Ch01es

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A World of Art PPT Chapter 1

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Ch01es

  1. 1. Art 101Chapter 1: A World of Art
  2. 2. Intro to important terms• Form- overall structure of the work• Content- what it means• Subject matter- what is literally depicted
  3. 3. 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
  4. 4. The World as the Artist Sees it
  5. 5. Roles of the Artist
  6. 6. 1. Artists help us see the world in new or innovative ways
  7. 7. 1. Artists help us see the world in new or innovative ways Jeanne Claude and Christo, b.June 13, 1935, France & Bulgaria
  8. 8. 1. Artists help us see the world in new or innovative ways
  9. 9. 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.
  10. 10. 1. Artists help us see the world in new or innovative ways Christo and Jeanne-Claude, Wrapped Reichstag, Berlin, 1971-95
  11. 11. 1. Artists help us see the world in new or innovative ways Christo and Jeanne-Claude, Wrapped Reichstag, Berlin, 1971-95
  12. 12. 1. Artists help us see the world in new or innovative ways Christo and Jeanne-Claude, Wrapped Reichstag, Berlin, 1971-95
  13. 13. 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
  14. 14. 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.
  15. 15. 1. Artists help us see the world in new or innovative ways Torii gates. eighth century.
  16. 16. 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
  17. 17. 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
  18. 18. 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
  19. 19. 1. Artists help us see the world in new or innovative ways Christo and Jeanne-Claude, The Umbrellas, Japan-USA, 1984- 91
  20. 20. 1. Artists help us see the world in new or innovative ways Christo and Jeanne-Claude, The Umbrellas, Japan-USA, 1984-91
  21. 21. 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
  22. 22. 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
  23. 23. 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.
  24. 24. • 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
  25. 25. 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.
  26. 26. 1. Artists help us see the world in new or innovative ways Yayoi Kusama, Dot Obsession New Century, 2000
  27. 27. 1. Artists help us see the world in new or innovative waysYayoi Kusama, Infinity Mirror Room - Phallis Field (Floor Show) 1965-98
  28. 28. 2. Artists make a Visual Record ofthe People, Places, and Events of Their Time and Place
  29. 29. 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.
  30. 30. 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.
  31. 31. 3. Artists make functional objects andstructures more pleasurable and elevate them or embuethem with meaning
  32. 32. 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.
  33. 33. 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.
  34. 34. 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.
  35. 35. Kanak Dwelling
  36. 36. 3. Artists make functional objects and structures more pleasurableand elevate them or embue them with meaning Renzo Piano, Biosphere, Genoa Italy, 2000-2001
  37. 37. Pablo Picasso. Seated Bather (La Baigneuse). 1930. 64 1/4 x 51 in.
  38. 38. 4. Artists Give form to theimmaterial- hidden or universaltruths, spiritual forces, personal feelings
  39. 39. 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.
  40. 40. 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
  41. 41. 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.
  42. 42. 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.
  43. 43. Jan van Eyck. God. Panel from The Ghent Altarpiece, c. 1432.
  44. 44. Jan van Eyck. The Ghent Altarpiece. c. 1432. 11 ft. 5 in. x 15 ft. 1 in.
  45. 45. Achieving Active SightTHE PROCESS OF SEEING
  46. 46. Ana Mendieta. Silueta Works in Mexico. 1973–1977. 19 3/8 x 26 9/16 in.
  47. 47. 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
  48. 48. Jasper Johns. Three Flags. 1958. 30 7/8 x 45 1/2 x 5 in.
  49. 49. Faith Ringgold. God Bless America. 1964. 31 x 19 in.
  50. 50. Yukinori Yanagi. America. 1994. each 8 x 12 in.
  51. 51. Andy Warhol. Race Riot. 1963. each 20 x 33 in.
  52. 52. 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/
  53. 53. LaToya Ruby Frasierhttp://www.art21.org/newyorkcloseup/artists/latoya-ruby-frazier/http://www.latoyarubyfrazier.com/

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