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Münchenstift GmbH, Munich’s largest senior care provider, hired curator Michael Härteis to organize an art exhibit for Pride Week 2016 on the topic of diversity. The exhibit, called "The System of Diversity", featured abstract works by artists Mary Kim and Christine Ott. Christine Ott's paintings appear homogeneous at first but contain small differences between individual elements that become noticeable upon closer inspection. Mary Kim's works center on the complex nature of groups and relationships, using identical timber blocks that differ in their geometric structures and perspectives as the viewer walks around them. The artworks will be exhibited for two months alongside workshops using the art to reflect on topics like individuality, relationships, and diversity.
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KVB117 09 Materiality and Concept
In this week’s lecture we will continue our study of materiality – but where we have previously considered the perceptual and affectual aspects of materiality, this week we will focus on the conceptual side of materials – the way that materials signify or embody ideas.
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De Stijl was an artistic movement founded in 1917 in the Netherlands by Piet Mondrian and Theo van Doesburg that promoted abstract and minimalistic geometric forms in art and architecture. The magazine De Stijl became a vehicle for Mondrian's ideas on abstract art, known as neoplasticism, which emphasized primary colors and straight horizontal and vertical lines. While other artists contributed to the movement, Mondrian withdrew in 1923 due to stylistic differences with Van Doesburg, though Van Doesburg continued publishing the magazine until 1931 and the movement influenced later abstract art and modern design.
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The document discusses the life and work of Dutch designer Piet Zwart. It describes how he was influenced by De Stijl and constructivism and focused on functional typography. It provides examples of his work designing advertisements for the Dutch Cable Factory in the 1920s-1930s. It also mentions his later career focusing on industrial, interior and furniture design.
de stijl
De Stijl was a Dutch artistic movement founded in 1917 that advocated for pure abstraction through geometric forms and limited primary colors. Key members included Piet Mondrian, Theo van Doesburg, Gerrit Rietveld, and J.J.P. Oud. They sought to achieve spiritual harmony and order through compositions of horizontal and vertical black, white, and primary color planes. Rietveld's Schröder House from 1924 was the only building constructed fully according to De Stijl principles. De Stijl had a lasting influence on architecture through its emphasis on simplified forms and use of primary colors.
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This document provides an analysis of Piet Mondrian's painting style and how it influenced the author's design of a rehabilitation center. Mondrian's paintings are composed of primary colors separated by thick black lines into rectangular blocks. The black lines represent strong ideas, while the colors represent where different events and functions occur. In the author's building design, functions are located in color blocks, with private and public spaces separated by black lines. White spaces in Mondrian's paintings that lack distinctive shapes or colors represent unimportant moments. However, the author argues these spaces are still important and celebrates them in the physical therapy corridor and waiting areas of the design.
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Recommended
KVB117 09 Materiality and Concept
In this week’s lecture we will continue our study of materiality – but where we have previously considered the perceptual and affectual aspects of materiality, this week we will focus on the conceptual side of materials – the way that materials signify or embody ideas.
De stijl
De Stijl was an artistic movement founded in 1917 in the Netherlands by Piet Mondrian and Theo van Doesburg that promoted abstract and minimalistic geometric forms in art and architecture. The magazine De Stijl became a vehicle for Mondrian's ideas on abstract art, known as neoplasticism, which emphasized primary colors and straight horizontal and vertical lines. While other artists contributed to the movement, Mondrian withdrew in 1923 due to stylistic differences with Van Doesburg, though Van Doesburg continued publishing the magazine until 1931 and the movement influenced later abstract art and modern design.
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De Stijl was a Dutch artistic movement founded in 1917 that advocated for ultimate simplicity and abstraction in art through the use of horizontal and vertical lines and primary colors. The movement was centered around the journal of the same name published by Theo van Doesburg to propagate the group's theories. Key members included painters Piet Mondrian, Vilmos Huszar, and Bart van der Leck as well as architects Gerrit Rietveld, Robert van 't Hoff, and J.J.P. Oud. De Stijl influenced architectural and design styles like the Bauhaus and International styles through its emphasis on clean lines and geometric forms.
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The document discusses the life and work of Dutch designer Piet Zwart. It describes how he was influenced by De Stijl and constructivism and focused on functional typography. It provides examples of his work designing advertisements for the Dutch Cable Factory in the 1920s-1930s. It also mentions his later career focusing on industrial, interior and furniture design.
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JUST NEED (4) REPLIES TO THE OTHER STUDENTS2-3 Sentences Replay.docx
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2-3 Sentences Replay
·
· Week Four Discussion 1
Compare the work of two artists from any two different art movements covered in Chapter 21.
· Describe, then compare, the contexts, concerns and main aspects of each movement and how those appear in the artworks you've selected.
· Be sure to explain why you made your particular choices of movements, artists and artworks.
· Evaluate the artwork you've selected according to any criteria you think are relevant (given what you have learned so far in the course).
Be sure that you are making an evaluative comparison of the two artists’ work, rather than simply discussing them in turn.
REPLY TO:Permenter
Week 4, Discussion 1
COLLAPSE
Top of Form
Romanticism and Impressionism vary greatly in their style. Romanticism was in favor for a much longer period of time, roughly 1800-1890, than Impressionism (1870-1880). Romanticism was more an attitude and choice of subjects than a true style. The artists of this period looked for emotions and imagination when deciding what they wanted to create. They looked for the risqué and exotic as well as mystery. Impressionist artists had some more flexibility with the new availability of equipment that was more portable. This allowed Impressionists to work in the actual outdoors as opposed to studios. These artists used natural light, shadows and a lighter color palette to express their ideas.
The pieces for this discussion were chosen due to the similar subject of the works yet stark contrast. Both pieces feature a group of people enjoying a leisurely activity, yet they are not alike at all. The way they contrast and show their specific movements is remarkably interesting. First, the Romanticism piece chosen is The Women of Algiers by Delacroix (p.485, fig. 21.2). This piece is very risqué, and the subject of the piece is quite scandalous. The women portrayed are women in a harem and it was unusual for outsiders to be allowed in, let alone document it such as this. Delacroix demonstrates this period by the subject of the piece being so exotic and mysterious. He does a great job showing unity yet variety here as well. The painting feels very dark and colors of the piece are mostly neutral and really work well together, with a kick of reddish orange here and there to brighten up the piece.
The Impressionist piece Le Moulin de la Galette (p.490, fig. 21.7) by Renoir is a stark contrast to The Women of Algiers . This piece, while detailed enough for one to see the subjects and understand the context of the painting, is not focused on the clear lines and defined objects as The Women of Algiers is. Renoir uses a freer stroke and uses emphasis and subordination. The emphasis of the painting is on the small group in the front of the painting as the rest get blurrier the farther away they are. This painting is so much brighter with a lighter palette than the other clearly showing that it is from a different mov ...
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JUST NEED (4) REPLIES TO THE OTHER STUDENTS2-3 Sentences Replay.docx
JUST NEED (4) REPLIES TO THE OTHER STUDENTS
2-3 Sentences Replay
·
· Week Four Discussion 1
Compare the work of two artists from any two different art movements covered in Chapter 21.
· Describe, then compare, the contexts, concerns and main aspects of each movement and how those appear in the artworks you've selected.
· Be sure to explain why you made your particular choices of movements, artists and artworks.
· Evaluate the artwork you've selected according to any criteria you think are relevant (given what you have learned so far in the course).
Be sure that you are making an evaluative comparison of the two artists’ work, rather than simply discussing them in turn.
REPLY TO:Permenter
Week 4, Discussion 1
COLLAPSE
Top of Form
Romanticism and Impressionism vary greatly in their style. Romanticism was in favor for a much longer period of time, roughly 1800-1890, than Impressionism (1870-1880). Romanticism was more an attitude and choice of subjects than a true style. The artists of this period looked for emotions and imagination when deciding what they wanted to create. They looked for the risqué and exotic as well as mystery. Impressionist artists had some more flexibility with the new availability of equipment that was more portable. This allowed Impressionists to work in the actual outdoors as opposed to studios. These artists used natural light, shadows and a lighter color palette to express their ideas.
The pieces for this discussion were chosen due to the similar subject of the works yet stark contrast. Both pieces feature a group of people enjoying a leisurely activity, yet they are not alike at all. The way they contrast and show their specific movements is remarkably interesting. First, the Romanticism piece chosen is The Women of Algiers by Delacroix (p.485, fig. 21.2). This piece is very risqué, and the subject of the piece is quite scandalous. The women portrayed are women in a harem and it was unusual for outsiders to be allowed in, let alone document it such as this. Delacroix demonstrates this period by the subject of the piece being so exotic and mysterious. He does a great job showing unity yet variety here as well. The painting feels very dark and colors of the piece are mostly neutral and really work well together, with a kick of reddish orange here and there to brighten up the piece.
The Impressionist piece Le Moulin de la Galette (p.490, fig. 21.7) by Renoir is a stark contrast to The Women of Algiers . This piece, while detailed enough for one to see the subjects and understand the context of the painting, is not focused on the clear lines and defined objects as The Women of Algiers is. Renoir uses a freer stroke and uses emphasis and subordination. The emphasis of the painting is on the small group in the front of the painting as the rest get blurrier the farther away they are. This painting is so much brighter with a lighter palette than the other clearly showing that it is from a different mov ...
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The document provides an overview of modernism in art and design. It discusses how modernism emerged in the late 19th century as a break from traditional realism, with a focus on form, space, and functional design. It gives the example of the Red and Blue Chair, noting its simple modern design and use of new materials. The movement sought to design based on function rather than traditional aesthetics through simplified shapes.
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This document defines and describes the key elements and principles of art, including:
- Elements of art are the basic building blocks - color, line, texture, shape/form, value, space.
- Principles of art describe how artists use the elements and organize them, including balance, contrast, emphasis, movement, pattern, proportion, rhythm, unity/harmony, and variety.
- Each principle is then defined in 1-2 sentences, with examples to illustrate how artists apply each principle.
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Fauvism was an early 20th century art movement known for its use of intense, pure color and bold forms to convey emotion. Led by Henri Matisse, the Fauves sought to use color independently of its descriptive purpose. Matisse emerged as a leader through works like Woman with a Hat that used vivid color and simplified forms. In his later years, Matisse created cut paper collages due to physical limitations, directing assistants to arrange cut colored papers that conveyed his vision through form and color.
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This document provides information about relief sculpture and instructions for a student project to create a three dimensional architectural facade in relief. It defines relief sculpture as sculpted motifs raised from but still attached to a two dimensional background. It outlines the basic types of relief sculpture and explains how relief sculpture differs from regular sculpture by remaining attached to its background. The document then provides a six step process for the student project, including researching cultural architectural styles, sketching ideas, experimenting with materials, creating the relief sculpture, revising if needed, and participating in a class critique.
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The document provides an overview of chapters 1 and 2 from a book on the history of art and design.
Chapter 1 discusses how appearance influences perception and how art represents ideas and feelings. It also examines talent, observation skills, technical skills, and viewing art as a language.
Chapter 2 looks at how standards of quality have changed over time and place. It then defines the basic elements of design such as line, shape, form, space, and color, exploring types of lines, functions of lines, and color theory including primary/secondary colors and use of value.
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The document provides an overview of the key visual elements of art, including line, shape, color, value, texture, space, time and motion. It discusses each element in depth, providing examples of how artists use elements like line quality, shape, value contrasts and color symbolism to express themselves visually. It also explains how principles such as linear perspective, light and shadow, and implied motion can be used to create the illusion of depth, texture and movement on a two-dimensional surface.
01 understanding the arts
This document provides an introduction to an "Approaching the Art: Visual" course. It discusses that over the next eight weeks, students will not only fulfill a degree requirement but gain knowledge that will change how they view art. It explains that art is present in many areas of everyday life beyond just painting and sculpture. The document then outlines key components that will be covered in the course, including the elements of design such as line, shape, form, and color, and how understanding these components is important for observing how art has progressed throughout history.
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This document summarizes Barbara Kerwin's artistic career and body of work over 15 years. It describes her evolution from unconventional "constructed paintings" in graduate school to more traditional wall-mounted rectangular paintings. Several solo exhibitions are highlighted that explored themes like architecture, dreams, and film through variations on the rectangle format. The document also mentions a recent survey exhibition titled "Geometric Progressions" that curated Kerwin's work from the past 15 years and included a video interview.
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Analytical Artist Review Presentation1
This document provides learning aims and outcomes for a lesson on analyzing artwork. The aims include sharing knowledge and opinions with group members to deepen understanding of chosen artists, analyzing techniques like composition, color, and mediums. Learning outcomes focus on defining key terms, identifying words for annotations, analyzing art using those terms, and sharing opinions with peers. Students are instructed to take notes on ideas from paired work and a lesson video to consider when analyzing their own artist.
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This document provides an introduction to key concepts in visual art, including the elements of design and principles of design. It discusses line, shape, form, mass, value, light, color, texture, pattern, space, and other elements. For each element, the document defines it, provides examples from artworks, and discusses how artists use that element. The overall goal is to teach readers important components of art so they can better understand how art is made and how it has progressed throughout history.
Americans in london 2016 catalog
This document provides information about an exhibition titled "Americans in London" showing from July 20-24, 2016 at the gallery@oxo in London. It lists the organizations involved in organizing and promoting the exhibition, including Art Fusion Galleries, Abba Gallery, and The Good Events and PR Company. The exhibition features works by five American artists: William Braemer, David Harry, Michael Katz, Chris Reichenbaum, and Tiril. The document includes biographies of three of the artists - William Braemer, David Harry, and Michael Katz - and images of some of their works.
Collaboration 2013 final
This document discusses collaboration in art and provides several examples. It notes that artists have long collaborated in various ways, such as with studios, other artists, technicians, and the public. Collaboration can take hidden or visible forms and be acknowledged or unacknowledged. The document then provides examples of collaborative artworks and collectives, including works by Damien Hirst, WochenKlausur, Fluxus, CoLab, Tim Rollins + K.O.S., and many artist duos and groups. It discusses strategies for collaboration, such as using instructions or gradually blending approaches. Collaboration is presented as a way to gain critical feedback and broaden skills.
09.03 form, formalism, elements of art-1
1) The document provides an overview of key concepts related to analyzing and describing art, including defining form and content, discussing various formal elements like medium, shape, line, value, texture and pattern, color, and space.
2) It emphasizes the importance of formal description and analyzing the visual elements and principles of design in an artwork before interpreting its meaning.
3) Examples are given to illustrate different elements, such as how line can be actual, implied, or indistinct, and how color can be used in monochromatic, analogous, or complementary schemes according to the color wheel.
Jackson Pollock
This document provides background information on several artists and art movements, including Jackson Pollock, abstract expressionism, Piet Mondrian, De Stijl movement, and differences between fine art and commercial art. It discusses how Jackson Pollock was a leading figure in abstract expressionism and known for his unique drip painting technique. It also summarizes that Piet Mondrian was a significant abstract artist who simplified forms down to primary colors and geometric shapes, and was influential in the De Stijl movement which emphasized these elements of design. Finally, it notes key differences between fine art which is self-motivated expression, and commercial art which is commissioned work for communication purposes.
PRINCIPLE OF ART - VARIETY.pptx
A PowerPoint presentation talking about Variety as a Principle of Art and design. It explains how variety is achieved in several examples of artworks.
Similar to engl_Begleittext_Vielfalt_im_System (20)
JUST NEED (4) REPLIES TO THE OTHER STUDENTS2-3 Sentences Replay.docx
JUST NEED (4) REPLIES TO THE OTHER STUDENTS2-3 Sentences Replay.docx
engl_Begleittext_Vielfalt_im_System
- 1. CONTEMPORARY ART ON DIVERSITY Artwork by: Mary Kim and Chritine Ott Münchenstift GmbH, Munich’s biggest provider of senior care, signed the Diversity Charter in 2014. Since then the company has taken a more strategic approach to embrace the subject of diversity. As part of an ongoing program, curator Michael Härteis was hired to compose an art exhibit that opened during Munich’s Pride Week 2016. “The System of Diversity” features abstract works by artists Mary Kim and Christine Ott. Siegfried Benker, CEO of Münchenstift Christine Ott places line next to line, paper strip next to paper strip, and field of paint next to field of paint. Through her systematic approach and the juxtaposition of seemingly similar elements, Ott’s paintings at first appear homogeneous. On closer inspection, however, small differences between the individual elements become noticeable. The lines, strips, and fields of paint differ in their shape, length, size, placement, and color. The viewer is invited to explore diversity by analyzing the relationship of each element to the other.
- 2. Curator Michael Haerteis talking about the artwork In contrast to Ott’s focus on the individual character of each element, the works by Korean-born American artist Mary Kim center on the complex nature of groups and relationships. Although Kim’s objects are made out of identically shaped timber blocks, they all differ in their geometric structure. The viewer is invited to walk around each object. By doing so, elements of the foreground merge with those of the background. What appeared symmetrical suddenly becomes disordered and vice versa. Through the use of a limited and well-balanced color pallet in combination with a systematic approach, Kim visualizes the diversity groups and networks can generate. The artworks of Christine Ott and Mary Kim will be exhibited for two months. During this time workshops on diversity will be held, using the works of art to reflect on individuality, relationships, and diversity.