1.5: Form vs Content
- Page ID
- 257260
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\(\newcommand{\avec}{\mathbf a}\) \(\newcommand{\bvec}{\mathbf b}\) \(\newcommand{\cvec}{\mathbf c}\) \(\newcommand{\dvec}{\mathbf d}\) \(\newcommand{\dtil}{\widetilde{\mathbf d}}\) \(\newcommand{\evec}{\mathbf e}\) \(\newcommand{\fvec}{\mathbf f}\) \(\newcommand{\nvec}{\mathbf n}\) \(\newcommand{\pvec}{\mathbf p}\) \(\newcommand{\qvec}{\mathbf q}\) \(\newcommand{\svec}{\mathbf s}\) \(\newcommand{\tvec}{\mathbf t}\) \(\newcommand{\uvec}{\mathbf u}\) \(\newcommand{\vvec}{\mathbf v}\) \(\newcommand{\wvec}{\mathbf w}\) \(\newcommand{\xvec}{\mathbf x}\) \(\newcommand{\yvec}{\mathbf y}\) \(\newcommand{\zvec}{\mathbf z}\) \(\newcommand{\rvec}{\mathbf r}\) \(\newcommand{\mvec}{\mathbf m}\) \(\newcommand{\zerovec}{\mathbf 0}\) \(\newcommand{\onevec}{\mathbf 1}\) \(\newcommand{\real}{\mathbb R}\) \(\newcommand{\twovec}[2]{\left[\begin{array}{r}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\ctwovec}[2]{\left[\begin{array}{c}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\threevec}[3]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\cthreevec}[3]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\fourvec}[4]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\cfourvec}[4]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\fivevec}[5]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\cfivevec}[5]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\mattwo}[4]{\left[\begin{array}{rr}#1 \amp #2 \\ #3 \amp #4 \\ \end{array}\right]}\) \(\newcommand{\laspan}[1]{\text{Span}\{#1\}}\) \(\newcommand{\bcal}{\cal B}\) \(\newcommand{\ccal}{\cal C}\) \(\newcommand{\scal}{\cal S}\) \(\newcommand{\wcal}{\cal W}\) \(\newcommand{\ecal}{\cal E}\) \(\newcommand{\coords}[2]{\left\{#1\right\}_{#2}}\) \(\newcommand{\gray}[1]{\color{gray}{#1}}\) \(\newcommand{\lgray}[1]{\color{lightgray}{#1}}\) \(\newcommand{\rank}{\operatorname{rank}}\) \(\newcommand{\row}{\text{Row}}\) \(\newcommand{\col}{\text{Col}}\) \(\renewcommand{\row}{\text{Row}}\) \(\newcommand{\nul}{\text{Nul}}\) \(\newcommand{\var}{\text{Var}}\) \(\newcommand{\corr}{\text{corr}}\) \(\newcommand{\len}[1]{\left|#1\right|}\) \(\newcommand{\bbar}{\overline{\bvec}}\) \(\newcommand{\bhat}{\widehat{\bvec}}\) \(\newcommand{\bperp}{\bvec^\perp}\) \(\newcommand{\xhat}{\widehat{\xvec}}\) \(\newcommand{\vhat}{\widehat{\vvec}}\) \(\newcommand{\uhat}{\widehat{\uvec}}\) \(\newcommand{\what}{\widehat{\wvec}}\) \(\newcommand{\Sighat}{\widehat{\Sigma}}\) \(\newcommand{\lt}{<}\) \(\newcommand{\gt}{>}\) \(\newcommand{\amp}{&}\) \(\definecolor{fillinmathshade}{gray}{0.9}\)Form vs Content
by Jon McCallum
As we have been exploring the Elements and Principles of Art along with the Functions of Art we can notice an important distinction.
There is the formal work, made up of the Elements, Principles, and the particular media (choice of materials and tools), which creates the overall visual effect of the work. This is known as Form. (The term "form" can also be used to refer to an actual three-dimensional shape or the appearance of three-dimensionality.)
In contrast, there is also the Content of a work, which refers to it's meaning and message, what the work is about.
The two go hand-in-hand. The form communicates the content. The content influences the form.
Holly Roberts, Quarrel, acrylic paint and photo fragments on board, 6 x 8 inches, c. 2000-2009, HollyRobertsStudio
Let's investigate the form and content in this mixed media work by Holly Roberts.
The form consists of many parts. Several layers of dripped black and red paint are intensely scattered across the background, many of them appear as horizontal lines going back and forth across the work, varying in thickness. There are some vertical lines, too, plus several random drips and spatters. These lines resound as a chaotic and fierce rhythm. The value contrasts of black versus white in the painted background is bold and clear, whereas the photographic fragments are more gray. The red color pops out against the black and white in a hot-tempered and bloody manner. The positioning of the two figures allows a great space between them, conveying the feeling of separation, which is further affirmed by the lower figure appearing to walk away from the upper figure, creating a strong directional force. The force is supported by the man's elbow pointing down towards her and his mad, yelling face is also aimed in her direction. The figure's bodies are covered in complex and varying textures, adding to the overall sense of a turbulent, emotional moment.
More details could be observed about the form, but even with what is already noted we are getting into the work's content — something to do with the difficulty of relationships and the extreme feelings that people can sometimes experience, even people who are normally in love. If Roberts used different approaches to her form — such as baby blue instead of orange-red color, perfectly measured and equally-sized lines in the background, and allowing less space between the figures or putting them more on the same level — the artwork would express something very different than it currently does. That is the connection of form and content — one affects the other towards a particular expression.
Content on this page was written by Jon McCallum, 2024.