min.
Serve chilled.
Break eggs over salad.
Toss well.
Toss again.
Toss
Refridgerate for at least
Tos ••• 11
A final example was
I a lithograph of potted wilted hose plants with nozzles attached (figl ure
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Not only are the hoses out of shape and place, but so is a
sign on a stand that reads,
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Your Choice, 99¢. 11
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----------------------MATERIALS AND TECHNIQUES
The fi rs t five images:
By the development of
dolls or some Rorterhouse Steaks? 11
With this technique I have tried
to persuade the viewer that these objects are precious i terns and
have more value in the art work than around the house.
I used traditional materials to make these household imagesgraphite and colored pens and pencils on Reeves and Arches paper.
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also glued on sandpaper and metallic surfaces .
...
The remainder of these ten images could be called 11 Working
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drawings... They are nozzles, sprinklers, salad, flowerpots, and a
turkey dinner.
I made them like layout plans because I saw the
value of something in a working stage.
These were drawn with a
looser, relaxed attitude using different materials than in the first
five images.
I used black crayon which produced a fat, casual and
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polished and refined drawings.
This working method seemed to be
more beneficial and productive for me; it made sense to think out my
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images in this manner as I worked.
these
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Even this casual technique gave
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Builder•s Emporium Specials 11 unique importance and elegance
because they attempted to appear as plans for something on a monumen-j
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ta 1 seale.
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I chose blueprints as one printing media for three reasons.
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First, it \'las a reasonable printing method related to a plan or
working dra\'Jing, as that is its :commercial purpose.
Second, the
end product looked crisp and spontaneous, but relaxed like the dra\'1ings. Third, it was a new and experimental printing process for me.
Other printing processes, 1i thography and serigraphy were also
used to describe some images.
Each process was used because it
seemed to be the most suitable for that particular image.
raphy was used in figure 10 and figure
14.
Lithog-
Drawings of these images
could be directly transferred to the lithographic stone using lithagraphic crayon rather than a common wax crayon.
The hand coloring
could be accomplished the same way on a print as on the previous
drawing.
Figure 8 is a serigraph.
Serigraphy, silk screen printing,
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seemed to be the best way to achieve a smooth gradation of blended
colors in the ink printed on an aluminum surface.
The correct
printing process and the printing itself was important, but less so
than the total impact of the completed image.
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CONCLUSION
In singling out, enlarging, rendering meticulously, creating
plans for and juxtaposing these images, I have tried to change
their meaning, identity and reputation.
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Hence, they may now be
accepted with some importance as art objects.
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Figure 1.
Floating
~lountain
Train.
1972.
Drawing.
18 x 24 11 ,
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Figure 3. · Cloud Train.
Figure 4.
Clouds.
1972.
1972.
Drawing.
Blueprint.
24 x 36 11 •
24 x 36 11 •
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Figure 5.
Paperdolls.
1972.
Drawing.
Figure 6.
Floating Metal Cookies.
1972.
24 x 36 11 •
Drawing.
24 x 36 11 •
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Drawing • . 30 x 40 11 •
figure 7.
Porterhouse Special:
1972.
Figure 8.
Metal Steaks.
Serigraph.
1972.
30 x 40 11 ,
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Figure 9.
Brass Nozzle Special.
1972.
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Lithograph. 18 x 24 11 •
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Cl.().
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Figure 10.
Anti - syphon Valve Salad.
1972.
Drawing_.
Figure 11.
Anti-syphon Valve Salad.
1972.
Blueprint.
24/~
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36".
24 x 36".
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Figure 12.
Rainbi rd.
1972. Drawing. 24 x 36 " .
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Figure 14.
Indoor Plants.
1972.
Lithograph.
20 x 36 11 •
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Figure 15.
Figure 15.
Dinner Layout.
Dinner Layout.
1973.
1973.
Drawing.
Blueprint.
30 x 40".
30 x 40".