Helen Chadwick was an installation artist and photographer active in the 1970s-1980s who pioneered new forms of feminist art. She experimented with photography, performance, and installation art to challenge conventional ideas about gender and the female nude. Some of her most famous works involved photocopying and combining images of her own body to reclaim representations of female sexuality from traditional passive depictions. Her 1986 installation "The Oval Court" featured photocopied images of her body arranged on the gallery floor.
The document provides instructions for several homework assignments related to sculpture. Students are asked to:
1) Research and write about an artist, including biographical details and analysis of one of their works, and create a drawing of the work.
2) Create a detailed drawing of a natural object or one of their sculpture ideas using color, tone, and detail.
3) Continue working on their main sculpture project by experimenting, taking reference photos, and annotating process drawings in their sketchbook.
Year 9 art portraiture and the alter ego scheme of workRWFortismere
This document provides instructions for a self-portrait art project using the technique of grids. Students will take a portrait photo, then use a grid system to copy their photo in detail using different patterns and tones to represent values. They will also explore the idea of alter egos through mask-making using discarded materials to reveal a hidden part of their personality.
1. Students are asked to choose an animal to represent themselves and carefully draw the head, filling the page and using shading and color. They should also collect images of the animal's head from different angles.
2. The drawing will be evaluated on the quality of the likeness, use of tones, texture, and inclusion of side and front views. More advanced students are expected to use more tones and fill the page.
3. The next homework assignment asks students to draw two designs based on different cultures and two drawings of animal pot designs, with more advanced students drawing from multiple angles. This will form the basis for clay pots they will make.
The document welcomes students to their Fine Art linear course and outlines the planned activities and expectations for the first two terms. In the first term, students will generate work observing the human figure through drawing and sculpture, and explore techniques and materials. They will also meet with artists and receive feedback. The second term will focus on developing personal responses to the theme of "Diversity" through sketchbook drawings and a culminating artwork. Students are expected to be punctual, prepared, and actively engaged with art exhibitions and galleries outside of class.
This homework assignment asks students to create a portrait drawing of someone from life using proper proportions and shading techniques. It provides three levels of criteria involving use of space, proportions, likeness, shading, and textures. Level 6, the highest level, expects a drawing with good proportions and likeness, a range of tones shown through different marks, and textures to depict features like skin and hair. Guidelines are then given for planning proportions, including using ovals and lines to indicate placement of eyes, nose, mouth, hairline, and symmetry.
This document outlines steps for a school project where students will create alien sculptures using found materials. They will first learn about the artist Yinka Shonibare and how he represents cultural identity. Students will then design their alien, create a model, and build an armature before fully constructing their sculpture. The document provides guidance on construction techniques and safety. It also introduces the artist Dilomprizulike as additional inspiration for representing cultural issues.
This document provides guidelines for planning proportions when drawing portraits. It recommends starting with an oval shape and dividing lines to indicate placement of key facial features like eyes, nose, mouth, and hairline. Symmetrical features should be ensured by drawing a center line from top to bottom of the head. Proper proportions are important for creating a realistic likeness in portraits. The homework assignment asks students to create a portrait of someone using rules of proportion and shading to show contrasts between light and dark areas. Grading criteria focus on full use of page, accurate proportions, likeness, character recognition, and use of tones and textures.
Helen Chadwick was an installation artist and photographer active in the 1970s-1980s who pioneered new forms of feminist art. She experimented with photography, performance, and installation art to challenge conventional ideas about gender and the female nude. Some of her most famous works involved photocopying and combining images of her own body to reclaim representations of female sexuality from traditional passive depictions. Her 1986 installation "The Oval Court" featured photocopied images of her body arranged on the gallery floor.
The document provides instructions for several homework assignments related to sculpture. Students are asked to:
1) Research and write about an artist, including biographical details and analysis of one of their works, and create a drawing of the work.
2) Create a detailed drawing of a natural object or one of their sculpture ideas using color, tone, and detail.
3) Continue working on their main sculpture project by experimenting, taking reference photos, and annotating process drawings in their sketchbook.
Year 9 art portraiture and the alter ego scheme of workRWFortismere
This document provides instructions for a self-portrait art project using the technique of grids. Students will take a portrait photo, then use a grid system to copy their photo in detail using different patterns and tones to represent values. They will also explore the idea of alter egos through mask-making using discarded materials to reveal a hidden part of their personality.
1. Students are asked to choose an animal to represent themselves and carefully draw the head, filling the page and using shading and color. They should also collect images of the animal's head from different angles.
2. The drawing will be evaluated on the quality of the likeness, use of tones, texture, and inclusion of side and front views. More advanced students are expected to use more tones and fill the page.
3. The next homework assignment asks students to draw two designs based on different cultures and two drawings of animal pot designs, with more advanced students drawing from multiple angles. This will form the basis for clay pots they will make.
The document welcomes students to their Fine Art linear course and outlines the planned activities and expectations for the first two terms. In the first term, students will generate work observing the human figure through drawing and sculpture, and explore techniques and materials. They will also meet with artists and receive feedback. The second term will focus on developing personal responses to the theme of "Diversity" through sketchbook drawings and a culminating artwork. Students are expected to be punctual, prepared, and actively engaged with art exhibitions and galleries outside of class.
This homework assignment asks students to create a portrait drawing of someone from life using proper proportions and shading techniques. It provides three levels of criteria involving use of space, proportions, likeness, shading, and textures. Level 6, the highest level, expects a drawing with good proportions and likeness, a range of tones shown through different marks, and textures to depict features like skin and hair. Guidelines are then given for planning proportions, including using ovals and lines to indicate placement of eyes, nose, mouth, hairline, and symmetry.
This document outlines steps for a school project where students will create alien sculptures using found materials. They will first learn about the artist Yinka Shonibare and how he represents cultural identity. Students will then design their alien, create a model, and build an armature before fully constructing their sculpture. The document provides guidance on construction techniques and safety. It also introduces the artist Dilomprizulike as additional inspiration for representing cultural issues.
This document provides guidelines for planning proportions when drawing portraits. It recommends starting with an oval shape and dividing lines to indicate placement of key facial features like eyes, nose, mouth, and hairline. Symmetrical features should be ensured by drawing a center line from top to bottom of the head. Proper proportions are important for creating a realistic likeness in portraits. The homework assignment asks students to create a portrait of someone using rules of proportion and shading to show contrasts between light and dark areas. Grading criteria focus on full use of page, accurate proportions, likeness, character recognition, and use of tones and textures.
This document outlines steps in an art project where students will create alien sculptures using found materials. They will explore how artists represent feelings of being alien or foreign in a new environment. Students will learn construction techniques to build armatures and cover their sculptures in colored tissue paper and personal patterns, taking inspiration from artists like Yinka Shonibare and Wangechi Mutu who incorporate cultural heritage and identity. The document provides learning objectives, outcomes, and guidance for each step of the project.
This document provides inspiration for an art exam project on the theme of "transformation" by presenting various artists and artworks related to potential starting points of people, the natural world, and man-made objects. It encourages students to begin working immediately while keeping an open mind, and suggests the theme is a starting point that can be interpreted freely as long as ideas are justified. Over 50 artists are referenced across different mediums who depict the human condition, landscapes, sculptures, photographs, and installations involving the human body, nature, and industrial waste.
This document provides instruction for a series of drawing exercises focused on still life and observational drawing techniques. Students are asked to complete drawings of shoes from different perspectives, as well as contour and tonal drawings of everyday objects. Techniques for creating tone like hatching and cross-hatching are demonstrated. Later exercises involve drawing collections of objects in jars from different viewpoints, and replicating the styles of artists like Lichtenstein, Matisse, and Picasso in still life compositions. The document outlines homework assignments incorporating these techniques over a 13 week period.
This document provides information about Yinka Shonibare's artwork "Double Dutch" (1994) and includes an activity exploring pattern making techniques inspired by African art and textiles. "Double Dutch" uses Dutch wax printed cotton canvases that reference the complex interactions between Europe, Asia, and Africa. The activity asks students to create their own pattern on canvas using shapes and tones, applying techniques like reflection, rotation, and repetition. Success criteria evaluate designs based on accuracy of shapes, use of tone, tonal range, and reference to African art forms.
Year 8 extended research project portraitureMelanie Powell
The document provides instructions for an artist homework project. Students must complete three tasks - the middle task is compulsory, while the other two tasks can be chosen to create a straight line through the middle one. The middle task is to create an in-depth study of one of four artists: Giuseppe Arcimboldo, Frank Auerbach, Gary Hume, or Frida Khalo. Students must research the artist's life and create of timeline, explore cultural and political influences on their work, and analyze society's reception of the artist's work.
This document provides expectations and rules for student behavior in an art classroom. Students are expected to maintain an environment conducive to learning by participating appropriately, following instructions, and treating others and equipment with respect. Disruptive behavior such as challenging the teacher, using phones, eating or drinking in class, or excessive tardiness will not be tolerated. One warning will be given before a sanction is issued for continued inappropriate behavior.
A2 Art Exam 2016: Truth, Fantasy or FictionMelanie Powell
This document provides instructions and examples for brainstorming ideas around a title related to truth, fantasy, or fiction. It encourages generating many wild ideas without judgment. It discusses artworks like Picasso's Guernica and Magritte's The Treachery of Images that explore representations of truth. Students are tasked with choosing objects that represent truths or fictions in different forms, like Joseph Kosuth's piece. They are meant to consider how artists like Goya in The Disasters of War convey difficult truths through their work.
Here are the key steps to drawing a mouth:
1. Draw a straight or curved guideline for the top and bottom lips.
2. Draw a small circle in the center for the bow of the upper lip.
3. Draw smaller circles above the guideline for the corners of the mouth.
4. Draw curved lines connecting the circles to form the lips.
5. Add definition and shadows inside the mouth opening.
Practice paying attention to the shapes and proportions. Referencing photos can help capture realistic details. Take your time observing and sketching mouths to improve your skills.
This homework assignment asks students to create a self-portrait using a mirror or photograph as a reference. Younger students should focus on filling the page and using shading to show contrast between light and dark areas. Older students should demonstrate good proportions, create a likeness that can be recognized, and use different textures to depict features like skin and hair. The document provides grading criteria for self-portraits by grade level, focusing on accurate proportions and effective use of light, shadows, and textures.
This document provides guidance for students on researching and analyzing artworks by different artists for a school project. It instructs students to choose an artist related to their project's theme, such as Martin Parr who photographs food, and introduce him. It also guides students to closely analyze at least one of the artist's images by considering compositional elements and their own interpretations. Students are prompted to compare the chosen artist to another and respond by creating their own artwork. Background information on the artist is recommended to include.
The document provides instructions for students to create a step-by-step comic strip explaining how they made their alien sculpture. For grade 1, the comic should have 4 clear drawing steps. For grade 2, it should have 6 clear, colored drawing steps. For grade 3, it should have 6 clear, colored drawing steps with annotations incorporated into the images. The comic can have a static or dynamic layout and include step descriptions or speech bubbles. Key vocabulary is also provided for each grade.
This document provides information and guidance for an A2 art exam on the theme of "Truth, Fantasy or Fiction". It outlines the structure of the exam including a 10 week preparatory study period and 12 hour timed exam. It provides tips for each of the four assessment objectives and suggests sub-categories to help with research and brainstorming ideas. Examples of artists are also given to illustrate different interpretations of the theme through their work.
This document provides instructions for a homework assignment to draw a scene from a fairy tale or story using silhouettes. Students are asked to choose a moment, draw at least 3 silhouettes including characters and objects, and can color or cut them out. Older students should add more details like backgrounds, layers of silhouettes, and using different colors to bring the silhouettes together into a cohesive scene from a story.
This document provides instructions for a lesson on still life drawing and painting. It begins with defining still life as inanimate objects arranged in a particular way to practice drawing and painting skills. Students then create small abstract sculptures and arrange them in a still life to draw using different techniques within time limits, including gestural drawing in 60 seconds, continuous line drawing without lifting the pencil, and contour outline drawing. The lesson concludes with students creating a detailed observational drawing of their still life arrangement using the techniques practiced, while looking at the real objects. Feedback is provided through questions about strengths and areas for improvement.
This document provides instructions for a project where students will design and create a canopic jar inspired by ancient Egyptian art. Students will learn sculpting techniques like coil building and modeling to form the jar and attach an animal head. They will also learn decorative techniques like incising, engraving, and glazing to decorate the jar with Egyptian-inspired patterns. The goal is for students to understand ancient Egyptian beliefs about death and afterlife through hands-on creation of a canopic jar.
The document outlines the process an art student took to create a final piece of artwork inspired by cubism for their client Dan Dean, including researching artists like Picasso and Charles Sheeler, developing initial ideas, creating prototypes using different mediums and colors, and refining their work until a final piece was created combining cubist styles and techniques to depict a part of Esher College.
This document discusses typography and the history of the Helvetica font. It provides background that Helvetica was designed in 1957 by Eduard Hoffmann and Max Miedinger as an easy-to-read sans serif typeface called Neue Haas Grotesk. Hoffmann wanted it to be a modern version of Akzidenz Grotesk that could be used in various contexts without seeming inappropriate. The document then presents two tasks - the first asks designers to imagine distorting the letters of Helvetica for its 70th anniversary, and the second tasks researching an artist who incorporates text/numbers in their work.
General narrative illustration project (3)Melanie Powell
This document provides guidance and examples for a narrative illustration project. It discusses key concepts for narrative illustrators such as representing the meaning of text visually, setting mood and atmosphere, developing characters. It also provides exercises on compositional elements, developing visual references, and techniques like cross-hatching. Examples of illustrators' work are referenced like Geoff Grandfield, David Hockney, and Andrew Scott Ross who create images that heighten the narrative.
The document discusses the technique of rendering, which uses illusionistic drawing methods and references from the real world to create illusions of form, space, texture, and composition. It provides steps for rendering an imaginary shell design, including drawing the shapes, adding patterns and details, experimenting with colors, and using pencils and pastels to create form and add patterns. The document also includes examples of student rendering works on proposed jewelry designs with healing properties.
Project TitleArtist Report and Presentation on an artist or.docxwkyra78
Project Title:Artist Report and Presentation on an artist or art movement.
The subject or artist chosen for you research paper must fit within the timeframe and subject matter studied in class.
Project Brief: Research and choose an artist/art movement from an art history source for your report and presentation. Sources can include art books, magazines and the internet. You can also focus on one or several seminal works from that artist’s practice and discuss them/it in length. Make sure to cite you work correctly. Formats for bibliographies can be found online. Please make sure to cite internet sources as well as printed texts. I have access to turnitin software that checks for plagiarism. Plagiarism will result in an F. MLA or APA formats are the only formats that will be accepted.
Format Your paper should have standard margins 1 or 1.25 inches at the most and be double spaced. Font size should not exceed 12pt. You paper should be at least 10 pages in length with one page for your works cited section and include one page of images that you mention or discuss on a separate page, this make 11 pages the minimum. Save a digital copy of your paper as a doc. filethat can be emailed to me if I ask for it.
Presentations:
The presentation notes must be at least one page long and your presentation must include the following:
Background information on the artist.(who, what, when, where)
Why did you choose that particular artist?
How was that particular artist influential within his or her lifetime?
(Historical Context)
Include printed materials that can be presented to the class (visuals) or
create a PowerPoint presentation.
Visuals can include multiples images of works or you can choose to pick just one
image and discuss that image in length.
Due Date: Your one paragraph research paper proposal is Due Feb. 24th. I will hand out a calendar with sign up dates for your presentation next week. Presentations will begin week 12.
If you have any questions email me at [email protected]
How The Great Panels Can Evoke
In the art world, there are different kinds of artists who are talented enough to be recognized in the art world. While I looked at the work of a few artists, I found Francis Bacon. His work evoked a weird feeling or emotion. This made me very curious and I want learn more. However, I decided to borrow a book about Bacon from the library in order to discover his feeling and learn which way he usually followed to create a picture that qualified him to be one of the art legends. So, when I skimmed and read through his book, I chose those two pictures from the book which grabbed my attention.
Upon furfur research I discovered that the first drawing stood out for me was not created by Bacon, but his friend Roy de Maistre. This picture is composed of basic and primary colors that make the picture beautiful in different ways. First, those colors impact the ship and lines in that picture. Which could ...
You are invited to reflect on the nature of art and its fundamental .docxjacvzpline
You are invited to reflect on the nature of art and its fundamental principles. Here is a chance for you to think and write as an expert on art theory. Two types of art are offered for a debate: Representation versus Abstraction; and the idea of
context
is presented (the time and place in which the artwork was created).
1. Watch these two video-talks:
https
://
youtu
.be/2
aUFB
9
hQncQ
https
://
www
.
youtube
.com/watch?t=198&v=8-5
DTsl
1V5k
2. In the Discussion Forum Unit 1, write a three (3) paragraph minimum essay identifying which type of art (representational or abstract) is more appealing to you and why. In your opinion, what major quality constitutes Art? How important is context in appreciating and understanding an artwork?
Listen attentively to the experts in the videos and learn from their informed discussion on how to analyze and critique a work of art. Build your text on the points they bring up in their talk and share your own take on the subject. Feel free to agree or disagree with them and your classmates but base your case on valid points and arguments.
Part 2
2. In the Discussion Forum Unit 1, write a three (3) paragraph minimum essay identifying which type of art (representational or abstract) is more appealing to you and why. In your opinion, what major quality constitutes Art? How important is context in appreciating and understanding an artwork?
Listen attentively to the experts in the videos and learn from their informed discussion on how to analyze and critique a work of art. Build your text on the points they bring up in their talk and share your own take on the subject. Feel free to agree or disagree with them and your classmates but base your case on valid points and arguments.
3. Then choose two art works from
https
://
www
.
google
.com/
culturalinstitute
/beta/
. Click on the left menu bar.
You may choose by clicking on the "Projects" or "Artists"
from the left menu bar.
4. Find an example of representational art and one abstract work
.
5.
List the a) name, b) artist, c) date and d) medium of the works.
Please
als
o c
opy
and paste links to the art work (
see tutorial on how to copy link
).
6. Use these two works as examples in your essay to support your opinions and ideas about representation, abstraction and context in art.
7. Reply to at least two of your classmates. Your initial posting should be a minimum three (3) paragraphs in length, while your responses should be at least one (1) paragraph
I want you to write two responses, one for each of these paragraphs.
1)
The video describe two paintings, one by John Everlett Millias and the other by Barnett Newman. John’s painting was used as an example of a representational piece, while Barnett’s is an example of an abstract piece. Both paintings were beautiful, however I found that representational piece to be more appealing to me.
In the video the narrators express some of their opinions, some I agree while others I disagree..
This document outlines steps in an art project where students will create alien sculptures using found materials. They will explore how artists represent feelings of being alien or foreign in a new environment. Students will learn construction techniques to build armatures and cover their sculptures in colored tissue paper and personal patterns, taking inspiration from artists like Yinka Shonibare and Wangechi Mutu who incorporate cultural heritage and identity. The document provides learning objectives, outcomes, and guidance for each step of the project.
This document provides inspiration for an art exam project on the theme of "transformation" by presenting various artists and artworks related to potential starting points of people, the natural world, and man-made objects. It encourages students to begin working immediately while keeping an open mind, and suggests the theme is a starting point that can be interpreted freely as long as ideas are justified. Over 50 artists are referenced across different mediums who depict the human condition, landscapes, sculptures, photographs, and installations involving the human body, nature, and industrial waste.
This document provides instruction for a series of drawing exercises focused on still life and observational drawing techniques. Students are asked to complete drawings of shoes from different perspectives, as well as contour and tonal drawings of everyday objects. Techniques for creating tone like hatching and cross-hatching are demonstrated. Later exercises involve drawing collections of objects in jars from different viewpoints, and replicating the styles of artists like Lichtenstein, Matisse, and Picasso in still life compositions. The document outlines homework assignments incorporating these techniques over a 13 week period.
This document provides information about Yinka Shonibare's artwork "Double Dutch" (1994) and includes an activity exploring pattern making techniques inspired by African art and textiles. "Double Dutch" uses Dutch wax printed cotton canvases that reference the complex interactions between Europe, Asia, and Africa. The activity asks students to create their own pattern on canvas using shapes and tones, applying techniques like reflection, rotation, and repetition. Success criteria evaluate designs based on accuracy of shapes, use of tone, tonal range, and reference to African art forms.
Year 8 extended research project portraitureMelanie Powell
The document provides instructions for an artist homework project. Students must complete three tasks - the middle task is compulsory, while the other two tasks can be chosen to create a straight line through the middle one. The middle task is to create an in-depth study of one of four artists: Giuseppe Arcimboldo, Frank Auerbach, Gary Hume, or Frida Khalo. Students must research the artist's life and create of timeline, explore cultural and political influences on their work, and analyze society's reception of the artist's work.
This document provides expectations and rules for student behavior in an art classroom. Students are expected to maintain an environment conducive to learning by participating appropriately, following instructions, and treating others and equipment with respect. Disruptive behavior such as challenging the teacher, using phones, eating or drinking in class, or excessive tardiness will not be tolerated. One warning will be given before a sanction is issued for continued inappropriate behavior.
A2 Art Exam 2016: Truth, Fantasy or FictionMelanie Powell
This document provides instructions and examples for brainstorming ideas around a title related to truth, fantasy, or fiction. It encourages generating many wild ideas without judgment. It discusses artworks like Picasso's Guernica and Magritte's The Treachery of Images that explore representations of truth. Students are tasked with choosing objects that represent truths or fictions in different forms, like Joseph Kosuth's piece. They are meant to consider how artists like Goya in The Disasters of War convey difficult truths through their work.
Here are the key steps to drawing a mouth:
1. Draw a straight or curved guideline for the top and bottom lips.
2. Draw a small circle in the center for the bow of the upper lip.
3. Draw smaller circles above the guideline for the corners of the mouth.
4. Draw curved lines connecting the circles to form the lips.
5. Add definition and shadows inside the mouth opening.
Practice paying attention to the shapes and proportions. Referencing photos can help capture realistic details. Take your time observing and sketching mouths to improve your skills.
This homework assignment asks students to create a self-portrait using a mirror or photograph as a reference. Younger students should focus on filling the page and using shading to show contrast between light and dark areas. Older students should demonstrate good proportions, create a likeness that can be recognized, and use different textures to depict features like skin and hair. The document provides grading criteria for self-portraits by grade level, focusing on accurate proportions and effective use of light, shadows, and textures.
This document provides guidance for students on researching and analyzing artworks by different artists for a school project. It instructs students to choose an artist related to their project's theme, such as Martin Parr who photographs food, and introduce him. It also guides students to closely analyze at least one of the artist's images by considering compositional elements and their own interpretations. Students are prompted to compare the chosen artist to another and respond by creating their own artwork. Background information on the artist is recommended to include.
The document provides instructions for students to create a step-by-step comic strip explaining how they made their alien sculpture. For grade 1, the comic should have 4 clear drawing steps. For grade 2, it should have 6 clear, colored drawing steps. For grade 3, it should have 6 clear, colored drawing steps with annotations incorporated into the images. The comic can have a static or dynamic layout and include step descriptions or speech bubbles. Key vocabulary is also provided for each grade.
This document provides information and guidance for an A2 art exam on the theme of "Truth, Fantasy or Fiction". It outlines the structure of the exam including a 10 week preparatory study period and 12 hour timed exam. It provides tips for each of the four assessment objectives and suggests sub-categories to help with research and brainstorming ideas. Examples of artists are also given to illustrate different interpretations of the theme through their work.
This document provides instructions for a homework assignment to draw a scene from a fairy tale or story using silhouettes. Students are asked to choose a moment, draw at least 3 silhouettes including characters and objects, and can color or cut them out. Older students should add more details like backgrounds, layers of silhouettes, and using different colors to bring the silhouettes together into a cohesive scene from a story.
This document provides instructions for a lesson on still life drawing and painting. It begins with defining still life as inanimate objects arranged in a particular way to practice drawing and painting skills. Students then create small abstract sculptures and arrange them in a still life to draw using different techniques within time limits, including gestural drawing in 60 seconds, continuous line drawing without lifting the pencil, and contour outline drawing. The lesson concludes with students creating a detailed observational drawing of their still life arrangement using the techniques practiced, while looking at the real objects. Feedback is provided through questions about strengths and areas for improvement.
This document provides instructions for a project where students will design and create a canopic jar inspired by ancient Egyptian art. Students will learn sculpting techniques like coil building and modeling to form the jar and attach an animal head. They will also learn decorative techniques like incising, engraving, and glazing to decorate the jar with Egyptian-inspired patterns. The goal is for students to understand ancient Egyptian beliefs about death and afterlife through hands-on creation of a canopic jar.
The document outlines the process an art student took to create a final piece of artwork inspired by cubism for their client Dan Dean, including researching artists like Picasso and Charles Sheeler, developing initial ideas, creating prototypes using different mediums and colors, and refining their work until a final piece was created combining cubist styles and techniques to depict a part of Esher College.
This document discusses typography and the history of the Helvetica font. It provides background that Helvetica was designed in 1957 by Eduard Hoffmann and Max Miedinger as an easy-to-read sans serif typeface called Neue Haas Grotesk. Hoffmann wanted it to be a modern version of Akzidenz Grotesk that could be used in various contexts without seeming inappropriate. The document then presents two tasks - the first asks designers to imagine distorting the letters of Helvetica for its 70th anniversary, and the second tasks researching an artist who incorporates text/numbers in their work.
General narrative illustration project (3)Melanie Powell
This document provides guidance and examples for a narrative illustration project. It discusses key concepts for narrative illustrators such as representing the meaning of text visually, setting mood and atmosphere, developing characters. It also provides exercises on compositional elements, developing visual references, and techniques like cross-hatching. Examples of illustrators' work are referenced like Geoff Grandfield, David Hockney, and Andrew Scott Ross who create images that heighten the narrative.
The document discusses the technique of rendering, which uses illusionistic drawing methods and references from the real world to create illusions of form, space, texture, and composition. It provides steps for rendering an imaginary shell design, including drawing the shapes, adding patterns and details, experimenting with colors, and using pencils and pastels to create form and add patterns. The document also includes examples of student rendering works on proposed jewelry designs with healing properties.
Project TitleArtist Report and Presentation on an artist or.docxwkyra78
Project Title:Artist Report and Presentation on an artist or art movement.
The subject or artist chosen for you research paper must fit within the timeframe and subject matter studied in class.
Project Brief: Research and choose an artist/art movement from an art history source for your report and presentation. Sources can include art books, magazines and the internet. You can also focus on one or several seminal works from that artist’s practice and discuss them/it in length. Make sure to cite you work correctly. Formats for bibliographies can be found online. Please make sure to cite internet sources as well as printed texts. I have access to turnitin software that checks for plagiarism. Plagiarism will result in an F. MLA or APA formats are the only formats that will be accepted.
Format Your paper should have standard margins 1 or 1.25 inches at the most and be double spaced. Font size should not exceed 12pt. You paper should be at least 10 pages in length with one page for your works cited section and include one page of images that you mention or discuss on a separate page, this make 11 pages the minimum. Save a digital copy of your paper as a doc. filethat can be emailed to me if I ask for it.
Presentations:
The presentation notes must be at least one page long and your presentation must include the following:
Background information on the artist.(who, what, when, where)
Why did you choose that particular artist?
How was that particular artist influential within his or her lifetime?
(Historical Context)
Include printed materials that can be presented to the class (visuals) or
create a PowerPoint presentation.
Visuals can include multiples images of works or you can choose to pick just one
image and discuss that image in length.
Due Date: Your one paragraph research paper proposal is Due Feb. 24th. I will hand out a calendar with sign up dates for your presentation next week. Presentations will begin week 12.
If you have any questions email me at [email protected]
How The Great Panels Can Evoke
In the art world, there are different kinds of artists who are talented enough to be recognized in the art world. While I looked at the work of a few artists, I found Francis Bacon. His work evoked a weird feeling or emotion. This made me very curious and I want learn more. However, I decided to borrow a book about Bacon from the library in order to discover his feeling and learn which way he usually followed to create a picture that qualified him to be one of the art legends. So, when I skimmed and read through his book, I chose those two pictures from the book which grabbed my attention.
Upon furfur research I discovered that the first drawing stood out for me was not created by Bacon, but his friend Roy de Maistre. This picture is composed of basic and primary colors that make the picture beautiful in different ways. First, those colors impact the ship and lines in that picture. Which could ...
You are invited to reflect on the nature of art and its fundamental .docxjacvzpline
You are invited to reflect on the nature of art and its fundamental principles. Here is a chance for you to think and write as an expert on art theory. Two types of art are offered for a debate: Representation versus Abstraction; and the idea of
context
is presented (the time and place in which the artwork was created).
1. Watch these two video-talks:
https
://
youtu
.be/2
aUFB
9
hQncQ
https
://
www
.
youtube
.com/watch?t=198&v=8-5
DTsl
1V5k
2. In the Discussion Forum Unit 1, write a three (3) paragraph minimum essay identifying which type of art (representational or abstract) is more appealing to you and why. In your opinion, what major quality constitutes Art? How important is context in appreciating and understanding an artwork?
Listen attentively to the experts in the videos and learn from their informed discussion on how to analyze and critique a work of art. Build your text on the points they bring up in their talk and share your own take on the subject. Feel free to agree or disagree with them and your classmates but base your case on valid points and arguments.
Part 2
2. In the Discussion Forum Unit 1, write a three (3) paragraph minimum essay identifying which type of art (representational or abstract) is more appealing to you and why. In your opinion, what major quality constitutes Art? How important is context in appreciating and understanding an artwork?
Listen attentively to the experts in the videos and learn from their informed discussion on how to analyze and critique a work of art. Build your text on the points they bring up in their talk and share your own take on the subject. Feel free to agree or disagree with them and your classmates but base your case on valid points and arguments.
3. Then choose two art works from
https
://
www
.
google
.com/
culturalinstitute
/beta/
. Click on the left menu bar.
You may choose by clicking on the "Projects" or "Artists"
from the left menu bar.
4. Find an example of representational art and one abstract work
.
5.
List the a) name, b) artist, c) date and d) medium of the works.
Please
als
o c
opy
and paste links to the art work (
see tutorial on how to copy link
).
6. Use these two works as examples in your essay to support your opinions and ideas about representation, abstraction and context in art.
7. Reply to at least two of your classmates. Your initial posting should be a minimum three (3) paragraphs in length, while your responses should be at least one (1) paragraph
I want you to write two responses, one for each of these paragraphs.
1)
The video describe two paintings, one by John Everlett Millias and the other by Barnett Newman. John’s painting was used as an example of a representational piece, while Barnett’s is an example of an abstract piece. Both paintings were beautiful, however I found that representational piece to be more appealing to me.
In the video the narrators express some of their opinions, some I agree while others I disagree..
The photograph depicts a couple sitting in a cafe. The woman is smiling and embracing her partner, but their reflection in the mirror shows the woman with a different, more serious expression. The photograph captures the juxtaposition between public and private emotions. Taken in 1932 in Paris by Hungarian photographer Gyula Halasz, known as Brassai, the black and white photograph used available light to portray intimacy between the couple and raise questions about societal expectations.
The document discusses the process of art criticism and analysis. It outlines Edmund Feldman's 4-step technique for analyzing art: description, analysis, interpretation, and judgment. It focuses on the analysis step, explaining that analysis involves asking "why" about various elements of the artwork based on internal evidence from the artwork itself and external evidence from context about the artist and time period. The document provides examples of analyzing Pablo Picasso's painting "Weeping Woman" using both internal and external evidence. It encourages analyzing art by carefully describing the artwork and asking questions.
The document provides instructions for an art homework project. Students must choose one of four artists - Giuseppe Arcimboldo, Frank Auerbach, Gary Hume, or Frida Kahlo - and complete a profile on their life and work. The mandatory task is to create an overview timeline of the chosen artist's life. Students then choose two additional tasks to complete, such as analyzing the social context of the artist's work or copying one of their art pieces. Links to online resources are provided for each artist.
rowse the paintings and pictorial art illustrated in The Art of Be.docxfathwaitewalter
rowse the paintings and pictorial art illustrated in
The Art of Being Human text
, and the
Study Slides
in this link:
Painting + Pictorial Arts.
This has lots of images and is a
big file
, so be patient.
_ Review what you have learned about materials and techniques, and options for composing subjects, and expressing ideas and emotions. Then discuss what you found interesting or significant about how an artist's
choices of subject
and
handling of visual elements and composition
, contribute to the emotional impact of art works, and its meaningfulness for you.
Support your discussion with 3 specific examples: one each, of a
representational
abstract
, and
non-objective
art work from our studies. Use examples from our Textbook and Slide set. Be sure to cite the names of the artists, titles of works, and text section /or slide number. Review the following examples, but make different choices for your 3-part response.
* Definitions for your 3-Part Visual Arts Response.
Please look at Slide set page13 as you read the definitions below. The paintings (spiraling from your upper right down, then to left, then to the center image) are:
Kandinsky, Composition #8, 1913.
Picasso, Self Portrait, 1901.
Nancy Jay, Two Suns, 2004.
Rembrandt, Self-Portrait, 1659.
Spirit animal. Pacific Northwest Coastal art, no date.
- "
Representational
" generally means a painting that looks like, or mimics, something we see in the world, without deliberate distortion (Compare Rembrandt and Picasso paintings to others. Consider degrees of representation).
_ "
Abstract
"
art
combines representation with alterations that are
independent
from visual references to the world. The artist uses the visual language of shape, form, color and line to accomplish both the illusion of representation and alterations to create different effects. (Example: Pacific Northwest spirit animal).
-- "
Non-objective
"
art:
essentially, the artwork may evoke, or suggest some aspects of the seen world, but mainly, it is not intended to depict persons, places or things as they appear in the world. (Examples: Kandinsky,
Composition #8
; Nancy Jay,
Two Suns
(or is her work abstract?)
...
The double page spread features an interview with two artists who have formed a new band. A large main image shows the two artists in a sophisticated setting. The text of the interview is informal and humorous in tone, using colloquial language to discuss how the artists met and the new band's formation. Pull quotes and a variety of fonts are used throughout to represent the rock genre and make the interview engaging for readers.
The document provides guidance on describing and analyzing artworks. It outlines Edmund Feldman's 4-step technique for art criticism: description, analysis, interpretation, and judgment. Description involves objectively noting details like subject, colors, shapes without analysis. Analysis examines relationships within the description. Interpretation derives meaning based on description and analysis. Judgment evaluates the work based on the previous steps. The document emphasizes the importance of thorough description before analyzing, interpreting, or judging a work of art. It offers examples of descriptive techniques and perspectives to help effectively communicate an artwork in writing.
The document discusses creating ancillary products like a digipack and magazine advert to promote an acoustic folk artist. It analyzes sample designs and presents market research results. Based on this, the conclusion is that the digipack front cover will feature a focused photo of the artist, the inside will use a tile pattern of related photos, and the magazine advert will use a single genre-connoting photo without the artist. All elements aim to effectively represent the artist and music style to the target audience.
The document provides 3 potential narrative frameworks for a music magazine focused on an upcoming hip hop or urban artist.
Idea 1 features the artist prominently on the front cover with a brick wall background. The contents page would include the artist image and fact file. A double page spread would include a Q&A interview with the artist.
Idea 2 keeps the original background in images. The contents page includes the artist image and fact file alongside contents. A double page uses a long shot of the artist alongside an article.
Idea 3 places the artist centrally on the front cover with an edited background. The contents page lists contents vertically with preview images. A double page positions the artist alongside a fact file
Photography plans are described for a music magazine, including a close-up shot of an artist on the cover to draw attention, shots of bands for the contents page, and images of solo artists featured in articles that portray them as genuine
1. The document provides instructions for a series of art lessons focusing on self-portraits, portraits using grids, and combining photos of oneself with animal images.
2. Artists mentioned include Chuck Close, who uses a grid method for portraits, and Cindy Sherman, who creates self-portraits using disguises.
3. Students are directed to take photos of themselves, combine them with animal photos to create hybrid images, and use those hybrids to create painted self-portraits using grids and tonal layers.
The document provides instructions for an art homework project. Students must choose one of five artists - Chuck Close, Cindy Sherman, Van Gogh, Rembrandt, or David Hockney - and complete the center task of creating an overview of the artist's life. They then choose two additional tasks that create a straight line through the center box, such as exploring the artist's intentions, copying works, or examining cultural influences. Presentations should include many images and cite work titles and dates.
The document outlines photography plans for a magazine cover and inside pages, including shot types, angles, models, costumes, locations, and lighting to establish a dark and intimidating aesthetic while maintaining cohesion across the issue. Medium shots of bands in grunge clothing against plain walls and outside locations will be lit dramatically to grab attention yet still feel approachable. Continuity of the same models, costumes, and similar lighting across the cover, contents page, and feature spread is intended to create a sense of ownership for readers.
The document outlines photography plans for a magazine cover and inside pages, including shot types, angles, models, costumes, locations, and lighting to establish a dark and intimidating aesthetic while maintaining cohesion across the issue. Medium shots of bands in grunge clothing against plain walls and outside locations will be lit dramatically to grab attention yet still feel approachable. Continuity of the same models across shots in slightly varying poses is intended to create a sense of ownership for readers.
This document provides guidance to a student for choosing a topic for their Year 13 personal investigation project. It instructs the student to decide on a topic of interest to research through photographic work and a 1,000-3,000 word essay. Example topics are given that could be explored through the student's most advanced technical and conceptual photography work yet. The student is advised to create a mood board and mind map to develop their topic ideas and consider how they will find supporting artists and research materials. They are to begin following a Pinterest account related to their school's art department and create an album of ideas for their personal study topic.
This document provides guidance for students choosing a topic for their Year 13 personal investigation project. It instructs students to decide on a topic of interest to research through an essay and photographic work. Example topic ideas are given that students can consider, which should be linked to relevant artists and photographers. Students are told to create a mood board and mind map to explore potential topics. The personal investigation is intended to showcase a student's most advanced technical and conceptual work so they must choose an imaginative topic that allows for an in-depth investigation through extended visual and written work.
This document discusses techniques for creating effective images in music magazines. It analyzes five example images based on representation, camera angles, mise-en-scene, and how they convey meaning about the artist and genre of music. Image 1 uses fiery special effects to represent the heavy metal genre and rebellious persona. Image 2 uses a black and white photo to convey the idea of an artist discovering themselves. Image 3 shows an abandoned warehouse to suggest an artist returning to fame or an old album being reissued. Image 4 shows John Lennon and Yoko Ono hugging to represent love and educate readers through relating their relationship to the readers' own experiences of love.
The document discusses plans for a magazine project including a mood board analysis and how the mood board will influence the final products. The mood board showed some repetition in front cover images and positioning of artists. Color schemes and styles were also analyzed. The proposed products are a magazine cover called "INSPIRE", a double page spread interview, an audio interview, and a photography portfolio. Research will be done on trends and an artist will be featured. A photo shoot and audio recording will be needed. The audience is 16+ females interested in folk/soft pop. Discounted ideas were merchandise and a themed photography portfolio due to simplicity, lack of necessary software and photos, and repeating ideas.
Pictorialism, Photo-Secession, and Straight Photography were three major photographic movements between 1870-1930. Pictorialism aimed to express feelings and engage the senses through manipulated images focused on beauty rather than facts. The Photo-Secession movement was founded by Alfred Stieglitz in 1902 and sought to elevate photography to an art form while respecting its mechanical origins. Straight Photography emphasized photography's technical capabilities to sharply depict scenes in focus and detail without manipulation. Major figures included Edward Weston, Ansel Adams, and Imogen Cunningham who were part of the f/64 group that further developed Straight Photography.
Year 7 SoW examining the work of Yinka Shonibare and the idea of what it is to be an alien. Students work towards creating an alien from found materials.
This document provides a challenge for students to transform a toilet roll into something from their favorite film for the Easter holiday. Students can use various materials like paint, pen, pencil, card or fabric to depict characters, soundtrack, setting, genre, location, or quotes from a movie on the toilet roll. Examples shown include representations from The Shining, The Lego Movie, and Paddington to inspire students' creative interpretations.
This document provides instructions for researching and presenting a social issue using a mind map format. Students are to choose a social issue assigned by their teacher, create a mind map that diagrams the key individuals involved and arguments for different perspectives on the issue. The mind map should include images and text to thoroughly convey researched information on the definition of the issue, its causes and affected groups, supporting facts and statistics, and existing systems to address it, as well as how others can help. An outstanding submission will have in-depth, well-supported research presented in a dynamic visual format using color, drawings, pictures and personal insights.
The document discusses the Eco-Visionaries exhibition which examines humanity's impact on the planet through climate change, species extinction, and resource depletion. It presents innovative approaches from architects, artists, and designers that reframe our relationship with nature. Through various media like film, installation, and photography, the works interrogate how architecture, art, and design are reacting to an increasingly changing world beyond mainstream notions of sustainability.
This document outlines the lessons and homework for Year 11 GCSE exam students over the first 2 weeks focusing on the themes of "Broken", "Extreme Contrast", and "Personal Space". Students should bring in an object related to their chosen theme for observational drawings. Homework includes researching 3 artists on the theme and creating a written profile and practical response for each in their sketchbook. Future lessons involve creating additional studies of objects using different mediums like inks, watercolor, chalk pastels, and single line drawings.
This document provides instructions for students to draw a profile of themselves within a silhouette on a phone, filling it with words, doodles, pictures that illustrate their desires, wishes for the future, friends, fears, beliefs, family, and to think carefully about any text and to fill the entire silhouette with no white spaces and in full color.
This document discusses the relationship between modernist art movements in the early 20th century and photography. It provides examples of key modernist photographers and artworks that pushed the boundaries of photographic representation, making artificial or fabricated images that depicted reality in unconventional ways, as the art form evolved during this period. Modernist movements discussed include Futurism, Vorticism, Constructivism, Dada, and Surrealism, with examples such as Muybridge, Marey, Duchamp, Boccioni, Lewis, Tatlin, Lissitzky, Moholy-Nagy, Duchamp, Outerbridge, de Chirico, Bayer, Man Ray, and Dali.
This document provides step-by-step instructions for creating a lino print using multiple colors. It explains that the process involves making successive cuts to the lino printing plate to reduce the areas that will print, and layering different colored inks on the plate to create an image where the lighter colors show through the darker ones. The instructions are divided into sections for the initial cutting, the first print, the second cutting, the second print, the third cutting, and the final print.
The early history of photography began with artists in the Renaissance seeking to capture realistic representations of nature which led to the development of tools like the camera obscura. In the 18th century, scientists discovered ways to capture shadows using light-sensitive chemicals, laying the foundations for photography. The first permanent photograph was created by Joseph Niépce in 1826, while Louis Daguerre later invented the daguerreotype process in 1839, producing sharp metal plate images. Around the same time, William Henry Fox Talbot invented the calotype process using paper negatives, allowing images to be reproduced. Early photographers focused on portraiture and landscapes but their subjects expanded over time.
This document outlines an art project that explores past, present, and future techniques through a journey theme. It involves taking a sketchbook on a journey around the school, making observational drawings. Students will also complete mono-prints, take photos on their journey home, and draw from those photos. The project then introduces artists like Matisse, Hartill, Heckel, and Rauschenberg and their techniques like cut paper collages, embossing, linocuts, and collage. Students will experiment with these techniques, creating their own cut paper journey, relief prints, single and multicolor linocuts, and collages with lino prints. They will combine their best works in a final grid piece.
Photography began in the early 19th century when scientists discovered ways to capture images through chemical reactions on light-sensitive surfaces. The first permanent photograph was made in 1826 by Joseph Nicéphore Niépce in France, using a primitive camera to expose bitumen coated plates to light. By the late 1830s and 1840s, improvements in photographic processes and equipment allowed photography to become available for widespread experimentation and use.
A simple drawing machine can be made using elastic bands wound up and felt pens to quickly and visibly mark a surface. Students are asked to take their homemade drawing machines to class to have them create a drawing and explore the types of marks they are capable of making. Examples of drawing machines are provided for inspiration but the goal is for students to quickly construct a new drawing device in class that can record marks without needing many components.
The document discusses various techniques and exercises for abstract art, including blind contour drawing to describe textures by feel alone, using unorthodox tools to create unique brush marks, and contemplative drawings exploring the sensory experience of drinking water and the interior of one's mouth. Students are encouraged to experiment freely with mark making and non-traditional methods to develop their artistic practice.
Students in the Art department should be respectful of other students' artwork by not touching it, as damaged work could affect grades. They should also be respectful of materials by using fragile items carefully and following safety instructions when using sharp equipment. The sink area must also be kept dry and clean to prevent slips or water damage to artwork. Students are expected to bring a sketchbook to class to apply their best efforts and take risks in exploring different ways of working.
The document discusses non-objective art and abstraction through a series of disjointed phrases and instructions. It touches on key artists like Paul Klee, techniques like line drawing, and exercises focused on sensory awareness and drawing one's mouth from inner perception. The overall content explores abstraction and experimental approaches to seeing, thinking, and representing visual experiences through drawing.
Fortismere welcomes the recipient to their school. They provide two art tasks for the summer holiday involving creating drawings with different mediums on various surfaces based on themes, as well as visiting specified art exhibitions. Expectations for art lessons include being punctual, prepared, engaged, and cleaning up. Outside of lessons, independent art engagement is encouraged through gallery visits and keeping up with the art world. Resources for wider art reading and theory are recommended, including books, magazines, and apps. The first project this term is on abstraction, exploring techniques and receiving feedback. The second project focuses on diversity and developing a personal response over several weeks.
This document provides instructions for three blind drawing tasks. It begins by having students put their hand in a bag to feel an object without looking, then use descriptive words to create a blind drawing. In the second task, students examine a new object for 5 minutes before creating an ink drawing with their arms outstretched. The third task has students choose a section of their ink drawing to enlarge and develop into a painted composition using color theory concepts like advancing/receding and complementary colors. The overall document guides students through a series of blind drawing and painting exercises intended to heighten descriptive abilities and understanding of texture through non-visual means.
The document provides instructions for several mindfulness exercises focused on slowly experiencing water and mapping the interior of one's mouth through senses and drawing.
The first exercise has one slowly smell, taste, and feel water in their mouth before swallowing. The second asks one to draw the shape and textures felt inside their mouth using different media over three, one-minute drawings.
The third exercise invites revisiting mapping the mouth interior with eyes open, the non-dominant hand, varied papers and media, and different drawing speeds to further contemplation and sensory awareness.
Tanjore Painting: Rich Heritage and Intricate Craftsmanship | Cottage9Cottage9 Enterprises
Explore the exquisite art of Tanjore Painting, known for its vibrant colors, gold foil work, and traditional themes. Discover its cultural significance today!
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A Brief Introduction About Hanying Chen_Hanying Chen
Vancouver-based artist Hanying Chen boasts extensive skills in writing, directing, producing, and singing, reflecting her diverse talents in the performing arts. As she looks ahead, Hanying is driven to craft a fulfilling career path that harmonizes with her deep passion for artistic expression. In the coming years, she envisions cultivating a balanced life, blending her professional aspirations with her desire to foster meaningful connections in her vibrant urban community.
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1. From Leaflet Curatorship 1st DraftTO
Congratulations you finished your leaflet- WHAT NEXT?
You now need to write the first draft of your
Curatorship Task.
WHAT IS THE CURATORSHIP TASK?
IT IS NOT:
An essay that follows an argument
through different developments.
A comparative essay.
In fact it is not like any essay you have
written for English or History etc.
IT IS:
An exhibition in a book ie:
the press release promoting the show;
the blurb for the separate rooms and
work; and the biographies of the artists
you choose.
2. First of all we need to deal with the content.
This is the most common structure…..
Introduction to the whole exhibition
Room 1:
Sub heading.
Briefly introduce the
room- why that particular
theme and these artists /
photographers.
Artist / Photographer 1
Timeline
Work 1
Work 2
Work 3
Artist / Photographer 2
Timeline
Work 1
Work 2
Work 3
Room 2
Sub heading.
Briefly introduce the
room- why that particular
theme and these artists /
photographers.
Artist / Photographer 1
Timeline
Work 1
Work 2
Work 3
Artist / Photographer 2
Timeline
Work 1
Work 2
Work 3
Room 3
Sub heading.
Briefly introduce the
room- why that particular
theme and these artists /
photographers.
Artist / Photographer 1
Timeline
Work 1
Work 2
Work 3
Artist / Photographer 2
Timeline
Work 1
Work 2
Work 3
Conclusion
You may have to rethink the artists
etc you have chosen previously.
DO NOT be too precious about your
artists/photographers in your leaflet
or power point if they do not fit with
the overarching theme.
AVOID artists or photographers for
your curatorship that have limited
information. You really need to be
able to research who you choose in
depth in order to get the best marks.
Save the lesser known artists for
your practical work.
3. You need to discuss
your leaflet feedback
with your teacher.
Your leaflet should
already be loosely
sorted like the
structure on the
previous slide
Determine the
theme of your
exhibition.
(the title can
come later)
Divide the artists
you have
researched so far
into three groups-
give each group a
subtheme
Your teacher
will help you
supplement
the artists you
already have
Use us…….
4. Research each artist or photographer thoroughly making a note of
all your sources somewhere on your computer for future reference.
It is good practice to look at least 8 different sources per artist
including books, articles and websites.
Instead of searching on line for just your artist or photographer’s
name add ‘interview’ or ‘review’. You will get more insightful
critique than a press release or the artist’s own website.
5. You are now ready for the most exciting part…..choosing
three pieces of work for each artist relevant to the
overarching theme of the exhibition and the subtheme
of the room they are in.
However, the most IMPORTANT part is choosing three
significant pieces of information for each artist or
photographer. This could be related to the context,
intentions, technique, symbolism, recurring metaphors
etc.
6. Why?
Because this is the key to writing the best Curatorship Task AND
gaining the most marks.
Remember, the CT is worth of your final mark!12%
It is an explicit piece of work and separate to your practical
coursework which is why all the work for it should be in a folder
NOT your sketchbook (Art) or on a separate weebly page
(Photography).
7. For example:
Daniele Buetti
‘Dreams Result in more Dreams’
2000
Bigger Issue Image specific
It is evident that Buetti’s work is influenced by
appropriation art, eliciting questions concerning
authenticity and ownership, which are most certainly
relevant to the worlds of consumerism and modelling.
‘Dreams result in more dreams’ is a natural
progression from ‘Looking for Love’. Buetti juxtaposes
the trivial with the existential, asking philosophical
questions through a series of backlit, punched holes
in photographs of models from vintage magazines.
The bright lights contrast with the washed-out
images, and allude to the seemingly omnipotent
nature of popular culture.
Title and date
A broader context, in this
case, Buetti’s influences Apply the broader
context to this
specific image.
Then discuss specifics of
the image eg. Techniue,
composition etc
8. In other words….The discussion for each image you include should begin by discussing one
of your significant pieces of information. The image illustrates your point but does not
lead the piece of writing. Obviously it appears as a block of text in your final, presented
document:
Marina Abramovic, ‘Rhythm 10’, 1973
Deemed the ‘grandmother of performance art’, Marina
Abramovic is a New York based Serbian artist. Born to Yugoslav
Partisans, Abramovic behaviour was restricted by her mother’s
desire to have power over her and her brother’s lives. In this
piece Abramovic uses twenty knives and two tape recorders and
played the Slavic knife game ‘five finger fillet’. Abramovic swaps
her current knife for a new one each time she stabs her hand
and, once she makes twenty cuts, she replays the tape and tries
to recreate the pattern. This act unifies the past with the
present and questions whether replication truly recaptures the
something from the past. Abramovic’s mother controlled many
aspects of her life, including forcing her to be home before
10pm each night; it is possible that Abramovic used this
performance to attempt to reclaim her body through this
ritualistic self-mutilation. The intense level of concentration
needed for this work demands a stoical detachment from the
pain, further considering metaphysical ideas concerning states
of existence.
9. Once you have written the ‘blurb’ for each image you may feel that
you can write the overview of the room and then the overview of
the whole exhibition. It doesn’t matter as long as all parts have
been drafted before you return in September.
Finally, Everything apart from the
Conclusion MUST be written in the third
person.
Eg.
This exhibition will consider the work of…
NOT
I have chosen these artists because…
You must become the gallery curator!