AR301 Modern Art in the U.S. Final Exam Question 1 1. Name.docx
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AR301 Modern Art in the U.S. Final Exam Question 1 1. Name one of the socio-political issues addressed in 1980s art. Question 2 1. Who was the Mexican Muralist whose Rockefeller mural was destroyed after he included the image of Vladimir Lenin? _____________ Question 3 1. Name one of the art movements we studied that occurred during the 1920s? Question 4 1. Who led the early Realist artists to paint the urban city life around them to help establish a national American identity through their work? Question 5 1. Put these movements in chronological order, starting with the earliest. Regionalism Pop Art Ashcan School Black Arts Movement Post Modernism Earthworks Abstract Expressionism Precisionism Question 6 1. Who was the painter known for putting his canvases on the floor and using brushes and sticks to drip and splatter paint? _____________ Question 7 1. Who was Clement Greenberg? Question 8 1. One of the functions of art is to pay tribute or to memorialize - the Vietnam Veterans Memorial is a good example.. Imagine that you are serving on a committee to select an artist who will create a memorial to the military personnel who have served in the Iraq war. In two paragraphs explain what the artwork might look like, and who would you select to create it? Question 9 1. Which of these is not associated with Performance Art? A. Fluxus B. Conceptual Art C. Op Art D. Body Art Question 10 1. “I consume therefore I am” is a mantra that is associated with what movement? ____________ Question 11 1. What were the two distinct styles of Abstract Expressionism? Question 12 1. One focus of Feminist art was to criticize the notion that historically in art, the female body (and the female itself) was represented only as a sexual or passive object, and explicitly as an element of desire. Feminists sought to challenge this patriarchal idea – what was it called? Question 13 1. What was one of the movements formed in the wake of Abstract Expressionism that challenged conformity and consumerism with “blatantly oppositional artworks that address the ‘real’ world, not just their own internalized angst”? Question 14 1. Who was famous for ‘Combines’, such as Odalisk, 1955-1958? ___________ Question 15 1. The style of this work is representative of this movement: ___________ Question 16 1. Who was not an artist of the New Negro movement? A. Augusta Savage B. Diego Rivera C. Aaron Douglass D. William H. Johnson Question 17 1. Inaugurated in 1931, what museum was founded by a railroad heiress and sculptress to showcase American Art? Question 18 1. In what decade did the Women’s Liberation and Feminist art come to the foreground? ____________ - - - - - - - - AR30 1 Modern Art in the U.S. Final Exam QUESTION 1 1. Name one of the socio - political issues addressed in 1980s art. QUESTION 2 1. Who was the Mexican Muralist whose Rockefeller mural was destroyed after he included the image of Vla.
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16 year history of poverty and despair for the
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where American artists like Jackson Pollock were
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interpretations, yet de Kooning was surprised that
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The Bay
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Running Fence
The Prevalence of
Ritual: Baptism
The Dinner Party
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Memorial
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Artists like Mark Rothko, who is also considered an
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approach to painting.
The desire for non-objective art is still important,
also the desire to create imagery meant to evoke
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Rather than achieving that through action and
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other and implies a meditative state.
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AssignmentAnswer all three of the following questions per work.docx
Assignment
Answer all three of the following questions per work of art shown below. Answers should be in essay format, be a minimum of three-five sentences each, and include at least three terms from the glossary for each work.
1. “Painting”
1.
. Who is the artist?
. Which event does this respond to and what statement does it make?
. What may have inspired the image of the male figure?
· “Flowers on Body”
1.
. What issues did this artist address in her work?
. What series does this particular image belong to?
. What themes does this image address?
· “Backs”
· What materials did the artist use in her works?
· How is this representative of her work?
· What do the forms suggest in this work?
Glossary Terms
The following are glossary terms with which you need to become familiar and to utilize within your work this week. You do not need to utilize them all; however, you need to utilize at least three of these terms per assignment response. Please note that some terms are carried over from previous weeks as they apply. Still, you should review all terms each week.
· Abstract Expressionism
. Also known as the New York School. The first major American avant-garde movement, Abstract Expressionism emerged in New York City in the 1940s. The artists produced abstract paintings that expressed their state of mind and that they hoped would strike emotional chords in viewers. The movement developed along two lines: gestural abstraction and chromatic abstraction.
· Action painting
. Also called gestural abstraction. The kind of Abstract Expressionism practiced by Jackson Pollock, in which the emphasis was on the creation process, the artist's gesture in making art. Pollock poured liquid paint in linear webs on his canvases, which he laid out on the floor, thereby physically surrounding himself in the painting during its creation.
· Assemblage
. An artwork constructed from already existing objects.
· Chromatic abstraction
. A kind of Abstract Expressionism that focused on the emotional resonance of color, as exemplified by the work of Barnett Newman and Mark Rothko.
· Color field painting
. A variant of Post-Painterly Abstraction in which artists sought to reduce painting to its physical essence by pouring diluted paint onto unprimed canvas, allowing these pigments to soak into the fabric, as exemplified by the work of Helen Frankenthaler and Morris Louis.
· Conceptual art
. An American avant-garde art movement of the 1960s that asserted that the "artfulness" of art lay in the artist's idea rather than its final expression.
· Deconstruction
. An analytical strategy developed in the late 20th century according to which all cultural "constructs" (art, architecture, and literature) are "texts." People can read these texts in a variety of ways, but they cannot arrive at fixed or uniform meanings. Any interpretation can be valid, and readings differ from time to time, place to place, and person to person. For those employing this approach, deconstr ...
Answer all three of the following questions per work of ar.docx
Answer
all three
of the following questions
per work
of art shown below. You should reference your book to aid you in answering these questions. Answers should be in essay format, be a minimum of three-five sentences each, and include at least three terms from the glossary for each work.
“Painting”
Who is the artist?
Which event does this respond to and what statement does it make?
What may have inspired the image of the male figure?
“Flowers on Body”
What issues did this artist address in her work?
What series does this particular image belong to?
What themes does this image address?
“Backs”
What materials did the artist use in her works?
How is this representative of her work?
What do the forms suggest in this work?
you need to utilize at least three of these terms per assignment response. Please note that some terms are carried over from previous weeks as they apply. Still, you should review all terms each week.
Abstract Expressionism
Also known as the New York School. The first major American avant-garde movement, Abstract Expressionism emerged in New York City in the 1940s. The artists produced abstract paintings that expressed their state of mind and that they hoped would strike emotional chords in viewers. The movement developed along two lines: gestural abstraction and chromatic abstraction.
Action painting
Also called gestural abstraction. The kind of Abstract Expressionism practiced by Jackson Pollock, in which the emphasis was on the creation process, the artist's gesture in making art. Pollock poured liquid paint in linear webs on his canvases, which he laid out on the floor, thereby physically surrounding himself in the painting during its creation.
Assemblage
An artwork constructed from already existing objects.
Chromatic abstraction
A kind of Abstract Expressionism that focused on the emotional resonance of color, as exemplified by the work of Barnett Newman and Mark Rothko.
Color field painting
A variant of Post-Painterly Abstraction in which artists sought to reduce painting to its physical essence by pouring diluted paint onto unprimed canvas, allowing these pigments to soak into the fabric, as exemplified by the work of Helen Frankenthaler and Morris Louis.
Conceptual art
An American avant-garde art movement of the 1960s that asserted that the "artfulness" of art lay in the artist's idea rather than its final expression.
Deconstruction
An analytical strategy developed in the late 20th century according to which all cultural "constructs" (art, architecture, and literature) are "texts." People can read these texts in a variety of ways, but they cannot arrive at fixed or uniform meanings. Any interpretation can be valid, and readings differ from time to time, place to place, and person to person. For those employing this approach, deconstruction means destabilizing established meanings and interpretations while encouraging subjectivity and individual differences.
Earthworks
An American art form that emerged in the 1960s. .
Discussion 1The rise of modernism in the late 19th and early 20t.docx
Discussion 1
The rise of modernism in the late 19th and early 20th century built upon the achievements of Impressionism and Post-Impressionism and was associated with important changes in society and politics. In particular, the period before, between, and after the two world wars saw the emergence of new forms and styles that responded to the challenges of the era in a series of new “-isms”: Cubism, Primitivism, Fauvism, Expressionism, Futurism, Dadaism, Surrealism, and others.
For your initial post, choose one artwork from the various types of modernism discussed in the module. Identify the style of the piece and discuss why and how it fits into its particular “-ism.” In what ways does the piece respond to the challenges of its day? How does the artist use the art to engage the issues that concern him or her? How is this art different from the 19th-century movements that preceded it?
100 -150 words
Discussion2
The postmodern world of the late twentieth and early twenty-first century (and the art created in it) reflected on previous styles and eras and challenged almost everything that came before it. Consider the different criticisms and challenges postmodern artists and thinkers raised with reference to the art and ideas of previous generations.
In your initial post, select a work of art in any form (visual art, literature, music, performance) from the postmodern era. What ideas, beliefs, or perceptions does that work ask us to question? What “old” ways of thinking is your work trying to push aside? How? Do you think the work you chose is successful in challenging the ideas of the past? Why or why not?
100 -150 words
In your initial post, respond to the following: What were the driving forces behind the three stylistic movements in the eighteenth and nineteenth centuries? What ideas and inspiration do we find behind Neoclassicism? What qualities were emphasized by the Romantic style? What were the artists of the Realist movement responding to in their works?
Next, choose one work of art in any form (painting, sculpture, architecture, literature, music, or dance) from either Neoclassicism, Romanticism, or Realism. Make sure that your choice was created in the time frames identified in the module. It should not be merely a depiction of something in this time period. What are the specific qualities and elements of your chosen piece that are characteristic or typical of its particular style movement? Be specific, considering not only the visual or literary details of the work, but also the message it offers.
100 -150 words
.
Pop art analysis handout 2
#Art #Photos #Popart This the artwork my teacher gave me thats very incredible. It tells you everything about Pop Art and how its created or the history of it.
abstract expressionism
Term "Abstract Expressionism" was first used in Germany in connection with Rusian artist Wassily Kandinsky in 1919 (referencing the German Expressionists with their anti-figurative aesthetic), but later became more commonly associated with Post-WWII American Art.
The Missing Future: MOMA and Modern Women
The Missing Future: MOMA and Modern Women by Griselda Pollock
Culture and Consciousness: Designing for Social Justice
Culture and Consciousness: Designing for Social Justice
Similar to AR301 Modern Art in the U.S. Final Exam Question 1 1. Name.docx (20)
ART102Art History IIUnit 8 LecturePost-War to Contemp.docx
ART102Art History IIUnit 8 LecturePost-War to Contemp.docx
AssignmentAnswer all three of the following questions per work.docx
AssignmentAnswer all three of the following questions per work.docx
Answer all three of the following questions per work of ar.docx
Answer all three of the following questions per work of ar.docx
Discussion 1The rise of modernism in the late 19th and early 20t.docx
Discussion 1The rise of modernism in the late 19th and early 20t.docx
Culture and Consciousness: Designing for Social Justice
Culture and Consciousness: Designing for Social Justice
Abstract expressionism and the rise of formalism .fys pptx
Abstract expressionism and the rise of formalism .fys pptx
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Spotlight
64 Harvard Business Review July–August 2014
SPOTLIGHT ON THE NEW MARKETING ORGANIZATION
Aditya Joshi is a partner at
Bain & Company, a leader in
the Customer Strategy and
Marketing practice, and the
head of the firm’s Marketing
Excellence area.
Eduardo Giménez is a
partner at Bain and a
member of the firm’s
Consumer Goods practice
in Europe, with a focus on
marketing organizations.
Decision-Driven
Marketing
Good decision processes break down silos
and improve performance. by Aditya Joshi
and Eduardo Giménez
Marketers have always had to build brands, create demand, promote sales, and help their companies earn custom-ers’ loyalty. But today’s turbulent environment means they must play critical new roles: They must be strate-gists, allocating scarce resources to support company priorities and increasing return on investment. They must be technologists, tracking and capitalizing on the most useful of the sophisticated technologies that are flooding their field. And they must be scientists, because the future of their business may not look much like the
HBR.ORG
July–August 2014 Harvard Business Review 65
requires a new mind-set for all the parties concerned
and a shared commitment to rethinking how deci-
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nizational changes as well. But the decision perspec-
tive helps them establish a firmer foundation for any
restructuring and drives progress in the interim.
Typically, three categories of marketing-related
decisions cross organizational seams:
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marketing goals with business and customer strat-
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sales. These decisions typically address questions
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AS 4678—2002
www.standards.com.au © Standards Australia
111
J10.2 Design surcharge loads
The distribution of stresses on a retaining structure due to surcharge loads should be
carefully assessed in design. The design load factors are 1.5 for strength and stability limit
states, and 0.7 for the serviceability limit state. See Table J1 for examples of load
components for each limit state.
J10.3 Assessment of the effect of surcharge for conventional retaining structures
Each pressure induced by surcharge loads will depend on the load spreading properties of
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magnitude and distribution of lateral pressures induced by surcharge loading, as follows:
(a) Rankine active earth pressure theory—the trial wedge method and associated force
polygon methods may be employed (see Figure J6).
(b) Elasticity theory supported by experimental measurements—the earth pressure design
charts given by Terzaghi (Ref. 4) given in Figure J7 may be used to estimate lateral
pressure due to vertical line loads, point loads and horizontal line loads. These have
been modified from the Boussinesq (Ref. 5) solution for distribution of stresses in an
isotropic semi-infinite elastic medium based on experimental evidence.
Numerical modelling approaches (finite element analysis) may be used to assess the
magnitude and distribution of earth pressures for complex loaded retaining structures.
J10.4 Assessment of the effect of applied loadings on reinforced soil structures
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load conditions, resulting from—
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(b) the retaining function.
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applied loadings and for the calculation of reinforcement stresses.
The supporting function requires the determination of the additional vertical and horizontal
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Figure J8), or by calculating an appropriate stress distribution such as defined by
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arugumentative essay on article given below
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Kenji Yoshino writes about the term covering. ‘Covering’, as Yoshino uses it, means to ‘tone down a disfavored identity to fit into the mainstream’ (552), and Yoshino argues that though Americans value the idea of the melting pot as a model for our culture, that ideal can have unintended negative consequences. Despite our avowed appreciation for multiculturalism, the unstated public expectation is still for people of all genders, sexual orientations and races to conform to rigid expectations.
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Yoshino discusses the pressures we face to “cover”. Apply this concept and cross-reference Poisson’s piece and the decision Storm’s parents have made to keep their child’s gender a secret. In what ways is it a strategy to resist covering? Is it an effective one? Is some measure of covering necessary in our society? Make an argument about how cultural expectations and individual (or parental) choices should affect or does affect gender identity.
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Quote the assigned readings to support your answer. Do not do additional research. Be sure to demonstrate your comprehension of the pieces by quoting and discussing relevant passages to support your thesis. Essays that draw support solely upon personal experience will not receive a passing grade. Additionally, make sure that you are not merely summarizing the readings
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artsArticleCircling Round Vitruvius, Linear Perspectiv.docx
arts
Article
Circling Round Vitruvius, Linear Perspective, and the
Design of Roman Wall Painting
Jocelyn Penny Small †
Department of Art History, Rutgers University, New Brunswick, NJ 08901, USA; [email protected]
† Mail: 890 West End Avenue, Apartment 4C, New York, NY 10025-3520, USA.
Received: 1 April 2019; Accepted: 2 September 2019; Published: 14 September 2019
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Abstract: Many scholars believe that linear perspective existed in classical antiquity, but a fresh
examination of two key texts in Vitruvius shows that 1.2.2 is about modularity and symmetria,
while 7.Pr.11 describes shading (skiagraphia). Moreover, these new interpretations are firmly based on
the classical understanding of optics and the history of painting (e.g., Pliny the Elder). A third text
(Philostratus, Imagines 1.4.2) suggests that the design of Roman wall painting depends on concentric
circles. Philostratus’ system is then used to successfully make facsimiles of five walls, representing
Styles II, III, and IV of Roman wall painting. Hence, linear perspective and its relatives, such as
Panofsky’s vanishing vertical axis, should not be imposed retrospectively where they never existed.
Keywords: linear perspective; skenographia; skiagraphia; Greek and Roman painting; Roman fresco;
Vitruvius; Philostratus
Two systems for designing Pompeian wall paintings have dominated modern scholarship: a
one- or center-point perspective and a vanishing vertical axis.1 Neither method works for all the
variations seen on the walls of Styles II–IV. The vanishing vertical axis is considered a precursor of
linear perspective, whereas center-point construction is a form of linear perspective. Many scholars
believe that linear perspective was invented by the Greeks, only to be forgotten during the Middle
Ages and “reinvented” in the Renaissance.2 In contrast, I propose that linear perspective was not
known in any form in antiquity but, rather, was an invention of the Renaissance, which also created its
putative ancient pedigree.
1. Background
1.1. Definitions
First, it is important to define four key terms.
“Perspective” applies loosely to a wide range of systems that convert a three-dimensional scene
to two dimensions. Most scholars, however, mean “linear perspective” when they use the unqualified
term “perspective”. No standard definition exists for linear perspective, but only linear perspective
obeys the rules of projective geometry. Formal definitions refer to “station points” (the point or
place for the “eye” of the “viewer” and/or “artist”), vanishing points, horizon lines, and picture
planes, among other aspects. Horizontal lines converge to the “center point” or, in the case of
1 This topic is remarkably complex with a massive bibliography. Small (2013) provides a reasonable summary of the
scholarship to its date of publication. Since then, I have realized that the standard interpretations of key texts and objects
needs to be totally rethought. This artic.
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MARKETING PROJECT OF SHEFFIELD
Yang yuxuan(b8047004) Li zedong(b8035381)
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Microsoft Office 用户 (Office) -
Our company is a professional marketing agency with a lot successful experience in different marketing area. The company was found in 1998 and since then we are always be the first choice of many big company.
About our company
Company
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Our company is a professional marketing agency with a lot of successful experience in different marketing area. The company was founded in 1998 and since then we are always the first choice of many big companies.
2
Control & budget of objects.
Baker
The design of the marketing objects
William
The idea of the hook
Jason
Collection of data and information
Frank
The design of the marketing objects
Allen
01
02
03
04
05
Members
Thanks these members for their contributions
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There are 5 people in our team: Baker, he is responsible for the control & budget of our objects. Frank, he is responsible for the collection of data and information that we can use. William and Allen are responsible for the design of the marketing objects. And then Jason, he is responsible for the idea of the “hook” .
3
Introduction
Situation Analysis
Marketing Communication Objectives
Marketing Communication Strategy
CONTENTS
Marketing Communication Tactics
Action
Control
Reference
2
1
3
7
5
8
4
6
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for this presentation, we will introduce our awesome ideas to make Sheffield a more popular place. Here is the content, we will talk about the situation of Sheffield, marketing communication objectives, marketing communication steategy and tactics. And the last part is action and control.
4
02
Situation Analysis
This part will complete situation analysis of Sheffield.
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5
W
T
O
S
Lesser culture connotation
WEAKNESSES
1. Development of economy
2. Change in ideology of society
OPPORTUNITIES
Strong tourism competitors around Sheffield, for example Nottingham and Leeds
THREATS
1. Good geographic position.
2. Strong art atmosphere
STRENGTHES
SWOT
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In this part I will complete Situation Analysis of Sheffield by mainly using SWOT analysi
6
As a tourism city, one recent survey placed Sheffield 26th in a table of the best UK tourist city.
Tourism City
Sheffield lies in the most southerly part of Yorkshire, it is the meeting point of .
ARTIGO ORIGINALRevista Cient.docx
A
R
TI
G
O
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IG
IN
A
L
Revista Científica da Ordem dos Médicos www.actamedicaportuguesa.com 31
RESUMO
Introdução: A violência no local de trabalho é um dos principais fatores de risco no mundo do trabalho. Os trabalhadores da saúde
apresentam um risco superior. O nosso estudo teve como objetivo caracterizar a violência física e verbal num hospital público e definir
estratégias de prevenção e vigilância em saúde ocupacional.
Material e Métodos: Estudo observacional transversal monocêntrico, conduzido num hospital público em Lisboa com trabalhadores
da saúde. Foi realizado um inquérito qualitativo com entrevistas em profundidade a seis trabalhadores e um inquérito quantitativo
com questionários a 32 trabalhadores. Aceitou-se um nível de significância de 5% na avaliação das diferenças estatísticas. O teste de
Mann-Whitney e o teste exato de Fisher foram usados para calcular os valores de p.
Resultados: Os principais resultados são: (1) 41 episódios reportados na fase quantitativa; (2) 5/21 [23,81%] vítimas notificaram o in-
cidente; (3) 18/21 [85.71%] vítimas reportaram estados de hipervigilância permanente; (4) 22/28 [78,57%] participantes não conheciam
ou conheciam mal os procedimentos de notificação; (5) 24/28 [85,71%] consideravam possível minimizar o problema.
Discussão: A violência é favorecida pelo acesso livre às zonas de trabalho, ausência de agentes de segurança e polícia ou falta da
respetiva intervenção. A baixa notificação contribui para a ausência de medidas organizacionais. O estado de hipervigilância relatado
reflete o efeito prejudicial da exposição a fontes de stress e ameaça.
Conclusão: A violência no local de trabalho é um fator de risco relevante, com impacto negativo na saúde dos trabalhadores e merece
uma abordagem individualizada no âmbito da saúde ocupacional, cujas áreas e estratégias prioritárias foram definidas neste estudo.
Palavras-chave: Fatores de Risco Profissionais; Prevenção; Saúde Ocupacional; Trabalhadores da Saúde; Violência no Local de
Trabalho
Workplace Violence in Healthcare: A Single-Center Study
on Causes, Consequences and Prevention Strategies
A Violência no Local de Trabalho em Instituições
de Saúde: Um Estudo Monocêntrico sobre Causas,
Consequências e Estratégias de Prevenção
1. Escola Nacional de Saúde Pública. Universidade NOVA de Lisboa. Lisboa. Portugal.
2. Emergency Department. Hospital Professor Doutor Fernando da Fonseca. Amadora. Portugal.
3. CISP - Centro de Investigação em Saúde Pública. CHRC - Comprehensive Health Research Center. Escola Nacional de Saúde Pública. Universidade NOVA de Lisboa. Lisboa.
Portugal.
4. Occupational Health Department. Centro Hospitalar Universitário de Lisboa Central. Lisboa. Portugal.
Autor correspondente: Helena Sofia Antão. [email protected]
Recebido: 22 de outubro de 2018 - Aceite: 10 de julho de 2019 | Cop.
Artist Analysis Project – Due Week 61)Powerpoint project at le.docx
Artist Analysis Project – Due Week 6
1)
Powerpoint project at least 10 slides.
2)
3 or more cited references from journals, magazines, newspapers, not all websites, not Wikipedia
3)
An analysis is a scholarly review of a famous artist and his or her work, not just whether we liked it or not.
4)
Use vocabulary and terms you learned in this class and apply them to your art choice.
5)
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a.
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.
Artist Research Paper RequirementsYou are to write a 3 page double.docx
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You are to choose 3 digital artists who’s work is available to view on the internet.
Do not use any of the old masters like Picasso, Rembrandt, etc….. this needs to be a modern artist working in the digital arts and design field.
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Things that influenced their work and inspired them,
The artists philosophy on their work,
Artistic genres, or movements that their work fits into or is associated with.
You are to write about their work – provide url links to images of their work on line. Write about what you see in their work, how it impacts and influences your own design artistic ideas.
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