This document provides an overview of an exhibition at the Dorsky Gallery curated by Donna Harkavy and Flavia S. Zúñiga-West titled "Assembling Narratives: Quilting Impulses in Contemporary Art" from April 11 to June 27, 2010. The exhibition features works by six artists—Sabrina Gschwandtner, Karolyn Hatton, Faith Ringgold, Donna Sharrett, John Sims, and Anna Von Mertens—that incorporate techniques and materials from quilting in unconventional ways to tell personal and communal stories. Faith Ringgold is highlighted for her pioneering "story quilts" that combine painting and fabric to chronicle her experience as
Kara Walker is an American artist known for works exploring themes of racism and slavery through conceptual art and text-based paintings. She uses silhouettes, installations, drawings and collages to illustrate the history of racism against Black people in the US and highlight the contrast between white and Black races. Walker's art draws attention to the legacy of slavery, violence and discrimination faced by African Americans to promote discussion on racism in society.
Designing Specific Projects Through Interdisciplinary CollaborationJared Tailfeathers
The document discusses the benefits of interdisciplinary collaboration in art projects. It provides examples throughout history where combining different art forms like music, dance, theater, and visual arts helped communicate ideas more effectively. Specifically, it discusses how indigenous tribes like the Blackfoot and Kainai used various cultural elements together in ceremonies and storytelling. More modern examples of interdisciplinary projects that achieved widespread success include Pink Floyd's album and stage production "The Wall" as well as the band Gwar's performances. The document argues that group collaboration allows artists to play off each other's strengths and better engage audiences than individual works.
This document provides an introduction to an "Approaching the Art: Visual" course. It discusses that over the next eight weeks, students will not only fulfill a degree requirement but gain knowledge that will change how they view art. It explains that art is present in many areas of everyday life beyond just painting and sculpture. The document then outlines key components that will be covered in the course, including the elements of design such as line, shape, form, and color, and how understanding these components is important for observing how art has progressed throughout history.
The document discusses several American artworks from the 19th and 20th centuries, including landscape paintings by Thomas Cole and Albert Bierstadt depicting the American wilderness, as well as genre paintings by George Caleb Bingham depicting American life and politics. It also discusses photographs of Abraham Lincoln and industrial photographs and paintings by Charles Sheeler capturing the modern American landscape. Discussion questions are provided for each artwork.
Wilfredo Lam was an artist of mixed Cuban and Chinese heritage who was influenced by Western artists like Picasso as well as artists from the Negritude movement. However, art critic William Rubin overlooked Lam's hybrid background and tried to define his work only in relation to Western art traditions. This failed to recognize Lam's unique fusion of cultural influences. Lam sought to infiltrate mainstream art as a "Trojan horse" to introduce his blended perspective. However, assimilation into the dominant aesthetic standards meant suppressing his cultural differences.
This document discusses cultural and racial identity as expressed through art. It covers topics like nationalism and how art was used to construct national identities in Europe, America, China, and Japan. It also discusses how class and racial identities were depicted in works like Cliff Dwellers, Bal du Moulin de la Galette, and Aspiration. Racial identity for African Americans is discussed in relation to the Great Migration and works by Jacob Lawrence and Aaron Douglas that depicted this period.
The document contains questions about analyzing several works of art including paintings and photographs from different historical periods in American history depicting topics like Christopher Columbus arriving in America, American landscapes, the American frontier, the Civil War, industrialization, and book covers for The Great Gatsby. The questions prompt the reader to make observations about details, symbolism, themes, settings, subjects, tones, and historical contexts portrayed in the various works of art.
This chapter discusses how different cultures have depicted and viewed love and sex throughout history. It begins by introducing Auguste Rodin's sculpture The Kiss, which depicts passionate love. It then examines various cultural perspectives on the relationship between physical and spiritual love, including those of ancient Greece, Hinduism, medieval Europe, and contemporary Western society. The chapter also explores specific artistic depictions of sexuality, desire, and intimacy through works like Delacroix's Odalisque, Picasso's Les Demoiselles d'Avignon, and Warhol's film Kiss. It concludes by considering how modern consumer culture continues to use sexuality to promote products.
Kara Walker is an American artist known for works exploring themes of racism and slavery through conceptual art and text-based paintings. She uses silhouettes, installations, drawings and collages to illustrate the history of racism against Black people in the US and highlight the contrast between white and Black races. Walker's art draws attention to the legacy of slavery, violence and discrimination faced by African Americans to promote discussion on racism in society.
Designing Specific Projects Through Interdisciplinary CollaborationJared Tailfeathers
The document discusses the benefits of interdisciplinary collaboration in art projects. It provides examples throughout history where combining different art forms like music, dance, theater, and visual arts helped communicate ideas more effectively. Specifically, it discusses how indigenous tribes like the Blackfoot and Kainai used various cultural elements together in ceremonies and storytelling. More modern examples of interdisciplinary projects that achieved widespread success include Pink Floyd's album and stage production "The Wall" as well as the band Gwar's performances. The document argues that group collaboration allows artists to play off each other's strengths and better engage audiences than individual works.
This document provides an introduction to an "Approaching the Art: Visual" course. It discusses that over the next eight weeks, students will not only fulfill a degree requirement but gain knowledge that will change how they view art. It explains that art is present in many areas of everyday life beyond just painting and sculpture. The document then outlines key components that will be covered in the course, including the elements of design such as line, shape, form, and color, and how understanding these components is important for observing how art has progressed throughout history.
The document discusses several American artworks from the 19th and 20th centuries, including landscape paintings by Thomas Cole and Albert Bierstadt depicting the American wilderness, as well as genre paintings by George Caleb Bingham depicting American life and politics. It also discusses photographs of Abraham Lincoln and industrial photographs and paintings by Charles Sheeler capturing the modern American landscape. Discussion questions are provided for each artwork.
Wilfredo Lam was an artist of mixed Cuban and Chinese heritage who was influenced by Western artists like Picasso as well as artists from the Negritude movement. However, art critic William Rubin overlooked Lam's hybrid background and tried to define his work only in relation to Western art traditions. This failed to recognize Lam's unique fusion of cultural influences. Lam sought to infiltrate mainstream art as a "Trojan horse" to introduce his blended perspective. However, assimilation into the dominant aesthetic standards meant suppressing his cultural differences.
This document discusses cultural and racial identity as expressed through art. It covers topics like nationalism and how art was used to construct national identities in Europe, America, China, and Japan. It also discusses how class and racial identities were depicted in works like Cliff Dwellers, Bal du Moulin de la Galette, and Aspiration. Racial identity for African Americans is discussed in relation to the Great Migration and works by Jacob Lawrence and Aaron Douglas that depicted this period.
The document contains questions about analyzing several works of art including paintings and photographs from different historical periods in American history depicting topics like Christopher Columbus arriving in America, American landscapes, the American frontier, the Civil War, industrialization, and book covers for The Great Gatsby. The questions prompt the reader to make observations about details, symbolism, themes, settings, subjects, tones, and historical contexts portrayed in the various works of art.
This chapter discusses how different cultures have depicted and viewed love and sex throughout history. It begins by introducing Auguste Rodin's sculpture The Kiss, which depicts passionate love. It then examines various cultural perspectives on the relationship between physical and spiritual love, including those of ancient Greece, Hinduism, medieval Europe, and contemporary Western society. The chapter also explores specific artistic depictions of sexuality, desire, and intimacy through works like Delacroix's Odalisque, Picasso's Les Demoiselles d'Avignon, and Warhol's film Kiss. It concludes by considering how modern consumer culture continues to use sexuality to promote products.
This document provides an overview of how artists have depicted and explored concepts of the body, gender, and identity. It discusses how notions of beauty have varied across cultures and eras. Artists like Cindy Sherman, Andy Warhol, and Richard Prince examined how gender and male identities are socially constructed. The document also explores how some artists have challenged assumptions through techniques like cross-dressing and assuming different personae. Overall, the document examines the complex relationships between biology, gender, and constructed identities as portrayed in art over time.
The document contains various design works and advertisements created by Robert Yarborough including logo designs, website designs, and print advertisements along with brief descriptions of each piece; it showcases a range of projects in graphic design, digital media, and marketing created for clients in different industries.
This document provides an overview of the animation subculture in Russia. It describes some of the key groups within the subculture, including kosplears (people who cosplay as anime characters), mangaka (people who draw manga comics), fans who create fan art, and otakeys (hardcore fans). It discusses common traits of people in the subculture, such as having bags decorated with anime characters, unusual hair styles/colors, and liking Japanese music and culture. The document also notes that the subculture originated in Japan and became popular in Russia in the 1990s-2000s, with members often gathering at anime-themed festivals and parties.
This document provides an overview of concepts discussed in Chapter 1 of the textbook World of Art. It discusses several key points:
1) The artist Cai Guo-Qiang is introduced, known for pyrotechnic artworks like extending the Great Wall of China with gunpowder. For the 2008 Beijing Olympics, he directed a fireworks display tracing Chinese history.
2) The creative process is examined through examples like Picasso's Les Demoiselles d'Avignon, which evolved from sketches to the final radical work.
3) Artists can help viewers see the world differently, as seen in works by Cai, Ken Gonzales-Day documenting lynching sites, and coffins in Ghana celebrating
This document provides an overview of key principles of design discussed in Chapter 7 of the textbook World of Art. It covers various types of balance (symmetrical, asymmetrical, radial), emphasis and focal point, scale and proportion, and pattern, repetition and rhythm. Examples are given of works that demonstrate these principles, such as Leonardo da Vinci's Vitruvian Man, the Taj Mahal, Hokusai's Great Wave, and the Parthenon. The document also discusses how artists can manipulate elements of design, as seen in works by Velazquez, Ingres, and Suh.
There are many starting points for exploring order and disorder in art, including people, places, the natural world, objects, activities, and imagination. The document provides examples of artists who have worked with these themes, such as Picasso's Guernica which shows the tragedies of war, Andy Goldsworthy who incorporates natural materials, and M.C. Escher who created impossible structures. The goal is to think broadly about possible ideas and be open-minded when considering how different artists have interpreted order and disorder through their work.
Postmodernism is a contemporary art movement associated with post-industrial societies that questions traditional boundaries and concepts of art and creativity. It draws from multiple art traditions and references contemporary culture through methods like irony, parody, appropriation, and quotation. Postmodern art is grounded in theories like Marxism, feminism, and psychoanalysis.
The document discusses several contemporary artists and their works that address current social and political issues. Tim Noble and Sue Webster create sculptures out of trash that address themes of consumerism. Chris Goodwin uses found trash to tell stories and comment on waste. Takashi Murakami blends pop and commercial art. Jeff Koons' work examines consumer culture. Duane Hanson created extremely realistic sculptures that held a mirror to society. Judy Chicago's The Dinner Party brought attention to women's history and roles. Kara Walker uses silhouettes to depict slavery in a thought-provoking way. Kako Ueda uses paper to represent the natural and cultural influences on human and other organisms. Jenny Holzer is known for her "truisms
This document discusses how feminism has been recognized in history through art, gender, race, and sexual identity. It analyzes Judy Chicago's artwork "The Dinner Party" which honors important women throughout history who have been overlooked. The artwork uses mixed media like ceramics and needlework to represent women through place settings arranged in the shape of an equilateral triangle. It took 4 years and contributions from 400 men and women to complete. The document also discusses how quilting was an early art form through which women artists across classes and races could express themselves. It notes how the feminist movement grew to recognize issues of both gender and racial oppression.
Miriam Schapiro was a Canadian-born American artist who helped launch the Pattern and Decoration art movement in the 1970s. She created "Femmages," which combined techniques like needlework, fabric collage, and painting. Her large-scale work "Anatomy of a Kimono" from 1976 used traditionally feminine crafts to challenge the patriarchal view of what constituted "high art." Schapiro collaborated with Judy Chicago on one of the first feminist art exhibitions called "Womanhouse" in 1972, which explored women's domestic roles and stereotypes through installations and performances.
SHGC The Womens Art Movement (Realism) Part 2rachaelwhare
The document discusses several feminist artists from the 1960s-1980s including Judy Chicago, Miriam Schapiro, and Barbara Kruger. It summarizes Judy Chicago's 1983 Birth Project which involved over 130 needleworkers collaborating to create images of birth. It also discusses Schapiro's use of textiles and domestic crafts to highlight women's roles and experiences, as well as her co-founding of the feminist art program with Chicago. Kruger is noted for combining found photography with bold text to critique media images and cultural forces that shape gender roles.
My Reflection Of Art
The Importance of Art Essay
Art Appreciation Essay
Art Appreciation
Essay On Art Appreciation
The Importance of Art Essay
Appropriation in Art Essay
Reflection About Art
Art Appreciation
How Do We Evaluate Art? Essay
Art and Aesthetics Essay
My Reflection Of Art
What is Art? Essay
The Importance of Art Essay
What Is Art? Essay example
Essay on Art in Society
Art Is An Imagination Of Art
What Makes Art Art Essay
The History of Art Essay
Art And Art
Art Analysis Essay
Art : The World Of Art
Essay on The Meaning of a Work of Art
Reflection About Art
Why Is Art A Genre? Essay
Art and Aesthetics Essay
My Passion For Art Essay
What Are Fine Art? Essay
Bilateral symmetry is common in many animal species, where the body can be divided into matching left and right halves by an imaginary plane. This symmetry aids mobility and helps distribute body parts evenly, providing an evolutionary advantage. The document discusses different types of symmetry in animals and plants, and how genes control assigning the proper symmetry to different species.
Visual Communication lecture 4 1 rhythm, pattern and repetitionWilfred Dexter Tanedo
This document discusses rhythm, pattern, and repetition in art. It begins by defining each term: repetition refers to repeating objects or shapes, pattern is a combination of repeating elements in a regular arrangement, and rhythm combines repeating elements with variations. The document then examines examples of repetition, pattern, and rhythm in various artworks. It discusses how these elements can be used symbolically, for decoration, and in different rhythmic styles like regular, alternating, flowing, and progressive. Plates or creative works exploring these concepts through geometric shapes, organic forms, thumbprints, and leaf imprints are also proposed.
Museum Wall Label ExamplesMuseum Wall Label Student ExamplesBe.docxkendalfarrier
Museum Wall Label Examples
Museum Wall Label Student Examples
Below, please see a few examples of the kind of wall label you could write, along with formatting examples for Parts A, B, and C of the assignment.
· These are actual student examples and are not "perfect" in that they sometimes have grammatical or spelling errors, and ways to be improved.
· These should give you an idea of both the format and layout of the assignment but do not offer a one-size-fits-all approach that can be adapted for any artwork or imagery.
·
Instead, please use your imagination, critical thinking, and research skills to develop your own unique wall label and approach to your individual assignment.
Example #1
Part A:
· Artist: Zoumana Sane
· Title:
Mami Wata
· Date: c. 1987
· Medium: pigment, glass
· Collection of Herbert M. and Shelley Cole
Part B:
Mami Wata, also referred to as The Holy Virgin of the Sea, is a water spirit and in this
picture, she is illustrated as a snake charmer, however, in other types of artwork, she can also be
interpreted as a mermaid or a combination of a mermaid and snake charmer. Her name’s literal
translation is “Mother Water” in English pidgin throughout Africa. She is mostly worshipped
throughout many African countries such as Senegal, Tanzania, Togo, and many more. She is a
creation from many African tribes based off of their indigenous history and a fusion of other
religions such as Christianity, Hindu religion, and Muslim religion and then interpreted with
their current history to create a new goddess of worship. For many African people, she is a
symbol of cultural unity between Africans and foreigners in an effort to better understand their
culture. Depending on the culture, she can also be seen as a nurturing mother, a seductive
mistress, a healer in both physical and spiritual ailments, and many more. Due to this, she is not
only adored but many people also fear her immense power.
Part C: Works Consulted
· “Arts for Water Spirits in Africa and Its Diaspora: Mami Wata.”
Art of Being Tuareg: Sahara Nomads in a Modern World / National Museum of African Art, africa.si.edu/exhibits/mamiwata/intro.html.
· Carwile, Christey. "The Water Goddess in Igbo Cosmology: Ogbuide of Oguta Lake (review)."
African Studies Review, vol. 51 no. 3, 2008, pp. 172-173. Project MUSE, doi:10.1353/arw.0.0121
· Drewal, Henry John. “Performing the Other: Mami Wata Worship in Africa.” TDR (1988-), vol. 32, no. 2, 1988, pp. 160–185. JSTOR, JSTOR,
www.jstor.org/stable/1145857Links to an external site..
· Osinubi, Taiwo Adetunji. "Provincializing Slavery: Atlantic Economies in Flora Nwapa’s Efuru.
Research in African Literatures, vol. 45 no. 3, 2014, pp. 1-26. Project MUSE, muse.jhu.edu/article/555709.
Example #2
Part A: Artwork Information
· Artist: El Zeft
· Title: "Nefertiti in a Gas Mask"
· Date: 2012
· Medium: spray paint graffiti stencil.
This document provides information on several artworks submitted to the Cliftons Art Prize 2011 competition. It includes the artist name, artwork title and description, medium, size, and a short biography for each submitting artist. Some of the artworks address themes of human nature, relationships, and society. The artists use various mediums such as charcoal, acrylic, oil, and mixed media.
This document summarizes and describes several earthworks, sculptures, installations and artworks created between 1969-2005. It touches on works by Robert Smithson, Christo, Maya Lin, Betye Saar, Faith Ringgold, Judy Chicago, Cindy Sherman, Barbara Kruger, Jaune Quick-to-See Smith, Rachel Whiteread, El Anatsui, and Nam June Paik. The works address themes of landscape, feminism, identity, history, and the integration of new media like video and technology into art.
Faith Ringgold is an American artist born in 1930 in Harlem, New York. She began her career as a painter in the 1960s and is best known for her painted story quilts that combine painting, quilted fabric, and storytelling. Some of her most famous works include her Tar Beach book and quilts from the 1980s and 1990s that depict African American family stories. Her art sends messages about important issues for African American women and features bright colors and images.
7가지 래그러그 기법 소개 (Rag Rug Seven Technics)Seongwon Kim
This document provides information about an exhibit titled "Standing on Tradition: Rag Rug Techniques" held from September 18, 2012 to April 13, 2013 at the Minnesota Discovery Center in partnership with the Range Fiberart Guild. The exhibit featured over 165 rag rugs from 75 Minnesota artists demonstrating 13 different rag rug making techniques. A summary is then provided of three exceptional rugs on display: a patchwork rug by Debbie Cooter, a solar flame rug by Wynne Mattila, and an Ely Lake ice rug by Carol Sperling. Background information is also given on the historic Katri Saari loom and the seven main rag rug making techniques showcased: weaving, nalbinding, wagon wheel
This document provides an overview of how artists have depicted and explored concepts of the body, gender, and identity. It discusses how notions of beauty have varied across cultures and eras. Artists like Cindy Sherman, Andy Warhol, and Richard Prince examined how gender and male identities are socially constructed. The document also explores how some artists have challenged assumptions through techniques like cross-dressing and assuming different personae. Overall, the document examines the complex relationships between biology, gender, and constructed identities as portrayed in art over time.
The document contains various design works and advertisements created by Robert Yarborough including logo designs, website designs, and print advertisements along with brief descriptions of each piece; it showcases a range of projects in graphic design, digital media, and marketing created for clients in different industries.
This document provides an overview of the animation subculture in Russia. It describes some of the key groups within the subculture, including kosplears (people who cosplay as anime characters), mangaka (people who draw manga comics), fans who create fan art, and otakeys (hardcore fans). It discusses common traits of people in the subculture, such as having bags decorated with anime characters, unusual hair styles/colors, and liking Japanese music and culture. The document also notes that the subculture originated in Japan and became popular in Russia in the 1990s-2000s, with members often gathering at anime-themed festivals and parties.
This document provides an overview of concepts discussed in Chapter 1 of the textbook World of Art. It discusses several key points:
1) The artist Cai Guo-Qiang is introduced, known for pyrotechnic artworks like extending the Great Wall of China with gunpowder. For the 2008 Beijing Olympics, he directed a fireworks display tracing Chinese history.
2) The creative process is examined through examples like Picasso's Les Demoiselles d'Avignon, which evolved from sketches to the final radical work.
3) Artists can help viewers see the world differently, as seen in works by Cai, Ken Gonzales-Day documenting lynching sites, and coffins in Ghana celebrating
This document provides an overview of key principles of design discussed in Chapter 7 of the textbook World of Art. It covers various types of balance (symmetrical, asymmetrical, radial), emphasis and focal point, scale and proportion, and pattern, repetition and rhythm. Examples are given of works that demonstrate these principles, such as Leonardo da Vinci's Vitruvian Man, the Taj Mahal, Hokusai's Great Wave, and the Parthenon. The document also discusses how artists can manipulate elements of design, as seen in works by Velazquez, Ingres, and Suh.
There are many starting points for exploring order and disorder in art, including people, places, the natural world, objects, activities, and imagination. The document provides examples of artists who have worked with these themes, such as Picasso's Guernica which shows the tragedies of war, Andy Goldsworthy who incorporates natural materials, and M.C. Escher who created impossible structures. The goal is to think broadly about possible ideas and be open-minded when considering how different artists have interpreted order and disorder through their work.
Postmodernism is a contemporary art movement associated with post-industrial societies that questions traditional boundaries and concepts of art and creativity. It draws from multiple art traditions and references contemporary culture through methods like irony, parody, appropriation, and quotation. Postmodern art is grounded in theories like Marxism, feminism, and psychoanalysis.
The document discusses several contemporary artists and their works that address current social and political issues. Tim Noble and Sue Webster create sculptures out of trash that address themes of consumerism. Chris Goodwin uses found trash to tell stories and comment on waste. Takashi Murakami blends pop and commercial art. Jeff Koons' work examines consumer culture. Duane Hanson created extremely realistic sculptures that held a mirror to society. Judy Chicago's The Dinner Party brought attention to women's history and roles. Kara Walker uses silhouettes to depict slavery in a thought-provoking way. Kako Ueda uses paper to represent the natural and cultural influences on human and other organisms. Jenny Holzer is known for her "truisms
This document discusses how feminism has been recognized in history through art, gender, race, and sexual identity. It analyzes Judy Chicago's artwork "The Dinner Party" which honors important women throughout history who have been overlooked. The artwork uses mixed media like ceramics and needlework to represent women through place settings arranged in the shape of an equilateral triangle. It took 4 years and contributions from 400 men and women to complete. The document also discusses how quilting was an early art form through which women artists across classes and races could express themselves. It notes how the feminist movement grew to recognize issues of both gender and racial oppression.
Miriam Schapiro was a Canadian-born American artist who helped launch the Pattern and Decoration art movement in the 1970s. She created "Femmages," which combined techniques like needlework, fabric collage, and painting. Her large-scale work "Anatomy of a Kimono" from 1976 used traditionally feminine crafts to challenge the patriarchal view of what constituted "high art." Schapiro collaborated with Judy Chicago on one of the first feminist art exhibitions called "Womanhouse" in 1972, which explored women's domestic roles and stereotypes through installations and performances.
SHGC The Womens Art Movement (Realism) Part 2rachaelwhare
The document discusses several feminist artists from the 1960s-1980s including Judy Chicago, Miriam Schapiro, and Barbara Kruger. It summarizes Judy Chicago's 1983 Birth Project which involved over 130 needleworkers collaborating to create images of birth. It also discusses Schapiro's use of textiles and domestic crafts to highlight women's roles and experiences, as well as her co-founding of the feminist art program with Chicago. Kruger is noted for combining found photography with bold text to critique media images and cultural forces that shape gender roles.
My Reflection Of Art
The Importance of Art Essay
Art Appreciation Essay
Art Appreciation
Essay On Art Appreciation
The Importance of Art Essay
Appropriation in Art Essay
Reflection About Art
Art Appreciation
How Do We Evaluate Art? Essay
Art and Aesthetics Essay
My Reflection Of Art
What is Art? Essay
The Importance of Art Essay
What Is Art? Essay example
Essay on Art in Society
Art Is An Imagination Of Art
What Makes Art Art Essay
The History of Art Essay
Art And Art
Art Analysis Essay
Art : The World Of Art
Essay on The Meaning of a Work of Art
Reflection About Art
Why Is Art A Genre? Essay
Art and Aesthetics Essay
My Passion For Art Essay
What Are Fine Art? Essay
Bilateral symmetry is common in many animal species, where the body can be divided into matching left and right halves by an imaginary plane. This symmetry aids mobility and helps distribute body parts evenly, providing an evolutionary advantage. The document discusses different types of symmetry in animals and plants, and how genes control assigning the proper symmetry to different species.
Visual Communication lecture 4 1 rhythm, pattern and repetitionWilfred Dexter Tanedo
This document discusses rhythm, pattern, and repetition in art. It begins by defining each term: repetition refers to repeating objects or shapes, pattern is a combination of repeating elements in a regular arrangement, and rhythm combines repeating elements with variations. The document then examines examples of repetition, pattern, and rhythm in various artworks. It discusses how these elements can be used symbolically, for decoration, and in different rhythmic styles like regular, alternating, flowing, and progressive. Plates or creative works exploring these concepts through geometric shapes, organic forms, thumbprints, and leaf imprints are also proposed.
Museum Wall Label ExamplesMuseum Wall Label Student ExamplesBe.docxkendalfarrier
Museum Wall Label Examples
Museum Wall Label Student Examples
Below, please see a few examples of the kind of wall label you could write, along with formatting examples for Parts A, B, and C of the assignment.
· These are actual student examples and are not "perfect" in that they sometimes have grammatical or spelling errors, and ways to be improved.
· These should give you an idea of both the format and layout of the assignment but do not offer a one-size-fits-all approach that can be adapted for any artwork or imagery.
·
Instead, please use your imagination, critical thinking, and research skills to develop your own unique wall label and approach to your individual assignment.
Example #1
Part A:
· Artist: Zoumana Sane
· Title:
Mami Wata
· Date: c. 1987
· Medium: pigment, glass
· Collection of Herbert M. and Shelley Cole
Part B:
Mami Wata, also referred to as The Holy Virgin of the Sea, is a water spirit and in this
picture, she is illustrated as a snake charmer, however, in other types of artwork, she can also be
interpreted as a mermaid or a combination of a mermaid and snake charmer. Her name’s literal
translation is “Mother Water” in English pidgin throughout Africa. She is mostly worshipped
throughout many African countries such as Senegal, Tanzania, Togo, and many more. She is a
creation from many African tribes based off of their indigenous history and a fusion of other
religions such as Christianity, Hindu religion, and Muslim religion and then interpreted with
their current history to create a new goddess of worship. For many African people, she is a
symbol of cultural unity between Africans and foreigners in an effort to better understand their
culture. Depending on the culture, she can also be seen as a nurturing mother, a seductive
mistress, a healer in both physical and spiritual ailments, and many more. Due to this, she is not
only adored but many people also fear her immense power.
Part C: Works Consulted
· “Arts for Water Spirits in Africa and Its Diaspora: Mami Wata.”
Art of Being Tuareg: Sahara Nomads in a Modern World / National Museum of African Art, africa.si.edu/exhibits/mamiwata/intro.html.
· Carwile, Christey. "The Water Goddess in Igbo Cosmology: Ogbuide of Oguta Lake (review)."
African Studies Review, vol. 51 no. 3, 2008, pp. 172-173. Project MUSE, doi:10.1353/arw.0.0121
· Drewal, Henry John. “Performing the Other: Mami Wata Worship in Africa.” TDR (1988-), vol. 32, no. 2, 1988, pp. 160–185. JSTOR, JSTOR,
www.jstor.org/stable/1145857Links to an external site..
· Osinubi, Taiwo Adetunji. "Provincializing Slavery: Atlantic Economies in Flora Nwapa’s Efuru.
Research in African Literatures, vol. 45 no. 3, 2014, pp. 1-26. Project MUSE, muse.jhu.edu/article/555709.
Example #2
Part A: Artwork Information
· Artist: El Zeft
· Title: "Nefertiti in a Gas Mask"
· Date: 2012
· Medium: spray paint graffiti stencil.
This document provides information on several artworks submitted to the Cliftons Art Prize 2011 competition. It includes the artist name, artwork title and description, medium, size, and a short biography for each submitting artist. Some of the artworks address themes of human nature, relationships, and society. The artists use various mediums such as charcoal, acrylic, oil, and mixed media.
This document summarizes and describes several earthworks, sculptures, installations and artworks created between 1969-2005. It touches on works by Robert Smithson, Christo, Maya Lin, Betye Saar, Faith Ringgold, Judy Chicago, Cindy Sherman, Barbara Kruger, Jaune Quick-to-See Smith, Rachel Whiteread, El Anatsui, and Nam June Paik. The works address themes of landscape, feminism, identity, history, and the integration of new media like video and technology into art.
Faith Ringgold is an American artist born in 1930 in Harlem, New York. She began her career as a painter in the 1960s and is best known for her painted story quilts that combine painting, quilted fabric, and storytelling. Some of her most famous works include her Tar Beach book and quilts from the 1980s and 1990s that depict African American family stories. Her art sends messages about important issues for African American women and features bright colors and images.
7가지 래그러그 기법 소개 (Rag Rug Seven Technics)Seongwon Kim
This document provides information about an exhibit titled "Standing on Tradition: Rag Rug Techniques" held from September 18, 2012 to April 13, 2013 at the Minnesota Discovery Center in partnership with the Range Fiberart Guild. The exhibit featured over 165 rag rugs from 75 Minnesota artists demonstrating 13 different rag rug making techniques. A summary is then provided of three exceptional rugs on display: a patchwork rug by Debbie Cooter, a solar flame rug by Wynne Mattila, and an Ely Lake ice rug by Carol Sperling. Background information is also given on the historic Katri Saari loom and the seven main rag rug making techniques showcased: weaving, nalbinding, wagon wheel
1. D O R S K Y
G A L L E R Y
Curated by D onna Harkavy and Flavia S. Zúñiga-West
A pril 11 – June 27, 2 01 0
O p ening reception: Sunday, A pril 11, 2:0 0 – 5:0 0 p.m.
C u r a t o r i a l P r o g r a m s
ASSEMBLING NARRATIVES:
QUILTING IMPULSES IN CO NTEMPORARY ART
SABRINA GSCHWAN DTNER, KAROLYN HATTO N, FAITH RINGGOLD,
DO N NA SHARRETT, JOH N SIMS, AN D AN NA VO N MERTENS
3. made by sewing together long, thin fabric scraps
left over from other projects. This pattern is the
basis of Quilts in Women’s Lives (2009), a work in
which the detailed density of the film creates a
push/pull between the individual elements and
the overall pattern. Gschwandtner also exploits
film as a medium of light by displaying her
hybrid quilt in front of a light source, thus
creating a textile of luminous splendor.
Symmetry, balance, rhythm, permutation,
and transformation are at the foundation of
John Sims’s work. As an artist, educator, and
curator he seeks to integrate “the tenets of
mathematics and art, mind and hand, creativity
and analysis.”2
For Sims, quilts are a metaphor
for community; they bring together disparate but
related elements into a unified whole. Whereas
most of the other artists in the exhibition work
in a solitary manner, Sims began quilting as a
communal activity. He thought quilting would
provide a visual language that would give mater-
ial form to abstract mathematical ideas, particu-
larly representations of π and the Pythagorean
Theorem. In 2005, not yet knowing how to
quilt, but in the possession of some African fabric,
he sought assistance at Alma Sue’s Quilt Shop in
Sarasota, Florida, whose proprietor, along with
her fellow Amish quilters, agreed to teach and
work with Sims in exchange for fabric.
One of the fruits of this collaboration is My SquareRoots
(2008), a patchwork quilt composed of cloth from Ghana
and Harlem. As is often the case with the materials of
traditional quilts, Sims’s cloth carries within it the legacy
of its origin—in this case, African life. Originally called
The African, the current title My SquareRoots is a clever pun
on geometrical form, mathematical concept, and African-
American heritage. This muted, yet exuberant quilt is a riot
of barely restrained syncopated rhythm and pattern.
Each of Sims’s quilts has a corresponding mate. The
match for My SquareRoots is HyperQuilt (2008), a digital
projection compiled of images of thirteen actual quilts.
The central image of HyperQuilt is My SquareRoots. The
other quilts are Sims’s exploration of the permutations of
π in various bases, the Pythagorean Theorem, and two
self-portraits. In Seeing Pi (the quilt in the upper right
corner), Sims charted the irrational number in base ten.
In a preparatory drawing, Sims began his number sequence
(3.1415926. . .) in the center of the grid and allowed the
numbers to spiral outward. He then assigned each number
a corresponding color for the quilt. In deference to his
mentors, he chose colors consistent with the Amish
palette. Seeing Pi’s inverse is a black and white version
called Pi in Binary.
As with My SquareRoots, HyperQuilt has a political and
social subtext. For example, in American Pi: Base 3 and
African American Pi: Base 3, Sims plotted π in base 3, using
red, white, and blue for the former and green, black, and
red for the latter. With the colors of the American flag on
the left, and the Pan-African flag on the right, the artist
places My SquareRoots, and thus himself, squarely in the
center of contrasting traditions. Ultimately, the HyperQuilt
becomes a meditation on math, art, community, history,
and identity.
camouflage fatigues and nuclear fallout, printed onto large
rectangles of fabric. Part II ultimately ends on a note of
optimism as Tommy Lee and his father-in-law watch Jackie
Robinson play baseball, a beacon of hope for the black
community.
Sabrina Gschwandtner pushes her practice beyond
prescribed limits of craft, employing an interdisciplinary
approach that combines different mediums in unconven-
tional ways. For example, she mixes knitting with perfor-
mance, and film with sewing. Gschwandtner’s translucent
quilts are constructed out of strips of 16mm film that she
salvaged from a cache of documentary films that were
deaccessioned from the Fashion Institute of Technology.
These educational shorts addressed subjects such as fashion,
textiles, and quiltmaking. The resulting film quilts, named
after the movies from which they are made, elaborate on
the conversations of tactile cinema and of gendered objects
in fiber art. Gschwandtner fuses what has typically been a
male-dominated medium—film—with quilting—a tradi-
tionally female craft—to create non-traditional quilts that
memorialize their own history.1
However, the artist likes
to point out that in the era of early Hollywood, most film
editors were actually women. Their sewing skills provided
the expertise for the tasks required by film editing: Moving
film through a projector (or Steenbeck) is similar to feeding
fabric through a sewing machine. Moreover, cutting and
splicing are integral to both filmmaking and quilting.
Gschwandtner was also struck by the similarities
between the repeating imagery of film and the patterning of
quilts. Flowing together to create a narrative, the individual
frames of film are not unlike the pieces of a patchwork
quilt and Gschwandtner fashions her film quilts after tradi-
tional quilt patterns. The reclaimed filmstrips are ideally
suited for string quilt patterns, which are traditionally
JJ oo hh nn SS ii mm ss M y S q u a r e R o o t s , 2 0 0 8
4. a halo of rose beads, hand made by the artist based on a
13th-century recipe used by nuns to make rosary beads.
The beads function not only as beautiful objects, but as
symbols of ritual. In her extraordinary works of art,
Sharrett pieces together the remnants of cherished lives
to tell the story of grief, healing, and remembrance.
Traditional quilts often employ a kind of vernacular
abstract language. KKaarroollyynn HHaattttoonn makes literal the idea
of vernacular in her appliquéd banners that deconstruct
language patterns and boldly proclaim the ubiquitous
fillers of everyday speech. Though Hatton works with a
range of media and artistic strategies, she often returns to
fabric as a favored material. The tactility of cloth coupled
with a hands-on approach provides her a refuge from an
over-technologized world.
Donna Sharrett’s intricate constructions pay homage
to centuries of women who labored with their hands to
fashion quilts, embroider cloth, tat lace, or string rosary
beads. Equally significant, her elegiac art honors the
memory of her mother and brother. Sharrett initially began
sewing while taking care of her dying mother. The activity
focused her mind and hand during a difficult time, and
forged an intergenerational link with her mother and
grandmother through a common skill.
After her mother’s death, sewing became the mainstay
of Sharrett’s art. She also began to research the use of roses
and hair in mourning rituals and to incorporate them into
her work.3
Sharrett’s materials are loaded with personal
and symbolic meaning. She finds common bonds between
objects that simultaneously have personal meaning for her,
while carrying universal significance. Likewise, the sources
of her imagery come from such symbolically powerful
forms as mandalas and medieval rose windows.
In 2001, Sharrett suffered another painful loss—the
unexpected death of her brother, a musician. While she
was cleaning out his apartment, she found guitar strings
and a jar of what turned out to be guitar-string ball-ends
among his other musical equipment. She decided to
incorporate these into her work as an act of remembrance.
In addition, she named her pieces after her brother’s
favorite songs. Such was the transformation of her work
from generalized memorial to individual memento.4
The structure of Forever Young (2007-2008), based on
the design of the 13th-century rose window at the cathe-
dral in Lausanne, is a series of concentric circles. Sharrett
often uses circular forms because of their allusion to cycles,
to the interconnectedness of things, and to the continuum
of time wherein past, present, and future are embraced by
a single shape. The acknowledgment of time as a continuous
cycle is reinforced by the incorporation of dirt—with its
association of “ashes to ashes, dust to dust”—which the
artist has “smooshed” into lace and cut into a rosette pattern.
Sharrett was inspired by recovery efforts at Ground Zero,
which were taking place simultaneously to her own process
of sifting through her brother’s possessions. She was partic-
ularly moved by the unearthing of a wedding band in the
dirt and rubble of the
World Trade Center. In
addition to motivating her
use of dirt, that story led
her to incorporate small
golden rings into this and
other compositions.
Radiating circles are
also the predominant motif
of The Long Black Veil
(2003-2008), a work that
strongly evokes the pres-
ence of the artist’s brother.
The circular form is reiter-
ated through the inclusion
of many pennies, all dated
1958, the year of Sharrett’s
birth. Her brother had
saved them and given them
to the artist on one of her
birthdays. Each of the
pennies is surrounded by KK aa rr oo ll yy nn HH aa tt tt oo nn W h a t e v e r , 2 0 0 9
DD oo nn nn aa SS hh aa rr rr ee tt tt F o r e v e r Y o u n g , 2 0 0 7 - 2 0 0 8
5. Donna Harkavy is a New-York based independent curator. She has held curatorial positions at the Walker Art Center in Minneapolis, Independent
Curators International in New York, and the Worcester Art Museum in Massachusetts, where she founded a contemporary art program. As a free-lance
curator, she has organized or co-organized exhibitions for a variety of institutions including “Say Good-Bye to…” for the Clifford Art Gallery at Colgate
University, “Mark Innerst: Places of Wonder” for the Munson-Williams-Proctor Arts Institute, and the traveling exhibitions, “The Culture of Violence” for
the University Gallery at UMass-Amherst and “The Perpetual Well: Contemporary Art from the Collection of The Jewish Museum” for The Jewish
Museum. Ms. Harkavy is Chair of the New York Chapter of ArtTable.
Flavia S. Zúñiga-West, Curatorial Assistant at the Northwest African American Museum, has a strong interest in American material culture and a passion
for art and textiles. She graduated from The School of the Art Institute of Chicago with a B.F.A. in Fiber and Material Studies and earned a Master’s degree
from the Graduate School of Arts and Sciences in the Museum Studies Program at New York University. Prior to working at NAAM, she interned at the
Museum of Modern Art, the Museum of the City of New York, and The Art Institute of Chicago.
The seeds for these
banners were planted
years ago in Boson.
Hatton had just returned
to the States with her
Irish husband, a teacher
who was stunned by the
frequency of the word
“like” used by his
American students.
Hatton appliquéd the
word onto a bright
orange canvas and gave
it as a gift to her hus-
band. Her interest in the
banner format actually
dates back much further
to her childhood in Berkeley, California, where her mother
was an activist. The artist’s early memories are populated
with protest signs and demonstration banners. Hatton’s
fascination with banners was further piqued when, as an
adult, she had to attend a wedding preparation workshop
in a convent. There, she noticed a series of banners with
uplifting aphorisms that struck her as purely pedestrian
and downright funny.
With deft humor, and not a little irony, Hatton decided
to explore colloquial language, focusing on words such as
“really,” “right,” “yeah,” “honestly,” and “whatever,” which
are “about flow, but not substance.”5
Each word determines
its own look. For Whatever (2009), the artist improvised
on a Bauhaus type, and wanting a hand-made look, used
wavering sewn lines, reminiscent of drawing, to fill in the
letters. In Right (2009), she places the word, rendered in
the typeface of an old manual typewriter, above a striped
field resembling a television color test pattern. In much
the same way meaning is embedded in material, Hatton’s
typefaces invoke different associations. Playing with this
idea, she tweaks both the look and content of words to
make us aware of the ‘scraps’ of our language.
Anna Von Mertens’s work makes manifest the ineffa-
ble—the energy fields of the Big Bang or black holes, ocean
currents, nuclear explosions, or time itself. Her artwork
maps science and history through labor-intensive hand
stitching across expansive fields of hand-dyed colored
cloth. The enormity of her subjects is humanized by the
intimacy of her process. Initially, Von Mertens displayed
her quilts on bed-like, minimalist platforms. Even as a con-
ceptual artist, she kept the horizontal orientation because
of its association with traditional quilts and the bed’s central
place in the home. More recently, however, she has moved
her quilts from the bed to the wall, thus shifting the
viewer’s relationship to a more cinematic orientation.
Dawn (Left Illinois for
California, April 15,
1859) (2007) is from
the series Endings,
which explores signifi-
cant moments in
American history. Von
Mertens uses a com-
puter program to cal-
culate the position of
the stars at a given
moment and from a
specific location in
order to document
historical events. She
then transfers her
astronomical graphs
onto hand-dyed fabric and with needle and thread traces
each star’s orbital trail. The works in this series focus on
dawn and dusk. Charting these transitional moments in
time, Von Mertens “considers how we straddle past and
future, endings and beginnings.”6
The liminal space
between darkness and light parallels the artist’s own
location between the eroding borders of craft and fine art,
traditional practice and conceptual approach.
The title Dawn (Left Illinois for California, April 15,
1859) is from an inscription on a 19th-century quilt made
by two pioneer families as they are about to head west to
California. For the artist, the fading stars symbolize a
closing chapter in their lives, as the dawn suggests an
unknown future. Even though the artist posits westward
expansion as a rupture between past and future, Dawn
(Left Illinois for California, April 15, 1859) nevertheless is
a synthesis of past and present, a remarkable example
of a contemporary quilt embodying the history of
quiltmaking. II
— Donna Harkavy and Flavia S. Zúñiga-West
New York City and Seattle 2010
BB II OO GG RR AA PP HH II EE SS
AA nn nn aa VV oo nn MM ee rr tt ee nn ss D a w n ( L e f t I l l i n o i s f o r C a l i f o r n i a , A p r i l 15 ,
18 5 9 ) , 2 0 0 7
NN OO TT EE SS
1. It has been noted that there is “an inherent tension between the sewing machine’s
associations with female domestic labour and the film projector’s associations with
the male world of technology.” Jessica Hemmings, “Reeling in the Years,” Selvedge
15 (2007): 58.
2. John Sims, “13 Quilts,” (unpublished artist statement in Donna Harkavy’s possession).
3. Roses were often strewn on the deceased, their belongings, and their graves.
Moreover, flowers are often a primary element of makeshift shrines. In the
Victorian era, the hair of a loved one was often preserved in mourning jewelry; a
variation of that tradition was adapted by women in America during the Civil
War. See Janet Marquardt-Cherry, “Donna Sharrett’s Mementos,” Woman’s Art
Journal 23 (Autumn 2002/Winter 2003): 50.
4. Edward Gomez has eloquently noted, “. . . her thematic focus has shifted from an
earlier interest in memorials to the ineffable nature of memory itself.” Edward
Gomez, Donna Sharrett: Reverb, announcement brochure (New York: Pavel
Zoubok Gallery, 2009).
5. Karolyn Hatton, conversation with Donna Harkavy, February 6, 2010.
6. Anna Von Mertens, quoted in Sara Meltzer Gallery, “Anna Von Mertens: Endings,”
press release, 2008.
6. CC HH EE CC KK LL II SS TT
C u r a t o r i a l P r o g r a m s
11-03 45th Ave., Long Island City, NY 11101 || T: 718 937 6317 || F: 718 937 7469 || E: info@dorsky.org || www.dorsky.org
A not-for-profit 501(c)(3) tax deductible organization.
AA CC KK NN OO WW LL EE DD GG MM EE NN TT SS
The genesis of this exhibition came from ideas articulated in Flavia S. Zúñiga-West’s Master’s thesis “Curatorial Perspectives
& Exhibition Strategies: Quilts in the Museum and their Potential for Inclusive Discourse.” We would like to thank David,
Noah, and Karen Dorsky for their steadfast support of independent curators and their enthusiasm for this project. We would
also like to thank the International Quilt Study Center & Museum for their loan, and all the artists and dealers, who made
work available to us. We are grateful for the assistance we received from Dorian Bergen of ACA Galleries; Steve Weintraub
and Pavel Zoubok of Pavel Zoubok Gallery; Rachel Gugelberger and Jeffrey Walkowiak of Sara Meltzer Gallery; and Grace
Matthews, Faith Ringgold’s assistant. We would like to acknowledge Anna Harsanyi for attending to all the registrarial
details; Fred Wasserman and Daniel Ruiz for their editorial eye; Lowery Stokes Sims for her curatorial advice; Janis Ekdahl
for providing research materials; and Debbie Rising for once again designing a beautiful brochure. A personal thank you to
Rachel Crumpler for unflaggingly and cheerfully assisting on so many levels, and especially for her significant contributions
to the essay. Finally, we extend a big thank you to all the artists for their responsiveness and participation in this exhibition.
This exhibition, publication, and related programming are supported, in part,
by public funds from the New York State Council on the Arts.
SABRINA GSCHWANDTNER
QUILTS IN WOMEN’S LIVES,
2009
16mm film, polyamide thread,
cotton thread
71 x 48 inches
Courtesy of the artist
ONCE UPON A SUNNY
MORNING, 2009
16mm film and polyamide
thread
16 1/2 x 16 1/2 x 4 inches
Courtesy of the artist
KAROLYN HATTON
WHATEVER, 2009
Linen, cotton, and felt
51 1/8 x 89 1/8 inches
Courtesy of the artist
RIGHT, 2009
Wool, polyester, and cotton
63 1/2 x 59 1/8 inches
Courtesy of the artist
FAITH RINGGOLD
NO MORE WAR STORY QUILT,
1985
Intaglio, dyed and pieced fabric
63 1/2 x 97 1/2 inches
Courtesy of the artist and ACA
Galleries, New York
NO MORE WAR STORY QUILT
PART II, 1985
Intaglio, dyed and pieced fabric
71 x 101 inches
Courtesy of the artist and ACA
Galleries, New York
DONNA SHARRETT
FOREVER YOUNG,
2007-2008
Rose petals, rose beads, synthetic
hair, guitar-string ball-ends,
garnets, bone beads, shell
buttons, rings, synthetic pearls,
cotton fabric, blue jeans, damask
linen, silk ties, beads, and thread
32 x 32 inches
Courtesy of the artist and Pavel
Zoubok Gallery, New York
THE LONG BLACK VEIL,
2003-2008
Rose petals, handmade rose
beads, synthetic hair, guitar-
string ball-ends, pennies, blue
jeans, cotton fabric, rings, bone
beads & buttons, synthetic
pearls, and thread
26 x 26 inches
Courtesy of the artist and Pavel
Zoubok Gallery, New York
JOHN SIMS
MY SQUAREROOTS, 2008
Cotton
92 x 92 inches
Courtesy of the artist
HYPERQUILT, 2008
Digital video installation
Dimensions variable
Courtesy of the artist
ANNA VON MERTENS
DAWN (LEFT ILLINOIS FOR
CALIFORNIA, APRIL 15, 1859),
2007
Hand-stitched, hand-dyed cotton
54 x 101 inches
Collection International Quilt
Study Center & Museum,
2010.002.001
C o v e r : SS aa bb rr ii nn aa GG ss cc hh ww aa nn dd tt nn ee rr , Q u i l t s i n W o m e n ’ s L i v e s , 2 0 0 9