This document provides an introduction to key concepts in art including form, content, and subject matter. It outlines questions to consider when analyzing art and discusses the roles of artists in helping people see the world differently, documenting their time and place, making functional objects more meaningful, and giving form to immaterial concepts. Examples are provided for each role to illustrate the points.
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2. Intro to important terms
• Form- overall structure of the work
• Content- what it means
• Subject matter- what is literally depicted
3. Questions to ask about art
• What is the purpose of this work of art?
• What does it mean (content)?
• What is my reaction to the work and
why do I feel this way?
• How do the formal qualities (form) of the
work—color, organization, size, scale—
affect my reaction?
• What do I value in works of art?
(aesthetics)
See page 3 of textbook
9. 1. Artists help us see the world in new or innovative ways
Christo and Jeanne-Claude. The Gates, New York City, Central Park.
1979–2005.
10. 1. Artists help us see the world in new or innovative ways
Christo and Jeanne-Claude,
Wrapped Reichstag, Berlin,
1971-95
11. 1. Artists help us see the world in new or innovative ways
Christo and Jeanne-Claude, Wrapped Reichstag, Berlin, 1971-95
12. 1. Artists help us see the world in new or innovative ways
Christo and Jeanne-Claude, Wrapped Reichstag, Berlin, 1971-95
13. 1. Artists help us see the world in new or innovative ways
Christo and Jeanne-Claude, Wrapped Trees, FondationBeyeler and
Berower Park, Riehen, Switzerland, 1997-98
14. 1. Artists help us see the world in new or innovative ways
Christo. The Gates, Project for Central Park, New York City. 2003.
15 x 96 in. and 42 x 96 in.
15. 1. Artists help us see the world in new or innovative ways
Torii gates. eighth century.
16. 1. Artists help us see the world in new or innovative ways
Christo, The Umbrellas (Joint Project for Japan and USA), Collage 1988
26 1/4 x 30 1/2" and 26 1/4 x 12" Pencil, fabric, charcoal, pastel, wax crayon,
enamel paint and topographic map
17. 1. Artists help us see the world in new or innovative ways
Christo, The Umbrellas (Joint Project for Japan and USA), Drawing 1990
in two parts, 15 x 96" and 42 x 96" Pencil, wax crayon, photograph by
Wolfgang Volz, pastel, charcoal, enamel paint, aerial photograph,
technical data and fabric sample
22. 1. Artists help us see the world in new or innovative ways
Yayoi Kusama, 1929, Japan
• City of Wellington Gallery video
• http://www.youtube.com/watch?v=qjAz
NDObUZ8
23. 1. Artists help us see the world in new or innovative ways
Yayoi Kusama, Self-Obliteration by Dots (detail), 1968, performance,
documented with black-and-white photographs by Hal Reif.
24. • Grady Turner- Do you ever fear people may be interested in your
biography at the expense of your art?
• Yayoi Kusama- No, I have no such fear. My artwork is an
expression of my life, particularly of my mental disease.
-BOMB 66 Magazine, Winter 1999
25. 1. Artists help us see the world in new or innovative ways
Yayoi Kusama. You Who Are Getting Obliterated in the Dancing Swarm
of Fireflies. 2005.
26. 1. Artists help us see the world in new or innovative ways
Yayoi Kusama, Dot Obsession New Century, 2000
27. 1. Artists help us see the world in new or innovative ways
Yayoi Kusama, Infinity Mirror Room - Phallis Field (Floor Show) 1965-98
28. 2. Artists make a Visual Record of
the People, Places, and Events of
Their Time and Place
29. 2. Artists make a Visual Record of the People, Places, and
Events of Their Time and Place
John Ahearn and Rigoberto Torres. Pat. 1982.
28 1/2 x 16 1/2 x 11 in.
30. 2. Artists make a Visual Record of the People, Places, and
Events of Their Time and Place
Claude Monet. Le Pont de l’Europe, Gare Saint-Lazare. 1877.
25 1/4 x 31 7/8 in.
31. 3. Artists make functional objects and
structures more pleasurable and elevate
them or embuethem with meaning
32. 3. Artists make functional objects and structures more pleasurable
and elevate them or embue them with meaning
Kane Kwei. Coffin Orange, in the Shape of a Cocoa Pod. c. 1970.
34 x 105 1/2 x 24 in.
33. 3. Artists make functional objects and structures more pleasurable
and elevate them or embue them with meaning
Karaori kimono. Middle Edo Period, c. 1700.
length 60 in.
34. 3. Artists make functional objects and structures more pleasurable
and elevate them or embue them with meaning
Renzo Piano. Jean-Marie Tjibaou Cultural Center, Nouméa, New
Caledonia. 1991–1998.
36. 3. Artists make functional objects and structures more pleasurable
and elevate them or embue them with meaning
Renzo Piano, Biosphere, Genoa Italy, 2000-2001
38. 4. Artists Give form to the
immaterial- hidden or universal
truths, spiritual forces, personal
feelings
39. 4. Artists give form to the immaterial- such as hidden or universal
truths, spiritual forces, and personal feelings
Magical figure, nkisinkonde. Late nineteenth century.
height 20 in.
40. Animism- the belief in the existence of souls and the
conviction that nonhuman things can be endowed with a
soul.
• Ex. Minkonde
• More information on nkisinkonde at The Brooklyn Museum
Collection Online Archives
• http://www.brooklynmuseum.org/opencollection/objects/71253/P
ower_Figure_Nkisi_Nkondi
41. 4. Artists give form to the immaterial- such as hidden or universal
truths, spiritual forces, and personal feelings
Pablo Picasso. Study for Les Demoiselles d’Avignon. Head of the
Squatting Demoiselle. 1907.
24 3/4 x 18 7/8 in.
42. 4. Artists give form to the immaterial- such as hidden or universal
truths, spiritual forces, and personal feelings
Pablo Picasso. Les Demoiselles d’Avignon. 1907.
8 ft. x 7 ft. 8 in.
43. Jan van Eyck. God. Panel from The Ghent Altarpiece, c. 1432.
44. Jan van Eyck. The Ghent Altarpiece. c. 1432.
11 ft. 5 in. x 15 ft. 1 in.
48. Ana Mendieta, Body tracks,
1982
http://www.sfmoma.org/explore/
multimedia/videos/1922
197435mm-slide documentation
of a performance with blood and
cloth also documented as
Super-8 color, silent film
