WORLD OF ART CHAPTER EIGHTH EDITION World of Art, Eighth Edition Henry M. Sayre Copyright © 2016, 2013, 2010 by Pearson Education, Inc. or its affiliates. All rights reserved. Discovering a World of Art 1 Learning Objectives Differentiate between passive and active seeing. Define the creative process and describe the roles that artists most often assume when they engage in that process. Discuss the different ways in which people value, or do not value, works of art. Introduction 1 of 3Cai Guo-Ziang utilized gunpowder as an artistic medium in his Project to Extend the Great Wall of China by 10,000 Meters..., which created an explosion that formed an ephemeral red line.Gunpowder was an essential Chinese medium; instead of using it for destruction, the artist wished to bring people together through the beauty of the pyrotechnic display. Cai Guo-Qiang, Project to Extend the Great Wall of China by 10,000 Meters: Project for Extraterrestrials No. 10. Realized in the Gobi desert, February 27, 1993, 7:35 pm. Photo by Masanobu Moriyama, courtesy of Cai Studio. [Fig. 1-1] Introduction 2 of 3For the Olympic Games in 2008, Cai was chosen to direct the visual and special effects for both opening and closing ceremonies. A trail of 29 "footprints of history" made in fireworks was fired across the sky between Tianenmen Square and the Olympic Stadium, the Bird's Nest. Cai Guo-Qiang, Footprints of History: Fireworks Project for the Opening Ceremony of the 2008 Beijing Olympic Games. 2008. Photo by Hiro Ihara, courtesy of Cai Studio. [Fig. 1-2] Herzog & de Meuron, The Bird's Nest—Beijing National Stadium. 2004–08. © Xiaoyang Liu/Corbis. [Fig. 1-3] Introduction 3 of 3For the Olympic Games in 2008, Cai was chosen to direct the visual and special effects for both opening and closing ceremonies. However, the work was aired as a video rather than live due to the conditions of smog in Beijing.Cai believed the video was necessary, and considered it a second work of art. The World as We Perceive ItObjections to Cai's Footprints of History mainly centered around the violation of trust regarding a digital film being broadcast instead of the "real thing."Many of us assume that we can trust our eyes to give us accurate information and an understanding of the world. The Process of Seeing 1 of 2Visual processing can be divided into reception, extraction, and inference.The human retina "edits" information perceived from external sources.Seeing is inherently creative, as you decide what details are important. The Process of Seeing 2 of 2Trompe-l'oeil is a technique literally meaning "trick the eye."Richard Haas is a painter known for such architectural murals, such as the one on the west facade of the Oregon Historical Society.Stored visual information can also trick a viewer, even for images seen on a regular basis, such as the American Flag. Richard Haas, Oregon Historical Society. Portland, OR. 1989. Keim silicate paint, 14,.

1. WORLD OF ART
CHAPTER
EIGHTH EDITION
World of Art, Eighth Edition
Henry M. Sayre
Copyright © 2016, 2013, 2010
by Pearson Education, Inc. or its affiliates.
All rights reserved.
Discovering a World of Art
1
Learning Objectives
Differentiate between passive and active seeing.
Define the creative process and describe the roles that artists
most often assume when they engage in that process.
Discuss the different ways in which people value, or do not
value, works of art.
Introduction
1 of 3Cai Guo-Ziang utilized gunpowder as an artistic medium
in his Project to Extend the Great Wall of China by 10,000
Meters..., which created an explosion that formed an ephemeral
red line.Gunpowder was an essential Chinese medium; instead
of using it for destruction, the artist wished to bring people
together through the beauty of the pyrotechnic display.

2. Cai Guo-Qiang, Project to Extend the Great Wall of China by
10,000 Meters: Project for Extraterrestrials No. 10.
Realized in the Gobi desert, February 27, 1993, 7:35 pm.
Photo by Masanobu Moriyama, courtesy of Cai Studio. [Fig. 1-
1]
Introduction
2 of 3For the Olympic Games in 2008, Cai was chosen to direct
the visual and special effects for both opening and closing
ceremonies. A trail of 29 "footprints of history" made in
fireworks was fired across the sky between Tianenmen Square
and the Olympic Stadium, the Bird's Nest.
Cai Guo-Qiang, Footprints of History: Fireworks Project for the
Opening Ceremony of the 2008 Beijing Olympic Games.
2008.
Photo by Hiro Ihara, courtesy of Cai Studio. [Fig. 1-2]
Herzog & de Meuron, The Bird's Nest—Beijing National
Stadium.
2004–08.

3. © Xiaoyang Liu/Corbis. [Fig. 1-3]
Introduction
3 of 3For the Olympic Games in 2008, Cai was chosen to direct
the visual and special effects for both opening and closing
ceremonies. However, the work was aired as a video rather than
live due to the conditions of smog in Beijing.Cai believed the
video was necessary, and considered it a second work of art.
The World as We Perceive ItObjections to Cai's Footprints of
History mainly centered around the violation of trust regarding
a digital film being broadcast instead of the "real thing."Many
of us assume that we can trust our eyes to give us accurate
information and an understanding of the world.
The Process of Seeing
1 of 2Visual processing can be divided into reception,
extraction, and inference.The human retina "edits" information
perceived from external sources.Seeing is inherently creative, as
you decide what details are important.
The Process of Seeing
2 of 2Trompe-l'oeil is a technique literally meaning "trick the
eye."Richard Haas is a painter known for such architectural

4. murals, such as the one on the west facade of the Oregon
Historical Society.Stored visual information can also trick a
viewer, even for images seen on a regular basis, such as the
American Flag.
Richard Haas, Oregon Historical Society. Portland, OR.
1989.
Keim silicate paint, 14,000 sq. ft. Architect: Zimmer Gunsel
Frasca Partnership. Executed by American Illusion, New York.
Photo courtesy of Richard Haas. © Richard Haas/Licensed by
VAGA, New York. [Fig. 1-4]
Active SeeingJasper Johns's Flag takes a familiar image and
examines it more closely.It was painted during the Cold War
era, a time when America obsessed over patriotism through
McCarthyism and the Space Race.Audiences were disturbed by
newspaper scraps visible beneath the surface.
Jasper Johns, Flag.
1954–55. Encaustic, oil, and collage on fabric mounted on
plywood (three panels),
42-1/2" × 5'-5/8". Museum of Modern Art, New York.
Gift of Ms. David M. Levy, 28.1942.30. © 2015. Digital image,
Museum of Modern Art, New York/Scala, Florence. © Jasper

5. Johns/Licensed by VAGA, New York. [Fig. 1-5]
Active SeeingFaith Ringgold's God Bless America was created
during the Civil Rights movement.Here, the stripes have been
turned into prison bars and the star becomes a sheriff's
badge.The white woman is portrayed as both patriotic and
racist, a prisoner of bigotry.
Faith Ringgold, God Bless America, No. 13 from the series
American People.
1964. Oil on canvas, 31 × 19". ACA galleries.
© Faith Ringgold, Inc. 1964. [Fig. 1-6]
The World as Artists See It
1 of 2Cai did not choose to go to Dunhuang simply to extend
the end of the Great Wall of China; the area was the place
where East and West first intersected.A terra-cotta figure from
the Tang dynasty shows a Bactrian camel that would have
transported goods.The region also has the greatest collection of
early Chinese art.
Caravaneer on a camel, China.
Tang dynasty, (618–907). Polychrome terra-cotta figure. 17-1⁄8"
× 14-1⁄8".

6. Musée des Arts Asiatiques-Guimet, Paris.
Inv. MA6721.Photo © RMN-Grand Palais (musée Guimet,
Paris)/Thierry Ollivier. [Fig. 1-7]
The World as Artists See It
2 of 2Legend has it that a cave-temple was dug by a Buddhist
monk named LeSun, over the years becoming more decorated
until it was recognized in the fourteenth century as the Mogao
Caves. 492 of these caves are decorated with murals, together
about 40 times longer than the walls in the Sistine Chapel.
Mogao Caves (Caves of a Thousand Buddhas) Dunhuang, China.
© Joan Swinnerton/Alamy. [Fig. 1-8]
Reclining Buddha, Mogao Caves, Cave 148, Dunhuang, China.
Middle Tang dynasty, (781–847). Length: 51'.
Photo: Tony Law. © Dunhuang Research Academy. [Fig. 1-9]
The Creative ProcessArtists engage in critical thinking.They
respond to the unexpected, chance occurrences and are open to
new ways of thinking.The artist manages the process from
seeing to imagining to making, becoming self-critical and

7. exploring the possibilities of their work.
Art and the Idea of Beauty
1 of 2Aesthetics refer to our sense of what is beautiful and vary
across cultures over time.Western culture values order,
regularity, proportion, and design, which are hallmarks seen
through Classical art and architecture.Mountain ranges were
dismissed until the nineteenth century in the U.S.
Art and the Idea of Beauty
2 of 2The human body is also a widely contested source of
beauty.Imagine tall, slender fashion models compared to Peter
Paul Rubens's fleshy nudes.Pablo Picasso's representations of
women are almost demonic, segmented and abstracted in a
battle between attraction and repulsion.
Pablo Picasso, Seated Bather (La Baigneuse).
1930. Oil on canvas, 5' 4-1/4" × 4' 3". Museum of Modern Art,
New York.
Mrs. Simon Guggenheim Fund. (82.1950). © 2015. Digital
image, Museum of Modern Art, New York/Scala, Florence. ©
2015 Estate of Pablo Picasso/Artists Rights Society (ARS), New
York. [Fig. 1-10]

8. Roles of the Artist
1 of 12
Artists make a visual record of the people, places, and events of
their time and place.The art of portraiture reflects a desire to
record what the artist sees visually.Mickalene Thomas paints
portraits of contemporary African-American women in poses
evoking odalisques, similar to Manet's Olympia.
Mickalene Thomas, Portrait of Mnonja.
2010. Rhinestones, acrylic, and enamel on wood panel, 8 × 10'.
Smithsonian American Art Museum, Washington, D.C.
Museum purchase through the Luisita L. and Franz H.
Denghausen Endowment, 2011.16. © 2015. Digital image,
Smithsonian American Art Museum, Washington, D.C./Scala,
Florence. Courtesy of Mickalene Thomas and Lehmann Maupin,
New York and Hong Kong. © 2015 Mickalene Thomas/Artists
Rights Society (ARS), New York. [Fig. 1-14]
Édouard Manet, Olympia.
1863. Oil on canvas, 4' 3" × 6' 2-3/4". Musée d'Orsay, Paris.
Inv. RF644. Photo © RMN-Grand Palais (musée d'Orsay)/Hervé
Lewandowski. [Fig. 1-15]
Roles of the Artist

9. 2 of 12
Artists make a visual record of the people, places, and events of
their time and place.Portrait of Mnonja was sold to the Akron
Art Museum and featured hundreds of rhinestones.The
anamorphic cat directly references the black cat opposite
Olympia's feet in Manet's work.
Roles of the Artist
3 of 12
Artists make a visual record of the people, places, and events of
their time and place.Olympia was also reflective of its time,
though Manet's audience did not wish to acknowledge it as
anything but appalling.
The Creative Process
1 of 2From Sketch to Final Vision:
Pablo Picasso's Les Demoiselles d'AvignonAn early sketch
conceived five prostitutes and two men in the work.By
removing the male figures, he more fully engages the audience
in the scene.Picasso rejects any traditional notion of beauty in
the women's forms.
Pablo Picasso, Medical Student, Sailor, and Five Nudes in a
Bordello (Compositional study for Les Demoiselles d'Avignon),
Paris.
Early 1907. Black chalk and pastel over pencil on Ingres paper,

10. 18-1/2 × 25". Kupferstichkabinett, Kunstmuseum Basel,
Switzerland.
Deposited at the Kupferstichkabinett of the Kunstmuseum Basel
by the residents of the City of Basel, 1967.106. Photo:
Kunstmuseum Basel/Martin Bühler. © 2015 Estate of Pablo
Picasso/Artists Rights Society (ARS), New York. [Fig. 1-11]
The Creative Process
2 of 2From Sketch to Final Vision:
Pablo Picasso's Les Demoiselles d'AvignonOriginally, all
figures looked like the middle two.African masks inspired the
new look of the emotionally-charged figures.The impossible
multiple points of view present the painting as an ambiguity of
experience.
Pablo Picasso, Study for Les Demoiselles d'Avignon: Head of
the Squatting Demoiselle. 1907. Gouache and Indian ink on
paper, 24-3/4 × 18-7/8". Musée Picasso, Paris.
Inv. MP 539. Photo © RMN-Grand Palais/Thierry Le Mage. ©
2015 Estate of Pablo Picasso/Artists Rights Society (ARS), New
York. [Fig. 1-12]
Pablo Picasso, Les Demoiselles d'Avignon.
1907. Oil on canvas. 8' × 7'. Museum of Modern Art, New York.

11. Acquired through the Lillie P. Bliss Bequest, 333.1939. © 2015
Digital image, Museum of Modern Art, New York, New
York/Scala, Florence. © 2015 Estate of Pablo Picasso/Artists
Rights Society (ARS), New York. [Fig. 1-13]
Roles of the Artist
4 of 12
Artists help us see the world in new or innovative ways.Cai
Guo-Qiang's work was designed to transform viewers'
experience of the world.Prior to his work, Ken Gonzalez-Day
researched the history of lynching in California, finding Native
Americans, Chinese immigrants, and Latinos were lynched more
than other groups.
Ken Gonzales-Day, "At daylight the miserable man was carried
to an oak…," from the series Searching for California Hang
Trees.
2007. Chromogenic print, 35 × 45". Smithsonian American Art
Museum, Washington, D.C.
Museum purchase through the Luisita L. and Franz H.
Denghausen Endowment, 2012.12.1. © 2015. Digital image,
Smithsonian American Art Museum, Washington, D.C./Scala,
Florence. © 2015 Ken Gonzales-Day. [Fig. 1-16]
Roles of the Artist
5 of 12

12. Artists help us see the world in new or innovative ways.The
photograph "At daylight..." transforms our view of an oak tree
that is at once mossy, tangled, and majestic and the site of
violent deaths.
Roles of the Artist
6 of 12
Artists make functional objects and structures (buildings) more
pleasurable and elevate them or imbue them with meaning.The
sculpture of a film projector by Kane Kwei and his workshop
functions as a coffin.In Ghana, coffins celebrate a successful
life with ritual significance.
Workshop of Kane Kwei, Coffin in the shape of a film
projector, Teshi area, Ghana, Africa.
2013.
© LUC GNAGO/Reuters/Corbis. [Fig. 1-17]
Roles of the Artist
7 of 12
Artists make functional objects and structures (buildings) more
pleasurable and elevate them or imbue them with
meaning.Public space features standards of aesthetic
beauty.Self-sufficiency, sustainable building materials, and
suitability to climate and culture exemplify "green
architecture."

13. Roles of the Artist
8 of 12
Artists make functional objects and structures (buildings) more
pleasurable and elevate them or imbue them with meaning.The
Jean-Marie Tjibaou Cultural Center, named for a leader of the
Kanak people, features buildings of wood and bamboo.Architect
Renzo Piano utilized the nearby ocean breeze in a design that
cooled the inner rooms of the pavilions.
Renzo Piano, Jean-Marie Tjibaou Cultural Center, Nouméa,
New Caledonia.
1991–98.
© Giraud-Langevin/Sygma/Corbis. [Fig. 1-18]
Roles of the Artist
9 of 12
Artists give form to the immaterial—hidden or universal truths,
spiritual forces, personal feelings.Western approach to works
from African, Oceanic, Asian, or Native American cultures
often relegates everyday objects to "works of art."These objects
may serve a utilitarian or sacred function, a context far removed
from the Western lens.

14. Roles of the Artist
10 of 12
Artists give form to the immaterial—hidden or universal truths,
spiritual forces, personal feelings.The Nkisi nkonde from Kongo
was used to pursue witches, thieves, and wrongdoers and
activated by a communicator driving pieces of iron into the
body of the figure.These figures represented animism, but
Europeans saw them as a threat.
Nkisi nkonde, Kongo (Muserongo), Zaire.
Late 19th century. Wood, iron nails, glass, resin, 20-1/4 × 11 ×
8". The University of Iowa Museum of Art.
Stanley Collection, X1986.573. Image courtesy of the
University of Iowa Museum of Art [Fig. 1-19]
Roles of the Artist
11 of 12
Artists give form to the immaterial—hidden or universal truths,
spiritual forces, personal feelings.Figures of minkonde are still
made today.Tania Brugeuera dressed as an nkonde in a
performance enacted in Havana and the Neuberger Museum of
Art in NY.
Tania Bruguera, Displacement.
1998–99. Cuban earth, glue, wood, nails, textile, dimensions

15. variable. Still from film of the original performance in Havana,
Cuba, 1988, exhibited at the Neuberger Museum of Art, New
York, January–April 2010.
Courtesy of Tania Bruguera studio. [Fig. 1-20]
Roles of the Artist
12 of 12
Artists give form to the immaterial—hidden or universal truths,
spiritual forces, personal feelings.Images of God were protested
through Western history.Jan van Eyck depicted a frail, young,
merciful, and richly adorned God in his Ghent Altarpiece.
Jan van Eyck, The Ghent Altarpiece.
ca. 1432. Oil on panel, 11' 5" × 15' 1". Church of St. Bavo,
Ghent, Belgium.
© 2015 Photo Scala, Florence. [Fig. 1-21]
Jan van Eyck, God, panel from The Ghent Altarpiece.
ca. 1432.
© 2015 Photo Scala, Florence. [Fig. 1-22]
Seeing the Value in Art

16. 1 of 2Francis Bacon's Three Studies of Lucian Freud was the
most expensive artwork ever sold in 2013.This triptych was
analogous to shooting the same scene from three different
angles.While interesting as a study, many people find it hard to
like and are incredulous at its market value.
Francis Bacon, Three Studies of Lucian Freud.
1969. Oil on canvas, each canvas 6' 6". × 4' 10". Private
collection.
Photo © Christie's Images/Bridgeman Images. © 2015 Estate of
Francis Bacon. All rights reserved./DACS, London/Artists
Rights Society (ARS), New York. [Fig. 1-23]
Seeing the Value in Art
2 of 2The art market depends on the participation of wealthy
clients.Major financial centers support the most prestigious art
galleries, auction houses, and museums.Collectors are motivated
mostly by the pleasure of owning prestigious art.
Artistic Value and the "Culture Wars"
1 of 4The value of art is not solely about money, but intrinsic
value.Robert MapplethorpeMapplethorpe died a few months
before the slated exhibition of his work in the Corcoran Gallery
in Washington, D.C. in 1989.His homoerotic, sadomasochistic,
and underage subjects evoked ire.

17. Artistic Value and the "Culture Wars"
2 of 4Robert MapplethorpeBecause of its subject matter, the
show was moved to a smaller gallery.Later shows ran without
incident until police seized photographs at a Cincinnati gallery,
claiming criminal obscenity.Testimony in the following trial
focused on formal qualities of each work.
Artistic Value and the "Culture Wars"
3 of 4Robert MapplethorpeAjitto, for example, shows the human
body with the geometry of a pentagon.The jury eventually ruled
that Mapplethorpe's work possessed "serious artistic value" in
the context of the tradition of arts confronting parts of our lives
that give us pain as well as pleasure.
Robert Mapplethorpe, Ajitto.
1981. Gelatin silver print, 30 × 40".
Used by permission of Art + Commerce. © Robert Mapplethorpe
Foundation. [Fig. 1-24]
Artistic Value and the "Culture Wars"
4 of 4Chris OfiliThe Holy Virgin Mary became a target for
outrage especially for its inclusion of elephant dung in the

18. depiction of a religious figure.The Catholic League for
Religious and Civil Rights encouraged people to picket the
museum and mayor Rudolph Giuliani threatened to cut off the
museum's city subsidy.
The press surround Chris Ofili's The Holy Virgin Mary at the
Brooklyn Museum.
© Ruby Washington/New York Times/Redux/eyevine. [Fig. 1-
25a]
Demonstration Against the 'Sensation' Art Exhibition outside
the Brooklyn Museum, New York, America – 1999.
Sipa Press/REX. [Fig. 1-25b]
The Avant-Garde and Public Opinion
1 of 3The public tends to receive innovative artwork with
reservation because it has little context to be appreciated.Marcel
Duchamp's Nude Descending a Staircase succeeded in
scandalizing, and received parody and ridicule following its
exhibition at the Armory Show in 1913.
Marcel Duchamp, Nude Descending a Staircase, No. 2.
1912. Oil on canvas, 4' 10" × 35". Philadelphia Museum of Art.

19. Louise and Walter Arensberg Collection, 1950. © 2015. Photo:
Graydon Wood, 1994, Philadelphia Museum of Art/Art
Resource/Scala, Florence. © 2015 Succession Marcel
Duchamp/ADAGP, Paris/Artists Rights Society (ARS), New
York. [Fig. 1-26]
The Avant-Garde and Public Opinion
2 of 3Duchamp studied and represented Marey's Movement as
well as studies of animals and humans in motion by Eadweard
Muybridge.The National Endowment for the Arts (NEA)
endeavored to teach the public how to see and appreciate
"advanced art."
The Avant-Garde and Public Opinion
3 of 3Richard Serra's Tilted Arc was installed with minimal
negative reaction in 1981, but faced removal in March 1985.In
March of 1989, it was stolen in the middle of the night,
dismantled and subsequently destroyed.The site-specific work
lost its meaning when it was removed
Richard Serra, Tilted Arc.
Cor-Ten steel, 12' × 120' × 2-1/2". Installed, Federal Plaza, New
York City. Destroyed by the U.S. government March 15, 1989.
© 2015 Richard Serra/Artists Rights Society (ARS), New York.
[Fig. 1-27]

20. Political VisionsIf art appears to promote a specific political or
social agenda, it is bound to face public
disagreement.Michelangelo's David was designed to be
displayed atop the Piazza della Signoria, signifying Florence's
freedom from foreign, papal, and Medici domination.Citizens
also objected to its nudity.
Michelangelo, David.
1501–04. Copy of the original as it stands in the Piazza della
Signoria, Florence. Original in the Galleria dell'Accademia,
Florence. Marble, Height 13' 5".
© Bill Ross/CORBIS. [Fig. 1-28]
The Critical Process
Thinking about Making and Seeing
Works of ArtAndy Warhol's Race Riot depicts events of May
1963 when Bull Connor employed attack dogs and fire hoses to
disperse civil rights demonstrators led by Rev. Martin Luther
King, Jr. Which of the artist's roles was the most important for
creating this work?
Andy Warhol, Race Riot.
1963. Acrylic and silkscreen on canvas. Four panels, each 20 ×

21. 33".
© 2015 Andy Warhol Foundation for the Visual Arts/Artists
Rights Society (ARS), New York. [Fig. 1-29]
Thinking Back
Differentiate between passive and active seeing.
Define the creative process and describe the roles that artists
most often assume when they engage in that process.
Discuss the different ways in which people value, or do not
value, works of art.