Panel presentation at the 2011 Foundations in Art Theory and Education national conference. Participants: Dr. Lori Kent, prof Jane Hesser, prof. Rick Salafia, and prof Laura Ruby
This document provides guidance on how to take notes in an art history class. It recommends including the name of the artist, artwork title, date, materials, location, relevant information, and peer comments in your notes. It also discusses techniques for note-taking such as writing your immediate reactions, the artist's intention versus viewer interpretation, appropriation, cultural appropriation versus remixing culture, and includes responses to a museum video.
When is art now? This lecture will focus on definitions of Contemporary Art that focus on the experience of 'time', comparing and contrasting them with theories of contemporary art that hold it to be a (sub)culture, a genre, a period, or a style.
What does it mean to state that art is contemporary rather than to hold that it is modern, prescient, traditional, nostalgic, postmodern, ancient...?
What concepts of time do people need to develop and share in order to understand the contemporary?
Where and how is the temporality of the contemporary situated?
This lecture will outline some of the key ways in which art theory has attempted to approach such questions by introducing a few key concepts such as: supercessionism, presentism, contemporaneity, anachrony, polychrony and chronopolitics.
To illustrate how this works in practice, the lecture will examine the chronopolitics of the 2012 Documenta and 2013 Venice Biennale.
Bring your classroom to life: Use your cameras in teachingChinese Teachers
The document discusses the importance of visual literacy and using images in the classroom. It provides examples of how teachers can incorporate visuals into their lessons, including using images to start discussions and exploring different cultural perspectives. A variety of techniques are presented, such as having students make observations about images, analyze cultural products and practices, and create their own images and stories. The goal is to bring more visual forms of communication into the classroom to reflect the visual nature of the modern world.
Artistic Noise is a youth arts organization that thanks its many supporters who have helped the organization over the years, including staff, partners, funders, and most importantly the young artists who have participated in their programs. The document announces an exhibition called "Dedicated Masterminds" that will showcase artwork created by the youth to express their inner thoughts and uniqueness. It acknowledges the generous support that has allowed Artistic Noise to empower youth through creative expression.
The document outlines an agenda for a workshop on community art as a challenge for social workers. The workshop will include presentations on various topics related to community art such as its definition, examples of community art projects, and the role of artists and social workers in community art. Attendees will participate in group assignments analyzing case studies and discussing how art can be used in community projects. The goal is to explore how social workers and artists can work together using art to empower communities and foster social cohesion.
This document outlines an agenda for a program on art in the aftermath of disasters as a challenge for social workers. The program will include presentations and discussions on using art and culture in community building. It will cover topics like the social aspects of art, the importance of art in education, developments in the art world, and community art projects involving artists and social workers. The document also provides examples of specific community art projects that have taken place after disasters and discusses how art can help communities in the aftermath by promoting social cohesion, inclusion, and empowerment.
This document provides guidance on how to take notes in an art history class. It recommends including the name of the artist, artwork title, date, materials, location, relevant information, and peer comments in your notes. It also discusses techniques for note-taking such as writing your immediate reactions, the artist's intention versus viewer interpretation, appropriation, cultural appropriation versus remixing culture, and includes responses to a museum video.
When is art now? This lecture will focus on definitions of Contemporary Art that focus on the experience of 'time', comparing and contrasting them with theories of contemporary art that hold it to be a (sub)culture, a genre, a period, or a style.
What does it mean to state that art is contemporary rather than to hold that it is modern, prescient, traditional, nostalgic, postmodern, ancient...?
What concepts of time do people need to develop and share in order to understand the contemporary?
Where and how is the temporality of the contemporary situated?
This lecture will outline some of the key ways in which art theory has attempted to approach such questions by introducing a few key concepts such as: supercessionism, presentism, contemporaneity, anachrony, polychrony and chronopolitics.
To illustrate how this works in practice, the lecture will examine the chronopolitics of the 2012 Documenta and 2013 Venice Biennale.
Bring your classroom to life: Use your cameras in teachingChinese Teachers
The document discusses the importance of visual literacy and using images in the classroom. It provides examples of how teachers can incorporate visuals into their lessons, including using images to start discussions and exploring different cultural perspectives. A variety of techniques are presented, such as having students make observations about images, analyze cultural products and practices, and create their own images and stories. The goal is to bring more visual forms of communication into the classroom to reflect the visual nature of the modern world.
Artistic Noise is a youth arts organization that thanks its many supporters who have helped the organization over the years, including staff, partners, funders, and most importantly the young artists who have participated in their programs. The document announces an exhibition called "Dedicated Masterminds" that will showcase artwork created by the youth to express their inner thoughts and uniqueness. It acknowledges the generous support that has allowed Artistic Noise to empower youth through creative expression.
The document outlines an agenda for a workshop on community art as a challenge for social workers. The workshop will include presentations on various topics related to community art such as its definition, examples of community art projects, and the role of artists and social workers in community art. Attendees will participate in group assignments analyzing case studies and discussing how art can be used in community projects. The goal is to explore how social workers and artists can work together using art to empower communities and foster social cohesion.
This document outlines an agenda for a program on art in the aftermath of disasters as a challenge for social workers. The program will include presentations and discussions on using art and culture in community building. It will cover topics like the social aspects of art, the importance of art in education, developments in the art world, and community art projects involving artists and social workers. The document also provides examples of specific community art projects that have taken place after disasters and discusses how art can help communities in the aftermath by promoting social cohesion, inclusion, and empowerment.
The document discusses an art exhibition titled "jjmwmnl." held at UC Davis in 2015. It features works by 7 Master of Fine Arts students from the UC Davis Art Studio program. The artists use a variety of media like painting, sculpture, drawing and time-based works to create pieces that encourage reflection on everyday life and blur boundaries. Their experimental processes produce works dealing with issues of violence, the environment and identity. The exhibition provides an opportunity to experience different artistic practices and the experimental spirit of the student artists.
This document outlines the goals of an art education curriculum, which are to facilitate personal fulfillment through art, understanding the artistic heritage, and understanding art's role in society. It discusses how developing children's ability to create and respond to art can enrich their lives. It also emphasizes exposing children to great works of art and teaching them how experts analyze and interpret art. The goals are for children to learn how to generate their own ideas for art and appreciate art from different cultures.
The document discusses ethnographic art and Alfred Gell's theory of "Vogel's net". It provides examples of ethnographic art from various cultures such as Polynesian fish hooks, Aboriginal Australian iconography, and Tsantsas shrunken heads. It explains Susan Vogel's display of a Zande hunting net in an art gallery to show how artifacts can be interpreted as art through ideas within an art historical tradition rather than just aesthetic qualities. The document advocates an interpretive view of art over an aesthetic view, arguing artifacts can communicate ideas and meanings through their representation of social relationships.
This document discusses popular culture and its relationship to art and music. It covers topics like dancing styles from the early 20th century like foxtrot and jazz that were inspired by African American culture. It also discusses how popular art movements like pop art represented popular culture. The document debates what defines popular versus elite culture and whether certain genres can truly be called "bad" music.
This document provides biographical information about Savona Bailey-McClain, the Executive Director and Chief Curator of The West Harlem Art Fund. It discusses her background working as an independent curator across various mediums. It also outlines several public art projects and installations McClain has organized through The West Harlem Art Fund in neighborhoods across New York City from 2011 to 2016, working with over 30 artists on locations like Harlem, Times Square, the Bronx, and Governor's Island. The document concludes with definitions of key terms related to public art.
The document summarizes a presentation on placemaking in Binghampton, Memphis as a tool for social interaction. It discusses challenges like transportation barriers and declining infrastructure, and opportunities like new transportation routes and public art projects. Case studies are presented of various public art installations, murals, and artist-designed structures that have helped connect neighborhoods and foster community identity. Partnerships between public and private groups have been key in developing these placemaking initiatives.
This document discusses evaluating music as an art form. It provides three frameworks for evaluation: 1) Structuring an analysis using description of the music, 2) Applying sociocultural context, and 3) Evaluation. It also discusses what music is, perspectives on listening to music, brief history of music, and different aesthetic theories for understanding and appreciating music.
This document summarizes a lecture on symbolism and the avant-garde in music and art. It discusses symbolist poetry and its use of symbolic imagery to represent the poet's soul. It then covers several avant-garde art movements that emerged before and after World War 1, including Expressionism, Futurism, Dadaism, and developments in musical avant-garde styles. Examples of representative works from artists like Munch, Van Gogh, Duchamp, Stravinsky, Xenakis, Eno and others are provided to illustrate different avant-garde styles.
preliminary program for Modus Operandi Agrestis - Symposium on non-metropolitan creative working.
Further details at www.freerangeartists.co.uk or http://moduscarlisle.eventbrite.com
The Art of Now - using Chinese contemporary art with studentsluiseguest
This document provides an overview of Luise Guest's research on contemporary Chinese art and its application in art education. It introduces Guest, her background and research interests. It discusses why the study of contemporary art, including Chinese art, is important for students. It presents several contemporary Chinese artists and their works as examples that could be used in case studies. The document advocates for engaging students with "the art of now" and making connections between contemporary art practices, students' own artmaking, and developing art literacy.
The Guggenheim Foundation was established in 1937 by Solomon R. Guggenheim to support visual art. In the 1940s, Frank Lloyd Wright was commissioned to design a permanent museum building in New York City. Wright's innovative spiral design opened in 1959. The Foundation has since opened additional museums around the world, each with its own distinctive architecture. The Guggenheim collects and exhibits modern and contemporary art and explores ideas across cultures through exhibitions and educational programs.
Oooh, look at these! I love this little heart charm. And these striped beads are so
pretty. I can't wait to see what story I'll tell with my collage.
Mona: This is such a cool idea. I never thought of using beads and stuff to tell a story before.
I'm drawn to these round glass beads in different colors. Hmm, I wonder what they'll say?
Louise: I'm intrigued by the possibilities. Selecting objects intentionally yet allowing for
serendipity seems a fitting metaphor for our work with students. The small treasures in these
tins hold promise. Let us see what narratives emerge.
Narrator: And
The Philadelphia Art Alliance will host a panel discussion on June 10th about the creative experiences of aging artists. Five artists - Judith Zausner, Richard Blake, Barbara Hanselman, Ed Bing Lee, and Yvonne Bobrowicz - will share their insights on creativity in later life. They were all previously interviewed for Zausner's book "The Creative Landscape of Aging", which explores how creativity impacts vitality as people age. The event is part of PAA's centennial celebration of craft and design in Philadelphia.
The document provides definitions and context for key terms related to digital ethnography research conducted in Second Life. It summarizes interviews with the creator of the Dryland region in Second Life, Anita Witt, an artist who exhibited work there named Pallina60 Loon, and a visitor to Dryland named Quiyote. The interviews covered topics like their real identities, art backgrounds, and responses to art criticism questions about Pallina60 Loon's installation "Woops...A Baby." The document also provides context on the real-world inspiration for Dryland and compares the three interviews.
Alice was bored sitting by her sister and not having anything to do. She peeked at her sister's book but found it uninteresting without pictures or conversations. The document then discusses various debates around conceptual art including whether art should engage socially or focus on its own rules and forms. It provides summaries of key features and artists of conceptual art as well as criticisms and reactions against it. The summary discusses the return of painting and focus on aesthetics in reaction to dominant conceptual trends.
This document provides an overview of the history of elements and principles of design in art education from the late 19th century to present day. It traces the evolution of ideas around creative self-expression, art in daily living, and art as a discipline. Key figures and movements discussed include Froebel, Dow, Itten, the Bauhaus school, the social efficiency movement, and more recent developments in multicultural art education and visual culture.
Ragnar Kjartansson will exhibit a piece titled "The End" at the 2009 Venice Biennale. It will feature a tableau vivant of the artist relentlessly painting a portrait of a young man posing in a bathing suit, smoking cigarettes and drinking beer over the entire six-month duration of the Biennale. The painting sessions will take place in the Icelandic Pavilion, transforming it into a makeshift studio. Kjartansson will limit his artistic production during this time to painting this recurring scene, with previous days' paintings accumulating around the studio.
Paul Chan, What Art Is And Where It Belongs Journal E FluxLori Kent
The document discusses the author's first purchase of art - a painting of slain hip-hop artist Jam-Master Jay. The author struggled to find a place to hang it in his bare apartment, not realizing at first that art belonged in a home. The passage explores what art is - it uses things to make its presence felt but is not itself a thing, expressing an irreconcilable tension between what it is and what it wants to be. Contemporary art reflects life's pressures to make everything join together seamlessly, lacking inner tension, though true art expresses freedom.
The document provides an overview of art history from prehistoric to ancient times. It describes some of the earliest art created by homo sapiens in the Paleolithic era between 30,000-20,000 BCE. Examples of cave paintings from this time period are mentioned. The document then outlines the rise of ancient civilizations like those in Mesopotamia, Egypt, the Aegean, Greece, Rome, China, Japan, and India, noting some iconic artworks created in each culture.
The document discusses the benefits of exercise for mental health. Regular physical activity can help reduce anxiety and depression and improve mood and cognitive function. Exercise causes chemical changes in the brain that may help protect against mental illness and improve symptoms.
The document discusses an art exhibition titled "jjmwmnl." held at UC Davis in 2015. It features works by 7 Master of Fine Arts students from the UC Davis Art Studio program. The artists use a variety of media like painting, sculpture, drawing and time-based works to create pieces that encourage reflection on everyday life and blur boundaries. Their experimental processes produce works dealing with issues of violence, the environment and identity. The exhibition provides an opportunity to experience different artistic practices and the experimental spirit of the student artists.
This document outlines the goals of an art education curriculum, which are to facilitate personal fulfillment through art, understanding the artistic heritage, and understanding art's role in society. It discusses how developing children's ability to create and respond to art can enrich their lives. It also emphasizes exposing children to great works of art and teaching them how experts analyze and interpret art. The goals are for children to learn how to generate their own ideas for art and appreciate art from different cultures.
The document discusses ethnographic art and Alfred Gell's theory of "Vogel's net". It provides examples of ethnographic art from various cultures such as Polynesian fish hooks, Aboriginal Australian iconography, and Tsantsas shrunken heads. It explains Susan Vogel's display of a Zande hunting net in an art gallery to show how artifacts can be interpreted as art through ideas within an art historical tradition rather than just aesthetic qualities. The document advocates an interpretive view of art over an aesthetic view, arguing artifacts can communicate ideas and meanings through their representation of social relationships.
This document discusses popular culture and its relationship to art and music. It covers topics like dancing styles from the early 20th century like foxtrot and jazz that were inspired by African American culture. It also discusses how popular art movements like pop art represented popular culture. The document debates what defines popular versus elite culture and whether certain genres can truly be called "bad" music.
This document provides biographical information about Savona Bailey-McClain, the Executive Director and Chief Curator of The West Harlem Art Fund. It discusses her background working as an independent curator across various mediums. It also outlines several public art projects and installations McClain has organized through The West Harlem Art Fund in neighborhoods across New York City from 2011 to 2016, working with over 30 artists on locations like Harlem, Times Square, the Bronx, and Governor's Island. The document concludes with definitions of key terms related to public art.
The document summarizes a presentation on placemaking in Binghampton, Memphis as a tool for social interaction. It discusses challenges like transportation barriers and declining infrastructure, and opportunities like new transportation routes and public art projects. Case studies are presented of various public art installations, murals, and artist-designed structures that have helped connect neighborhoods and foster community identity. Partnerships between public and private groups have been key in developing these placemaking initiatives.
This document discusses evaluating music as an art form. It provides three frameworks for evaluation: 1) Structuring an analysis using description of the music, 2) Applying sociocultural context, and 3) Evaluation. It also discusses what music is, perspectives on listening to music, brief history of music, and different aesthetic theories for understanding and appreciating music.
This document summarizes a lecture on symbolism and the avant-garde in music and art. It discusses symbolist poetry and its use of symbolic imagery to represent the poet's soul. It then covers several avant-garde art movements that emerged before and after World War 1, including Expressionism, Futurism, Dadaism, and developments in musical avant-garde styles. Examples of representative works from artists like Munch, Van Gogh, Duchamp, Stravinsky, Xenakis, Eno and others are provided to illustrate different avant-garde styles.
preliminary program for Modus Operandi Agrestis - Symposium on non-metropolitan creative working.
Further details at www.freerangeartists.co.uk or http://moduscarlisle.eventbrite.com
The Art of Now - using Chinese contemporary art with studentsluiseguest
This document provides an overview of Luise Guest's research on contemporary Chinese art and its application in art education. It introduces Guest, her background and research interests. It discusses why the study of contemporary art, including Chinese art, is important for students. It presents several contemporary Chinese artists and their works as examples that could be used in case studies. The document advocates for engaging students with "the art of now" and making connections between contemporary art practices, students' own artmaking, and developing art literacy.
The Guggenheim Foundation was established in 1937 by Solomon R. Guggenheim to support visual art. In the 1940s, Frank Lloyd Wright was commissioned to design a permanent museum building in New York City. Wright's innovative spiral design opened in 1959. The Foundation has since opened additional museums around the world, each with its own distinctive architecture. The Guggenheim collects and exhibits modern and contemporary art and explores ideas across cultures through exhibitions and educational programs.
Oooh, look at these! I love this little heart charm. And these striped beads are so
pretty. I can't wait to see what story I'll tell with my collage.
Mona: This is such a cool idea. I never thought of using beads and stuff to tell a story before.
I'm drawn to these round glass beads in different colors. Hmm, I wonder what they'll say?
Louise: I'm intrigued by the possibilities. Selecting objects intentionally yet allowing for
serendipity seems a fitting metaphor for our work with students. The small treasures in these
tins hold promise. Let us see what narratives emerge.
Narrator: And
The Philadelphia Art Alliance will host a panel discussion on June 10th about the creative experiences of aging artists. Five artists - Judith Zausner, Richard Blake, Barbara Hanselman, Ed Bing Lee, and Yvonne Bobrowicz - will share their insights on creativity in later life. They were all previously interviewed for Zausner's book "The Creative Landscape of Aging", which explores how creativity impacts vitality as people age. The event is part of PAA's centennial celebration of craft and design in Philadelphia.
The document provides definitions and context for key terms related to digital ethnography research conducted in Second Life. It summarizes interviews with the creator of the Dryland region in Second Life, Anita Witt, an artist who exhibited work there named Pallina60 Loon, and a visitor to Dryland named Quiyote. The interviews covered topics like their real identities, art backgrounds, and responses to art criticism questions about Pallina60 Loon's installation "Woops...A Baby." The document also provides context on the real-world inspiration for Dryland and compares the three interviews.
Alice was bored sitting by her sister and not having anything to do. She peeked at her sister's book but found it uninteresting without pictures or conversations. The document then discusses various debates around conceptual art including whether art should engage socially or focus on its own rules and forms. It provides summaries of key features and artists of conceptual art as well as criticisms and reactions against it. The summary discusses the return of painting and focus on aesthetics in reaction to dominant conceptual trends.
This document provides an overview of the history of elements and principles of design in art education from the late 19th century to present day. It traces the evolution of ideas around creative self-expression, art in daily living, and art as a discipline. Key figures and movements discussed include Froebel, Dow, Itten, the Bauhaus school, the social efficiency movement, and more recent developments in multicultural art education and visual culture.
Ragnar Kjartansson will exhibit a piece titled "The End" at the 2009 Venice Biennale. It will feature a tableau vivant of the artist relentlessly painting a portrait of a young man posing in a bathing suit, smoking cigarettes and drinking beer over the entire six-month duration of the Biennale. The painting sessions will take place in the Icelandic Pavilion, transforming it into a makeshift studio. Kjartansson will limit his artistic production during this time to painting this recurring scene, with previous days' paintings accumulating around the studio.
Paul Chan, What Art Is And Where It Belongs Journal E FluxLori Kent
The document discusses the author's first purchase of art - a painting of slain hip-hop artist Jam-Master Jay. The author struggled to find a place to hang it in his bare apartment, not realizing at first that art belonged in a home. The passage explores what art is - it uses things to make its presence felt but is not itself a thing, expressing an irreconcilable tension between what it is and what it wants to be. Contemporary art reflects life's pressures to make everything join together seamlessly, lacking inner tension, though true art expresses freedom.
The document provides an overview of art history from prehistoric to ancient times. It describes some of the earliest art created by homo sapiens in the Paleolithic era between 30,000-20,000 BCE. Examples of cave paintings from this time period are mentioned. The document then outlines the rise of ancient civilizations like those in Mesopotamia, Egypt, the Aegean, Greece, Rome, China, Japan, and India, noting some iconic artworks created in each culture.
The document discusses the benefits of exercise for mental health. Regular physical activity can help reduce anxiety and depression and improve mood and cognitive function. Exercise causes chemical changes in the brain that may help protect against mental illness and improve symptoms.
This document provides resources and advice for artists pursuing their career. It suggests artists consider why they chose their path, where they want to be in the short and long-term, and how to describe their work. Websites are listed covering artist residencies, grants, jobs, current events, favorite creative spaces, resume guidelines, and registries. Artists are advised to create a package including business cards, postcards, a website, resume, representative images, an artist statement, and bio. The document concludes by encouraging artists to practice networking and asking for opportunities.
This document discusses the concept of games and gamification. It provides objectives to dig into the idea of games, play a game, think, and transfer the experience to work. It is divided into four parts: an introduction to games, a demo round of a game, connecting the experience to work, and prizes and reflection. The game involves picking cards that represent cultures or opinions and having a conversation. The document suggests that games can be used to practice skills for life and work by incorporating elements of empowerment, social influence, and unpredictability. It provides several references on topics related to games, gamification, and applying game concepts to marketing.
The document describes The Interdependence Hexagon Project, an international arts project that engages youth in real-world issues. The project uses hexagons as a metaphor for interconnectedness. Students create artworks in hexagon shapes to explore themes related to human rights, diversity, the environment, and other topics. The goals are to promote global awareness and understanding among students. Teachers leading the project discuss strategies for implementing hexagon art lessons and collaborating with other schools.
The document provides an agenda for end of term presentations on November 20, 2012. It lists several presenters including Sharita, Erica, Mark, Zachary Gough, and Erin. It also includes sections on Zachary Gough's art projects, Erin's research phase, and quotes from related literature.
Alison Kennedy proposes running identity exploration zine workshops for LGBTQ+ youth at Kaleidoscope Youth Center in Columbus, Ohio. The weekly workshops over five months will focus on creating content and designing pages for an original zine. Selected zine pages will be enlarged for a poster exhibit at Kaleidoscope's OtherProm event in May. The project aims to give queer youth a creative outlet, sense of belonging, and opportunity for self-expression. If funded, the project timeline includes three phases: planning from October to December 2015, weekly workshops from January to May 2016, and exhibiting the zine posters at OtherProm in late May 2016.
The document summarizes a conference on community arts education that explored its role in community development, youth development, and social activism. Key questions raised included defining community, the role of arts in neighborhood change, and how community-based learning can inform in-school arts education. Roundtable discussions covered topics like developing community arts educators and the relationship between art, philosophy and community. Feedback indicated allowing more time for discussion and a panel on models of community arts programs would have been beneficial. The conference was well-attended and generated interest in continuing the conversation.
This 3rd grade art unit focuses on embracing art through community. Students will create artwork to be displayed in their community, helping to provide confidence and excitement. They will explore murals, the environment, visual symbols within cultures like the Yoruba, and the importance of collaboration. The goal is for students to understand how art can impact communities and cultures, and how to use recycled materials and work with other artists to benefit their own community.
The document discusses different types of art including visual art, performing art, and conceptual art. It then asks a series of questions about defining art, the purpose of art, and how art influences society. The document also examines elements of art like line, shape, and color and how different artistic styles and techniques are used to convey various messages or meanings.
The document discusses different types of art including visual art, performing art, and conceptual art. It then asks a series of questions about defining art, the purpose of art, and how art influences society. The document also examines elements of art like line, shape, and color and how different artistic styles and techniques can impact the meaning and interpretation of a work of art.
“Scream the Place Down” : The power of research poetry in aged care QUT
Micro-Plenary - The International Institute for Qualitative Methodology, 2019 Qualitative Methods (QM) Conference. Brisbane, Australia. Conference dates: May 1 - 3, 2019.
This document provides information about an introductory art class at Perry High School, including expectations, materials covered, and instructor background. The class will cover drawing, painting, and sculpture. It introduces the elements and principles of art and asks students to analyze whether images represent art based on these concepts. The purpose of art is also discussed, such as religious ritual, propaganda, beauty, and innovation. The instructor's background and classroom expectations emphasize responsibility, respect, and readiness to learn.
This document provides an introduction to a course on media studies. It discusses analyzing media for hidden meanings and influences on society. It explains how studying media can provide cross-cultural knowledge and skills applicable to future careers. It also mentions the omnipresence of media in culture and everyday life, and how media studies can help transform people into analysts. The document then introduces the concept of the "Circuit of Culture" which describes 5 interlinked moments - production, consumption, representation, identity, and regulation - through which culture becomes meaningful.
roger malina presentation to the new design media and art initiative at lafayette college. title using transition design to start redesigning science itsel, part of the stem to steam motivation initiatives
Contemporary art in the Philippines can take several forms:
1. Conceptual art that focuses on ideas, which can be abstract or comment on social issues.
2. Social art that deals with current social and political topics, often from a critical perspective.
3. Expressive art where both form and content are meaningful and communicative.
4. Art that engages with popular culture by conceptualizing or criticizing different aspects of it.
Social realism emerged as an art movement in the Philippines in the 1970s during the Marcos dictatorship as artists sought to promote social change through their depictions of everyday life and political issues. Kaisahan, a collective of 13 young artists, coined the term "social realism" and used various media like paintings, prints, comics and murals to portray the struggles of the working class and expose human rights abuses. Their goal was to raise social consciousness and inspire the masses to work for justice, freedom and peace. The social realists addressed themes of oppression, militarization, labor issues and more, drawing from folk traditions as well as Marxist and nationalist ideologies.
This document provides information about an introductory art class. It includes the course name and teacher's name, then poses questions about what art is and its purposes. The rest of the document outlines expectations for the class and provides biographical information about the teacher. Images are included and labeled for analysis on elements of art. The final sections discuss the purposes of art, including religious ritual, commemoration, propaganda, and innovation.
The document summarizes the 2013 summer arts camp hosted as a collaboration between Rumble Arts Center and Insight Arts. The 5-week camp focused on visual arts, theater, and cultural experiences. Students explored identity, nature art, and art from around the world. They took field trips to museums and created art inspired by cultures like Panama, Mexico, Australia, and Puerto Rico. The final week focused on art's role in activism and community. The camp aimed to develop students' creativity, knowledge, and critical thinking through multi-disciplinary arts.
Similar to Fate2011 Panel on "Excavating Kindness, Caring, and Cooperation" (20)
This document provides an introduction to a presentation about Angiola Churchill and how Greenwich Village in the 1930s-1940s incubated her development as an artist. The document outlines the presentation's parts which will discuss Churchill's early life, the artistic context of Greenwich Village during that period, and how that influenced and directed Churchill's work. It includes historical photographs of Greenwich Village from that time period showing artistic hotspots like art galleries, restaurants, bars, and ateliers that were centers of creativity and influenced Churchill as she invented herself as an artist.
This document contains over 50 quotes about creativity, learning, innovation, and making. Many of the quotes emphasize the importance of curiosity, having an open mind, combining ideas in new ways, learning from mistakes, and pushing boundaries. The overall message conveyed is that making, learning, and creativity require stepping outside of established paths and seeing things with new eyes.
This document provides tips for making makers and developing mastery. It discusses providing materials to spark creativity and problem solving. Mastery involves comprehensive knowledge through practice over many hours. The tips emphasize thinking generatively, using experience as a rich source of ideas, developing wonder, and supporting individual and team mastery through deconstructing processes to teach skills. The overall message is that providing opportunities to make things can help people develop as makers and master skills through hands-on learning.
The Naked Truth About Digital Talent (and skills)Lori Kent
This document proposes a panel discussion at SXSW Interactive 2015 about the most essential digital skills needed in today's workforce and how to educate people on these skills, as digital knowledge remains elusive and new skills are needed urgently. The panel would be led by a technologist and educator to have an open discussion on ending the fear around digital skills and instead embracing learning.
This document proposes a panel discussion at SXSW 2015 about making and encouraging a maker mindset. It asks why making has become so popular, whether everyone is or should be a maker, and how making works in the 21st century workplace. The panel aims to have an honest conversation about fearless making and inspiring this approach.
This document provides a list of recommended readings for building a digital education program. It includes articles on learning through design thinking, the importance of play, reclaiming creative confidence, why failure can lead to success, hackathon culture, changing digital job titles in advertising agencies, whether code can be learned in one day, the widening talent gap in advertising, how all employees must now have technology skills, and why the advertising industry faces a talent rut.
This document provides the transcript of a lecture given by Dr. Lori Kent on the topic of where art comes from from an artist's perspective. It discusses various influences on art such as memory, imagination, experience, representation, passion, and re-presentation. It provides examples of artworks from different time periods and contexts, including the Holocaust and natural disasters, to illustrate how artists draw from collective and personal memories and experiences to create work that represents and comments on the world around them.
"Short Tales from the Foundations Studio" FATE/CAA 2013Lori Kent
The visual materials from 11 participants at the FATE session during the 2013 College Art Association Conference. The "lesson plans" are in a separate PDF download at this site. Please contact instructors directly with questions or comments. Thank you.
This document provides an introduction to a 12-part drawing instruction series by artist James McMullan in The New York Times. The series will cover basic drawing elements like line, perspective, proportion and structure. It will use examples from art history and encourage readers to practice with a pencil. McMullan's goal is to help readers strengthen their ability to observe accurately and translate their observations into drawings.
The document discusses the evolving definitions of art throughout history. It explores how art has been defined based on imitation, representation, originality, symbolism, and cultural and economic value. The definition of art has changed over time from a focus on skilled imitation to idea-based works, and determining what makes something a work of art has proven difficult.
The document provides a series of drawing exercises for artists to practice different drawing techniques including: drawing a circle in one motion without picking up your pencil, drawing "happy" and "introverted" lines, drawing yourself as a superhero inspired by a child's drawing, drawing your daily commute to Hunter College through pictures only, drawing the person you most admire, and drawing yourself using only vegetable parts inspired by Arcimboldo's work. The exercises are intended to help artists develop skills in areas like form, light/dark, texture, and line.
The document discusses the 1932 German film Kuhle Wampe directed by Slatan Dudow. Some key points:
- It was the first sound film produced by the political left in Germany and had a low budget.
- It took over a year to produce due to censorship issues and financial troubles with multiple production companies involved.
- Many of the filmmakers and actors involved were accomplished in leftist theater and agitprop groups in Germany at the time.
A [Brief] History of [Digital] Future (revised)Lori Kent
Presentation for Goodby, Silverstein & Partners on the topics of "universals, originality/progress, and uncertainty." Examples from the visual arts are used.
A film student has recreated iconic movie scenes using Lego pieces, including scenes from American Beauty, Inception, and other films. Recreating each scene can take 10 minutes to an hour depending on its size and detail level. The student owns 30,000 Lego pieces and posts photos of his creations online.
This document provides instructions and examples for the art of linoleum printing. It discusses key aspects of the technique such as contrasting light and dark areas, using simple lines and organic shapes that vary in thickness, and mixing colors on a palette rather than using straight colors from the tube. The final sentences discuss signing prints by including the title, edition number or artist proof designation, and signature.
This document discusses technology integration in education, including both positive and negative perspectives. On the negative side, it addresses concerns that the internet and constant connectivity may be harming students' attention spans and critical thinking. However, it also notes potential benefits, like the ability of devices like laptops to provide equitable access to information and close gaps between low-income and wealthier students. It provides examples of digital tools and resources that could be used to enhance education, and emphasizes skills like collaboration, networking, and participatory culture that are important for students to develop in the modern world.
The document appears to be a collection of notes and links related to art history and architecture from various periods including the Gothic period, Renaissance, Islamic art, and pre-Columbian civilizations. It includes brief descriptions and information about structures like Chartres Cathedral and Florence Cathedral as well as artists like Michelangelo, Botticelli, and Leonardo da Vinci. The notes touch on topics such as the goals of Christian art, the development of cathedrals, and the rise of Renaissance humanism.
Fate2011 Panel on "Excavating Kindness, Caring, and Cooperation"
1. NOTE: the two videos may be available on YouTube under 9tle of individual presenta9on
FATE 2011 • St. Louis
Excavating Kindness, Caring
and Cooperation
In Contemporary Art Theory
Dr. Lori Kent • Moderator
lorikent@gmail.com
Jane Hesser
Laura Ruby
Rhode Island School of Design
Rick Salafia
University of Hawai’i
jhesser01@risd.edu
Kutztown University of
lruby@hawaii.edu
Pennsylvania
salafia@kutztownedu
14. Dr. Lori Kent • Asst. Prof. of Visual Studies
• is an artist/researcher •
And working on models for digital-based embedded education within the advertising industry
43. Jane Hesser
RISD, Photography (RISD) and Clinical Social Work (Simmons) ,
teaches of 2D and “Psychology of the arts.
Jane Hesser is an artist, psychotherapist and teacher with ten years
of experience teaching art and design at the college level. She has
taught at Brown University, Montserrat College of Art and The
Rhode Island School of Design. Jane combines her interests in
psychology, art and education in her writing and presentations. She
also teaches a popular psychology course during the summers at
RISD, in which students earn liberal arts credit while a major
portion of the coursework is studio based. Her current focus of
study is the relationship between empathy and the teaching and
learning of critical thinking skills, especially as this relates to the
process of critique. Her clinical focus is on group work and
women's mental health.
44. Jane Hesser: A Supremely Kind Moment
I volunteer for a non‐profit called Girls Rock! in which girls between the ages of 11
and 18, who have liEle or no musical experience, learn how to play an instrument
of their choice, form a band and play a concert over the course of one week. The
major goals are to foster empowerment, cri9cal thinking skills related to social
influence and the media and to help girls build self esteem. Last summer I coached
a band of five girls. The drummer was very quiet and 9mid, the bassist was au9s9c
and struggled with social skills, the singer was afraid to speak into the microphone
for the first three days. One guitarist was quiet and shy and the other was
confident, outgoing and expressive. An interes9ng mix. All week long the twelve
year old guitarist was infinitely pa9ent, kind, generous of spirit and helped her
band‐mates come out of their shells and work together. She coached them
emo9onally and lead through example. She wrote a great song and carried more
than her share of the the work load. When it was 9me for the big show, with
everyone they knew and a packed hall of strangers cheering them on, the 11 year
old singer developed paralyzing stage fright. The band communed, literally put
their arms around her as she cried and figured out a way to go on. The guitarist
would sing and play the song at the same 9me. With some help, the singer
gathered up enough courage to sit near the stage and watch. At the very end of
the song, with one chorus leV to go, the guitarist, who had been quiet all week
long, looked at the singer, siWng below the stage and smiled. The singer ran on
stage, the guitarist who had been singing quickly stepped aside, and the singer
finished the song. The crowd went wild. There was not a dry eye in the place, and
everyone involved was changed forever by five liEle girls.
45. Jane Hesser (via pre-recorded video)
The Role of Empathy in the Teaching of Critical Thinking Skills in Foundation-Level Art
Education
48. Rick Salafia
Associate Professor of Foundations, Kutztown UniversityS culptor,
Rutgers MFA, Father of two teenagers …kind to me.
A kind moment:
when i was a senior in high school i took my first art class. the
first day we went outside to draw a large tree in front of the
school. when i was done my teacher looked at it for a moment in
silence, then looked at me and said where have you been for four
years? years later i found the drawing and realized how incredibly
kind and generous he had been to me.
49. Rick Salafia
The Self Selection Bias: Fostering the Collaborative Instinct (see link below)
hEp://www.youtube.com/watch?v=ZXCeshATP0E
52. Laura Ruby
is the 2008 recipient of the Hawaiÿi Individual Artist Fellowship (the
highest honor in the visual arts). Her prints and sculptures have
been shown in national and international solo, juried and invitational
exhibitions. Some of her artworks are: her Nancy Drew Series,
about the art of art-making and the art of detection; her ongoing
Diamond Head Series which currently has over 60 prints,
drawings and site-specific installation sculptures, and is about land
and power in Hawaiÿi–about the exploitation of land, and its
resources and people and their livelihoods; her “Image and Word”
series; and her upcoming “I’m Always Thinking of Chaucer” series
May 1 about the conjunction of The Canterbury Tales, jazz and art-
making. She also has large commissioned site-specific sculptures,
among them Chinatown–Site of Passage. She has taught art at the
University of Hawaii since 1977, and she recently edited the book,
Mo‘ili‘ili–The Life of a Community, and is currently working on a book
entitled Honolulu Town.
53. a kinder gentler art theory and critical practice:
the circle model
68. Resource list and copies of this presentation:
www.slideshare.com • loriakent
(after Sunday)
Photos: Lori Kent, Central Park Conservancy Tulips, 1998-2006