Welcome to a3 my afro-asiatic allegory back in 1997, i read an article in Transitions written by Joe Wood. it was titled &quot;The Yellow Negro,&quot; and subsequently introduced me to a group of Japanese youth called ganguro who darkened their skin and paid top dollar to have their hair permed into afros. sure, i'd seen white youth here in the states hang out with black youth, adapt the pimp/stroll/gait, the slang/lingo/lexicon, the whole nine. Bo Derek took it to new heights with those cornrows. and then these Japanese youth were trying to be as black as they could. this was different. one way for me to talk about the ganguro is with the help of Japanese woodblock prints from the Edo period. Ukioy-e, the floating world, was a time of decadence: new art forms, high fashion, geisha, samurai - codes, honorifics, passages, accoutrements, style-flossing, whips, bling, rhymes, beats, cutting, scratching, fresh gear, dope ropes, b-boy stances, sampling. i re-present these prints to represent the present while maintaining connections with the past. hip-hop, and therefore black culture (should) do the same thing. although not always receiving a fair cut, if any cut at all, black people have supplied, and continue to supply the world with marketable talents. &quot;you all and your music. you're just so FREE!&quot; this freedom emitted by hip-hop, jazz, gospel, blues, the djembe, speaks, attracts, seduces, mesmerizes, hypnotizes, educates and engulfs. ...blackness...coolness ...freedom...free like we?...they don't know who we be (DMX)...we real cool (Gwendolyn Brooks)...cool like dat (Digable Planets...check the jazz group in the video). part of the romantic idea is that we are all mirror images of each other. beyond the ganguro phenomenon, there are many connections between these two cultures; on a good day, the relationship is reciprocal, the dark-faced ganguro may not be popular anymore, but the acquisition of hip-hop accoutrements, both visual and verbal, is vogue, fly, fresh...you get the picture. iona rozeal brown http://www.spelman.edu/bush-hewlett/a3/artiststate.html
Sean Scully: Wall of Light September 26, 2006–January 15, 2007 Modern and Contemporary Art, Lila Acheson Wallace Wing, mezzanine galleries Learn more about this exhibition. View images from this exhibition. Search Calendar for Related Programs Visit the online Met Store for related publications, reproductions, and other products. The artist Sean Scully explores the emotional and narrative themes of his abstract, bricklike forms: Subscribe to the podcast . Download the audio file . (4.3 MB) Listen to the full audio program . (RealPlayer: 9:04 minutes) This exhibition features recent work by abstract artist Sean Scully (American, b. Ireland, 1945), specifically his Wall of Light series of paintings, watercolors, pastels, and aquatints. Inspired by the artist's first visits to Mexico in the early 1980s, where he observed the play of light and shadow on ancient stone walls, this ongoing and distinctive body of work focuses on an exploration of abstract forms affected by light, evoking a range of emotional and narrative themes. Paintings from 1998 to the present are constructed with rectangular bricklike forms, closely fitted and arranged in horizontal and vertical groupings as if in a wall, and characterized by broad, gestural brushstrokes, a wide range of luminous colors built up in layers, and varying degrees of overall light and darkness. The core of the exhibition features 30 small-, medium-, and large-scale paintings on canvas, with related watercolors, pastels, and aquatints. Anne L. Strauss, Associate Curator in the Department of Nineteenth-Century, Modern, and Contemporary Art, has organized the exhibition at the Metropolitan Museum. Met Site
The Admonitions Scroll China Tang dynasty, 6th-8th century AD The Admonitions of the Instructress to the Court Ladies , a handscroll painting attributed to Gu Kaizhi This is an eighth-century copy of the earliest and finest painting attributed to Gu Kaizhi (about 345-406). It illustrates a political parody written by Zhang Hua (about AD 232-300). The parody takes a moralizing tone, attacking the excessive behaviour of an empress. The protagonist is the court instructress who guides the ladies of the imperial harem on correct behaviour. In total, nine scenes were depicted on this scroll, but it is now incomplete; the first two scenes are missing, as well as the text to the first scene. None of Gu Kaizhi's original works has survived, but he has still acquired a legendary status, both as a painter and as a writer on Chinese painting. He was given extensive coverage in the dynastic histories and the seminal text on painting, Li-dai ming-hua ji written by Zhang Yanyuan (about AD 847). Gu Kaizhi's reputation was probably helped by anecdotes about his eccentricity; he was said to have been perfect in 'painting, literary composition and foolishness'. This painting has been executed in a fine linear style that is typical of fourth-century figure painting. Similar pictorial motifs have been discovered in contemporary tombs. Texts describe Gu Kaizhi as having painted in this manner. The inscriptions and seals on this scroll date back to the eighth century, when this copy of Gu's original was probably painted. Before its arrival at The British Museum in 1903, the scroll passed through many hands. The history of the painting can be ascertained through the seals and inscriptions, beginning with the eighth-century seal of the Hongwen guan, a division of the Han-lin Academy. The painting was subsequently in the collections of well-known connoisseurs who added their own seals and inscriptions, before ending up in the imperial collection during the reign of the Qianlong emperor (1736-96). Birtish Miuseum
No matter where the landscape artist chooses to set up his easel, he will have to confront the central problem posed by all landscapes-creating the illusion of deep space on a flat canvas. When done well, the effect can be spellbinding. We feel that we can enter the painting and continue walking for miles. Landscape artists know that there are certain techniques that work. Five &quot;space tricks&quot; that students can try out for themselves are described in this Art to Zoo : 1 . A winding path . A path or river that winds through the landscape from foreground to background can make us believe that the picture describes a deep space. 2. Changes in size. A tree that is close to us appears much larger than a tree of the same size that is far away. 3. Overlap. A boulder that is close to us overlaps and partially hides a much larger cliff behind it. 4. Changes in clarity. A distant mountain range appears more hazy and less distinct than a mountain that is closer. 5.Diagonal composition. Land that moves away from us on the diagonal appears to move back into space. Smithsonian Educatinon :http://www.smithsonianeducation.org/educators/lesson_plans/landscape_painting/creating_illusions.html
Albert Bierstadt went to California in 1859 with a land-surveying team after the gold rush had aroused the curiosity of the entire nation. At that time, easterners had to learn about the magnificent California wilderness from small black-and-white photographs brought home by land surveyors. But Bierstadt was an artist with a shrewd business sense. He knew that if he produced impressive, panoramic &quot;great pictures&quot; of California, easterners would pay money to see them. Smithsonian Education above Image below: http://americanart.si.edu/images/2006/2006.1.2_1b.jpg
Pizza And Painting Food As Art
Pizza and Painting An Interdisciplinary Experience and Exploration William Spaulding Chef Paul Waszkelewicz
<ul><li>Ornate edible architecture and sculptures have been part of human culture for perhaps thousands of years! </li></ul>No!
<ul><li>Ornate edible </li></ul><ul><li>architecture and sculptures were often created for celebrations in the </li></ul><ul><li>cities and courts of </li></ul><ul><li>early modern Europe. </li></ul>
<ul><li>On June 30, 1750, Gaetano de Luca created a sumptuous display of herbs from his pharmacy in Rome. </li></ul>
This Italian scene makes use of sugar for table decorations. At that time sugar was a rare and much prized substance that was sold with drugs and herbs.
<ul><li>Your imagination is the only limit to what you can do with food! </li></ul><ul><li>Almost anything is possible! </li></ul><ul><li>Translate your thought and the materials (food) to the finished product! </li></ul>Principles of Food Art
Steps to Creating Your Pizza Art <ul><li>Mix and make pizza dough. </li></ul><ul><li>Roll out (hand or roller) then “dock”. </li></ul><ul><li>Spread sauce – leave a border. </li></ul><ul><li>Arrange cheese and toppings. </li></ul>
How will you Evaluate Your Pizza Art ? <ul><li>Before Cooking </li></ul><ul><li>* first impressions </li></ul><ul><li>*color </li></ul><ul><li>*texture </li></ul><ul><li>*arrangement of toppings </li></ul>
How will you Evaluate Your Pizza Art ? <ul><li>Before Cooking </li></ul><ul><li>first impressions </li></ul><ul><li>color </li></ul><ul><li>texture </li></ul><ul><li>arrangement of toppings </li></ul><ul><li>After Cooking </li></ul><ul><li>first impressions </li></ul><ul><li>color </li></ul><ul><li>texture </li></ul><ul><li>arrangement of toppings </li></ul><ul><li>taste </li></ul><ul><li>presentation </li></ul>
Describing and Evaluating Paintings (And other types of visual arts!)
We use the same concepts used to describe and evaluate pizza
We use the same concepts used to describe and evaluate pizza when we describe and evaluate visual art !
Concepts of Evaluation <ul><li>Pizza </li></ul><ul><li>(Before Cooking) </li></ul><ul><li>first impressions </li></ul><ul><li>color </li></ul><ul><li>texture </li></ul><ul><li>arrangement of toppings </li></ul>
Concepts of Evaluation <ul><li>Pizza </li></ul><ul><li>(Before Cooking) </li></ul><ul><li>first impressions </li></ul><ul><li>color </li></ul><ul><li>texture </li></ul><ul><li>arrangement of toppings </li></ul><ul><li>Painting </li></ul><ul><li>first impressions </li></ul><ul><li>color </li></ul><ul><li>texture </li></ul><ul><li>arrangement of toppings </li></ul>
Apply these concepts of evaluation to the following paintings to see how it works:
A3 blackface #59 Iona Rozeal Brown acrylic on paper 50" x 38"
Mexico Zacula 1983 Sean Scully (American, b. Ireland, 1945) Watercolor on paper; 8 x 10 in. (20.32 x 25.4 cm) Met
Fishing in Spring, The Pont de Clichy (Asnières) , 1887 Vincent van Gogh, Dutch, 1853–1890 Oil on canvas; 19 7/8 x 23 5/8 in. (50.5 x 60 cm) The Art Institute of Chicago, Met Exhibit Site
View of Toledo El Greco (Domenikos Theotokopoulos) (Greek, 1541–1614) Oil on canvas; 47 3/4 x 42 3/4 in. (121.3 x 108.6 cm)
Colophon painting by Zou Yigui (1st section) China, Tang dynasty, 6th-8th century AD from: The Admonitions of the Instructress to the Court Ladies , a handscroll painting attributed to Gu Kaizhi . British Museum
Birds and Flowers , a hanging scroll painting Mori Ransai Japan Mid-Edo period, late 18th century AD
Cathedral Rocks, Yosemite Valley ca. 1872 Albert Bierstadt oil on paper mounted on canvas approx. 14 x 20 in. (35.6 x 50.8 cm) Smithsonian American Art Museum Bequest of Marvin J. and Shirley F. Sonosky in memory of Harryette Cohn
Sources: Food Art <ul><li>The Edible Monument. J. Paul Getty Museum, Los Angeles. http://www.getty.edu/research/conducting_research/digitized_collections/ediblemonument/index2.html . Access 10/23/06 </li></ul><ul><li>Pepperoni flower. http://www.hormel.com/kitchen/images/refimages/seasonedinsight/pepperoni/monster2.jpg </li></ul><ul><li>Food Art http://sickflash.com/food_art.html </li></ul><ul><li>http://www.thaicorner.co.uk/Carving%20papaya.jpg </li></ul><ul><li>Food Basket Face: http://images.google.com/imgres?imgurl=http://www.allisonglassworks.com/foodart/food64.jpg&imgrefurl=http://www.allisonglassworks.com/food4.html&h=453&w=500&sz=21&hl=en&start=51&tbnid=1KtLo2FffFeBAM:&tbnh=118&tbnw=130&prev=/images%3Fq%3Dfood%2Bart%26start%3D40%26ndsp%3D20%26svnum%3D10%26hl%3Den%26lr%3D%26sa%3DN </li></ul>
Sources: Art Evaluation <ul><li>See also the notes section (notes view) of this file </li></ul><ul><li>Kimball http://www.kimbellart.org/database/index.cfm?region=yes&mainregion=4 </li></ul><ul><li>Hydria http://www.metmuseum.org/toah/hd/gkhy/hob_06.1021.77.htm </li></ul><ul><li>Mexico Zacula http://www.metmuseum.org/special/sean_scully/view_1.asp?item=12&view=l </li></ul><ul><li>Fishing in Spring http://www.metmuseum.org/special/cezanne_to_picasso/view_1.asp?item=6&view=l </li></ul><ul><li>View of Toledo http://www.metmuseum.org/toah/ho/08/eusi/hob_29.100.6.htm </li></ul><ul><li>Colophon painting by Zou Yigui (1st section) http://www.thebritishmuseum.ac.uk/compass/ixbin/hixclient.exe?_IXDB_=compass&_IXSR_=rc5&_IXSS_=_IXDB_%3dcompass%26%2524%2bwith%2ball_unique_id_index%2bis%2bOBJ2100%3d%252e%26_IXspage%3dfull%252f%26_IXSESSION_%3dxckZVHcdMaT&_IXFIRST_=1&_IXSPFX_=graphical/full/lg&_IXimg=ps349899.jpg&submit-button=summary </li></ul><ul><li>Smithsonian Education http://www.smithsonianeducation.org/educators/lesson_plans/landscape_painting/creating_illusions.html </li></ul>
Hydria (water jar) depicting women at a fountain house , ca. 510–500 B.C.; Archaic, black-figure Greek, Attic Terracotta; H. 37.47 cm Met. NY