A. Objectives: The art historical canon privileges the Western perspective and is incomplete. Most of what we study in this chapter is based on Western art (Europe and North America). It tends to leave out artists and voices from other regions we've studied (Middle-east, Africa, South America, Oceania, Asia, Australia, and indigenous, non-white, non-CIS-gender populations). Our task - find an artist which fills in that gap. How-to: Choose a w ork from a time period covered in class this week, but from a region we didn’t discuss or didn't discuss enough (see above)  Not sure how to find a work we haven’t discussed together? Here are just a few ideas to start, and I’m happy to help you find something more specific: Smithsonian Institution Collections Metropolitan Museum of Art (NYC) British Museum (London) PBS’ Art 21 (Contemporary Art) Getty Museum (LA) MoMA (NYC), SFMoMA (Bay Area), Tate Modern (London), and many more modern & contemporary Visionary Art Museum – Folk and Outsider art (Baltimore) IAIA Museum of Contemporary Native Arts (Santa Fe) Regional and local museums (like Oklahoma City Museum of Art ). Most cities have at least one, in the US and abroad. Choose a work and include this info in your journal: Metadata : artist name, title of the work, date(s), place, collection if any, medium, size, any other relevant info to help us understand the work better Image(s) of the work. Do we need to see multiple views to understand it? Why should we study it? Reference at least 2 pieces we discussed in class. How does your selection engage with the critical conversation from those pieces, and take it further? What is the critical value of your piece? (Here you should take at least 2 paragraphs to 1. Solidify the content in your mind and 2. Prove to me you know it) Why did you choose it? Your personal aesthetics - why does the piece resonate with you? (Here you should take at least 1 paragraph. Consider addressing visual elements like composition, shape, space, time, color, value, line, texture, focal point, sound, interactivity, material, place, etc.) B. This chapter deals with the aftermath of WW2. Find another work that does this - preferably from a non-Western point of view. Or, find a work that seems to be a reaction to the "splitting of the atom" and the age of nuclear power.  Choose a work and include this info in your journal: Metadata : artist name, title of the work, date(s), place, collection if any, medium, size, any other relevant info to help us understand the work better Image(s) of the work. Do we need to see multiple views to understand it? If so, include those. Why should we study it? Reference the text on the post-war era / nuclear era, and other artworks we have studied/discussed. How does your selection engage with the critical conversation from those, and take it further? What is the critical value of your piece? (Here you should take at least 2 paragraphs to 1. Solidify the co.

1. A. Objectives:
The art historical canon privileges the Western perspective and
is incomplete. Most of what we study in this chapter is based on
Western art (Europe and North America). It tends to leave out
artists and voices from other regions we've studied (Middle-
east, Africa, South America, Oceania, Asia, Australia, and
indigenous, non-white, non-CIS-gender populations). Our task -
find an artist which fills in that gap.
How-to:
Choose a w ork from a time period covered in class this week,
but from a region we didn’t discuss or didn't discuss enough
(see above) Not sure how to find a work we haven’t discussed
together? Here are just a few ideas to start, and I’m happy to
help you find something more specific:
Smithsonian Institution Collections
Metropolitan Museum of Art
(NYC)
British Museum
(London)
PBS’ Art 21
(Contemporary Art)
Getty Museum
(LA)
MoMA
(NYC),
SFMoMA
(Bay Area),
Tate Modern

2. (London), and many more modern & contemporary
Visionary
Art Museum – Folk and Outsider art (Baltimore)
IAIA Museum of Contemporary Native Arts
(Santa Fe)
Regional and local museums (like
Oklahoma City Museum of Art
). Most cities have at least one, in the US and abroad.
Choose a work and include this info in your journal:
Metadata
: artist name, title of the work, date(s), place, collection if any,
medium, size, any other relevant info to help us understand the
work better
Image(s)
of the work. Do we need to see multiple views to understand it?
Why should we study it?
Reference at least 2 pieces we discussed in class. How does
your selection engage with the critical conversation from those
pieces, and take it further? What is the critical value of your
piece?
(Here you should take at least 2 paragraphs to 1. Solidify the
content in your mind and 2. Prove to me you know it)
Why did you choose it?
Your personal aesthetics - why does the piece resonate with
you?
(Here you should take at least 1 paragraph. Consider addressing

3. visual elements like composition, shape, space, time, color,
value, line, texture, focal point, sound, interactivity, material,
place, etc.)
B.
This chapter deals with the aftermath of WW2. Find another
work that does this - preferably from a non-Western point of
view. Or, find a work that seems to be a reaction to the
"splitting of the atom" and the age of nuclear power. Choose a
work and include this info in your journal:
Metadata
: artist name, title of the work, date(s), place, collection if any,
medium, size, any other relevant info to help us understand the
work better
Image(s)
of the work. Do we need to see multiple views to understand it?
If so, include those.
Why should we study it?
Reference the text on the post-war era / nuclear era, and other
artworks we have studied/discussed. How does your selection
engage with the critical conversation from those, and take it
further? What is the critical value of your piece?
(Here you should take at least 2 paragraphs to 1. Solidify the
content in your mind and 2. Prove to me you know it)
Why did you choose it?
Your personal aesthetics - why does the piece resonate with
you?
(Here you should take at least 1 paragraph. Consider addressing
visual elements like composition, shape, space, time, color,
value, line, texture, focal point, sound, interactivity, material,

4. place, etc.)
C.
Make an artwork: this is a more open-ended version of the
assignment, so if you have questions or want to run an idea by
me, please feel free! Along with the work you make, please
include a brief explanation telling us how it is a response to the
reading and discussion material. As a disclaimer, there is a good
chance this option will take a little longer- but you may also
find it quite interesting and rewarding. So what could you
make?
You could draw a replica of a work you see in the chapter - just
spending time "recreating" a work helps us become more aware
of composition, value, line, etc - all the choices the artist made.
You could make an altered version of a work you see in the
chapter - consider how the two new versions of Magritte's pipe
(on page 9) add to and change the meaning. This is great
because you can be really flexible about the materials you have
around the house.
You could generate your own work, based not on an example
pictured in the chapter - but based on an idea from the text.
Maybe there is a concept you want to reflect upon visually. Or a
question based on the reading that you could try to communicate
via a work of visual art. If you need ideas for fairly "quick" and
thought-provoking art-making prompts, you may want to check
out this website, called "The Art Assignment":
theartassignment.com/assignments-landing