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A World of Art PPT Chapter 1

A World of Art PPT Chapter 1

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    Ch01es Ch01es Presentation Transcript

    • Art 101Chapter 1: A World of Art
    • Intro to important terms• Form- overall structure of the work• Content- what it means• Subject matter- what is literally depicted
    • Questions to ask about art• What is the purpose of this work of art?• What does it mean (content)?• What is my reaction to the work and why do I feel this way?• How do the formal qualities (form) of the work—color, organization, size, scale— affect my reaction?• What do I value in works of art? (aesthetics)See page 3 of textbook
    • The World as the Artist Sees it
    • Roles of the Artist
    • 1. Artists help us see the world in new or innovative ways
    • 1. Artists help us see the world in new or innovative ways Jeanne Claude and Christo, b.June 13, 1935, France & Bulgaria
    • 1. Artists help us see the world in new or innovative ways
    • 1. Artists help us see the world in new or innovative ways Christo and Jeanne-Claude. The Gates, New York City, Central Park. 1979–2005.
    • 1. Artists help us see the world in new or innovative ways Christo and Jeanne-Claude, Wrapped Reichstag, Berlin, 1971-95
    • 1. Artists help us see the world in new or innovative ways Christo and Jeanne-Claude, Wrapped Reichstag, Berlin, 1971-95
    • 1. Artists help us see the world in new or innovative ways Christo and Jeanne-Claude, Wrapped Reichstag, Berlin, 1971-95
    • 1. Artists help us see the world in new or innovative ways Christo and Jeanne-Claude, Wrapped Trees, FondationBeyeler and Berower Park, Riehen, Switzerland, 1997-98
    • 1. Artists help us see the world in new or innovative ways Christo. The Gates, Project for Central Park, New York City. 2003. 15 x 96 in. and 42 x 96 in.
    • 1. Artists help us see the world in new or innovative ways Torii gates. eighth century.
    • 1. Artists help us see the world in new or innovative waysChristo, The Umbrellas (Joint Project for Japan and USA), Collage 198826 1/4 x 30 1/2" and 26 1/4 x 12" Pencil, fabric, charcoal, pastel, wax crayon,enamel paint and topographic map
    • 1. Artists help us see the world in new or innovative waysChristo, The Umbrellas (Joint Project for Japan and USA), Drawing 1990 in two parts, 15 x 96" and 42 x 96" Pencil, wax crayon, photograph by Wolfgang Volz, pastel, charcoal, enamel paint, aerial photograph, technical data and fabric sample
    • 1. Artists help us see the world in new or innovative ways Christo and Jeanne-Claude, The Umbrellas, Japan-USA, 1984-91 (Photo: Wolfgang Volz) © 1991
    • 1. Artists help us see the world in new or innovative ways Christo and Jeanne-Claude, The Umbrellas, Japan-USA, 1984- 91
    • 1. Artists help us see the world in new or innovative ways Christo and Jeanne-Claude, The Umbrellas, Japan-USA, 1984-91
    • http://www.artmargins.com/index.php/2-articles/126-christo-in-bulgaria-the-act-of-wrapping-and-the-communist-legacy-1935-1956 http://www.christojeanneclaude.net/index.shtml
    • 1. Artists help us see the world in new or innovative ways Yayoi Kusama, 1929, Japan • City of Wellington Gallery video • http://www.youtube.com/watch?v=qjAz NDObUZ8
    • 1. Artists help us see the world in new or innovative ways Yayoi Kusama, Self-Obliteration by Dots (detail), 1968, performance, documented with black-and-white photographs by Hal Reif.
    • • Grady Turner- Do you ever fear people may be interested in your biography at the expense of your art?• Yayoi Kusama- No, I have no such fear. My artwork is an expression of my life, particularly of my mental disease. -BOMB 66 Magazine, Winter 1999
    • 1. Artists help us see the world in new or innovative ways Yayoi Kusama. You Who Are Getting Obliterated in the Dancing Swarm of Fireflies. 2005.
    • 1. Artists help us see the world in new or innovative ways Yayoi Kusama, Dot Obsession New Century, 2000
    • 1. Artists help us see the world in new or innovative waysYayoi Kusama, Infinity Mirror Room - Phallis Field (Floor Show) 1965-98
    • 2. Artists make a Visual Record ofthe People, Places, and Events of Their Time and Place
    • 2. Artists make a Visual Record of the People, Places, andEvents of Their Time and Place John Ahearn and Rigoberto Torres. Pat. 1982. 28 1/2 x 16 1/2 x 11 in.
    • 2. Artists make a Visual Record of the People, Places, andEvents of Their Time and Place Claude Monet. Le Pont de l’Europe, Gare Saint-Lazare. 1877. 25 1/4 x 31 7/8 in.
    • 3. Artists make functional objects andstructures more pleasurable and elevate them or embuethem with meaning
    • 3. Artists make functional objects and structures more pleasurableand elevate them or embue them with meaning Kane Kwei. Coffin Orange, in the Shape of a Cocoa Pod. c. 1970. 34 x 105 1/2 x 24 in.
    • 3. Artists make functional objects and structures more pleasurableand elevate them or embue them with meaning Karaori kimono. Middle Edo Period, c. 1700. length 60 in.
    • 3. Artists make functional objects and structures more pleasurableand elevate them or embue them with meaning Renzo Piano. Jean-Marie Tjibaou Cultural Center, Nouméa, New Caledonia. 1991–1998.
    • Kanak Dwelling
    • 3. Artists make functional objects and structures more pleasurableand elevate them or embue them with meaning Renzo Piano, Biosphere, Genoa Italy, 2000-2001
    • Pablo Picasso. Seated Bather (La Baigneuse). 1930. 64 1/4 x 51 in.
    • 4. Artists Give form to theimmaterial- hidden or universaltruths, spiritual forces, personal feelings
    • 4. Artists give form to the immaterial- such as hidden or universaltruths, spiritual forces, and personal feelings Magical figure, nkisinkonde. Late nineteenth century. height 20 in.
    • Animism- the belief in the existence of souls and theconviction that nonhuman things can be endowed with a soul.• Ex. Minkonde• More information on nkisinkonde at The Brooklyn Museum Collection Online Archives• http://www.brooklynmuseum.org/opencollection/objects/71253/P ower_Figure_Nkisi_Nkondi
    • 4. Artists give form to the immaterial- such as hidden or universaltruths, spiritual forces, and personal feelings Pablo Picasso. Study for Les Demoiselles d’Avignon. Head of the Squatting Demoiselle. 1907. 24 3/4 x 18 7/8 in.
    • 4. Artists give form to the immaterial- such as hidden or universaltruths, spiritual forces, and personal feelings Pablo Picasso. Les Demoiselles d’Avignon. 1907. 8 ft. x 7 ft. 8 in.
    • Jan van Eyck. God. Panel from The Ghent Altarpiece, c. 1432.
    • Jan van Eyck. The Ghent Altarpiece. c. 1432. 11 ft. 5 in. x 15 ft. 1 in.
    • Achieving Active SightTHE PROCESS OF SEEING
    • Ana Mendieta. Silueta Works in Mexico. 1973–1977. 19 3/8 x 26 9/16 in.
    • Ana Mendieta, Body tracks, 1982http://www.sfmoma.org/explore/ multimedia/videos/1922197435mm-slide documentationof a performance with blood and cloth also documented as Super-8 color, silent film
    • Jasper Johns. Three Flags. 1958. 30 7/8 x 45 1/2 x 5 in.
    • Faith Ringgold. God Bless America. 1964. 31 x 19 in.
    • Yukinori Yanagi. America. 1994. each 8 x 12 in.
    • Andy Warhol. Race Riot. 1963. each 20 x 33 in.
    • Ai Weiweihttp://www.pbs.org/wgbh/pages/frontline/ai-wei-wei/http://video.pbs.org/video/1862488102/http://www.tate.org.uk/modern/exhibitions/unileverseries2010/http://aiwwenglish.tumblr.com/http://freeaiweiwei.posterous.com/http://www.aiweiweiblog.com/http://www.aiweiwei.com/editorial/html/concept.htmhttp://blog.ted.com/2011/04/04/ai-weiwei-detained-here-is-his-ted-film/
    • LaToya Ruby Frasierhttp://www.art21.org/newyorkcloseup/artists/latoya-ruby-frazier/http://www.latoyarubyfrazier.com/