Art

there is a difference between being educated and simply trained. The purpose of education is not only to determine what someone can do, but also what kind of person they become as a result of their education. Studies in the humanities will advance the communication skills, empathy, self-awareness, judgment, and professionalism of students, and they help students with becoming skilled at the social and cultural context of working with people. In addition, studying the humanities can help students in the following ways: Literature can introduce students to life situations with which they may not be familiar. Drama can teach oral communication. Philosophy can teach skills of analysis and argument. Art, literature, drama. and music are expressions of human creativity, and taking part in some form of artistic activity, either as reader or viewer, is part of what makes us human. For this assignment, choose a work of art that made an impression on you during this course. Then, address the following: Include an image of or link to the work. Identify the artist, the title, date completed, and the medium. Explain how learning about the work will help you in your life and career. Consider the context in which the work was created and the meaning of the work. Explain how one or more specific disciplines (literature, drama, philosophy, art, music) influenced you. Examine the effect that you think this class could have on your career and personal life.

Do you agree with the authors’ assertion that participation is the most fundamental of the basic distinctions of art? Why? If you disagree, which do you think is the most important and why? Do you have any experiences with art to draw on to support your claims?Of the four basic distinctions—subject matter, artistic form, content, and participation—the most fundamental is participation. We must not only understand what it means to participate but also be able to participate. Otherwise, the other basic distinctions, even if they make good theoretical sense, will not be of much practical help in making art more important in our lives. The central importance of participation requires further elaboration. As participators, we do not think of the work of art with reference to categories applicable to objects—such as what kind of thing it is. We grasp the work of art directly. When, for example, we participate with Cézanne’s Mont Sainte-Victoire (Figure 2-4), we are not making geographical or geological observations. We are not thinking of the mountain as an object. If we were, Mont Sainte-Victoire would pale into a mere instance of the appropriate scientific categories. We might judge that the mountain is a certain type. But in that process, the vivid impact of Cézanne’s mountain would be lessened as the focus of our attention shifted beyond in the direction of generality. This is the natural thing to do with mountains if you are a geologist. When we are participators, our thoughts are dominated so much by something that we are unaware of our separation from that something. Thus, the artistic form initiates and controls thought and feeling. We see the Cézanne—name it, identify its maker, classify its style, recall its background information—but this approach will not lead us into the Cézanne as a work of art. Of course, such knowledge can be very helpful, but only when it is under the control of our experience of participating with the painting. Otherwise, the painting will fade away. Its splendid specificity will be sacrificed for some generality. Its content or meaning will be missed.

https://youtu.be/DDP0qBpuDr0 Watch this move to it’s end. Research one of the women artist mentioned in the documentary: 1. Maria Sibylla Merian 2. Judith Leyster 3. Joanna Koerten 4. Clara Peeters 5. Artemisia Gentileschi 6. Sofonisba Anguissola 7. Plautilla Nelli 8. Propertia De Rossi 9. Lavinia Fontona Choose an artist above to research. The final paper that you will turn in must be between 400 – 600 words. You need at least one other resource other than the movie for your bibliography. (The bibliography does not count for the word count. No plagiarism. Please watch the video the link is above.

1. Develop a small sculpture that is a minimum of eight inches tall, by four inches wide. please use found materials and supplies from your home or another accessible location to create a modified object. The difference mediums that you choose should be manufactured objects or materials. you are welcome to include any material that you wish. submit at least two photographs accompanied by a 1-2 paragraph write up describing the form and content of your piece. 2. Develop a work of art with natural, organic materials. This may include any sort of found material in nnature such as dirt, rocks, sticks, water, earth pigments, or any sort of naturally occurring material. your work of art should be at least one foot square, and a height of your choice. submit at least two photographs accomplished by a 1-2 paragraph write up describing the form and content of your piece.

Students will engage the work: Christ with Symbols of the Passion, by Lavinia Fontana, executed in1576 in oil on wood panel. Then each student will write a 3-page paper in which they consider the work as an example of Mannerist style through comparison to the Rosso Fiorentino image, Dead Christ with Angels, covered in the Mannerism lecture and in a Khan Academy video. Students will be required to discuss the two works based upon Mannerist criteria, such as contextual and spatial ambiguity, unnatural figural proportions in affected poses, palette and anxiety level or strange mood. These works provide the perfect opportunity to write a comparison, as both images depict the dead Christ with angels and symbols of the Passion and both were painted by Italian artists that chose to work in the Mannerist style. Your papers must be a minimum of three full pages, composed in Microsoft Word with standard 1” margins (top, bottom and sides), typed in a legible 12 pt. font, double spaced and formatted into coherent paragraphs that are indicated by indenting the first word of the paragraph five spaces. Do not add headings or extra spacing between paragraphs. Your discussion must be written entirely in your own words and reflect your observations about the Mannerist characteristics of both images. This paper is not intended as a research assignment, but rather as an exercise in visual, formal analysis, critical thinking and writing. I do not want you to write about either painter; and please do not write an essay about your personal spiritual beliefs. This is an essay about the ways in which two paintings of the same topic in the same style are both similar and different! Please do not consult sources other than lectures, your text and the Khan Academy video about Fiorentino’s Dead Christ with Angels. Should you elect to paraphrase or borrow thoughts, ideas or words spoken or written by another author (e.g. the author of your text book or the art historians discussing the Fiorentino image), you must cite your sources in fair exchange for such usage. Direct quotes from a published source must be enclosed in quotation marks and cited.

Simply answer the questions Robert Smithson’s Spiral Jetty, 1970 earthwork project 1. Analyze this an earthwork project from Chapter 12 Sculpture and explain how it uses both additive and subtractive processes. 2. What are some other interesting comments to be made from the following video that this important earthwork? https://www.khanacademy.org/humanities/ap-art-history/later-europe-and-americas/modernity-ap/v/smithson-jetty

This essay fulfills the course requirement to conduct written research on a work of art or architecture, as seen in person. This work of art or architecture must be from the period covered in the course. Your topic does not have to be covered in the textbook, but it should be from the period of 1300 – Present. In your paper, you must provide a clear thesis and demonstrate your support for that thesis in your research. This assignment combines the required skills necessary for investigating a work of art, and the necessity of actually seeing those objects to that research. Therefore, in this assignment, you will be required to write about a work of art you have seen in person. For area museums that you can visit, access the Sources of Museum Visit link below. Referring to the museum catalog and/or label information (what contextualizes the important facts about the work of art), your research will expand upon one Important aspect of the work you learned from the museum. 750 – 1000 words 3 to 4 FULL pages, double-spaced and typed, in 12pt. font Images should be submitted separately at least 3 sources (other than your text) Information Literacy. You must use this Research Resource Guide (http://libguides.nvcc.edu/novaonline) to access the following credible academic sources on the basis of your research: books dissertations interviews journals magazines videos Websites and encyclopedic entries will not be counted as appropriate research sources. What is provided for you through the Research Resource Guide are the required, credible, peer-reviewed sources you will need for this assignment. If you are unsure of the legitimacy of any of your sources, please ask the instructor. Demonstrate You must provide a clear thesis, which addresses an important aspect of the museum’s context of the work. For example, the museum text may discuss a work of art’s relation to social and political ideas within society when it was created it. If it discusses the artist’s biography, you may discuss how the work of art related directly to that biography. Provenance is the history of ownership. In addressing provenance, you answer: Was the work commissioned and why? If not, why was it made? What were the artist’s intentions? Provenance is also an important aspect you will find in the museum’s information. How do factors like the historical context and location shape the meaning of the work? You must also discuss style. Remember that in discussing style, you are often referring to a period style or regional style. In order to discuss style, you must utilize formal analysis to communicate the work’s key features. Give attention to the materials and techniques the artist used to effectively communicate their ideas. Those materials and techniques are also particular to time and place. The possibilities are endless, but you must demonstrate that you understand the existing and accepted interpretations of a work of art architecture. This essay should be thoughtfully responsive to the museum’s research you encountered in your visit, and you will be expanding upon, or even arguing against, previous research. You must include MLA (Links to an external site.) citation style, with endnotes and a complete bibliography on two separate pages at the end of the paper. A full resource guide to MLA citation is also included in the Research Resource Guide. Sources of Museum Visit National Gallery of Art, nga.gov

Is Banksy’s Stone Age Waiter a work of art or an example of vandalism? If it is an artwork, does that mean that graffiti in general is also a type of art? How might you separate art from vandalism? If this work is vandalism, does the fact that it was created with permission influence your judgment?

Write on FOUR of the following topics. Be comprehensive and give specifics to support your assertions. Answers should be a minimum of 150-250 words. Summarize the diverse forms and potential meanings of Paleolithic cave paintings and sculptures. Explain how the design of the Stele of Naram-Sin makes claims about the special power of this Akkadian ruler How did the Egyptians’ beliefs about the afterlife influence their art and architecture? What is the relationship between early stupas in India and later pagodas in China? Build your answer on a discussion of two specific examples, a stupa and a pagoda. 5. Trace the developing features that characterize Classical Greek art and architecture. Discuss how Roman emperors used public monuments as imperial propaganda, focusing your discussion on two specific examples included in this chapter. Explain how the use of pictorial space is different in Byzantine art when compared to traditional Greek and Roman art. Select an Islamic building that is influenced by Roman or Byzantine art. Discuss which forms are borrowed from the earlier culture and how they are transformed in their new Islamic context.

I call this week’s drawing the “Four Hour Value Drawing” because when we do this assignment in the face-to-face class we spend approximately that long on the drawing. You are welcome to spend more than four hours on this drawing of course, but try to work for at least four hours. . This will be a very highly developed drawing. You will spend quite a bit of time on it, trying to push the drawing to the point where the value is described in great detail. . You can use either of the techniques we discussed last week: tonal drawing or crosshatching. . You can use either graphite or charcoal. However, pick one. Don’t mix graphite and charcoal. It’s either a graphite drawing or it’s a charcoal drawing. . Below I’ve posted a series of four videos that describe the step-by-step procedure for the drawing. . Materials: you will need the 9×12 sketch book, the 18×24 sketchpad, all charcoal or all graphite, erasers, and blending stumps. . Step #1: Set up your Still Life. Use 4-6 objects. Try to use objects of different shapes and sizes and local values. Make sure you have a light shining on the still-life to create a contrast between light and shadow. I discuss setting up a still life in the first video. Step #2: Begin in you 9×12 sketchbook. You will draw 3-4 preliminary sketches to work out a compositional plan for your drawing. This is also covered in the first video. Step #3: Switch to your 18×24 sketchpad. This is what you will use for the four hour value drawing. Start with establishing the gesture drawing. In this stage you are just establishing the composition of your drawing. Use your chosen preliminary sketch as a guide. Try to establish the basic size, shape, and placement of each object on the page. Don’t draw in great detail. Simplify/generalize the shapes. This is covered in video #2. Step #4: Once the gesture drawing is established, go through the sighting process to look for mistakes and make corrections. Use both the measuring technique and the mapping technique. Begin to draw the objects in greater detail. You want to have an accurate drawing in place before you move on to value description. This is all covered in video #2. Step #5: Begin to describe the values. This is covered in video #3. You want to use a full range of values throughout your drawing. You want to show differences in local value. You want to eliminate outline from the drawing. You want to describe the values in every part of the composition, not just the objects. This step will take the longest. Spend a long time describing the values. Really push yourself.