The document provides a comprehensive overview of different perspectives on what art is and its various purposes and functions. It discusses art in terms of beauty, truth, communication, social commentary, and personal expression. It also examines how art relates to concepts like culture, religion, politics, psychology, and popular culture. The document supports its discussion with over 30 examples of artworks and uses them to illustrate the many topics and themes covered.

1. Chapter 1 WHAT IS ART? 0

2. In both the sciences and the arts we strive to weave our experiences into coherent bodies of knowledge and to communicate them. 0

8. What Are the Purposes of Art?

10. Figure 1.1, p. 3: LEONARDO DA VINCI. Mona Lisa (c. 1503–1505). Oil on wood panel. 30 1/4” x 21 ” .

11. Beauty is in the eye of the beholder, whether in Western civilizations or non-Western civilizations 0

12. Figure 1.2, p. 3: Kenyan woman, Masai tribe. Standards for beauty can differ from culture to culture.

13. “ A Closer Look” A Portrait in the Flesh Sometimes artists try to improve on nature – thereby creating an alternative standard 0

14. Figure 1 - 3, p. 4: French performance artist Orlan, who has dedicated herself to embodying Western classic beauty as found in the works of Leonardo, Botticelli, and Boucher through multiple plastic surgeries. Here Orlan is being “prepped” for one in a series of operations.

15. Figure 1 - 4, p. 4: SANDRO BOTTICELLI. The Birth of Venus (1486). Detail. Tempera on canvas. 5 ’ 8 7⁄8 ” x 9 ’ 1 1⁄7 ” .

16. ART AND OUR ENVIRONMENT Used to create pleasing environments. Used as Decoration. Used to transport to another place. 0

17. Figure 1 - 5, p. 5: JOYCE KOZLOFF. Galla Placidia in Philadelphia (1985). Mosaic installation. 13 ’ x 16 ’

18. Figure 1 - 6, p. 5: DALE CHIHULY. Fioridi Como (1998). 70 ’ x 30 ’ x 12 ’.

19. ART AND TRUTH Truth in art is subjective. True to nature? True to human experience? True to materials? 0

20. Figure 1 - 7, p. 6: FRIDA KAHLO. Diego in My Thoughts (Diego y yo) (1949). Oil on canvas, mounted on Masonite. 24 ” x 36 ” .

22. ART AND IMMORTALITY Used to defy death. Art can bring people “together” from different periods of time. 0

23. Figure 1 -9 , p. 7 : ANDY WARHOL. Four Marilyns (1962) . Synthetic polymer paint and silkscreen ink on canvas. 30" × 23⅞".

25. Fig. 1-11, p 8. Column of Trajan, Forum of Trajan, Rome, dedicated 112. 128 feet high

26. ART AND RELIGION The quest for immortality Finding answers for the unanswerable 0

28. Figure 1.1 3 , p. 9 : JESSIE OONARK. A Shaman’s Helping Spirits (1971). Stonecut and stencil. 37 1⁄6 ” x 25 1⁄6 ” .

29. Figure 1.1 4 , p. 10 : AARON DOUGLAS. Noah’s Ark (c. 1927). Oil on masonite. 48 ” x 36 ” .

30. Figure 1.1 5 , p. 10 : ANTHEMIUS OF TRALLES AND ISIDORUS OF MILETUS. Hagia Sophia, Constantinople (modern-day Istanbul), Turkey (532–537 CE). Interior view.

31. ART AND IDEOLOGY Art has been used to create and reinforce ideology. (Ideology is the way a society looks at things or a societies commonly held beliefs.) 0

32. 1-16 p. 11 SUZANNE VALADON. Adam and Eve (1909). Oil on canvas. 63¾ × 51⅝.

33. ART AND FANTASY Art can express our innermost fantasies. 0

34. Insert Fig 1-17, p. 12 Marc Chagall I and the Village

36. Insert Fig 1-18, p. 12 Max Beckman The Dream

37. ART, INTELLECT, AND EMOTION Art can make you think. Art can make you feel. Art can trigger associations. 0

40. ART, ORDER, AND HARMONY Art is harmony. –Georges Seurat 0

42. Figure 1.20, p.14: Ryoanji Zen Temple, Japanese sand garden, Kyoto, Japan.

43. COMPARE + CONTRAST The Piano Lesson(s) by Matisse and Bearden 0

44. Figure 1.22, p.15: HENRI MATISSE. Piano Lesson (1916). Oil on canvas. 8 ’ 1⁄2 ” x 6 ’ 11 3⁄4 ” . Figure 1.23, p. 15 : ROMARE BEARDEN. Piano Lesson (1983). Oil with Collage. 29» x 22’

45. Reaction? Figure 1.2 1 , p.14: LAURIE SIMMONS. Red Library #2 (1983). Color photograph. 48 1⁄2 ” x 38 1⁄4 ” .

46. ART AND CHAOS Artists have sought to show chaos, apocalyptic events, war, famine, and natural catastrophes. 0

47. Figure 1.24, p.16: JAUNE QUICK-TO-SEE SMITH. Eclipse (1987). Oil on canvas. 60 ” x 60 ” .

49. Figure 1.25, p.16: LOUISA CHASE. Storm (1981). Oil on canvas. 90 ” x 120 ” .

50. Figure 1.26, p.17: ALFRED STIEGLITZ. The Steerage (1907). Photograph.

51. Figure 1.27, p.17: FAITH RINGGOLD. Tar Beach (1988). Acrylic paint on canvas and pieced fabric. 74 ” x 68 1⁄2 ” .

52. ART IN THE SOCIAL AND CULTURAL CONTEXT 0

54. Figure 1.28, p. 18: EDWARD HOPPER. Nighthawks (1942). Oil on canvas. 30 ” x 60 ” .

55. Figure 1.29, p.19: RICHARD HAMILTON. Just What Is It That Makes Today’s Homes So Different, So Appealing? (1956). Collage. 10 1⁄4 ” x 9 3⁄4 ” .

56. Figure 1. 30 , p.19: ZAHA HADID. Sheikh Zayed Bridge, Abu Dhabi, to be completed in 2006. Designed by Zaha Hadid.

57. ART AND SOCIAL CONSCIOUSNESS 0

58. Artists have taken on bitter struggles against the injustices of their times and have tried to persuade others to join them in their causes, …by using their (art) skills. 0

59. Figure 1.31, p.20: EUGÈNE DELACROIX. Liberty Leading the People (1830). Oil on canvas. 8 ’ 6 ” x 10 ’ 10 ” .

60. Figure 1.32, p.21: SUZANNE LACY AND LESLIE LABOWITZ. In Mourning and in Rage (1977). Performance at Los Angeles City Hall.

61. Figure 1.33, p.21: BETYE SAAR. The Liberation of Aunt Jemima (1972). Mixed media. 11 3⁄4 ” x 8 ” x 2 3⁄4 ” .

64. Figure 1.34, p. 22: MIRIAM SCHAPIRO. Wonderland (1983). Acrylic and fabric collage on canvas. 90 ” x 144 ” (framed)

65. Fig. 1-35 p.22 MARCEL DUCHAMP. Fountain (1917). 1951 version after lost original. Porcelain urinal. H: 24".

66. ART AND THE NEEDS OF THE ARTIST 0

68. Figure 1.36, p. 23: JOSÉ CLEMENTE OROZCO. Epic of American Civilization: Hispano-America (c1932–1934). Fresco. 10 ” x 9 ’ 11 ” .

69. Figure 1.37, p.23: MATTHEW I. SMITH. Untitled (n. d.). Graphite on paper. 8 1⁄2 ” x 11 ” .