...Paper Assignment II Art and Society: Renaissance to Modern Art University of Houston Dr. Sandra Zalman Due: November 13 by midnight via turnitin on Blackboard - http://www.uh.edu/blackboard/ This paper asks you to compare two works of art at the Museum of Fine Arts, Houston, to consider how nineteenth-century artists departed from past academic works to take interest in the new urban spaces of modernity. Go the MFAH and find the following two paintings: Berthe Morisot, The Basket Chair, 1885 (Room 222) Gustave Caillebotte, The Orange Trees, 1878 (Room 222) In your paper, you will analyze the visual relationship between modernism, class and gender, considering both the formal characteristics and subject matter of the paintings you will examine. While attending to the formal characteristics of each work, analyze the ways in which gender and class may play a role in relation to subject matter, composition, and the intended audience. How are the spaces of modernity depicted in these scenes? If the flânuer is the quintessential modern artist, but cannot be embodied by a woman, what is the role of gender in these works? How does the representation of gender factor into the aims of these artists? Construct your argument based on a visual analysis of these two paintings, paying particular attention to how the artist constructs the spaces of modernity, who is depicted and in what way, and how the viewer is, or is not, accounted for. In your a conclusion, consider...
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...In your paper, you will analyze the visual relationship between modernism, class and gender, considering both the formal characteristics and subject matter of the paintings you will examine. While attending to the formal characteristics of each work, analyze the ways in which gender and class may play a role in relation to subject matter, composition, and the intended audience. How are the spaces of modernity depicted in these scenes? If the flânuer is the quintessential modern artist, but cannot be embodied by a woman, what is the role of gender in these works? How does the representation of gender factor into the aims of these artists? Construct your argument based on a visual analysis of these two paintings, paying particular attention to how the artist constructs the spaces of modernity, who is depicted and in what way, and how the viewer is, or is not, accounted for. In your a conclusion, consider the impact of the museum space in framing your experience, discussing and analyzing the placement of these works in the museum – what dialogue might be facilitated by these works’ proximity to each other? What relationship might the curators have been considering when they hung these works? Note that this is not a research paper. You will be graded on your analysis of the visual material, and the conclusions you can draw from your analysis. Some background information will be necessary to relay, but the majority of the paper should be based on your own observation and analysis...
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...what it is are attached.* As I mentioned earlier, we will be working our way through this process together, and developing our assessment program in relationship to the goals and values unique (and/or integral) to this institution. Additional readings are on reserve in the library, and an enormous amount of information is available on the web. *Distributed at the Program Chairs meeting on 9.9.2008 MISSION Maine College of Art delivers a demanding and enlivening education in visual art and design within an intimate learning community. We teach each student how to transform aspirations and values into a creative practice that serves as the foundation for a lifelong pursuit of personal and professional goals. VALUES o Maine College of Art’s educational philosophy is built on the premise that focused individual attention and meaningful collective inquiry produce the conditions in which students’ voices can find strength, clarity, and purpose. o Our faculty of practicing professional artists, designers, writers, and scholars are committed and passionate educators who consider their classrooms to be extensions of their creative work. o We give our students the tools they need to take risks, think critically and...
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...Activity No. 1 KATAS NG SAUDI* Name: _____________________________________________________ ______ Grade: ________________________ Course/Year/Section: ______________________________________________ Date: _________________________ Professor: ________________________________________________________ Paste a photo of a jeepney in the box below. Individual/Group Activity Will you consider this Art? Explain your answer below. ___________________________________________________________________________________________ ___________________________________________________________________________________________ ___________________________________________________________________________________________ ___________________________________________________________________________________________ ___________________________________________________________________________________________ ___________________________________________________________________________________________ Note: Consider reading Emmanuel Torres’s “The Jeepney as Folk Art”. The title of this activity is a sample of one of those catchy phrases posted at the back of jeepneys. This one says that the jeepney was a product (and metaphorically “juiced out”) from the sweat and brows of a relative working in the Middle East. Can you spot/remember other catchy phrases? Activity No. 2 PARA SA TABI Name: __...
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...Paper Assignment I Art and Society: Renaissance to Modern Art University of Houston Dr. Sandra Zalman Due: September 18 by midnight via turnitin on Blackboard (http://www.uh.edu/blackboard/) This assignment asks you to visit the Museum of Fine Arts, Houston. You will be describing and analyzing a painting in the collection of the museum, paying particular attention to the relationship between the form, composition, and culture of the society from which this painting originated. Then you will contrast that with what you’ve learned about the Northern style of painting, especially considering different Northern priorities in depicting religious themes. First, locate the painting: Giuliano Bugiardini, Madonna and Child with St. John the Baptist, 1510 in room 216 of the Audrey Jones Beck building of the Museum of Fine Arts. Discuss how the painting is representative of the Southern Italian style. How does the artist’s use of color, light and shadow, and composition (relationship of figures and space) affect your interpretation of the narrative? How is the human body rendered, and in what sort of environment? What priorities does this artist have in visualizing the narrative for the audience? After describing the painting, consider the cultural differences represented by Southern and Northern painting. How might this theme look differently had it been painted by a Northern artist? How might a Northern artist have interpreted the same scene differently? How might you recognize...
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...Policies may be slightly different depending on the modality in which you attend class. If you have recently changed modalities, read the policies governing your current class modality. Course Materials Fiero, G. K. (2011). The humanistic tradition: Modernism, postmodernism, and the global perspective (6th ed., Book 6). Boston, MA: McGraw-Hill. All electronic materials are available on the student website. Week One: Philosophy, Arts, and Architecture in the 20th Century Details Due Points Objectives 1.1 Identify the major philosophical perspectives at work during the 20th century. 1.2 Explain how the prominent philosophies of the 20th century reflected the changes in industry and the individual. 1.3 Identify notable artists and works—in art, music, dance, and architecture—that defined the 20th century. 1.4 Analyze how a notable work of 20th-century art, music, dance, and architecture reflected a specific movement or attitude of the time. Reading Read Ch. 32 of The Humanistic Tradition. Reading Read Ch. 33 of The Humanistic Tradition. Reading Read Ch. 35 of The Humanistic Tradition. Reading Read this week’s Electronic Reserve Readings....
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...The Digital World The digital world of today can be understood as a product of late-Victorian construction of the machinery of information organization combined with Modernist visual forms. In his doctoral dissertation, The Engineering of Vision from Constructivism to Computers, Lev Manovich, professor of New Media at the University of San Diego, states it is the influence of Modernist visual forms, mainly Soviet era Constructivism, that shapes the look of the current digital world (e.g. the Internet). Professor Simon Cook of Duke University, in his recent paper, Late Victorian Visual Reasoning and a Modern History of Vision, argues that Manovich overlooks the importance of the Victorian period in influencing the aesthetics of our present digital design. Cook bases his argument on the concept of an orderly and well-catalogued Internet, as if the system had been developed in nineteenth century Britain. However, due to the chaotic, disorganized and ever-changing look of the digital world, the argument of a Victorian based system is flawed. The late nineteenth century does not have the impact Cook believes it does, whereas Manovich remains on track in his original argument. Still, Manovich’s ideas can only be regarded on a temporary basis, because the face of the digital world has changed drastically since its development, and will continue to in the near future. Before exploring the look of the current digital world, it is first important to look at its physical development...
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...[pic] Unit Learning Guide School of Communication College of Arts Name of Unit – Fashion and Identity Unit Number: 100941 Teaching Period: SPRING 2010 Unit Weighting: 10 credit points Unit Level 200 Unit Co-ordinator: Juliana Swatko Teaching Staff: Juliana Swatko, Jordan Graham First Point of Contact: Name Juliana Swatko Phone 9852 5441 Email : j.swatko@uws.edu.au Student Consultation A time for face-to-face consultations can be arranged by email. Email enquiries will be answered at regular intervals during the week. Provide details of times that are available for student consultation, including face to face, answering email or phone enquiries. It is a condition of enrolment at UWS that students must use their UWS student email account when corresponding with UWS staff by email in relation to their studies. The UWS Policy relating to this requirement is accessible at the following address : http://policies.uws.edu.au/view.current.php?id=00019#maj3 Attendance Requirements Students are expected to attend at least 80% of face-to-face sessions, and should contact the unit coordinator and lecturer by email to explain any non-attendance in advance. Essential Equipment and/or Resources Equipment Students need to have access to a computer where the Internet can be used to logon to E-learning at UWS and the VUWS website for this unit. It would be useful to have Adobe Acrobat Reader. It can be downloaded from...
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...Nilson Carroll ART 353 Research Paper The Dada Text In July 1916, as the Great War raged across Europe, Hugo Ball read aloud the first Dada manifesto at the Cabaret Voltaire (Ades, Caberet 16). In typical Dada hyperbole, the manifesto made wild claims about the power of the word Dada and how it indicated a new tendency in art and literature. The manifesto, and the many that were written after it, identified and combated what the Dadaists saw as the bourgeois corruption that had caused the war and diluted art into something worthless. Through written manifestos, Dada poetry and collage, wild forms of theater and new ideas on visual art, Dada found a common voice among several different groups of artists from across Europe and in New York. Today, Dada is understood as an art movement, chronologically somewhere in between Futurism and Surrealism. Yet, Dada cannot be understood simply as a visual art movement, but instead as a literary movement. Rather than through painting or sculpture, Dada is best understood through the text, manifestos, poetry, and magazines produced by the Dadaists. Dada visual art by artists like Francis Picabia, Marcel Duchamp, or Hans Arp do not rely on traditional formal elements of art, but rather on the titles of the works. Dadaists have more in common with their contemporary, poet Guillaume Apollinaire, than with any painter, and they are more concerned with Symbolist poets Arthur Rimbaud and Comte de Lautréamont than with modern painters Édouard Manet...
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...Investigation Criteria for Full Markings (Syllabus Excerpt) • Analyses and compares perceptively art from different cultures and times, and considers it thoughtfully for its function and significance. • Demonstrates the development of an appropriate range of effective skills, techniques and processes when making and analysing images and artifacts. • Demonstrates coherent, focused and individual investigative strategies into visual qualities, ideas and their contexts, an appropriate range of different approaches towards their study, and some fresh connections between them. • Demonstrates considerable depth and breadth through the successful development and synthesis of ideas and thoroughly explained connections between the work and that of others. • Demonstrates effective and accurate use of the specialist vocabulary of visual arts. • Uses an appropriate range of sources and acknowledges them properly. • Presents the work effectively and creatively and demonstrates effective critical observation, reflection and discrimination. • Presents a close relationship between investigation and studio. Outline and Explanation: • Introduction Page- introduce the studio work you plan on investigation, brainstorming and creating. Explain why you are interested in that specific studio work creation. Give a few minor sketches of how you visualize the project. • Brainstorming Page- brainstorm your ideas. The brainstorming page may turn...
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...1 Ann Su Professor Simonsen Introduction to Visual Art 29 October 2015 Art Research Paper – Lee Ming-Wei This summer vacation, I walked into The Taipei Fine Art Museum without knowing there was an exhibition of Lee Ming-Wei. I accidentally encountered his works and was deeply moved by them. That’s why he is my chosen artist. I have organized my paper into four main sections. In the first section, I briefly introduce Lee Ming-Wei and characteristics of his art works. In the second section, I explain what kinds of art he engages in. I end my paper with a third section that analyze one of his works – “Moving Garden” and make a conclusion in the fourth section. Introduction of Lee Ming-Wei Lee Ming-Wei was born in Taiwan in 1964, but currently lives and works in New York. Before he received the MFA from Yale, he had studied Textile Engineering and Architecture in university. ; We can see that from the way he arranges the space in his works and the medium he chooses. Stays in U.S for such a long time, he is familiar with both western and eastern cultures. And I think it’s one of the reasons that makes his art works so special. He can express eastern philosophy in a western way. He is also one of the few Taiwanese artists who has held multiple 2 solo exhibitions in many famous museums, like the Whitney Museum. There are some special characteristics about his art works. First, most of his works are based on basic human activities, like eating, sleeping, walking...
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...Universality of Art -An interview with Djibrirou Kane Ottawa University Abstract An artist was interviewed for the Art/Expression breadth essay. In this essay, the interviewee is presented with various questions that span from thematic subjects of his artwork and what region had the most influence on his various paintings. This interview was repeated twice. Moreover, I ask the interviewee what drove him to express himself using this art form; he explains that it was due to his belief that fine arts have the farthest reaching and most lasting effect on human beings, as the saying goes “a picture is worth a thousand words”. Furthermore, the paper explores the artist’s tributes and recognitions of other forms of art(s) and his appreciation of the women and mothers of the region he hails from, as well as women across the globe. Universality of Art – An interview with Djibrirou Kane Art and self-expression have always been present in human populations, as many of the discovered cave paintings that are thousands of years old have clearly revealed. Art, however, can assume many forms – from music and poetry to fashion and design. For this breadth essay of Art/expression, I interviewed a young West African Artist named Djibrirou Kane (personal communication, January 20, 2016). He is a professional painter but also does a collage of artwork. He, for instance, mixes media art and draws, but refers to himself as predominantly a painter. The discussion on his artwork will...
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...on a 2D plane. The main focus of this paper is to research how the new technologies pushed the boundaries of perspective projection distortion in the digital art world. I will explore contemporary artists’ work like William Kentridge’s anamorphic animation, lights and shadows installations by Kumi Yamashita, Felice Varini ‘s optical art, and Amon Tobin’s stage performances. This paper will focus on a few selected artists in order to illuminate noticeable contrasts that have occurred over time in the realm of digital art. To address the various mediums, techniques and methods within this broad subject would be a staggering task. This is why only a few key subjects will be addressed. One subject will be to analyze how methods of visualization in digital art have evolved, since this aspect is directly responsible for the perception and aesthetic value of the majority of digitally displayed mediums. We need a new approach to linear perspective that relates it to the more general development of projection methods, and yet something more than that provided by nineteenth century historians of mathematics and science who were searching for the origins of descriptive geometry. It is not just a question of how the laws were discovered. Needed is a history of how these laws became recognized as being independent from Euclidean theories of vision: a history of how laws of projection and theories of vision were and were not applied to the visual arts. Such a history will need to emphasize...
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...Log My Personal Interest Project topic was chosen with my micro world in mind, due to my interest in art as well as being a Visual Art student. Through studying gender roles during my Visual Art course and exploring social exclusion in Society and Culture, it compelled me to want to learn more about the representation of women within the art world. As a socially aware individual with an interest in art, I felt the need to explore these inequalities to see if they still exist and how this may impact on other young artists. The research methods that I chose were interview, statistical analysis and content analysis, which would provide me qualitative results, as well as quantitative by being able to collect data and statistics. Originally, I planned on conducting a focus group discussion, however as my project progressed, I decided on content analysis as it allowed me to observe a variety of sources and immerse myself in the art world. By choosing an interview I was able to gain insightful knowledge from four females who were either art curators or historians and one male who is an art historian. This gave me qualitative results as I was able to receive in-depth answers from numerous people and allowed and exploration of my cross-cultural by interviewing both genders and gaining their perspectives on this. However, there were some limitations such as by completing my interviews through e-mail, I was not able to ask any follow up questions for answers to be further elaborated...
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...course for both the general interest and art major student: a survey of the nature and role of the visual arts in society. Art theory, art practices and an overview of art history will be required. The Medias of art will also be explored. Field trips are required. This course will enable the student to understand the historical, social, and psychological factors involved in the creation of works of art through an analysis of the language, media, and rationale of visual communication. Prerequisites: None. Units: Three Required Text: Artforms, 11th Edition, Patrick Frank, Pearson Prentice/Hall, Upper Saddle River, New Jersey, 07458. Method of Presentation: Lectures with PowerPoint presentations and class discussion. Student Learning Outcomes: Art 100 – Introduction to Art Concepts is a survey course whose purpose is to develop the ability of students to see an art object or building on objective, perceptual, and interpretive levels. The student will learn the vocabulary of art; recognize the materials and techniques of art processes and learn to recognize the historical styles and changing tastes of the public and the art market. To evaluate the student outcomes, standards of achievement will be measured by exams, practice tests, class participation, museum reports and research papers. This will identify how successfully each student processes the visual images and the meanings that they contain. Specific areas of student development will be: ...
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