The document provides an overview of how to analyze and interpret artworks through a four step process: description, analysis, interpretation, and judgment. It discusses how art historical research helps provide context and external evidence to analyze what cannot be gleaned just from looking at the artwork. Interpretation involves uncovering what the artwork may mean based on description and analysis, though there are no definitive answers as artworks can mean different things to different people. The document also cautions that the artist's intention is not always a fixed idea and artworks are often meant to provoke thought rather than state a single meaning.
This presentation is to help students and teachers to have more references in ART APPRECIATION Subject in General Education in Higher Education. Not for sale.
Dans le cadre de l'exposition «Autoportrait », en partenariat avec : l’Association « Saint-Louis pour la photo », l’Association « Les gens de la fontaine 68 » et le Cinéma « Palace » d’Altkirch, la Médiathèque Départementale du Haut-Rhin vous propose une bibliographie sur ce thème
This presentation is to help students and teachers to have more references in ART APPRECIATION Subject in General Education in Higher Education. Not for sale.
Dans le cadre de l'exposition «Autoportrait », en partenariat avec : l’Association « Saint-Louis pour la photo », l’Association « Les gens de la fontaine 68 » et le Cinéma « Palace » d’Altkirch, la Médiathèque Départementale du Haut-Rhin vous propose une bibliographie sur ce thème
STEP 1: VISIT >
https://artsandculture.google.com/partner?hl=en
.
Browse through the partner museums and select one that has a "Museum View" or "Street View"
(typically if you scroll to the bottom, it will appear above the map).
It is important to make sure your selected museum has a
"Museum View"
or
"Street View"
of inside the galleries of the museum - not all do. Please confirm this before moving to step two. For example, the National Museum of Art in Washington DC doesn’t have a Museum View so you can’t pick it but MoMA or the Tokyo Fuji Art Museum does!
Please also make sure to pick an art museum, as you’ll need to write about a work of art. So, sadly, no history museums like the Anne Frank House, NASA, or Smithsonian National History Museum.
STEP 2: Select a work of art from your museum within the Museum/Street View or collections page.
You’ll want to pick a work here so that you can analyze where it’s located, what’s next to it and what kind of frame it has. It will look like this or if you found it by looking through that museum’s collection, it will look like the second image.
STEP 3: When you’ve found your artwork, click on the entry to learn more about your individual artwork. Spend some time clicking around the room it's in, seeing what’s next to it and what the architecture of the space is like.
STEP 4: Time to answer some questions!
QUESTIONS TO ANSWER IN YOUR REPORT
Font & Spacing
: 12pt, Times or Arial; Single or double-spaced is fine.
Length
: 1000 words (ok to go over).
Style
: Write in complete sentences and with college-level spelling and grammar. Answer each question in the next section with about 150-200 words of text in a paragraph (not bullet points).
Underlining
: Please underline any art or art history specific vocabulary.
Format
: You can format your paper either with headings for each question OR as an essay with paragraphs for each question.
Sources
: you need at least two sources (cannot include Wikipedia) and to include Works Cited that is correctly formatted in MLA style.
You should also use in-text citations when referring to information that is taken from your sources. This lets the reader know what are your ideas and words vs. those that are from someone else.
You’ll include citations if you paraphrase, directly quote, or refer to information and concepts that come from other people.
Remember that what you list in your Works Cited page are sources that you actually cite in your report. This is not a bibliography so it's not sources that you used for research.
The artwork alone and by itself is not considered a source. If there was an essay that accompanied it, then yes, you can list that as one of your sources.
Visit and artwork information
The name of the art museum
Artist name, title (in
italics
), date, and medium of your artwork (what your artwork is made from)
The movement or time period your artwork is a part of.
Example: Northern Renaissance, .
Your assignment is to write a formal response to this work. By caref.docxwoodruffeloisa
Your assignment is to write a formal response to this work. By carefully describing subject matter, medium, form, and context, you should be able to arrive at a thoughtful well -defended interpretation of the piece. (1) Describe it . Thoroughly. If it is representational, what is the subject matter depicted? If it is non -representational, say so. What does it look like? What is the medium? Have we studied/do you know anything about the process that resulted in the work? What size is it? Is it a 2 -dimensional or 3 -dimensional piece? Which formal elements stand out to you? What are the colors being used? Be as descriptive as possible. (2) Contextualize it . What is the title? What is the name of the artist who created it? Do you know anything about the artist? Is there a statement giving you more information? In which year was it made? Where is it being displayed as you are looking at it? How is it being displayed? Are there other works by the same artist there to give you more context? Can you compare and contrast it to other works you’ve seen elsewhere or studied ? (3) Interpret it. Based on your description, what do you think the artist was trying to say? It may be difficult to separate this interpretation from the descriptive process and it is okay if the two aspects are interwoven. (4) Respond to it. Though I am not interested in merely hearing whether or not you like the piece, I also want you to meaningful respond to the work. As art -critic Peter Scheldahl proposes, a question more valuable to ask yourself can be, “If I were someone who did like this piece, why would I like it?” Who is its intended audience and are you among that audience? Why did you choose this particular piece? What does it make you think about? Why do you think that the artist made the choices that she or he did? Do you agree with all of those choices? Is the artist’s intention clear/well -executed? How do you feel about the way in which the work is being displayed? Would it be more suitably exhibited somewhere else or alongside different work? This part of the paper may contain judgments, but at this point they will be well founded. Never make a proclamation without continuing the sentence with the because… Your response should be a minimum of one and a half double -spaced pages, 12 point font. If you are thorough in your description, you should find that you easily exceed this length.
Name of this Artwork: The Black Ring
.
Art Criticism Take a field trip to a museum, gallery.docxdavezstarr61655
Art Criticism
Take a field trip to a museum, gallery, etc. to view works of art in order to find something you would
be interested in writing about in the mode of art criticism, including how the artwork relates to a
topic or theory we have covered in class, and using at least two sources (at least one of which should
be a scholarly article NOT from our course). 6 pages minimum.
Describe: Tell what you see (the visual facts).
Questions to consider:
1. Where did you see the art? (Name gallery/museum/etc., geographical location, etc.)
2. What is the name of the artist who created the artwork?
3. What kind of an artwork is it?
4. What is the name of the artwork?
5. When was the artwork created?
6. Name some other major events in history that occurred at the same time this artwork was
created.
7. List the literal objects in the painting (trees, people, animals, mountains, rivers, etc.).
8. What do you notice first when you look at the work(s)? Why?
9. What kinds of colors do you see? How would you describe them?
10. What shapes can we see? What kind of edges do the shapes have?
11. Are there lines in the work(s)? If so, what kinds of lines are they?
12. What sort of textures do you see? How would you describe them?
13. What time of day/night is it? How can we tell?
13. What is the overall visual effect or mood of the work(s)?
Analyze: Mentally separate the parts or elements, thinking in terms of textures, shapes/forms,
light/dark or bright/dull colors, types of lines, and sensory qualities. In this step consider the
most significant art principles that were used in the artwork. Describe how the artist used them
to organize the elements. Suggested questions to help with analysis:
Questions to consider:
1. How has the artist used colors in the work(s)?
2. What sort of effect do the colors have on the artwork?
3. How as the artist used shapes within the work of art?
4. How have lines been used in the work(s)? Has the artist used them as an important or
dominant part of the work, or do they play a different roll?
5. What role does texture play in the work(s)? Has the artist used the illusion of texture or has
the artist used actual texture? How has texture been used within the work(s).
6. How has the artist used light in the work(s)? Is there the illusion of a scene with lights and
shadows, or does the artist use light and dark values in a more abstracted way?
7. How has the overall visual effect or mood of the work(s)? been achieved by the use of
elements of art and principles of design.
8. How were the artists design tools used to achieve a particular look or focus?
Interpret: An interpretation seeks to explain the meaning of the work based on what you have
learned so far about the artwork, what do you think the artist was trying to say?
Questions to consider:
1. What was the artist’s statement.
Art Project For Self Portrait. Students
Draw a self-portrait.
The portrait should show your personality, interest, and how you see yourself.
When you are finished, you will do a gallery walk.
07050 Topic ArtNumber of Pages 3 (Double Spaced)Number o.docxsmithhedwards48727
07050 Topic: Art
Number of Pages: 3 (Double Spaced)
Number of sources: 3
Writing Style: APA
Type of document: Essay
Academic Level:High School
Category: Art
Language Style: English (U.S.)
Order Instructions: Attached
Transcript: Art Analysis PaperThis video is preparing you for one of your major grades this semester: an ar t analysis paper.Everything is under this week's content already that you need, and I'm giving you ample time to prepare for this. In this week's video, we're going through a step-by-step process of how to write this paper, and also how to encounter art more fully in general. The goal of a formal analysis is to explain the formal elements of a work of art, but also to consider the background and content of said work. In your paper, you'll be both interpreting a work of art and considering the formal elements. The frst step is a pretty obvious one. There's a topic list posted under the Analysis folder, labeled step 1. You'll choose one of these to write about. Also consider,do you want to write positive criticism or negative? Either is acceptable, and sometimes it's more fun to discuss why you dislike an artwork and why you think the worth of it is invalid. So once you've chosen your piece from the list, it's time to get started. This is all the information you'll need for your introduction. You ABSOLUTELY need to state the title, artist, date/period, and medium of the piece. This is also a good place to start discussing the artist or people who made the piece. If it's a work from an older period, you may not have an artist to discuss. That's fne. Instead you'll cover the people who made or commissioned the piece. You're giving it context. Art is never made in a vacuum. It's made in reaction to the world and values around it. This is also why it is important to consider why it was made, and who for. Was it created for a funeral? Was it commissioned by a cardinal or king? Is it meant to delight or intimidate? These are important questions to be able to answer. The example I chose to walk us through this process is Apollo and Daphne. I just gave you the title. Now I'll offer the rest of the basic information: It was created by Bernini, made between 1622-1625 out of marble. It stands 96 inches tall. Notice how I italicized the title of the piece? Unless it's a building, all work titles should be italicized. Always. I'm also going into a bit of Bernini's life here, talking about when he worked, where he was from, and why he made this piece. This piece was commissioned by the Cardinal Borghese of the Vatican during the Barque period. Think this is strange for a catholic cardinal to have a Greek myth in his home? The reasoning behind it can be found with this quote: “Those who love to pursue feeting forms of pleasure, in the end fnd only leaves and bitter berries in their hands.” The sculpture depicts the Greek myth of Apollo, the god of light, and Daphne, a wood nymph. Apollo fell in love with Daphne due to Cupid's a.
This tutorial offers a step-by-step guide on how to effectively use Pinterest. It covers the basics such as account creation and navigation, as well as advanced techniques including creating eye-catching pins and optimizing your profile. The tutorial also explores collaboration and networking on the platform. With visual illustrations and clear instructions, this tutorial will equip you with the skills to navigate Pinterest confidently and achieve your goals.
Boudoir photography, a genre that captures intimate and sensual images of individuals, has experienced significant transformation over the years, particularly in New York City (NYC). Known for its diversity and vibrant arts scene, NYC has been a hub for the evolution of various art forms, including boudoir photography. This article delves into the historical background, cultural significance, technological advancements, and the contemporary landscape of boudoir photography in NYC.
Hadj Ounis's most notable work is his sculpture titled "Metamorphosis." This piece showcases Ounis's mastery of form and texture, as he seamlessly combines metal and wood to create a dynamic and visually striking composition. The juxtaposition of the two materials creates a sense of tension and harmony, inviting viewers to contemplate the relationship between nature and industry.
This document announces the winners of the 2024 Youth Poster Contest organized by MATFORCE. It lists the grand prize and age category winners for grades K-6, 7-12, and individual age groups from 5 years old to 18 years old.
2. LAST WEEK
Over the last couple of weeks we learned how to research artists
and artworks in order to put their work in a broader perspective.
This type of art historical research helps us to think about aspects
of the artwork that we cannot see just by looking at the artwork.
Again this could be understood as the difference between internal
and external evidence – researching the context of an artwork
contributes to the external evidence we can gather and analyse.
And can help us think about what else is significant about the
artwork.
3. INTERPRETATION
In 1970 a professor of art at Georgia University, Edmund
Feldman, came up with a 4 step technique for looking at art which
is used again and again to teach art criticism.
It looks like this:
1. DESCRIPTION: What can be seen in the artwork?
2. ANALYSIS: What relationships exist with what is seen?
3. INTERPRETATION: What is the content or meaning, based on
steps 1 and 2?
4. JUDGEMENT: What is your evaluation of the work, based on
steps1, 2, 3?
4. Interpretation is how we uncover we what think an artwork might
mean.
It is really important to recognise that there are no definitive
answers to this question.
Even if we uncover some of the artist’s intentions through
researching the background of the artwork, artworks always exist
to provoke thought and reflection and as a result, can mean a
range of things to a range of people in a range of different places.
Confused?
5. First of all we described the artwork and in doing that, we already began
analysing and interpreting it. Remember that analysis is means just digging a
little deeper than a basic description. It is where we start to openly question
why something might have been made the way it has.
Just like analysis, as soon as you talk about an artwork you begin to interpret
it in your own way. You are filtering it through your own magic lens.
Remember when we tried to describe artworks to blindfolded partners? As
soon as you chose the ways you would describe it you were starting to
interpret the artwork through your magic lens – your own way of seeing it.
You might have described the colours or shapes in a manner that is totally
specific to you.
Art critic Jerry Saltz describes art criticism as ‘seeing out loud’. This is an
excellent way of putting it because each stage in our set of 4 + 1 steps
(description, analysis, contextualisation, interpretation and judgement) can be
done just by saying what you see and how you see it.
8. DESCRIPTION
= Everything you see before you, without having to do any
analysis or research (internal evidence):
• What does it look like?
• What shapes can you see?
• What colours are used?
• What textures are present?
• What is the subject?
• What is it made of?
9. MORE DESCRIPTION
= Other pieces of information you can gather specifically
relating to the physical presence of the artwork (external
evidence):
• What is it called?
• Who is it by?
• Where is it/how is it installed in the space?
• How was it made?
10. ANALYSIS
= Everything you see before you, without having to do any
analysis or research:
• Why might it look like that?
• Why those shapes?
• Why those colours?
• Why those textures?
• Why might that be the subject?
• Why might it be made of that?
11. Think of how you might describe this artwork,
the possible subject matter, the colours and
shapes…
Now notice what happens when you start to ask
why Picasso painted this subject, in these
colours, with these shapes…
You start to consider whether the style of the
painting conveys an idea, theme or emotion…
For example look at that pale patch we thought
might be something like a transparent
handkerchief -- what does being able to see
through it tell us? Is Picasso showing us
different dimensions of pain, or giving us better
insight into his subject’s sorrow?
Guess what, those questions I just asked, that’s
analysis!
12. MORE ANALYSIS
= Other pieces of information you can gather specifically
relating to the physical presence of the artwork:
• Why is it called that?
• Why is it installed in the gallery like this?
• Why was it made like this?
13. Artwork details:
Artist: Pablo Picasso (1881–1973)
Title: Weeping Woman
(Femme en pleurs)
Date: 1937
Medium Oil paint on canvas
Dimensions:
image: 608 x 500 mm
frame: 847 x 739 x 86 mm
Collection: Tate, UK
15. Researching what other people have said about an artwork
provides you with contextual information, that you can use to
help you form ideas. Learning that the painting is of someone
Picasso was intimately involved with might change the way
you see the artwork. It is fine to state that, but analysis is not
saying what other people have said, it is a method you use to
think harder about the artwork you are looking at.
16. Analysis happens like this, you ask yourself:
Why might Picasso, a Spanish artist, paint a weeping woman in 1937?
Maybe because in 1937 civil war broke out in Spain.
Are there any reasons he might have chosen to depict war with the
image of a woman crying?
Maybe because during war, women often watch their husbands
and sons go off and fight.
Maybe because in Catholic countries like Spain, the image
of the crying Virgin Mary is a common religious icon.
17. OK so you might not know about the Spanish Civil War or
Catholic religious symbols. You might come up with other
ideas when you ask:
Why might Picasso have painted a weeping woman?
18. INTERPRETATION
Interpretation happens when
you gather all your evidence
(through description, analysis,
background research) and you
ask:
What on earth might all these
things mean?
19. Ways of thinking about ‘interpetation’
You are a translator. Think of the artwork as something written in visual
language and you have to translate it into words. What do you think the artist
might have been trying to say?
You are a detective. Think of the artwork as a body of evidence - a crime
scene even. What has happened, how has it happened and why?
You are an archaeologist. Think of the artwork as layer upon layer of physical
information about human life. Dig through the layers and examine them
carefully - what do they tell us?
You are a scientist. Think of the artwork as an experiment, look at all the
materials that have been used and develop a hypothesis on what the artist
might have been trying to prove.
20. ARTIST’S INTENTION
WARNING!!!
Art critics from the past, such as Diderot and Ruskin believed that when they wrote about an
artwork, it was their job to uncover what the artist meant when he/she made it. They saw the
artist’s intention as a fixed idea and the artwork as evidence of that fixed idea.
These days we recognise that artists seldom have one fixed idea when they create an artwork.
And very often they are not making a single statement or answering a question, but opening up
a conversation by presenting a set of ideas in a new way.
It is up to you whether you think the artist’s intention is present in the artwork or even if it is as
important as your own views about the work - after all, if it is in a gallery or a public place they
made it so that it would provoke YOUR ideas! You might decided the artwork says one thing
and later discover that the artist was inspired by something else. But if you didn’t recognise
that inspiration in the work, was the work any good? Again, it’s up to you to decide. There are
no fixed answers.
21. The ways people interpret artworks (the magic lenses they use)
might correspond to theories or ideas they have about culture and
politics. To put this another way, rather than simply saying what they
see, some art critics focus on particular types of evidence to support
the ideas they have or the political agenda they want to push.
For example, someone who believes in psychoanalysis will look for
information that shows the artist’s psychological condition.
Or a feminist art critic will examine an artwork for information about
gender inequality.
But even within these schools of thought there is no consensus on
how to ‘read’ an artwork and each interpreter will approach it in their
own way.
22. TASK
Writing an art critique as a group.
Part A:
Split class into two. Each half sit in a circle around an allocated
artwork. You will each be given ten sticky notes. I will reveal a set
of questions one by one and you’ll have up to 5 minutes to answer
the question on the sticky note. Make sure you number each
question from 1-10!
24. 1. What shape is it?
2. What are its visible features?
25. 1. What shape is it?
2. What are its visible features?
3. What might it be made of?
26. 1. What shape is it?
2. What are its visible features?
3. What might it be made of?
4. What could it be?
27. 1. What shape is it?
2. What are its visible features?
3. What might it be made of?
4. What could it be?
5. How might it have been made?
28. 1. What shape is it?
2. What are its visible features?
3. What might it be made of?
4. What could it be?
5. How might it have been made?
6. Why might it look like this?
29. 1. What shape is it?
2. What are its visible features?
3. What might it be made of?
4. What could it be?
5. How might it have been made?
6. Why might it look like this?
7. What does all this make you think about?
30. 1. What shape is it?
2. What are its visible features?
3. What might it be made of?
4. What could it be?
5. How might it have been made?
6. Why might it look like this?
7. What does all this make you think about?
8. Do any other themes or ideas spring to mind?
31. 1. What shape is it?
2. What are its visible features?
3. What might it be made of?
4. What could it be?
5. How might it have been made?
6. Why might it look like this?
7. What does all this make you think about?
8. Do any other themes or ideas spring to mind?
9. What might you name this artwork based on all these
ideas?
32. 1. What shape is it?
2. What are its visible features?
3. What might it be made of?
4. What could it be?
5. How might it have been made?
6. Why might it look like this?
7. What does all this make you think about?
8. Do any other themes or ideas spring to mind?
9. What might you name this artwork based on all these ideas?
10. Have you enjoyed thinking about it?
33. Writing an art critique as a group.
Part B:
Each group will be allocated a wall to stick all the notes to. Stick
them vertically from 1-10 and each person add their own notes
(horizontally) to the relevant sections. You will now have a wall
covered in art criticism.
34. Writing an art critique as a group.
Part C:
Vote for your favourite answers to the 10 questions by sticking the
smaller blue/green notes to the ones you like best.
35. Description:
What shape is it?
What are its visible features?
What might it be made of?
What could it be?
Analysis:
How might it have been made?
Why might it look like this?
Interpretation:
What does all this make you think about?
Do any other themes or ideas spring to mind?
What might you name this artwork based on all these ideas?
Judgement:
Have you enjoyed thinking about it?
36. HOMEWORK
For home work you’re going to produce your first work of art
criticism and you’re going to be assessed on it. This project
counts for 20% of your final mark.
You’re going to do it on Twitter (and then Storify) and you’re not
going to care too much about spelling or grammar, you’re just
going to focus on describing, analysing, interpreting and judging
an art show (of your own choosing).
37. TASK
Set up a Twitter account
Set up a Storify account
Choose an art gallery to visit next Monday at 4.30.
Option 1.
At a time of your choosing, go to an art gallery and live tweet your
response to the art on show. Hashtag every tweet #arttwitticism.
Remember to describe, analyse, interpret and judge the work on show.
Option 2.
At a time of your choosing, go to one of the protest sites and live tweet
your response to the art on show. Hashtag every tweet #arttwitticism.
Remember to describe, analyse, interpret and judge the work on show.
38. For a reminder:
Description: say what you can see
Analysis: ask yourself questions about what you see and forumlate some
logical answers
Interpretation: share the ideas you’re starting to have about the work
Judgement: decide if you think its any good or not
Warning!
Context is not important here. This assessment is about YOUR ideas.
Whatever art is on show, you do not need to tweet anything about who the
artist was. Just focus on seeing out loud! I’m looking for YOUR reaction to the
art - whatever reaction that might be, good or bad or indifferent. You could
think of it like a computer game, the more you move around the space and
say interesting things, the more points you’ll score. In other words, the more
original your statements about the artwork, the better your grade will be.
39. When you have said everything you can possibly say about the
art on show you can stop. Before next week’s class gather your
tweets together in a Storify. Include a link to the show you visited
and where possible, an image of at least one artwork on show.
Send the link to clfrost@cityu.edu.hk by 9.00am on Monday 27th
October.
40. HOW TO STORIFY
YOUR TWEETS
You can search for your tweets on Storify by your Twitter handle and
the hashtag (#arttwitticism). You can either select all your tweets in
chronological order, or if you prefer to edit what you said, gather the
best ones and put them in a logical order. Think of the Storify as an
essay you wrote live and in the moment, there will be mistakes and
you won’t be judged on those, I’m just looking for whether you’ve
described, analysed, interpreted and judged the art work IN YOUR
OWN WAY!
Here’s a good example of a Storify I did from a discussion on Twitter
41. I will be watching you online all week via the hashtag. I will know
who is where and what you are looking at and I will share the best
tweets with art critics around the world. They, like me, will want to
hear you say things in your own way and we’ll all be hoping you
say new, interesting and unexpected things about the art you’re
looking at – not repeating the same types of things that are
always said. And remember that Hong Kong’s artists aren’t well
known in the rest of the world, so it’s up to you to tell the world
about what they make.
42. Here’s a list of galleries to choose from
Here is a list of places you can read art reviews
REMEMBER TO CHECK GALLERY OPENING DAYS/TIMES
AND DON’T PICK SOMEWHERE THAT WILL BE CLOSED
WHEN YOU WANT TO VISIT!!!
REMEMBER TO USE THE HASHTAG #arttwitticism OR YOUR
TWEETS (NO MATTER HOW GREAT) WON’T COUNT!!!