I’m supposed to visit a museum and write 4 pages about the art on .docx
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I’m supposed to visit a museum and write 4 pages about the art on it but I didn’t go And here is the link to the museum so you can have some information: http://www.mcasd.org/exhibitions/on-view Name of the museum: Museum of Contemporary Art, San Diego Downtown (NOT La Jolla) And now read the assignment below \ This field trip provides students with a visual experience of art in its present medium, rather than by slides or copies in books, etc. Students completing this field trip will explore the Museum of Contemporary Art in downtown San Diego and demonstrate the ability to express a critical analysis by addressing the following specific questions and taking personal notes on the exhibitions. Assignment (written paper format in paragraphs) Complete ALL parts in any order. Part I – Dimensions of Black: A Collaboration with the San Diego African American Museum of Fine Art (12/16/2016-4/30/2017) 1. Select three works of art in this exhibit which you feel address an experience about race, gender and/or sexuality? Remember to state the artist’s name, title of work, medium used and date. 2. What message do you think each artist created in your three selected works of art? Do you personally relate to any of these works of art? Why or why not? Part II – Jennifer Steinkamp: Madame Curie (12/16/2016 – 8/20/2017) 1. An installation is a work of art which occupies an entire room. As a viewer you participate with the work of art in a different way than viewing a painting on a wall or a sculpture on a pedestal. Describe the feeling you had when you entered this installation. 2. View the piece from a distance and also up close to the wall. Is there a different feeling and visual effect in this viewing process? 3. How does Steinkamp utilize visual elements, such as line, shape, color, time & motion, space and texture and principles of design, such as scale, rhythm, emphasis, balance, unity & variety? 4. Can you personally connect or relate to Steinkamp’s work of art in its reference to nature? Part III – Tristano di Robilant (12/16/2016 – 4/30/2017) 1. Find a list on the bench of titles to the works of art and the mediums used to create these pieces. 2. How might the title and/or its medium used aid in an understanding of these amorphous and fluid pieces? 3. Investigate the words in the title to discover a more meaningful understanding of the work of art. 4. Overall, what did you think of di Robilant’s unique style? - continue - **Provide a short introduction to your paper. **In your conclusion, discuss your overall visit to this contemporary art museum. Do you feel these pieces qualify as fine art? How was your reaction to seeing works in person rather than from images seen on a computer screen, in class or in books? Would you recommend these exhibits to others? Why or why not? .
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Total 30 points maximum This field trip provides students with .docx
Total: 30 points maximum
This field trip provides students with a visual experience of art in its present medium, rather than by slides or copies in books, etc. Students completing this field trip will explore the Museum of Contemporary Art in La Jolla and demonstrate the ability to express a critical analysis by addressing the following specific questions and taking personal notes on the exhibition.
Assignment (written paper format in paragraphs) Complete ALL parts in any order.
Part I – The Uses of Photography: Art, Politics and the Reinvention of a Medium (9/24/2016 – 1/2/2017)
The Uses of Photography examines a network of artists who were active in San Diego between the late 1960s and early 1980s and whose experiments with photography opened the medium to a profusion of new strategies and subjects. Working within the framework of conceptual art, these artists introduced urgent social issues and themes of everyday life with photographic works that took on hybrid forms, from books and postcards to video and text-and-image installations. Tracing a crucial history of photo-conceptual practice, The Uses of Photography focuses on an artistic community that formed in and around the University of California San Diego (UCSD), founded in 1960, and its visual arts department, founded in 1967.
1. Select three works of art in different media, such as photographic series, slide projection, video, audio recordings, artist’s books, installation or ephemeral (temporary) from three different artists. Remember to state each artist’s name, title, medium used and date.
2. Describe each selected work of art noticing the strongest visual elements, such as line, value (light & shadow), stopped time or kinetic, color, visual texture, etc. and/or principles of design, such as emphasis, rhythm, balance, unity & variety, scale or proportion. What makes each selected work of art effective?
3. What do you see as the social or political message of each selected work? Did the artist’s message prove to be true as time passed?
4. What symbolism or metaphors did your selected artist use to engage viewers?
Part II – Berkeley Protest Posters (9/24/2016 -1/2/2016)
1. Select two posters which you feel captures the mood of each decade of the 1960s and 1970s. Remember to state the artist’s name,
title, medium used and date.
2. Did you notice a poster which was appropriated? Explain the appropriation (as to the original idea and the new concept).
State the artist’s name, title, medium used and date. Research and state the original artist, title of work, medium and date.
3. Research Malaquias Montoya and his influence on the Berkeley Protest Posters of the 1970s. What did you find as important
contributions of Montoya and the poster movement itself?
Part III - Edwards Sculpture Garden
1. Venture into the outdoor sculpture garden (downstairs, facing the ocean).
2. Select two works of art. Remember to state the artist’s name, title of work, medium used and date, (fo ...
A s s e s s m e n t 3 R e s e a r c h P a p e r - - R e .docx
A s s e s s m e n t 3
R e s e a r c h P a p e r - - R e s e a r c h A C o n t e m p o r a r y A r t i s t D U E :
For the purposes of this assignment choose an artwork at an approved venue that was made AFTER 1970 (no
exceptions). Please select something that you connect with visually. Consider the work in the context both of
this class’ topics that we have discussed thus far, and any historic impact and/or contemporary relevance
that you discover through research. Finally, express your own response to the work and its impact or relevance
to you. You must also create a sketch of the artwork in your sketchbook and it will be included in your
submission!
Y o u r s u b m i s s i o n w i l l i n c l u d e :
1. A title page with your name/studio, a picture of the artwork you viewed with artist name, title,
date, and medium on the
2. In-depth discussion/analysis of the artwork that you selected from the museum (using the outline
below as a guide to your discussion)
3. Discussion of the artist’s work as a whole, their artistic intent and the general ideas behind the
artist’s entire body of work. (research online) Oftentimes artists do many types of works, so
choose the images carefully so that they fit within the context of the artist’s historic influences
and contemporary relevance. Discussion of the artist’s work as a whole, their artistic intent and
the general ideas behind the artist’s entire body of work. (research online) Oftentimes artists do
many types of works, so choose the images carefully so that they fit within the context of the
artist’s historic influences and contemporary relevance.
4. 3 other images of the artist’s work & 1 scan of your drawing of the artwork you viewed at the
approved venue).
5. Use Endnotes-- Be sure to cite your sources for both images and quotes using endnotes. There is
no specified writing format/style. (The endnotes are not included in the 3-4 pages typed for
content)
6. Include an admission ticket stub, or a photograph of you in the museum as proof– scan and include
on the sources pages.
• Please note: Written portion to total 3-4 pages t y p e d and double-spaced, 12pt font.
S t e p 1 . ( T a k e n o t e s w h i l e a t t h e m u s e u m - i t w i l l b e u s e f u l w h e n w r i t i n g y o u r p a p e r a t h o m e )
• S e l e c t a n a r t w o r k f r o m A F T E R 1 9 7 0 ( n o e x c e p t i o n s ) .
ü Note the artist’s name,
ü the artwork’s title,
ü year of completion,
ü materials the artist used, what does the surface look like? Etc…
ü make a drawing of the artwork.
• By considering and taking notes of the following questions while you are at the museum, you will be able to
quickly and easily write your paper once you have left the museum.
a. What is it and how was it made? Consider the materials and the techniques.
b. How is the work of art composed? Describe.
SSCA Presentation 2013-Visual Arts and Visual Literacy: Gateways to the Comm...
Here are some ideas for having students create visual representations after exploring a topic:
- Word cloud/tag cloud: Students generate a word cloud using Tagxedo or other online tool to visualize key vocabulary from their exploration.
- Mind map: Students create a mind map by branching out from a central topic or idea to show connections and relationships between concepts.
- Comic strip: Students write a comic strip telling a story or depicting an event related to their topic.
- Infographic: Students design an infographic using graphics and minimal text to summarize important information about their topic.
- Timeline: Students create a timeline showing major events or developments in chronological order.
- Map: Students annotate or illustrate a
Team Gallery ReviewPRESENTED BY RUPESH DHAKA.docx
Team Gallery Review
PRESENTED BY :
RUPESH DHAKAL
PROFFESOR RICHARD MILLER
ARTS -1301-77204
DATE : 09/15/2019
z
COMMUTER 2
Commuter 2 is a painting made by Kendall Stallings. It is the art known as acrylic on canvas. The size of the art is 48 * 36 inches. This work was created in 2014 and it can be used as an artwork to get knowledge about canvas art.
z
DALLAS ART GALLERY
Location : DALLAS ART GALLERY
DALLAS, TEXAS
DATE : 09/14/2019
TIME : 11:30 AM
The above mentioned art gallery has many more art collection to have a look and research about it .
z
COMMUTER 2
Kendal Stallings is an American artist who began his art instruction in 1965 at the age of 11. In this art the artists intent is to show the viewers that the emotion of a person while travelling. The intend of the artist is to let the viewer to know about the journey that a commuter has to travel daily through his art.
z
DESIGN PRINCIPLES AND VISUAL ELEMENTS
In this art the artist describes about the various principle of art with the help of visual elements. The art uses the proper shape and size for his art. The use of proper texture can also be seen in the art. The use of proper color is also seen in the art. The artist have used appropriate visual elements so that the viewers can have better knowledge about the commuter. The proper shape of the person and the bicycle is shown by the artist so that the viewer can easily identify it. The proper texture for the person sitting in the bicycle is used. Likewise the distinguishable color is used by the artist which is black. In this way the design principles are followed by the artist to make the art meaningful.
z
5
Art comparison
Boy Bitten By a Lizard
Commuter 2
In this art the artist is trying to describes about poisonous attack of salamander over the god. This is a big art work with lots of meaning in it. There is use of different colors in this art. The use of appropriate texture is difficult to see.ßß
In this art the artist describes about the journey and path of a commuter. It is not so vast art work. There is use of monochromatic color only. The use of appropriate texture can be seen easily.
z
CONCLUSION
In the conclusion I would like to say that the gallery review assignment helped to get a chance to look over different types of paintings and art works that were on the gallery. It also helped to get knowledge about different types of artist and their art work.
z
TEAM GALLERY REVIEW
COMMUNICATION SKILLS VALUE RUBRIC
The class will be randomly assigned into teams of 3 or more students.
Within a team, each Team Member will select 1 work of art to be found in an approved professional art
gallery. Each Team Member will be creating a power point with images of each of these art objects. The team
may have to seek permission to photograph the object from the gallery or artist. Identify and describe these
works of art based on the specifications given in the rubric.
The team will a.
Q1-DLL-ARTS10-WEEK2.docx
This document contains a daily lesson log for a MAPEH class on Modern Art movements. Over four class sessions, students will learn about Pop Art, Op Art, Installation Art, and Performance Art. They will analyze examples of each style, complete hands-on art projects emulating the different techniques, and culminate in an exhibit showcasing their works influenced by Modern Art movements. Assessment will evaluate students' creativity, style, subject matter, and overall presentation of the culminating exhibit.
Final Project InformationSan Francisco Museum of Modern Art.docx
Final Project Information
San Francisco Museum of Modern Art
Minnesota Art Project – SF Galleries
Final Project Review of the essay format and required content.
Include the following concepts in your paper:
FINAL PROJECT: Written Visual Analysis/ Role of the Artist
DUE: Reference the due date on Canvas- If you do not complete the final project essay you will not pass the class.
Be sure to let me know if you have any questions.
Select a twentieth {1900’s} or twenty-first-century {2000’s} and their work being exhibited at a local museum.
I recommend the San Francisco Museum of Modern Art (SFMOMA), or any other major museum or gallery that is available to you. If you plan to go to a different museum or gallery, it is required you check in with me to get approval to go to a different museum.
Once you pick the artist, include and reference the four types of investigation Process of Visual Analyze, and explain what Role (out of the four roles) your artist identifies with during their creative process and concepts presented in their exhibition. Also include a biography on the artist in the introduction of your essay. Be sure to be thoughtful with your essays conclusion, {closing paragraph}, it is best to summarize the main points, considerations and concepts covered in your essay.
If you have an Oakland library card, or sign up for one you can get 2 free tickets to SFMOMA.
Here is the information:
You can use this website- https://oaklandlibrary.discoverandgo.net/ and get 2 free adult tickets for SFMOMA.
1) Artist name - Dianne Jones
2) The name of the work – Mission Bay Facing Northeast
3) The date the work was made – June 2008
4) Size of the artwork – 96 in x 120 in
5) Materials / medium - Chromogenic Color Print
6) Technique – created with a 4x5 large format camera, long exposure
7) Does it have any apparent function – Fine Art Photography Genre
Format the images with the assessment of physical properties, review the sample included in the PowerPoint that discusses the final project requirements.
One image/artwork page per, and the other pages would be your written text.
Artist name - Dianne Jones
The name of the work – Avenal Prison
The date the work was made – May 2012
Size of the artwork – 60 in x 60 in
Materials / medium - Chromogenic Color Print
Technique – created with a 4x5 large format camera, long exposure
Does it have any apparent function - Fine Art Photography Genre
Artist name - Dianne Jones
The name of the work – Mission Bay Facing South
The date the work was made – May 2002
Size of the artwork – 50 in x 60 in
Materials / medium - Chromogenic Color Print
Technique – created with a 4x5 large format camera, long exposure
Does it have any apparent function – Fine Art Photography Genre
Essay requirements:
Double-spaced 6 to 7 pages, which includes the images and the assessment of physical properties.
One image/artwork page per, and the other pages would be your written text.
Include a biogr ...
Educ 357 3.3.9
This document provides instructions for a lesson plan about local artists. The plan has students research local artists, discuss how art enriches their community, and go on a scavenger hunt to learn about different local artists and their art forms. Finally, students design postage stamps to honor a local artist they admire. The lesson aims to help students identify factors that make their region unique through its cultural diversity in the arts.
Ap art
This document provides instructions for a summer assignment for an AP 3D Design class. It includes three parts: visiting an art museum or gallery to view and analyze 3D works, researching two sculptors of the student's choice, and completing one 3D artwork based on materials found or natural materials. The assignment is meant to help students explore 3D design and will count significantly towards the student's first quarter grade.
Recommended
Total 30 points maximum This field trip provides students with .docx
Total: 30 points maximum
This field trip provides students with a visual experience of art in its present medium, rather than by slides or copies in books, etc. Students completing this field trip will explore the Museum of Contemporary Art in La Jolla and demonstrate the ability to express a critical analysis by addressing the following specific questions and taking personal notes on the exhibition.
Assignment (written paper format in paragraphs) Complete ALL parts in any order.
Part I – The Uses of Photography: Art, Politics and the Reinvention of a Medium (9/24/2016 – 1/2/2017)
The Uses of Photography examines a network of artists who were active in San Diego between the late 1960s and early 1980s and whose experiments with photography opened the medium to a profusion of new strategies and subjects. Working within the framework of conceptual art, these artists introduced urgent social issues and themes of everyday life with photographic works that took on hybrid forms, from books and postcards to video and text-and-image installations. Tracing a crucial history of photo-conceptual practice, The Uses of Photography focuses on an artistic community that formed in and around the University of California San Diego (UCSD), founded in 1960, and its visual arts department, founded in 1967.
1. Select three works of art in different media, such as photographic series, slide projection, video, audio recordings, artist’s books, installation or ephemeral (temporary) from three different artists. Remember to state each artist’s name, title, medium used and date.
2. Describe each selected work of art noticing the strongest visual elements, such as line, value (light & shadow), stopped time or kinetic, color, visual texture, etc. and/or principles of design, such as emphasis, rhythm, balance, unity & variety, scale or proportion. What makes each selected work of art effective?
3. What do you see as the social or political message of each selected work? Did the artist’s message prove to be true as time passed?
4. What symbolism or metaphors did your selected artist use to engage viewers?
Part II – Berkeley Protest Posters (9/24/2016 -1/2/2016)
1. Select two posters which you feel captures the mood of each decade of the 1960s and 1970s. Remember to state the artist’s name,
title, medium used and date.
2. Did you notice a poster which was appropriated? Explain the appropriation (as to the original idea and the new concept).
State the artist’s name, title, medium used and date. Research and state the original artist, title of work, medium and date.
3. Research Malaquias Montoya and his influence on the Berkeley Protest Posters of the 1970s. What did you find as important
contributions of Montoya and the poster movement itself?
Part III - Edwards Sculpture Garden
1. Venture into the outdoor sculpture garden (downstairs, facing the ocean).
2. Select two works of art. Remember to state the artist’s name, title of work, medium used and date, (fo ...
A s s e s s m e n t 3 R e s e a r c h P a p e r - - R e .docx
A s s e s s m e n t 3
R e s e a r c h P a p e r - - R e s e a r c h A C o n t e m p o r a r y A r t i s t D U E :
For the purposes of this assignment choose an artwork at an approved venue that was made AFTER 1970 (no
exceptions). Please select something that you connect with visually. Consider the work in the context both of
this class’ topics that we have discussed thus far, and any historic impact and/or contemporary relevance
that you discover through research. Finally, express your own response to the work and its impact or relevance
to you. You must also create a sketch of the artwork in your sketchbook and it will be included in your
submission!
Y o u r s u b m i s s i o n w i l l i n c l u d e :
1. A title page with your name/studio, a picture of the artwork you viewed with artist name, title,
date, and medium on the
2. In-depth discussion/analysis of the artwork that you selected from the museum (using the outline
below as a guide to your discussion)
3. Discussion of the artist’s work as a whole, their artistic intent and the general ideas behind the
artist’s entire body of work. (research online) Oftentimes artists do many types of works, so
choose the images carefully so that they fit within the context of the artist’s historic influences
and contemporary relevance. Discussion of the artist’s work as a whole, their artistic intent and
the general ideas behind the artist’s entire body of work. (research online) Oftentimes artists do
many types of works, so choose the images carefully so that they fit within the context of the
artist’s historic influences and contemporary relevance.
4. 3 other images of the artist’s work & 1 scan of your drawing of the artwork you viewed at the
approved venue).
5. Use Endnotes-- Be sure to cite your sources for both images and quotes using endnotes. There is
no specified writing format/style. (The endnotes are not included in the 3-4 pages typed for
content)
6. Include an admission ticket stub, or a photograph of you in the museum as proof– scan and include
on the sources pages.
• Please note: Written portion to total 3-4 pages t y p e d and double-spaced, 12pt font.
S t e p 1 . ( T a k e n o t e s w h i l e a t t h e m u s e u m - i t w i l l b e u s e f u l w h e n w r i t i n g y o u r p a p e r a t h o m e )
• S e l e c t a n a r t w o r k f r o m A F T E R 1 9 7 0 ( n o e x c e p t i o n s ) .
ü Note the artist’s name,
ü the artwork’s title,
ü year of completion,
ü materials the artist used, what does the surface look like? Etc…
ü make a drawing of the artwork.
• By considering and taking notes of the following questions while you are at the museum, you will be able to
quickly and easily write your paper once you have left the museum.
a. What is it and how was it made? Consider the materials and the techniques.
b. How is the work of art composed? Describe.
SSCA Presentation 2013-Visual Arts and Visual Literacy: Gateways to the Comm...
Here are some ideas for having students create visual representations after exploring a topic:
- Word cloud/tag cloud: Students generate a word cloud using Tagxedo or other online tool to visualize key vocabulary from their exploration.
- Mind map: Students create a mind map by branching out from a central topic or idea to show connections and relationships between concepts.
- Comic strip: Students write a comic strip telling a story or depicting an event related to their topic.
- Infographic: Students design an infographic using graphics and minimal text to summarize important information about their topic.
- Timeline: Students create a timeline showing major events or developments in chronological order.
- Map: Students annotate or illustrate a
Team Gallery ReviewPRESENTED BY RUPESH DHAKA.docx
Team Gallery Review
PRESENTED BY :
RUPESH DHAKAL
PROFFESOR RICHARD MILLER
ARTS -1301-77204
DATE : 09/15/2019
z
COMMUTER 2
Commuter 2 is a painting made by Kendall Stallings. It is the art known as acrylic on canvas. The size of the art is 48 * 36 inches. This work was created in 2014 and it can be used as an artwork to get knowledge about canvas art.
z
DALLAS ART GALLERY
Location : DALLAS ART GALLERY
DALLAS, TEXAS
DATE : 09/14/2019
TIME : 11:30 AM
The above mentioned art gallery has many more art collection to have a look and research about it .
z
COMMUTER 2
Kendal Stallings is an American artist who began his art instruction in 1965 at the age of 11. In this art the artists intent is to show the viewers that the emotion of a person while travelling. The intend of the artist is to let the viewer to know about the journey that a commuter has to travel daily through his art.
z
DESIGN PRINCIPLES AND VISUAL ELEMENTS
In this art the artist describes about the various principle of art with the help of visual elements. The art uses the proper shape and size for his art. The use of proper texture can also be seen in the art. The use of proper color is also seen in the art. The artist have used appropriate visual elements so that the viewers can have better knowledge about the commuter. The proper shape of the person and the bicycle is shown by the artist so that the viewer can easily identify it. The proper texture for the person sitting in the bicycle is used. Likewise the distinguishable color is used by the artist which is black. In this way the design principles are followed by the artist to make the art meaningful.
z
5
Art comparison
Boy Bitten By a Lizard
Commuter 2
In this art the artist is trying to describes about poisonous attack of salamander over the god. This is a big art work with lots of meaning in it. There is use of different colors in this art. The use of appropriate texture is difficult to see.ßß
In this art the artist describes about the journey and path of a commuter. It is not so vast art work. There is use of monochromatic color only. The use of appropriate texture can be seen easily.
z
CONCLUSION
In the conclusion I would like to say that the gallery review assignment helped to get a chance to look over different types of paintings and art works that were on the gallery. It also helped to get knowledge about different types of artist and their art work.
z
TEAM GALLERY REVIEW
COMMUNICATION SKILLS VALUE RUBRIC
The class will be randomly assigned into teams of 3 or more students.
Within a team, each Team Member will select 1 work of art to be found in an approved professional art
gallery. Each Team Member will be creating a power point with images of each of these art objects. The team
may have to seek permission to photograph the object from the gallery or artist. Identify and describe these
works of art based on the specifications given in the rubric.
The team will a.
Q1-DLL-ARTS10-WEEK2.docx
This document contains a daily lesson log for a MAPEH class on Modern Art movements. Over four class sessions, students will learn about Pop Art, Op Art, Installation Art, and Performance Art. They will analyze examples of each style, complete hands-on art projects emulating the different techniques, and culminate in an exhibit showcasing their works influenced by Modern Art movements. Assessment will evaluate students' creativity, style, subject matter, and overall presentation of the culminating exhibit.
Final Project InformationSan Francisco Museum of Modern Art.docx
Final Project Information
San Francisco Museum of Modern Art
Minnesota Art Project – SF Galleries
Final Project Review of the essay format and required content.
Include the following concepts in your paper:
FINAL PROJECT: Written Visual Analysis/ Role of the Artist
DUE: Reference the due date on Canvas- If you do not complete the final project essay you will not pass the class.
Be sure to let me know if you have any questions.
Select a twentieth {1900’s} or twenty-first-century {2000’s} and their work being exhibited at a local museum.
I recommend the San Francisco Museum of Modern Art (SFMOMA), or any other major museum or gallery that is available to you. If you plan to go to a different museum or gallery, it is required you check in with me to get approval to go to a different museum.
Once you pick the artist, include and reference the four types of investigation Process of Visual Analyze, and explain what Role (out of the four roles) your artist identifies with during their creative process and concepts presented in their exhibition. Also include a biography on the artist in the introduction of your essay. Be sure to be thoughtful with your essays conclusion, {closing paragraph}, it is best to summarize the main points, considerations and concepts covered in your essay.
If you have an Oakland library card, or sign up for one you can get 2 free tickets to SFMOMA.
Here is the information:
You can use this website- https://oaklandlibrary.discoverandgo.net/ and get 2 free adult tickets for SFMOMA.
1) Artist name - Dianne Jones
2) The name of the work – Mission Bay Facing Northeast
3) The date the work was made – June 2008
4) Size of the artwork – 96 in x 120 in
5) Materials / medium - Chromogenic Color Print
6) Technique – created with a 4x5 large format camera, long exposure
7) Does it have any apparent function – Fine Art Photography Genre
Format the images with the assessment of physical properties, review the sample included in the PowerPoint that discusses the final project requirements.
One image/artwork page per, and the other pages would be your written text.
Artist name - Dianne Jones
The name of the work – Avenal Prison
The date the work was made – May 2012
Size of the artwork – 60 in x 60 in
Materials / medium - Chromogenic Color Print
Technique – created with a 4x5 large format camera, long exposure
Does it have any apparent function - Fine Art Photography Genre
Artist name - Dianne Jones
The name of the work – Mission Bay Facing South
The date the work was made – May 2002
Size of the artwork – 50 in x 60 in
Materials / medium - Chromogenic Color Print
Technique – created with a 4x5 large format camera, long exposure
Does it have any apparent function – Fine Art Photography Genre
Essay requirements:
Double-spaced 6 to 7 pages, which includes the images and the assessment of physical properties.
One image/artwork page per, and the other pages would be your written text.
Include a biogr ...
Educ 357 3.3.9
This document provides instructions for a lesson plan about local artists. The plan has students research local artists, discuss how art enriches their community, and go on a scavenger hunt to learn about different local artists and their art forms. Finally, students design postage stamps to honor a local artist they admire. The lesson aims to help students identify factors that make their region unique through its cultural diversity in the arts.
Ap art
This document provides instructions for a summer assignment for an AP 3D Design class. It includes three parts: visiting an art museum or gallery to view and analyze 3D works, researching two sculptors of the student's choice, and completing one 3D artwork based on materials found or natural materials. The assignment is meant to help students explore 3D design and will count significantly towards the student's first quarter grade.
ARTS 1301 Art Appreciation Class North Lake College .docx
This document provides instructions for a critical review assignment for an art appreciation class at North Lake College. Students are asked to visit one of several local art museums and complete a two-part assignment. For part one, students must write a 300-word critical review of their favorite piece of art from the museum visit, describing the piece, analyzing the artist's intent, and interpreting their own reaction. For part two, students must complete a worksheet selecting and describing three other pieces of art from the museum based on criteria of chronology, style, artistic developments, and cultural context. Guidelines are provided on how to discuss the visual elements and principles of design in the pieces.
Art museums and art galleries are two different types of entitie.docx
Art museums and art galleries are two different types of entities.
The primary difference is that while one goes to an art museum to view art and learn about art from an educational or cultural experience; one goes to an art gallery to view art, discover new artists, possibly from the perspective of purchasing the art.
Most museums are funded by governments, foundations, and corporate and private donors, and they are operated on a non-for-profit basis. Galleries seek to make profit and gain exposure for themselves and the artists they represent.Art galleries, are usually small businesses or centers that exhibit art for the purposes of promoting and selling art. One would typically visit an art gallery to discover an artist, possibly with an interest in buying the art. Art museums, on the other hand, are larger and are intended for education and cultural experiences. One would typically visit an art museum to view and study its permanent collection or to visit a touring exhibit of works on loan from another museum or institution.
There are 2 parts
to your Museum Critical Review assignment to be completed after visiting one or more of the following museum websites*
:
Dallas Museum of Art
https://dma.org/
Nasher Sculpture Center
https://www.nashersculpturecenter.org/
Meadows Museum of Art
www.meadowsmuseumdallas.org/
Crow Collection
www.crowcollection.org
Kimbell Art Museum
www.kimbellart.org
Modern Art Museum of Fort Worth
www.themodern.org
Amon Carter Museum of American Art
www.cartermuseum.org
Google Arts and Culture Collections
https://artsandculture.google.com/partner
*Not all of the museums will have the diversity of time periods that you will need to complete the assignment. You may have to visit more than one of the listed museum websites if you choose one of the more time or region specific museums.
ARTS 1301 NLC Art Appreciation Museum Critical Review Assignment and Worksheet
I hope you are inspired by your visit to the museum websites.
This assignment is designed to meet both
Communication and Social Responsibility Student Learning Objectives.
There are 2 parts
to your Museum Critical Review assignment to be completed after visiting one or more of the following museum websites*
:
· Dallas Museum of Art
www.dma.org
· Nasher Sculpture Center
www.nashersculpturecenter.org
· Meadows Museum of Art
www.meadowsmuseumdallas.org/
· Crow Collection
www.crowcollection.org
· Kimbell Art Museum
www.kimbellart.org
· Modern Art Museum of Fort Worth
www.themodern.org
· Amon Carter Museum of American Art
www.cartermuseum.org
· Google Arts and Culture Collections
https://artsandculture.google.com/partner
*Not all of the museums will have the diversity of time periods that you will need to complete the assignment. You may have to visit more than one of the listed museum websites if you choose to go to one of the more time or region specific museums. Your instructor may choose to.
1000 wordsFormat maximum, 2 typed, double-spaced pages; ML.docx
This document outlines the requirements for a 1000-word essay assignment on various artworks. It provides details on 5 parts to the assignment, with each part requiring analysis of different artworks in terms of formal elements, subject matter, symbolism, artist's intentions, and relevant historical and cultural context. Students must cite sources in their essays and include information about the artists and artworks at the start of the discussion for each part.
Museum paper Rubric Formal Analysis of Artwork Points 401..docx
Museum paper Rubric: Formal Analysis of Artwork
Points: 40
1. Suggested museums: The Hammer, The Broad, Museum of Contemporary Art, L.A., Norton Simon in Pasadena, The J. Paul Getty Museum (also the Getty Villa), L.A. County Museum of Art on Wilshire Blvd (LAMA), The Bowers Museum, Santa Ana, Laguna Beach Art Museum. Visit one of the suggested museums or if you have another in mind please talk to me first.
2. Pick one art object of interest to do your analysis.
3. Attach the museum ticket stub and picture of the artwork to your paper. If there is no ticket, attach a picture of you next to the artwork.
4. Minimum 3 pages, maximum 5 pages, 12 font, double spaced. Follow the rubric and incorporate the information listed below.
____________________________________________________________________________________________________________________
9pts Description: How does the artwork look like?
3 pts. label (title, artist, date)
6 pts. describe the artwork, include the dimensions, color, medium, etc... Use appropriate terms and concepts in the Principle of Design in your description.
15pts Analysis: What does it mean?
5pts. Artistic movement (e.g. Impressionism) or culture (e.g. China) it came from. Explain how this fits into the analysis of the artwork.
5pts. Context: historical, social, religious, mythological. Explain how the context effects the interpretation of the artwork
5pts. Interpretation: please research to find the meaning behind the artwork
and incorporate into your thesis
5 pts. Personal judgment: Why did you choose it and why did you like it?
11pts Organization of paper: Use MLA citation style
3pts. citation page -3 sources (separate Work cited pager)
3pts. citations within the body of the essay- minimum 3 citations in the body of the essay
5pts. organization of paper, citation format, grammar and spelling
(e.g. reliable, reputable sources: text books, on-line source- university library, museum website, museum literature). Please use MLA citation style and bibliography/work cited. You must incorporate at least 3 citations in the body of the report. Bibliography/work cited page is on a separate page and is not included in the 3-page minimum (Do not cite from Wikipedia) ____________________________________________________________________________________________________________________
Excellent: original and thoughtful work that is professionally executed; no typographical or grammatical errors; strong, clear, coherent, and compelling arguments; addresses or acknowledges obvious objections to the arguments; scrupulous attention to crediting sources of ideas and facts that are not the author’s own
Good: Well done work, but not particularly original or thoughtful; a few typographical or grammatical errors are present; work lacks some clarity or coherence in thought; fails to address some seemingly obvious objections to the argumentation; some crediting of sources missing; sources of facts are weak (e.g., ...
STEP 1 VISIT httpsartsandculture.google.compartnerhl=en.docx
The document provides instructions for writing a report about an artwork from the Google Arts & Culture website. It involves 4 steps: 1) selecting a museum and artwork on the site, 2) analyzing the subject matter, form and materials of the artwork, 3) analyzing the historical/cultural context and theme, and 4) discussing how the artwork is installed at the museum. The report should be 1000 words long and include citations from at least two sources using MLA style formatting. Questions are provided under each section to guide the analysis and discussion in the report.
Grade 2-rhythm-art-lesson-plan
This lesson plan is for a Grade 2 visual arts class on rhythm and movement. Students will learn about the elements of design like line, shape, and color, and the principle of repetition and rhythm. They will create an underwater or grassy scene using construction paper, tissue paper, and repeated shapes to demonstrate rhythm and movement. The teacher will show examples of artworks and discuss how they incorporate these concepts. Students' creations will be assessed based on inclusion of rhythm and effort.
Yr 7 introduction var terminology presentation
This document discusses the four frames for analyzing visual art: structural, subjective, cultural, and postmodern. It provides examples and explanations of each frame. The structural frame focuses on how the artwork was made and the materials/techniques used. The subjective frame considers the emotional response and meaning an artwork holds. The cultural frame examines how the time period and culture influenced the artwork. The postmodern frame explores contemporary art that challenges conventions and traditions through parody, irony, and new technologies. The document uses examples like Van Gogh's self-portrait and works by Picasso and Dali to demonstrate applying the different frames.
1 WRITING ABOUT ART Art is a provocative medium, and yo.docx
1
WRITING ABOUT ART
Art is a provocative medium, and your challenge in writing about art may often be to define and
evaluate the artist’s choices and techniques, which, according to your intellect and perception, arouse interest
and convey meaning. In most cases you will be translating the visual (what you see) into language (what you
write). In order to do this, you will have to be extremely attentive to the characteristics of the work—which
means that description will incorporate a portion of your essay—and be attentive to the vocabulary of the
discipline of Art.
You must also be able to develop a thesis statement with a detailed analysis and argument about the
artwork you have chosen. Therefore, you must consider what it is you want to say, and use description to
make that point. In many ways, writing an Art History essay is similar to writing other types of essays in the
Humanities. It requires a clear and focused topic, an arguable thesis, an organized format and structure, clear
and coherent paragraphs, and a command of grammar and style.
Thesis Statement
Most academic essays seek to persuade readers to understand a specific issue in a specific way—the
writer’s way. The writer’s thesis statement offers this substantial but concise assertion of her/his
understanding (usually in one to two sentences in the introduction or near the beginning of the essay), thereby
providing an essay with its judgmental focus.
Perhaps, though, in writing about art you might want to offer a well thought-out central idea rather
than an overtly argumentative statement. For example, “African art was a major influence on the work of
Pablo Picasso” states a well-documented and widely shared opinion that is interesting but uncontroversial.
Of course, a paper on this topic would have to fully elaborate on that relationship and offer examples of it.
The difference between an idea and a thesis statement is in their degree of contention. The above
example of a central idea could be debatable, but mainly the disagreement would arise if the writer does not
adequately explain and illustrate the idea through detailed description, intelligent criticism, and analysis,
and not because of the idea itself.
However, in a thesis statement—such as, “Picasso’s treatment of women in his art mirrors the
distorted vision he had of women in general”—it is more obvious that readers will either strongly disagree or
agree, by the very nature of the claim itself. Moreover, even if the writer advances a stimulating argument
with impressive evidence in defense of the thesis, because the claim is so contentious, a reader may still
disagree.
Using Sources
A good research paper often includes evidence from both primary and secondary sources. Whether you are
using primary or secondary sources, remember to explain and analyze the passages that you have chosen from
the texts (or elements you have chosen from the works), and what th.
Project TitleArtist Report and Presentation on an artist or.docx
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 ...
Blast to the Past
This WebQuest document guides students in a research project on three 19th century European artists: Jacques-Louis David, Jean-Auguste-Dominique Ingres, and Francisco de Goya. Students are tasked with researching the artists' works, movements, and cultural influences. They must then write an essay arguing which artist was most revolutionary and influential during their time period. The document provides resources, evaluation criteria, and a multi-step process for students to complete the project over several class periods.
Author says i say lesson plan
The lesson plan describes a 60-minute art class for 11th and 12th grade students focused on still lifes and color theory. Students will read two articles - "An Oak Tree" and "Still-life Paintings in a Consumer Society" - and analyze them using an "Author Says/I Say" strategy. This involves identifying statements from the text, providing their own interpretation, and discussing what they learned. The teacher will engage with students individually and in groups. The goal is for students to better understand the evolving purpose and social context of still lifes over time to apply to their own still life creations.
Select a museumI have already went to the Museum the work selecte.docx
Select a museum:
I have already went to the Museum the work selected is The cradle by John Biggers please see photos attached.
Select a work of art:
This is a general suggestion and not a required outline.
Identification:
At the museum or museum site, select a work of art. You may select a piece that you like or dislike. Copy down all the information provided; Artist, title, medium, year, etc. Write down your initial responses. How do you respond to the work? Does it invoke an emotional response? What do you think the artist was trying to communicate? It is helpful to bring a notebook to record your responses.
Describe
the piece and review it carefully. What do you see? Note all the details about the work. How would you describe it to someone you were talking to on the phone who can’t see it?
Analyze
the visual elements and design principles as you did in the short paper. Think about the relationship between form, content and subject matter in your analysis. This will be helpful in your 'interpretation' of the work. Use the terminology you have learned in class, particularly terms in Chapters 2 -5. Your analysis should be based your own observations while viewing the work.
Interpretation
Follow your analysis with a subjective interpretation of the meaning of the work. How does the work make you feel? What do you think the content is? Go beyond “I like it” or “I don’t like it.”
Research
the artist. Historical and biographical information on the artist often provides clues into a works intended meaning. Carefully consider the purpose and context of the piece. Did the piece you selected have any particular political or cultural message? Was the artist making a statement?
Value Judgement
What do you think the artist's intentions were? Was this communicated? Does it have value? Can you recognize the aesthetic quality in the work?
Write the Final Paper:
The following will help you write your paper. It should be used as a guideline, not an outline for approaching your paper. This is very similar to the process used by art critics.
Identification:
Note the title of the work, the date, the artist (if known), medium, and size.
Description:
What do you see? As fully as possible, describe what you see.
What medium is used? What is it made of?
How big is it?
Go into detail about what you see. How would you describe it, in detail, to someone who had never seen it?
What subjects are represented?
It can be helpful to begin looking at a work of art from the middle and work your way out.
Analysis:
Describe the form of the work Explain how visual elements and principles of design are used in the work. The terms in chapters 2, 3 & 4 will be very helpful. Go back and look at the chapter outlines or Short Paper assignment. Use them to:
Describe the use of visual elements such as line, shape, color & space used in the pieces. For example: In what way is it balanced? Is it asymmetrical or symmetrical? What is emphasized? What seems to be the dominating vi.
Select a museumI have already went to the Museum the work selecte.docx
Select a museum:
I have already went to the Museum the work selected is The cradle by John Biggers please see photos attached.
Select a work of art:
This is a general suggestion and not a required outline.
Identification:
At the museum or museum site, select a work of art. You may select a piece that you like or dislike. Copy down all the information provided; Artist, title, medium, year, etc. Write down your initial responses. How do you respond to the work? Does it invoke an emotional response? What do you think the artist was trying to communicate? It is helpful to bring a notebook to record your responses.
Describe
the piece and review it carefully. What do you see? Note all the details about the work. How would you describe it to someone you were talking to on the phone who can’t see it?
Analyze
the visual elements and design principles as you did in the short paper. Think about the relationship between form, content and subject matter in your analysis. This will be helpful in your 'interpretation' of the work. Use the terminology you have learned in class, particularly terms in Chapters 2 -5. Your analysis should be based your own observations while viewing the work.
Interpretation
Follow your analysis with a subjective interpretation of the meaning of the work. How does the work make you feel? What do you think the content is? Go beyond “I like it” or “I don’t like it.”
Research
the artist. Historical and biographical information on the artist often provides clues into a works intended meaning. Carefully consider the purpose and context of the piece. Did the piece you selected have any particular political or cultural message? Was the artist making a statement?
Value Judgement
What do you think the artist's intentions were? Was this communicated? Does it have value? Can you recognize the aesthetic quality in the work?
Write the Final Paper:
The following will help you write your paper. It should be used as a guideline, not an outline for approaching your paper. This is very similar to the process used by art critics.
Identification:
Note the title of the work, the date, the artist (if known), medium, and size.
Description:
What do you see? As fully as possible, describe what you see.
What medium is used? What is it made of?
How big is it?
Go into detail about what you see. How would you describe it, in detail, to someone who had never seen it?
What subjects are represented?
It can be helpful to begin looking at a work of art from the middle and work your way out.
Analysis:
Describe the form of the work Explain how visual elements and principles of design are used in the work. The terms in chapters 2, 3 & 4 will be very helpful. Go back and look at the chapter outlines or Short Paper assignment. Use them to:
Describe the use of visual elements such as line, shape, color & space used in the pieces. For example: In what way is it balanced? Is it asymmetrical or symmetrical? What is emphasized? What seems to be the dominating vi.
100content
This presentation introduces key concepts for discussing and analyzing artworks, including subject, form, medium, composition, formal elements, context, style, and intent. It explains that considering all of these aspects can provide insight into an artwork's overall meaning or content. The presentation recommends filling out a companion worksheet to help learn and remember these concepts.
Integrating Art History Presentation
This document provides strategies and resources for integrating art history into K-12 classrooms in an engaging way. It outlines goals of making art history relevant, engaging, and manageable for teachers. Key recommendations include examining artworks in context, looking for themes, being inclusive, and allowing student exploration. Short and long-term project ideas are presented to incorporate art history, such as having students act as travel agents or compose songs about artworks. Resources like SmartHistory and museum websites are also suggested.
What are the two different points of view of the Confederate mon.docx
What are the two different points of view of the Confederate monument controversy?
Do they belong at our City Halls? If not, where do they belong? When was the statue created? Does that make a difference? What is the historical context in which they were created?
Do these statues deserve a place of honor? What is the legacy of the Confederate memorials? Who was the sculptor? What category of Art History is the painting or sculpture being long to?
Look in your textbook and identify historically analyze and classify the artwork. Prove that it belongs to a specific era in Art History (Post-Impressionism, Realism, Romantics).
DIRECTIONS:
*Write No more than one page in length. (Introduction, body, and conclusion)
*Cover page (with photo),
*One Footnote page.
Three footnotes from three different sources.
(Example: artist webpage, art magazines, art blogs, and textbook)
*Highlight or underline Art Terms
Your paper should include: Bio of the Artist, Visual Analysis, Historical Classification
Some of this paper concentrates on Visual Analysis and discussing what you see when you look at the work of art. What category of art history does the artwork belong to? (Pop Art, Cubism, Surrealism, contemporary, modern). Concentrate on the basic elements of Art: line, color, form, size, texture, and hue. Try asking yourself some of the following questions: What colors are used in the artwork? Do the colors influence the effect the piece has on the viewer? How big is the work? Describe the composition symmetrical, asymmetrical, what are the forms like? Angular, biomorphic, geometric, what is the medium of the work? How does that influence the total effect of the piece? Where is the work located in the gallery? How is it hung or displayed? How do you feel when you look at the piece? What do you think the intentions of the artist were? Do you think the artist got his message across to his audience? These are just a few questions you might ask yourself to help get started.
...
Gcse Art and Design "Movement" Scheme of Work
This document provides an outline for a series of art lessons focused on movement. Lesson 1 involves students presenting their summer work and understanding different approaches to artwork. Lesson 2/3 includes figure drawing exercises of people in sports poses to understand expressive drawing. Lesson 4/5 involves overlapping portraits using charcoal to suggest movement. Homework assignments include researching artists like Anton Bragaglia and Edward Muybridge who studied movement. Later lessons explore color theory, experimental drawing and painting techniques, 3D wire sculptures, and response artworks based on artists like Francis Bacon who depicted the human form in motion.
1 ART 101 FORM AND IDEA MUSEUM ES.docx
1
ART 101:
FORM AND IDEA
MUSEUM ESSAY
All students will be required to visit the Tampa Museum of Art, the St. Petersburg Museum of Fine Arts, the
Dali Museum in St. Petersburg, or the Ringling Museum of Art in Sarasota. Students will write a minimum
1500 word research paper (approx. 5 pages in length) based on one artwork of their choosing from the
museum to investigate in further detail. The completed paper is due at the beginning of class on the assigned
due date (see course syllabus for deadlines).
This assignment will require students to a thoughtful analysis based on accepted research as well as your own
developed point of view. Completed essays will be sustained thesis-driven interpretations of a single artwork
based on scholarly research (three sources minimum are required).
When selecting your artwork, pick the one that appeals to you and that you want to further examine. (Keep in
mind that you may want to select an object that has already had significant scholarly research within art
history.) A brief visual analysis of the selected artwork will ultimately support your thesis and lend credence to
your research. Meaning, your discussion of the artist’s selection and use of the visual elements and principles
of design should connect to your broader knowledge of style and pictorial culture, as we have discussed them
in class lecture. Your analysis should also move from description to interpretation as it relates to your central
argument – i.e., the particular qualities of the medium (ceramic, sculpture, painting, etc.) and how this relates
to the artist’s content or culture; how the visual elements found in the artwork reflect (or were affected by)
important cultural values found in the society in which it was made; how the work confronts the human
condition or experience of its culture; the expressive significance of formal elements, spatial design, or motifs
and their interaction; or how the artist has used visual elements to communicate a particular
message/experience to his/her viewers.
MUSEUM INFORMATION
For more information on the Tampa Museum of Art, its location, hours of operation and collections, please see
its website: http://tampamuseum.org. College student admission (with ID) is FREE, or Pay-as-you-will
admission on Fridays between 4–8 PM.
For more information on the St. Petersburg Museum of Fine Arts, its location, hours of operation and
collections, please see its website: http://www.fine-arts.org. Regular student admission (with ID) is $10, and
$5 after 5:00 PM on Thursdays.
For more information on the Salvador Dali Museum, its location, hours of operation and collections, please
see its website: http://thedali.org. Regular student admission (with ID) is $15 and is $10 after 5:00 PM on
Thursdays. Note: on-site parking at the Dali costs $10, but is within walk-able distance of downtown parking.
For more information on the Ringling Museum of Arts, its l ...
Fidm Ah 2 Syl Spr
This document provides information about an Art History II course being offered at FIDM OC in the spring of 2010. It will cover Renaissance through contemporary art in Europe and the Americas, with an emphasis on the artist's role in society. The class meets on Wednesdays and attendance is encouraged but not penalized. There will be two tests - a midterm and final - and one assignment, each weighted equally for the final grade. Study guides will be provided each week to prepare for exams. Students have two options for the final assignment - analyzing a work of art at a local museum or devising their own approved project related to the course material.
Museum Paper FORMAL ANALYSISDue 122 1. Description = .docx
Museum Paper
FORMAL ANALYSIS
Due 12/2
1. Description = pure description of the object without value judgments,
analysis, or interpretation.
· It answers the question, "What do you see?"
· The various elements that constitute a description include:
a. Form of art whether architecture, sculpture, painting or one of the minor arts
b. Medium of work whether clay, stone, steel, paint, etc., and technique (tools used)
c. Size and scale of work (relationship to person and/or frame and/or context)
d. Elements or general shapes (architectural structural system) within the composition, including building of post-lintel construction or painting with several figures lined up in a row; identification of objects
e. Description of axis whether vertical, diagonal, horizontal, etc.
f. Description of line, including contour as soft, planar, jagged, etc.
g. Description of how line describes shape and space (volume); distinguish between lines of objects and lines of composition, e.g., thick, thin, variable, irregular, intermittent, indistinct, etc.
h. Relationships between shapes, e.g., large and small, overlapping, etc.
i. Description of color and color scheme = palette
j. Texture of surface or other comments about execution of work
k. Context of object: original location and date
2. Analysis = determining what the features suggest and deciding why the artist used such features to convey specific ideas.
· It answers the question, "How did the artist do it?"
· The various elements that constitute analysis include:
a. Determination of subject matter through naming iconographic elements, e.g., historical event, allegory, mythology, etc.
b. Selection of most distinctive features or characteristics whether line, shape, color, texture, etc.
c. Analysis of the principles of design or composition, e.g., stable,
repetitious, rhythmic, unified, symmetrical, harmonious, geometric, varied, chaotic, horizontal or vertically oriented, etc.
d. Discussion of how elements or structural system contribute to appearance of image or function
e. Analysis of use of light and role of color, e.g., contrast, shadowy,
illogical, warm, cool, symbolic, etc.
f. Treatment of space and landscape, both real and illusionary (including use of perspective), e.g., compact, deep, shallow, naturalistic, random
g. Portrayal of movement and how it is achieved
h. Effect of particular medium(s) used
i. Your perceptions of balance, proportion and scale (relationships of each part of the composition to the whole and to each other part) and your emotional
j. Reaction to object or monument
3. Interpretation = establishing the broader context for this type of art.
· It answers the question, "Why did the artist create it and what does it mean”
· The various elements that constitute interpretation include:
a. Main idea, overall meaning of the work.
b. Interpretive Statement: Can I express what I think the artwork is about in one sentence?
c. Evidence: What evidence inside or outside the artwork su.
100 Original WorkZero PlagiarismGraduate Level Writing Required.docx
This document provides instructions for a 1,250- to 1,400-word paper that is due on March 6, 2021. Students must choose between the topics of immigration, drug legislation, or three-strikes sentencing. For the selected topic, students must describe how each branch of the US government (executive, legislative, judicial) participates in the policy. The paper must follow APA formatting guidelines and include at least three peer-reviewed literature references, excluding sources like Wikipedia.
10.11771066480704270150THE FAMILY JOURNAL COUNSELING AND THE.docx
10.1177/1066480704270150THE FAMILY JOURNAL: COUNSELING AND THERAPY FOR COUPLES AND FAMILIES / January 2005Lambert / GAY AND LESBIAN FAMILIES
❖ Literature Review—Research
Gay and Lesbian Families:
What We Know and Where to Go From Here
Serena Lambert
Idaho State University
The author reviewed the research on gay and lesbian parents and
their children. The current body of research has been clear and con-
sistent in establishing that children of gay and lesbian parents are as
psychologically healthy as their peers from heterosexual homes.
However, this comparison approach to research design appears to
have limited the scope of research on gay and lesbian families, leav-
ing much of the experience of these families yet to be investigated.
Keywords: gay men; lesbians; parenting; families
The relationships and family lives of gay and lesbian peo-ple have been the focus of much controversy in the past
decade. The legal and social implications of gay and lesbian
parents appear to have clearly affected the direction that
researchers in the fields of psychology and sociology have
taken in regard to these diverse families. As clinicians, educa-
tors, and researchers, counselors need to be aware of and
involved with issues related to lesbian and gay family life for
several reasons. First, our professional code of ethics charges
us with the ethical responsibility to demonstrate a commit-
ment to gaining knowledge, personal awareness, sensitivity,
and skills significant for working with diverse populations
(American Counseling Association, 1995; International
Association of Marriage and Family Counselors, n.d.). Coun-
selors are also in a unique position to advocate for diverse
clients and families in their communities as well as in their
practices but must possess the knowledge to do so effectively
(Eriksen, 1999). It is believed that work in this area not only
has the potential to affect the lives of our gay and lesbian cli-
ents and their children but also influences developmental and
family theory and informs public policies for the future
(Patterson, 1995, 2000; Savin-Williams & Esterberg, 2000).
This article will review the recent research regarding fami-
lies headed by gay men and lesbians. Studies reviewed in-
clude investigations of gay or lesbian versus homosexual par-
ents, sources of diversity among gay and lesbian parents, and
the personal and sociological development of the children of
gay and lesbian parents. Implications for counselors as well
as directions for future research will also be discussed.
GAY AND LESBIAN PARENTS
How Many Are Out There?
Unfortunately, accurate statistics regarding the numbers
of families headed by gay men and lesbians in our culture are
difficult to determine. Due to fear of discrimination in one or
more aspects of their lives, many gay men and lesbians have
carefully kept their sexual orientation concealed—even from
their own children in some cases (Huggins, 1989). Patterson
(2000) noted that it is es.
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Art museums and art galleries are two different types of entities.
The primary difference is that while one goes to an art museum to view art and learn about art from an educational or cultural experience; one goes to an art gallery to view art, discover new artists, possibly from the perspective of purchasing the art.
Most museums are funded by governments, foundations, and corporate and private donors, and they are operated on a non-for-profit basis. Galleries seek to make profit and gain exposure for themselves and the artists they represent.Art galleries, are usually small businesses or centers that exhibit art for the purposes of promoting and selling art. One would typically visit an art gallery to discover an artist, possibly with an interest in buying the art. Art museums, on the other hand, are larger and are intended for education and cultural experiences. One would typically visit an art museum to view and study its permanent collection or to visit a touring exhibit of works on loan from another museum or institution.
There are 2 parts
to your Museum Critical Review assignment to be completed after visiting one or more of the following museum websites*
:
Dallas Museum of Art
https://dma.org/
Nasher Sculpture Center
https://www.nashersculpturecenter.org/
Meadows Museum of Art
www.meadowsmuseumdallas.org/
Crow Collection
www.crowcollection.org
Kimbell Art Museum
www.kimbellart.org
Modern Art Museum of Fort Worth
www.themodern.org
Amon Carter Museum of American Art
www.cartermuseum.org
Google Arts and Culture Collections
https://artsandculture.google.com/partner
*Not all of the museums will have the diversity of time periods that you will need to complete the assignment. You may have to visit more than one of the listed museum websites if you choose one of the more time or region specific museums.
ARTS 1301 NLC Art Appreciation Museum Critical Review Assignment and Worksheet
I hope you are inspired by your visit to the museum websites.
This assignment is designed to meet both
Communication and Social Responsibility Student Learning Objectives.
There are 2 parts
to your Museum Critical Review assignment to be completed after visiting one or more of the following museum websites*
:
· Dallas Museum of Art
www.dma.org
· Nasher Sculpture Center
www.nashersculpturecenter.org
· Meadows Museum of Art
www.meadowsmuseumdallas.org/
· Crow Collection
www.crowcollection.org
· Kimbell Art Museum
www.kimbellart.org
· Modern Art Museum of Fort Worth
www.themodern.org
· Amon Carter Museum of American Art
www.cartermuseum.org
· Google Arts and Culture Collections
https://artsandculture.google.com/partner
*Not all of the museums will have the diversity of time periods that you will need to complete the assignment. You may have to visit more than one of the listed museum websites if you choose to go to one of the more time or region specific museums. Your instructor may choose to.
1000 wordsFormat maximum, 2 typed, double-spaced pages; ML.docx
This document outlines the requirements for a 1000-word essay assignment on various artworks. It provides details on 5 parts to the assignment, with each part requiring analysis of different artworks in terms of formal elements, subject matter, symbolism, artist's intentions, and relevant historical and cultural context. Students must cite sources in their essays and include information about the artists and artworks at the start of the discussion for each part.
Museum paper Rubric Formal Analysis of Artwork Points 401..docx
Museum paper Rubric: Formal Analysis of Artwork
Points: 40
1. Suggested museums: The Hammer, The Broad, Museum of Contemporary Art, L.A., Norton Simon in Pasadena, The J. Paul Getty Museum (also the Getty Villa), L.A. County Museum of Art on Wilshire Blvd (LAMA), The Bowers Museum, Santa Ana, Laguna Beach Art Museum. Visit one of the suggested museums or if you have another in mind please talk to me first.
2. Pick one art object of interest to do your analysis.
3. Attach the museum ticket stub and picture of the artwork to your paper. If there is no ticket, attach a picture of you next to the artwork.
4. Minimum 3 pages, maximum 5 pages, 12 font, double spaced. Follow the rubric and incorporate the information listed below.
____________________________________________________________________________________________________________________
9pts Description: How does the artwork look like?
3 pts. label (title, artist, date)
6 pts. describe the artwork, include the dimensions, color, medium, etc... Use appropriate terms and concepts in the Principle of Design in your description.
15pts Analysis: What does it mean?
5pts. Artistic movement (e.g. Impressionism) or culture (e.g. China) it came from. Explain how this fits into the analysis of the artwork.
5pts. Context: historical, social, religious, mythological. Explain how the context effects the interpretation of the artwork
5pts. Interpretation: please research to find the meaning behind the artwork
and incorporate into your thesis
5 pts. Personal judgment: Why did you choose it and why did you like it?
11pts Organization of paper: Use MLA citation style
3pts. citation page -3 sources (separate Work cited pager)
3pts. citations within the body of the essay- minimum 3 citations in the body of the essay
5pts. organization of paper, citation format, grammar and spelling
(e.g. reliable, reputable sources: text books, on-line source- university library, museum website, museum literature). Please use MLA citation style and bibliography/work cited. You must incorporate at least 3 citations in the body of the report. Bibliography/work cited page is on a separate page and is not included in the 3-page minimum (Do not cite from Wikipedia) ____________________________________________________________________________________________________________________
Excellent: original and thoughtful work that is professionally executed; no typographical or grammatical errors; strong, clear, coherent, and compelling arguments; addresses or acknowledges obvious objections to the arguments; scrupulous attention to crediting sources of ideas and facts that are not the author’s own
Good: Well done work, but not particularly original or thoughtful; a few typographical or grammatical errors are present; work lacks some clarity or coherence in thought; fails to address some seemingly obvious objections to the argumentation; some crediting of sources missing; sources of facts are weak (e.g., ...
STEP 1 VISIT httpsartsandculture.google.compartnerhl=en.docx
The document provides instructions for writing a report about an artwork from the Google Arts & Culture website. It involves 4 steps: 1) selecting a museum and artwork on the site, 2) analyzing the subject matter, form and materials of the artwork, 3) analyzing the historical/cultural context and theme, and 4) discussing how the artwork is installed at the museum. The report should be 1000 words long and include citations from at least two sources using MLA style formatting. Questions are provided under each section to guide the analysis and discussion in the report.
Grade 2-rhythm-art-lesson-plan
This lesson plan is for a Grade 2 visual arts class on rhythm and movement. Students will learn about the elements of design like line, shape, and color, and the principle of repetition and rhythm. They will create an underwater or grassy scene using construction paper, tissue paper, and repeated shapes to demonstrate rhythm and movement. The teacher will show examples of artworks and discuss how they incorporate these concepts. Students' creations will be assessed based on inclusion of rhythm and effort.
Yr 7 introduction var terminology presentation
This document discusses the four frames for analyzing visual art: structural, subjective, cultural, and postmodern. It provides examples and explanations of each frame. The structural frame focuses on how the artwork was made and the materials/techniques used. The subjective frame considers the emotional response and meaning an artwork holds. The cultural frame examines how the time period and culture influenced the artwork. The postmodern frame explores contemporary art that challenges conventions and traditions through parody, irony, and new technologies. The document uses examples like Van Gogh's self-portrait and works by Picasso and Dali to demonstrate applying the different frames.
1 WRITING ABOUT ART Art is a provocative medium, and yo.docx
1
WRITING ABOUT ART
Art is a provocative medium, and your challenge in writing about art may often be to define and
evaluate the artist’s choices and techniques, which, according to your intellect and perception, arouse interest
and convey meaning. In most cases you will be translating the visual (what you see) into language (what you
write). In order to do this, you will have to be extremely attentive to the characteristics of the work—which
means that description will incorporate a portion of your essay—and be attentive to the vocabulary of the
discipline of Art.
You must also be able to develop a thesis statement with a detailed analysis and argument about the
artwork you have chosen. Therefore, you must consider what it is you want to say, and use description to
make that point. In many ways, writing an Art History essay is similar to writing other types of essays in the
Humanities. It requires a clear and focused topic, an arguable thesis, an organized format and structure, clear
and coherent paragraphs, and a command of grammar and style.
Thesis Statement
Most academic essays seek to persuade readers to understand a specific issue in a specific way—the
writer’s way. The writer’s thesis statement offers this substantial but concise assertion of her/his
understanding (usually in one to two sentences in the introduction or near the beginning of the essay), thereby
providing an essay with its judgmental focus.
Perhaps, though, in writing about art you might want to offer a well thought-out central idea rather
than an overtly argumentative statement. For example, “African art was a major influence on the work of
Pablo Picasso” states a well-documented and widely shared opinion that is interesting but uncontroversial.
Of course, a paper on this topic would have to fully elaborate on that relationship and offer examples of it.
The difference between an idea and a thesis statement is in their degree of contention. The above
example of a central idea could be debatable, but mainly the disagreement would arise if the writer does not
adequately explain and illustrate the idea through detailed description, intelligent criticism, and analysis,
and not because of the idea itself.
However, in a thesis statement—such as, “Picasso’s treatment of women in his art mirrors the
distorted vision he had of women in general”—it is more obvious that readers will either strongly disagree or
agree, by the very nature of the claim itself. Moreover, even if the writer advances a stimulating argument
with impressive evidence in defense of the thesis, because the claim is so contentious, a reader may still
disagree.
Using Sources
A good research paper often includes evidence from both primary and secondary sources. Whether you are
using primary or secondary sources, remember to explain and analyze the passages that you have chosen from
the texts (or elements you have chosen from the works), and what th.
Project TitleArtist Report and Presentation on an artist or.docx
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 ...
Blast to the Past
This WebQuest document guides students in a research project on three 19th century European artists: Jacques-Louis David, Jean-Auguste-Dominique Ingres, and Francisco de Goya. Students are tasked with researching the artists' works, movements, and cultural influences. They must then write an essay arguing which artist was most revolutionary and influential during their time period. The document provides resources, evaluation criteria, and a multi-step process for students to complete the project over several class periods.
Author says i say lesson plan
The lesson plan describes a 60-minute art class for 11th and 12th grade students focused on still lifes and color theory. Students will read two articles - "An Oak Tree" and "Still-life Paintings in a Consumer Society" - and analyze them using an "Author Says/I Say" strategy. This involves identifying statements from the text, providing their own interpretation, and discussing what they learned. The teacher will engage with students individually and in groups. The goal is for students to better understand the evolving purpose and social context of still lifes over time to apply to their own still life creations.
Select a museumI have already went to the Museum the work selecte.docx
Select a museum:
I have already went to the Museum the work selected is The cradle by John Biggers please see photos attached.
Select a work of art:
This is a general suggestion and not a required outline.
Identification:
At the museum or museum site, select a work of art. You may select a piece that you like or dislike. Copy down all the information provided; Artist, title, medium, year, etc. Write down your initial responses. How do you respond to the work? Does it invoke an emotional response? What do you think the artist was trying to communicate? It is helpful to bring a notebook to record your responses.
Describe
the piece and review it carefully. What do you see? Note all the details about the work. How would you describe it to someone you were talking to on the phone who can’t see it?
Analyze
the visual elements and design principles as you did in the short paper. Think about the relationship between form, content and subject matter in your analysis. This will be helpful in your 'interpretation' of the work. Use the terminology you have learned in class, particularly terms in Chapters 2 -5. Your analysis should be based your own observations while viewing the work.
Interpretation
Follow your analysis with a subjective interpretation of the meaning of the work. How does the work make you feel? What do you think the content is? Go beyond “I like it” or “I don’t like it.”
Research
the artist. Historical and biographical information on the artist often provides clues into a works intended meaning. Carefully consider the purpose and context of the piece. Did the piece you selected have any particular political or cultural message? Was the artist making a statement?
Value Judgement
What do you think the artist's intentions were? Was this communicated? Does it have value? Can you recognize the aesthetic quality in the work?
Write the Final Paper:
The following will help you write your paper. It should be used as a guideline, not an outline for approaching your paper. This is very similar to the process used by art critics.
Identification:
Note the title of the work, the date, the artist (if known), medium, and size.
Description:
What do you see? As fully as possible, describe what you see.
What medium is used? What is it made of?
How big is it?
Go into detail about what you see. How would you describe it, in detail, to someone who had never seen it?
What subjects are represented?
It can be helpful to begin looking at a work of art from the middle and work your way out.
Analysis:
Describe the form of the work Explain how visual elements and principles of design are used in the work. The terms in chapters 2, 3 & 4 will be very helpful. Go back and look at the chapter outlines or Short Paper assignment. Use them to:
Describe the use of visual elements such as line, shape, color & space used in the pieces. For example: In what way is it balanced? Is it asymmetrical or symmetrical? What is emphasized? What seems to be the dominating vi.
Select a museumI have already went to the Museum the work selecte.docx
Select a museum:
I have already went to the Museum the work selected is The cradle by John Biggers please see photos attached.
Select a work of art:
This is a general suggestion and not a required outline.
Identification:
At the museum or museum site, select a work of art. You may select a piece that you like or dislike. Copy down all the information provided; Artist, title, medium, year, etc. Write down your initial responses. How do you respond to the work? Does it invoke an emotional response? What do you think the artist was trying to communicate? It is helpful to bring a notebook to record your responses.
Describe
the piece and review it carefully. What do you see? Note all the details about the work. How would you describe it to someone you were talking to on the phone who can’t see it?
Analyze
the visual elements and design principles as you did in the short paper. Think about the relationship between form, content and subject matter in your analysis. This will be helpful in your 'interpretation' of the work. Use the terminology you have learned in class, particularly terms in Chapters 2 -5. Your analysis should be based your own observations while viewing the work.
Interpretation
Follow your analysis with a subjective interpretation of the meaning of the work. How does the work make you feel? What do you think the content is? Go beyond “I like it” or “I don’t like it.”
Research
the artist. Historical and biographical information on the artist often provides clues into a works intended meaning. Carefully consider the purpose and context of the piece. Did the piece you selected have any particular political or cultural message? Was the artist making a statement?
Value Judgement
What do you think the artist's intentions were? Was this communicated? Does it have value? Can you recognize the aesthetic quality in the work?
Write the Final Paper:
The following will help you write your paper. It should be used as a guideline, not an outline for approaching your paper. This is very similar to the process used by art critics.
Identification:
Note the title of the work, the date, the artist (if known), medium, and size.
Description:
What do you see? As fully as possible, describe what you see.
What medium is used? What is it made of?
How big is it?
Go into detail about what you see. How would you describe it, in detail, to someone who had never seen it?
What subjects are represented?
It can be helpful to begin looking at a work of art from the middle and work your way out.
Analysis:
Describe the form of the work Explain how visual elements and principles of design are used in the work. The terms in chapters 2, 3 & 4 will be very helpful. Go back and look at the chapter outlines or Short Paper assignment. Use them to:
Describe the use of visual elements such as line, shape, color & space used in the pieces. For example: In what way is it balanced? Is it asymmetrical or symmetrical? What is emphasized? What seems to be the dominating vi.
100content
This presentation introduces key concepts for discussing and analyzing artworks, including subject, form, medium, composition, formal elements, context, style, and intent. It explains that considering all of these aspects can provide insight into an artwork's overall meaning or content. The presentation recommends filling out a companion worksheet to help learn and remember these concepts.
Integrating Art History Presentation
This document provides strategies and resources for integrating art history into K-12 classrooms in an engaging way. It outlines goals of making art history relevant, engaging, and manageable for teachers. Key recommendations include examining artworks in context, looking for themes, being inclusive, and allowing student exploration. Short and long-term project ideas are presented to incorporate art history, such as having students act as travel agents or compose songs about artworks. Resources like SmartHistory and museum websites are also suggested.
What are the two different points of view of the Confederate mon.docx
What are the two different points of view of the Confederate monument controversy?
Do they belong at our City Halls? If not, where do they belong? When was the statue created? Does that make a difference? What is the historical context in which they were created?
Do these statues deserve a place of honor? What is the legacy of the Confederate memorials? Who was the sculptor? What category of Art History is the painting or sculpture being long to?
Look in your textbook and identify historically analyze and classify the artwork. Prove that it belongs to a specific era in Art History (Post-Impressionism, Realism, Romantics).
DIRECTIONS:
*Write No more than one page in length. (Introduction, body, and conclusion)
*Cover page (with photo),
*One Footnote page.
Three footnotes from three different sources.
(Example: artist webpage, art magazines, art blogs, and textbook)
*Highlight or underline Art Terms
Your paper should include: Bio of the Artist, Visual Analysis, Historical Classification
Some of this paper concentrates on Visual Analysis and discussing what you see when you look at the work of art. What category of art history does the artwork belong to? (Pop Art, Cubism, Surrealism, contemporary, modern). Concentrate on the basic elements of Art: line, color, form, size, texture, and hue. Try asking yourself some of the following questions: What colors are used in the artwork? Do the colors influence the effect the piece has on the viewer? How big is the work? Describe the composition symmetrical, asymmetrical, what are the forms like? Angular, biomorphic, geometric, what is the medium of the work? How does that influence the total effect of the piece? Where is the work located in the gallery? How is it hung or displayed? How do you feel when you look at the piece? What do you think the intentions of the artist were? Do you think the artist got his message across to his audience? These are just a few questions you might ask yourself to help get started.
...
Gcse Art and Design "Movement" Scheme of Work
This document provides an outline for a series of art lessons focused on movement. Lesson 1 involves students presenting their summer work and understanding different approaches to artwork. Lesson 2/3 includes figure drawing exercises of people in sports poses to understand expressive drawing. Lesson 4/5 involves overlapping portraits using charcoal to suggest movement. Homework assignments include researching artists like Anton Bragaglia and Edward Muybridge who studied movement. Later lessons explore color theory, experimental drawing and painting techniques, 3D wire sculptures, and response artworks based on artists like Francis Bacon who depicted the human form in motion.
1 ART 101 FORM AND IDEA MUSEUM ES.docx
1
ART 101:
FORM AND IDEA
MUSEUM ESSAY
All students will be required to visit the Tampa Museum of Art, the St. Petersburg Museum of Fine Arts, the
Dali Museum in St. Petersburg, or the Ringling Museum of Art in Sarasota. Students will write a minimum
1500 word research paper (approx. 5 pages in length) based on one artwork of their choosing from the
museum to investigate in further detail. The completed paper is due at the beginning of class on the assigned
due date (see course syllabus for deadlines).
This assignment will require students to a thoughtful analysis based on accepted research as well as your own
developed point of view. Completed essays will be sustained thesis-driven interpretations of a single artwork
based on scholarly research (three sources minimum are required).
When selecting your artwork, pick the one that appeals to you and that you want to further examine. (Keep in
mind that you may want to select an object that has already had significant scholarly research within art
history.) A brief visual analysis of the selected artwork will ultimately support your thesis and lend credence to
your research. Meaning, your discussion of the artist’s selection and use of the visual elements and principles
of design should connect to your broader knowledge of style and pictorial culture, as we have discussed them
in class lecture. Your analysis should also move from description to interpretation as it relates to your central
argument – i.e., the particular qualities of the medium (ceramic, sculpture, painting, etc.) and how this relates
to the artist’s content or culture; how the visual elements found in the artwork reflect (or were affected by)
important cultural values found in the society in which it was made; how the work confronts the human
condition or experience of its culture; the expressive significance of formal elements, spatial design, or motifs
and their interaction; or how the artist has used visual elements to communicate a particular
message/experience to his/her viewers.
MUSEUM INFORMATION
For more information on the Tampa Museum of Art, its location, hours of operation and collections, please see
its website: http://tampamuseum.org. College student admission (with ID) is FREE, or Pay-as-you-will
admission on Fridays between 4–8 PM.
For more information on the St. Petersburg Museum of Fine Arts, its location, hours of operation and
collections, please see its website: http://www.fine-arts.org. Regular student admission (with ID) is $10, and
$5 after 5:00 PM on Thursdays.
For more information on the Salvador Dali Museum, its location, hours of operation and collections, please
see its website: http://thedali.org. Regular student admission (with ID) is $15 and is $10 after 5:00 PM on
Thursdays. Note: on-site parking at the Dali costs $10, but is within walk-able distance of downtown parking.
For more information on the Ringling Museum of Arts, its l ...
Fidm Ah 2 Syl Spr
This document provides information about an Art History II course being offered at FIDM OC in the spring of 2010. It will cover Renaissance through contemporary art in Europe and the Americas, with an emphasis on the artist's role in society. The class meets on Wednesdays and attendance is encouraged but not penalized. There will be two tests - a midterm and final - and one assignment, each weighted equally for the final grade. Study guides will be provided each week to prepare for exams. Students have two options for the final assignment - analyzing a work of art at a local museum or devising their own approved project related to the course material.
Museum Paper FORMAL ANALYSISDue 122 1. Description = .docx
Museum Paper
FORMAL ANALYSIS
Due 12/2
1. Description = pure description of the object without value judgments,
analysis, or interpretation.
· It answers the question, "What do you see?"
· The various elements that constitute a description include:
a. Form of art whether architecture, sculpture, painting or one of the minor arts
b. Medium of work whether clay, stone, steel, paint, etc., and technique (tools used)
c. Size and scale of work (relationship to person and/or frame and/or context)
d. Elements or general shapes (architectural structural system) within the composition, including building of post-lintel construction or painting with several figures lined up in a row; identification of objects
e. Description of axis whether vertical, diagonal, horizontal, etc.
f. Description of line, including contour as soft, planar, jagged, etc.
g. Description of how line describes shape and space (volume); distinguish between lines of objects and lines of composition, e.g., thick, thin, variable, irregular, intermittent, indistinct, etc.
h. Relationships between shapes, e.g., large and small, overlapping, etc.
i. Description of color and color scheme = palette
j. Texture of surface or other comments about execution of work
k. Context of object: original location and date
2. Analysis = determining what the features suggest and deciding why the artist used such features to convey specific ideas.
· It answers the question, "How did the artist do it?"
· The various elements that constitute analysis include:
a. Determination of subject matter through naming iconographic elements, e.g., historical event, allegory, mythology, etc.
b. Selection of most distinctive features or characteristics whether line, shape, color, texture, etc.
c. Analysis of the principles of design or composition, e.g., stable,
repetitious, rhythmic, unified, symmetrical, harmonious, geometric, varied, chaotic, horizontal or vertically oriented, etc.
d. Discussion of how elements or structural system contribute to appearance of image or function
e. Analysis of use of light and role of color, e.g., contrast, shadowy,
illogical, warm, cool, symbolic, etc.
f. Treatment of space and landscape, both real and illusionary (including use of perspective), e.g., compact, deep, shallow, naturalistic, random
g. Portrayal of movement and how it is achieved
h. Effect of particular medium(s) used
i. Your perceptions of balance, proportion and scale (relationships of each part of the composition to the whole and to each other part) and your emotional
j. Reaction to object or monument
3. Interpretation = establishing the broader context for this type of art.
· It answers the question, "Why did the artist create it and what does it mean”
· The various elements that constitute interpretation include:
a. Main idea, overall meaning of the work.
b. Interpretive Statement: Can I express what I think the artwork is about in one sentence?
c. Evidence: What evidence inside or outside the artwork su.
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Project TitleArtist Report and Presentation on an artist or.docx
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This document provides instructions for a 1,250- to 1,400-word paper that is due on March 6, 2021. Students must choose between the topics of immigration, drug legislation, or three-strikes sentencing. For the selected topic, students must describe how each branch of the US government (executive, legislative, judicial) participates in the policy. The paper must follow APA formatting guidelines and include at least three peer-reviewed literature references, excluding sources like Wikipedia.
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10.1177/1066480704270150THE FAMILY JOURNAL: COUNSELING AND THERAPY FOR COUPLES AND FAMILIES / January 2005Lambert / GAY AND LESBIAN FAMILIES
❖ Literature Review—Research
Gay and Lesbian Families:
What We Know and Where to Go From Here
Serena Lambert
Idaho State University
The author reviewed the research on gay and lesbian parents and
their children. The current body of research has been clear and con-
sistent in establishing that children of gay and lesbian parents are as
psychologically healthy as their peers from heterosexual homes.
However, this comparison approach to research design appears to
have limited the scope of research on gay and lesbian families, leav-
ing much of the experience of these families yet to be investigated.
Keywords: gay men; lesbians; parenting; families
The relationships and family lives of gay and lesbian peo-ple have been the focus of much controversy in the past
decade. The legal and social implications of gay and lesbian
parents appear to have clearly affected the direction that
researchers in the fields of psychology and sociology have
taken in regard to these diverse families. As clinicians, educa-
tors, and researchers, counselors need to be aware of and
involved with issues related to lesbian and gay family life for
several reasons. First, our professional code of ethics charges
us with the ethical responsibility to demonstrate a commit-
ment to gaining knowledge, personal awareness, sensitivity,
and skills significant for working with diverse populations
(American Counseling Association, 1995; International
Association of Marriage and Family Counselors, n.d.). Coun-
selors are also in a unique position to advocate for diverse
clients and families in their communities as well as in their
practices but must possess the knowledge to do so effectively
(Eriksen, 1999). It is believed that work in this area not only
has the potential to affect the lives of our gay and lesbian cli-
ents and their children but also influences developmental and
family theory and informs public policies for the future
(Patterson, 1995, 2000; Savin-Williams & Esterberg, 2000).
This article will review the recent research regarding fami-
lies headed by gay men and lesbians. Studies reviewed in-
clude investigations of gay or lesbian versus homosexual par-
ents, sources of diversity among gay and lesbian parents, and
the personal and sociological development of the children of
gay and lesbian parents. Implications for counselors as well
as directions for future research will also be discussed.
GAY AND LESBIAN PARENTS
How Many Are Out There?
Unfortunately, accurate statistics regarding the numbers
of families headed by gay men and lesbians in our culture are
difficult to determine. Due to fear of discrimination in one or
more aspects of their lives, many gay men and lesbians have
carefully kept their sexual orientation concealed—even from
their own children in some cases (Huggins, 1989). Patterson
(2000) noted that it is es.
10.11771066480703252339 ARTICLETHE FAMILY JOURNAL COUNSELING.docx
10.1177/1066480703252339 ARTICLETHE FAMILY JOURNAL: COUNSELING AND THERAPY FOR COUPLES AND FAMILIES / July 2003Fall, Lyons / ETHICAL CONSIDERATIONS
❖ Ethics
Ethical Considerations of Family Secret
Disclosure and Post-Session Safety Management
Kevin A. Fall
Christy Lyons
Loyola University—New Orleans
The ethical issues involved in the disclosure of family secrets in ther-
apy have been addressed in the literature, but the focus has typically
been on secrets disclosed in individual sessions. The literature
largely ignores the ethical issues surrounding in-session disclosure
and the concomitant liability of the family therapist for the post-ses-
sion well-being of the system’s members. This article explores types
of family secrets, provides a case example of in-session disclosure,
and presents ethical considerations and practice recommendations.
Keywords: family secrets; ethics; confidentiality; abuse; safety
A
family without secrets is like a two-year-old without
tantrums: a rarity. Virtually every family has secrets
involving academic problems, relationship dynamics, or even
various illegalities. Secrets permeate the family system
before therapy begins, but with the introduction of the thera-
pist, the system begins to change. The therapist ideally creates
an environment that challenges the boundaries and rules of
the system; this is the nature of therapy. As a result of the
sense of safety within the session, it is conceivable that a fam-
ily member may disclose information that has been hidden for
a wide variety of reasons. Any unearthing of hidden material
will create a disequilibrium within the system. Family thera-
pists are trained to handle the consequences of such a disclo-
sure in session and ethically lay the groundwork for timely
disclosures. Dealing with this disclosure and its impact on the
system often becomes the primary focus of the therapy, as the
perturbation caused by the disclosure can serve as a catalyst to
reorganize the system.
However, not all information is disclosed at the “perfect
time.” In fact, the idiosyncratic internal sensing of safety by
any member of the family may trigger a disclosure prema-
turely. Secrets are such an omnipresent dynamic in the life of
family systems that it seems unlikely that any family therapist
could avoid untimely disclosures. Even in these unpredict-
able moments, a disclosure creates a disequilibrium that can
be productive in the therapy process as the secret and the pro-
cess of maintaining the secret are worked through in an
atmosphere of trust and safety. The ethical question here is
two-fold: What is the therapist’s responsibility in preparing
the family members for the potential risks of counseling that
may arise from such disclosures, and what is the responsibil-
ity of the family therapist to maintain the safety of the mem-
bers after a disclosure?
Although the International Association of Marriage and
Family Counselors’ (IAMFC).
10.11770022427803260263ARTICLEJOURNAL OF RESEARCH IN CRIME AN.docx
This document summarizes competing theories on whether the perceived risk of punishment deters criminally prone individuals from committing crimes. It discusses three main perspectives: 1) that all individuals are equally deterred regardless of criminal propensity, 2) that criminally prone individuals are less deterred due to their impulsivity and focus on immediate gratification, and 3) that criminally prone individuals are more deterred since socialized individuals act based on moral obligations rather than costs/benefits. The article then analyzes data from a longitudinal study in New Zealand to test the relationship between criminal propensity, perceived punishment risks, and criminal behavior.
10.11770022487105285962Journal of Teacher Education, Vol. 57,.docx
10.1177/0022487105285962Journal of Teacher Education, Vol. 57, No. XX, XXX/XXX 2006Journal of Teacher Education, Vol. 57, No. XX, XXX/XXX 2006
CONSTRUCTING 21st-CENTURY TEACHER EDUCATION
Linda Darling-Hammond
Stanford University
Much of what teachers need to know to be successful is invisible to lay observers, leading to the view
that teaching requires little formal study and to frequent disdain for teacher education programs. The
weakness of traditional program models that are collections of largely unrelated courses reinforce this
low regard. This article argues that we have learned a great deal about how to create stronger, more ef-
fective teacher education programs. Three critical components of such programs include tight coher-
ence and integration among courses and between course work and clinical work in schools, extensive
and intensely supervised clinical work integrated with course work using pedagogies linking theory
and practice, and closer, proactive relationships with schools that serve diverse learners effectively
and develop and model good teaching. Also, schools of education should resist pressures to water
down preparation, which ultimately undermine the preparation of entering teachers, the reputation
of schools of education, and the strength of the profession.
Keywords: field-based experiences; foundations of education; student teaching; supervision; theo-
ries of teacher education
The previous articles have articulated a spectac-
ular array of things that teachers should know
and be able to do in their work. These include
understanding many things about how people
learn and how to teach effectively, including as-
pects of pedagogical content knowledge that in-
corporate language, culture, and community
contexts for learning. Teachers also need to un-
derstand the person, the spirit, of every child
and find a way to nurture that spirit. And they
need the skills to construct and manage class-
room activities efficiently, communicate well,
use technology, and reflect on their practice to
learn from and improve it continually.
The importance of powerful teaching is
increasingly important in contemporary soci-
ety. Standards for learning are now higher than
they have ever been before, as citizens and
workers need greater knowledge and skill to
survive and succeed. Education is increasingly
important to the success of both individuals and
nations, and growing evidence demonstrates
that—among all educational resources—teach-
ers’ abilities are especially crucial contributors
t o s t u d e n t s ’ le a r n i n g . F u r t h e r m o re , t h e
demands on teachers are increasing. Teachers
need not only to be able to keep order and pro-
vide useful information to students but also to
be increasingly effective in enabling a diverse
group of students to learn ever more complex
material. In previous decades, they were
expected to prepare only a small minority for
ambitious intellectual work, whereas they are
now expected to prep.
10.11770011000002250638ARTICLETHE COUNSELING PSYCHOLOGIST M.docx
10.1177/0011000002250638ARTICLETHE COUNSELING PSYCHOLOGIST / March 2003Westefeld, Heckman-Stone / CRISIS INTERVENTION
• PROFESSIONAL FORUM
The Integrated Problem-Solving
Model of Crisis Intervention:
Overview and Application
John S. Westefeld
The University of Iowa
Carolyn Heckman-Stone
Iowa State University
Crisis intervention is a role that fits exceedingly well with counseling psychologists’
interests and skills. This article provides an overview of a new crisis intervention model,
the Integrated Problem-Solving Model (IPSM), and demonstrates its application to a
specific crisis, sexual assault. It is hoped that this article will encourage counseling psy-
chologists to become more involved in crisis intervention itself as well as in research and
training in this important area.
Recently, significant crisis events (e.g., sexual assaults, school shootings,
terrorist attacks, and other violent crimes) have received major media atten-
tion. This has led, among other things, to an increased interest in this topic as
a subspecialty among human service providers (James & Gilliland, 2001). In
addition, it appears that we live in an increasingly fast-paced and technologi-
cal society in which individuals may be less connected with family and other
positive influences than in the past (Pitcher & Poland, 1992). Mental health
professionals need to be prepared to help society cope with such crises, and
counseling psychologists are particularly well suited for this type of interven-
tion. Coping with life transitions, a major focus of counseling psychology
throughout its history, sometimes involves the successful negotiation of cri-
ses (Brown & Lent, 2000). Counseling psychologists are particularly skilled
in promoting self-enhancement among relatively healthy individuals, which
is often the case in crisis situations. In addition, crisis intervention matches
well with counseling psychologists’ skills at implementing brief, problem-
solving, developmental, educational, and self-empowering intervention
approaches.
Relatively few articles have been published in The Counseling Psycholo-
gist concerning crisis intervention and the role of the counseling psycholo-
221
Correspondence concerning this article should be addressed to John S. Westefeld, Coun-
seling Psychology, 361 Lindquist Center, The University of Iowa, Iowa City, IA 52242;
e-mail: [email protected]
THE COUNSELING PSYCHOLOGIST, Vol. 31 No. 2, March 2003 221-239
DOI: 10.1177/0011000002250638
© 2003 by the Division of Counseling Psychology.
gist. Indeed, we believe that the field of counseling psychology has not his-
torically seen itself as working extensively in this area. Interestingly, in
1979—more than 20 years ago—Baldwin published an excellent manuscript
in The Counseling Psychologist, wherein he reviewed crisis theory, discussed
types of crises, and described his own stage model of crisis intervention.
Baldwin’s model consisted of the following major steps: catharsis/assess-
m.
10.1 What are three broad mechanisms that malware can use to propa.docx
10.1 What are three broad mechanisms that malware can use to propagate?
10.2 What are four broad categories of payloads that malware may carry?
10.3 What are typical phases of operation of a virus or worm?
10.4 What mechanisms can a virus use to conceal itself?
10.5 What is the difference between machine-executable and macro viruses?
10.6 What means can a worm use to access remote systems to propagate?
10.7 What is a “drive-by-download” and how does it differ from a worm?
10.8 What is a “logic bomb”?
10.9 Differentiate among the following: a backdoor, a bot, a keylogger, spyware, and a rootkit? Can they all be present in the same malware?
10.10 List some of the different levels in a system that a rootkit may use.
10.11 Describe some malware countermeasure elements.
10.12 List three places malware mitigation mechanisms may be located.
10.13 Briefly describe the four generations of antivirus software.
10.14 How does behavior-blocking software work?
10.15 What is a distributed denial-of-service system?
.
10.0 ptsPresentation of information was exceptional and included.docx
10.0 pts
Presentation of information was exceptional and included all of the following elements: Identifies the role of concept analysis within theory development. Identifies the selected nursing concept. Identifies the nursing theory from which the selected concept was obtained. A nursing theory was used. Identifies the sections of the paper. Scholarly support from nursing literature was provided.
9.0 pts
Presentation of information was good, but was superficial in places and included all of the following elements: Identifies the role of concept analysis within theory development. Identifies the selected nursing concept. Identifies the nursing theory from which the selected concept was obtained. A nursing theory was used. Identifies the sections of the paper. Scholarly support from nursing literature was provided.
8.0 pts
Presentation of information was minimally demonstrated in the all of the following elements: Identifies the role of concept analysis within theory development. Identifies the selected nursing concept. Identifies the nursing theory from which the selected concept was obtained. A nursing theory was used. Identifies the sections of the paper. Limited scholarly support from nursing literature was provided.
4.0 pts
Presentation of information in one or two of the following elements fails to meet expectations: Identifies the role of concept analysis within theory development. Identifies the selected nursing concept. Identifies the nursing theory from which the selected concept was obtained. A nursing theory was used. Identifies the sections of the paper. Limited or no scholarly support from nursing literature was provided.
0.0 pts
Presentation of information is unsatisfactory in three or more of the following elements: Identifies the role of concept analysis within theory development. Identifies the selected nursing concept. Identifies the nursing theory from which the selected concept was obtained. A nursing theory was used. Identifies the sections of the paper. Limited or no scholarly support from nursing literature was provided.
10.0 pts
This criterion is linked to a Learning Outcome Definition/Explanation of Selected Concept
25.0 pts
Presentation of information was exceptional and included all of the following elements: Defines/explains the concept using scholarly literature (a dictionary maybe used for this section ONLY, and additional scholarly nursing references are required). Provides support from scholarly sources.
22.0 pts
Presentation of information was good, but was superficial in places and included all of the following elements: Defines/explains the concept using scholarly literature (a dictionary maybe used for this section ONLY, and additional scholarly nursing references are required). Provides support from scholarly sources.
20.0 pts
Presentation of information was minimally demonstrated in the all of the following elements: Defines/explains the concept using scholarly literature (a dictionary maybe used for thi.
10-K1f12312012-10k.htm10-KUNITED STATESSECURIT.docx
10-K
1
f12312012-10k.htm
10-K
UNITED STATES
SECURITIES AND EXCHANGE COMMISSION
Washington, DC 20549
FORM 10-K
(Mark One)
R
Annual report pursuant to Section 13 or 15(d) of the Securities Exchange Act of 1934
For the fiscal year ended December 31, 2012
or
o
Transition report pursuant to Section 13 or 15(d) of the Securities Exchange Act of 1934
For the transition period from __________ to __________
Commission file number 1-3950
Ford Motor Company
(Exact name of Registrant as specified in its charter)
Delaware
38-0549190
(State of incorporation)
(I.R.S. Employer Identification No.)
One American Road, Dearborn, Michigan
48126
(Address of principal executive offices)
(Zip Code)
313-322-3000
(Registrant’s telephone number, including area code)
Securities registered pursuant to Section 12(b) of the Act:
Title of each class
Name of each exchange on which registered*
Common Stock, par value $.01 per share
New York Stock Exchange
__________
* In addition, shares of Common Stock of Ford are listed on certain stock exchanges in Europe.
Securities registered pursuant to Section 12(g) of the Act: None.
Indicate by check mark if the registrant is a well-known seasoned issuer, as defined in Rule 405 of the Securities Act. Yes R No o
Indicate by check mark if the registrant is not required to file reports pursuant to Section 13 or Section 15(d) of the Act. Yes o No R
Indicate by check mark if the registrant (1) has filed all reports required to be filed by Section 13 or 15(d) of the Securities Exchange Act of 1934 during the preceding 12 months (or for such shorter period that the registrant was required to file such reports), and (2) has been subject to such filing requirements for the past 90 days. Yes R No o
Indicate by check mark whether the registrant has submitted electronically and posted on its corporate Web site, if any, every Interactive Data File required to be submitted and posted pursuant to Rule 405 of Regulation S-T (§232.405 of this chapter) during the preceding 12 months (or for such shorter period that the registrant was required to submit and post such files). Yes R No o
Indicate by check mark if disclosure of delinquent filers pursuant to Item 405 of Regulation S-K (§229.405 of this chapter) is not contained herein, and will not be contained, to the best of registrant’s knowledge, in definitive proxy or information statements incorporated by reference in Part III of this Form 10-K or any amendment to this Form 10-K. R
Indicate by check mark whether the registrant is a large accelerated filer, an accelerated filer, a non-accelerated filer, or a smaller reporting company. See definitions of "large accelerated filer," "accelerated filer," and "smaller reporting company" in Rule 12b-2 of the Exchange Act. Large accelerated filer R Accelerated filer o Non-accelerated filer o Smaller reporting company o
Indicate by check mark whether the registra.
10-K 1 f12312012-10k.htm 10-K UNITED STATESSECURITIES AN.docx
10-K 1 f12312012-10k.htm 10-K
UNITED STATES
SECURITIES AND EXCHANGE COMMISSION
Washington, DC 20549
FORM 10-K
(Mark One)
R Annual report pursuant to Section 13 or 15(d) of the Securities Exchange Act of 1934
For the fiscal year ended December 31, 2012
or
o Transition report pursuant to Section 13 or 15(d) of the Securities Exchange Act of 1934
For the transition period from __________ to __________
Commission file number 1-3950
Ford Motor Company
(Exact name of Registrant as specified in its charter)
Delaware 38-0549190
(State of incorporation) (I.R.S. Employer Identification No.)
One American Road, Dearborn, Michigan 48126
(Address of principal executive offices) (Zip Code)
313-322-3000
(Registrant’s telephone number, including area code)
Securities registered pursuant to Section 12(b) of the Act:
Title of each class Name of each exchange on which registered*
Common Stock, par value $.01 per share New York Stock Exchange
__________
* In addition, shares of Common Stock of Ford are listed on certain stock exchanges in Europe.
Securities registered pursuant to Section 12(g) of the Act: None.
Indicate by check mark if the registrant is a well-known seasoned issuer, as defined in Rule 405 of the Securities Act.
Yes R No o
Indicate by check mark if the registrant is not required to file reports pursuant to Section 13 or Section 15(d) of the Act.
Yes o No R
Indicate by check mark if the registrant (1) has filed all reports required to be filed by Section 13 or 15(d) of the Securities
Exchange Act of 1934 during the preceding 12 months (or for such shorter period that the registrant was required to file such
reports), and (2) has been subject to such filing requirements for the past 90 days. Yes R No o
Indicate by check mark whether the registrant has submitted electronically and posted on its corporate Web site, if any,
every Interactive Data File required to be submitted and posted pursuant to Rule 405 of Regulation S-T (§232.405 of this
Page 1 of 216F 12.31.2012- 10K
3/7/2019https://www.sec.gov/Archives/edgar/data/37996/000003799613000014/f12312012-10k.htm
chapter) during the preceding 12 months (or for such shorter period that the registrant was required to submit and post such
files). Yes R No o
Indicate by check mark if disclosure of delinquent filers pursuant to Item 405 of Regulation S-K (§229.405 of this chapter)
is not contained herein, and will not be contained, to the best of registrant’s knowledge, in definitive proxy or information
statements incorporated by reference in Part III of this Form 10-K or any amendment to this Form 10-K. R
Indicate by check mark whether the registrant is a large accelerated filer, an accelerated filer, a non-accelerated filer, or a
smaller reporting company. See definitions of "large accelerated filer," "accelerated filer," and "smaller reporting company" in
Rule 12b-2 of the Exchange Act. Large accelerated filer R Accelerated filer .
10 What does a golfer, tennis player or cricketer (or any othe.docx
10 What does a golfer, tennis player or cricketer (or any other professional sportsperson) focus on to achieve high performance? They nearly always give the same answer: “Repeat my process (that is the process they have practised a million times) – replicate it under real pressure and trust in my ability” That’s why Matthew Lloyd throws the grass up under the roof at Etihad Stadium. It is why Ricky Ponting taps the bat, looks down,
looks up and mouths “watch the ball”. It’s
unnecessary for Matthew Lloyd to toss the
grass. There’s no wind under the roof – it’s
simply a routine that enables him to replicate
his process under pressure.
Ricky Pointing knows you have to watch the
ball. Ponting wants the auto pilot light in his
brain to fl ick on as he mutters “watch the ball”.
High performance in sport is achieved through focusing on your
processes, not the scores.
It is absolutely no different in local government. Our business
is governance and we need to be focusing very hard on our
governance processes. We need to learn these processes, modify
them when necessary, understand them deeply, repeat them
under pressure and trust in our capabilities to deliver. If we do
that, the scores will look after themselves.
I want to share with you my ten most important elements in
the governance process. Let me fi rst say that good governance is
the set of processes, protocols, rules, relationships and behaviours
which lead to consistently good decisions. In the end good
governance is good decisions. You could make lots of good
decisions without good governance. But you will eventually
run out of luck – eventually, bad governance process will lead
to bad decisions. Consistently good decisions come from good
governance processes and practices.
Good governance is not only a prerequisite for consistently
good decisions, it is almost the sole determinant of your
reputation. The way you govern, the ‘vibe’ in the community
and in the local paper about the way you govern is almost the
sole determinant of your reputation. Believe me, if reputation
matters to you, then drive improvements through good
governance.
So here are the ten core elements:
1. THE COUNCIL PLAN
An articulate council plan is a fundamental fi rst step to achieving
your goals. It is your set of promises to your community for a
four-year term.
Unfortunately, there are too many wrong plans:
• Claytons Plans – say too little and are too bland. Delete the
name of the council from these plans and you can’t tell whose
it is! There’s no ‘vibe’ at all.
• Agreeable Plans – where everyone gets their bit in the plan.
There’s no sense of priorities, everyone agrees with everything
in the plan and we save all the real fi ghts and confl icts to be
fought out one by one over the four-year term.
• Opposition-creating Plans – we don’t do this so often but we
sometimes ‘use the numbers’ to enable the dominant group of
councillors to achieve their goals and fail to a.
10 September 2018· Watch video· Take notes withfor students.docx
10 September 2018
· Watch video
· Take notes with/for students
Zeynep Tufekci TED Talk
“We’re building a dystopia just to make people click on ads”
https://www.ted.com/talks/zeynep_tufekci_we_re_building_a_dystopia_just_to_make_people_click_on_ads?referrer=playlist-the_race_for_your_attention
Keywords from first half
· persuasion architecture
· Algorithms
· Dark posts
· Data brokers
FIRST HALF OF TALK
Profiling people – individual profiles
· AI is tailor-making “ads” for individual
Algorithms – Picking up on human behaviors
· No one (no person) understands the algorithms. But artificial intelligence does, i.e., Facebook and Google
Like taking a cross-section of the brain, and no one knows what she is thinking.
· Only the AI (artificial intelligence) knows.
Artificial Intelligence means
· Internet and technology
· Means that computers can use algorithms and “big data” to learn about an individual
· Facebook and Google, examples of using “persuasion architecture”
Her example of “selling plane tickets to Las Vegas”
· Mania and bipolar people
SECOND HALF OF TALK
“Dark posts”
· Targeting people
· They are not doing public posts; individualized
Good persuasion architecture makes a company successful
· Two parts: Facebook has it; a company can buy it.
Information/news is individualized so that people don’t have the same knowledge or news.
Persuades your political views; who to vote for or not.
· They are not considering your opinion; they are trying to give you an opinion
· Because of a lack of transparency, voters don’t know who are persuading them
Facebook algorithms does not show posts in time order but algorithms selecting which ones to see
· Posts are affecting you emotionally
Reforming the internet/technology?
· We need to take control of the technology, so that information is transparent.
· We need to re-structure the “business model.”
· We should restrict algorithms. For example, not apply algorithms to politicians
· Do not offer data from algorithms to the highest bidder/the biggest company
Week 4
Uniform Crime Report (UCR)
Performance Task
Assignment #1
Quick Links
SCENARIO
TASK
RUBRIC
DOCUMENT LIBRARY
CRJ 105 – Crime and Criminal Behavior
© 2017 Strayer University. All Rights Reserved. This document contains Strayer University Confidential and Proprietary information and may
not be copied, further distributed, or otherwise disclosed in whole or in part, without the expressed written permission of Strayer University.
Page 2 of 14
Scenario
In June of 2016 you begin your first week as an intern at the Happy Town Police Department. As
an intern, you develop a good rapport with Police Chief Rodney Hurt.
On the second week of your internship you begin to ask questions (of the police officers you
have been working with at the department) concerning the Uniform Crime Rate. You tell them
you are taking a class at Strayer University and are interested in gaining a better understanding
of.
10 Research-Based Tips for Enhancing Literacy Instruct.docx
10 Research-Based Tips
for Enhancing Literacy
Instruction for Students
With Intellectual
Disability
Christopher J. Lemons, Jill H. Allor, Stephanie Al Otaiba,
and Lauren M. LeJeune
Literacy
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http://tcx.sagepub.com/
TEACHING EXCEPTIONAL CHILDREN | SEPTEMBER/OCTOBER 2016 19
In the past 2 decades, researchers
(often working closely with parents,
teachers, and other school staff
members) have conducted studies that
have substantially increased
understanding how to effectively teach
children and adolescents with
intellectual disability (ID) to read. This
research focus has been fueled by
increased societal expectations for
individuals with ID, advocacy efforts,
and legislative priorities (e.g.,
strengthened accountability standards).
Findings from this body of work
indicate that children and adolescents
with ID can obtain higher levels of
reading achievement than previously
anticipated (Allor, Mathes, Roberts,
Cheatham, & Al Otaiba, 2014). Recent
research also suggests that the historic
focus on functional reading (e.g., signs,
restaurant words) for this population of
learners is likely too limited of a focus
for many (Browder et al., 2009).
Research outcomes suggest that
integrating components of traditional
reading instruction (e.g., phonics,
phonemic awareness) into programs
for students with ID will lead to
increases in independent reading skills
for many (Allor, Al Otaiba, Ortiz, &
Folsom, 2014). These increased reading
abilities are likely to lead to greater
postsecondary outcomes, including
employment, independence, and
quality of life. Unfortunately, many
teachers remain unsure of how to best
design and deliver reading intervention
for students with ID.
We offer a set of 10 research-based
tips for special education teachers,
general education teachers, and other
members of IEP teams to consider when
planning literacy instruction for students
with ID in order to maximize student
outcomes. For each tip, we describe our
rationale for the recommendation and
provide implementation guidance. Our
Literacy Instruction and Support
Planning Tool can be used by team
members to organize information to
guide planning. Our aim is to provide
educators and IEP team members with a
framework for reflecting on current
reading practices in order to make
research-based adjustments that are
likely to improve student outcomes.
The Conceptual Model of Literacy
Browder and colleagues (2009) proposed
a conceptual model for early literacy
instruction for students with severe
developmental disabilities. We believe
their framework provides guidance for
designing and delivering literacy
instruction for all students wit.
10 Strategic Points for the Prospectus, Proposal, and Direct Pract.docx
10 Strategic Points for the Prospectus, Proposal, and Direct Practice Improvement Project
Week Two Assignment Instructions DNP 820
Please read the instructions thoroughly
Tutor MUST have a good command of the English language
The Rubric must be followed, and all the requirements met
This is a thorough professor, and she has strict requirements
I have attached the PICOT and the first 10 points (DNP 815) assignment. This is a continuation of that assignment. Please read the attachments
The following needs to be addressed:
Please note the followings: The introduction and the literature review are complete and thorough. The problem statement is written clearly PICOT is clear and very good Sample:
· How will you determine the sample size?
· What are the inclusion/exclusion criteria of the subjects? Methodology: Why is the selected methodology is appropriate? Please justify!
· Data collection approach needs to be clear. How will you collect your data? What is needed here is to describe the process of collecting data form signing the informed consent until completing the measuring.
· Data analysis-What test will you use to answer your research question?
Clinical/PICOT Questions:
“In adult patients with CVC at a Clear Lake Regional Medical Center, does interventional staff education about hub hygiene provided to RN’s who access the CVC impact CLABSI rates compared to standard care over a one-month period?”
P: Patients with Central Venous Catheters
I: Staff re-education related to Hygiene of the hub
C: Other hospitals
O: Reduce probability of CLABSIs
T: Two months
“In Patients > 65 years of age with central line catheters at a Clear Lake Regional Medical Center, how does staff training of key personnel and reinforcement of central line catheter hub hygiene after its insertion, along with the apt cleansing of the insertion site, before every approach compared with other area hospitals, reduce the incidence of CLABSIs (Central Line Associated Blood-stream Infections) over a one-month period?”
P: Patients > 65 years of age with a Central line
I: Staff training and reinforcement of Central Catheter, Hub Hygiene
C: Other area hospitals
O: Reduce probability of CLABSIs
“In adult patients, with define CVC (CVC), does interventional staff education about hub hygiene provided to RN’s who access the CVC impact CLABSI rates compared to pre and post-intervention assessments
1. I used central Missouri as an example, replace with a description of your site.
2. While you might be interested in CLASBI rates as a primary variable, there are other patient outcomes that would also be important to consider
3. Ensure you can find validity and reliability measures on CLASBI rates if you cannot, we need to determine another question to help
4. How are your two comparison groups different, as they are currently stated the groups seem very much the same, could you state, standard care instead of pre and post intervention assessments?
5. One month is the longe.
10 Most Common Err.docx
10 Most Common Errors in Suicide Assessment/Intervention
Robert Neimeyer & Angela Pfeiffer
1. Avoidance of Strong Feelings – Diverting discussions away from powerful, intense
emotion and toward a more abstract or intellectualized exchange. These responses keep
interactions on a purely cognitive level and prevent exploration of the more profound
feelings of distress, which may hold the key to successful treatment. Do not retreat to
professionalism, advice-giving, or passivity when faced with intense depression, grief, or
fear.
• Do not analyze and ask why they feel that way.
• USE empathy! “With all the hurt you’ve been experiencing it must be impossible
to hold those tears in.”
• Tears and sobbing are often met with silence of tangential issues instead of
putting into words what the client is mutely expressing: “With all the pain you’re
feeling, it must be impossible to hold those tears in.”
• “I don’t think anyone really cares whether I live or die.” Helpers often shift to
discussing why/asking questions as opposed to reflecting emotional content.
2. Superficial Reassurance – trivial responses to clients’ expressions of acute distress and
hopelessness can do more harm than good. Rather than reassuring clients, these responses
risk alienating them and deepening their feelings of being isolated in their distress.
• Attempts to emphasize more positive or optimistic aspects of the situation: “But
you’re so young and have so much to live for!”
• Premature offering of a prepackaged meaning for the client’s difficulties: “Well
life works in mysterious ways. Maybe this is life’s way of challenging you.”
• Directly contradicting the client’s protest of anguish: “Things can’t be all that
bad.”
3. Professionalism – Insulating or protecting by distancing and detaching from the brutal,
exhausting realities of clients’ lives by seeking refuge in the comfortable boundaries of role
definition. The exaggerated air of objectivity/disinterest implies a hierarchical relationship,
which may disempower the client. Although intended to put a person at ease, this can come
across as disinterest or hierarchical. Empathy is a more facilitative response.
• “My thoughts are so awful I could never tell anyone” is often met with, “You can
tell me. I’m a professional” as opposed to the riskier, empathic reply.
4. Inadequate Assessment of Suicidal Intent – Implicit negation of suicide threat by
responding to indirect and direct expressions of risk with avoidance or reassurance rather
than a prompt assessment of the level of intent, planning, and lethality. Most common
among physicians and master’s level counselors – due to time pressures, personal theories
or discomfort with intense feelings.
• What they’ve been thinking, For how long, Specific plans/means, Previous
attempts
1
• “There’s nowhere left to turn” and “I’d be better off dead” should be met with
“You sound so miserable. Are y.
10 Introduction Ask any IT manager about the chall.docx
10
Introduction
Ask any IT manager about the challenges in conveying IT risks in terms of business risks, or
about translating business goals into IT goals. It’s a common difficulty, as the worlds of business
and IT do not inherently align. This lack of alignment was unresolved until ISACA developed a
framework called COBIT, first released in 1996. ISACA is an IT professionals’ association
centered on auditing and IT governance. This lab will focus on the COBIT framework. The lab
uses the latest two versions: COBIT 4.1, which is currently the most implemented version, and
COBIT 5, which is the latest version released in June 2012.
Because COBIT 4.1 is freely available at the time of this writing, the lab uses this version to
present handling of risk management. Presentation is done making use of a set of COBIT control
objectives called P09. COBIT P09’s purpose is to guide the scope of risk management for an IT
infrastructure. The COBIT P09 risk management controls help organize the identified risks,
threats, and vulnerabilities, enabling you to manage and remediate them. This lab will also
present how COBIT shifts from the term “control objectives” to a set of principles and enablers
in version 5.
In this lab, you will define COBIT P09, you will describe COBIT P09’s six control objectives,
you will explain how the threats and vulnerabilities align to the definition for the assessment and
management of risks, and you will use COBIT P09 to determine the scope of risk management
for an IT infrastructure.
Learning Objectives
Upon completing this lab, you will be able to:
Define what COBIT (Control Objectives for Information and related Technology) P09 risk
management is for an IT infrastructure.
Describe COBIT P09’s six control objectives that are used as benchmarks for IT risk
assessment and risk management.
Explain how threats and vulnerabilities align to the COBIT P09 risk management definition
for the assessment and management of IT risks.
Use the COBIT P09 controls as a guide to define the scope of risk management for an IT
infrastructure.
Apply the COBIT P09 controls to help organize the identified IT risks, threats, and
vulnerabilities.
Lab #2 Aligning Risks, Threats, and Vulnerabilities to
COBIT P09 Risk Management Controls
11
Copyright © 2015 by Jones & Bartlett Learning, LLC, an Ascend Learning Company. All rights reserved.
www.jblearning.com Student Lab Manual
Deliverables
Upon completion of this lab, you are required to provide the following deliverables to your
instructor:
1. Lab Report file;
2. Lab Assessments file.
12 | LAB #2 Aligning Risks, Threats, and Vulnerabilities to COBIT P09 Risk
Management Controls
Hands-On Steps
Note:
This is a paper-based lab. To successfully complete the deliverables for this lab, you will need access to Microsoft®
Word or another compatible word processor. For some labs, you may also need access to a.
10 Customer Acquisition and Relationship ManagementDmitry .docx
10 Customer Acquisition and Relationship Management
Dmitry Kalinovsky/iStock/Thinkstock
Patronage by loyal customers yields 65 percent of a typical business’ volume.
—American Management Association
Learning Objectives
After reading this chapter, you should be able to do the following:
• Identify how organizational growth is best achieved by an HCO, and state the effect of the product life cycle
on an organization’s revenues.
• Discuss several approaches that an HCO can use to attract new customers, or patients.
• Delineate the premises upon which customer relationship management is based.
• Explain the advantages of database marketing, and identify ways for an organization to use a marketing
database.
• Provide examples of how an HCO can effectively manage real and virtual customer interactions.
Section 10.1Organizational Growth
Introduction
This chapter focuses on how to attract and keep patients through understanding and meeting
their needs. The long-term success of an HCO depends on its ability to attract new patients
and turn them into loyal customers who not only return for needed services, but recommend
the HCO’s services to others. This is especially important because of the nature of the life cycle
for products and services, from their introduction to their decline. Attracting new customers
and keeping existing ones involves interacting internally and externally with patients, analyz-
ing data on current patients, and managing real and virtual interactions with patients. Manag-
ing relationships with patients helps to ensure that patients stay informed and feel connected
to the HCO through its internal and external customer relationship efforts.
10.1 Organizational Growth
Most organizations have growth as a basic goal. Growth means an increase in revenue and
a greater impact on the communities served. Growth also creates opportunities for staff to
advance and take on new responsibilities. While many activities can help an HCO grow, the
most important is the development of an effective marketing plan to provide a consistent
platform for the organization’s visibility and to brand the HCO as an attractive option for
medical services. The development of an effective marketing plan was stressed in Chapter 8
as a basic marketing need for an HCO: that is, to inform new and existing customers of the
organization’s services and to persuade them to continue using or to try using these services.
Product/Service Life Cycles
Like people, products and services have a life cycle. The term product life cycle refers to the
stages that a product or service goes through from the time it is introduced until it is taken
off the market or “dies.” The stages of the product life cycle, illustrated in Figure 10.1, usually
include the following descriptions:
• Introduction—The stage of researching, developing, and launching the product or
service.
• Growth—The stage when revenues are increasing at a fast rate.
• M.
10 ELEMENTS OF LITERATURE (FROM A TO Z) 1 PLOT (seri.docx
10 ELEMENTS OF LITERATURE (FROM A TO Z)
1 PLOT (series of events which make-up a story)
A 5-POINT PLOT SEQUENCE:
Exposition: initial part of a story where readers are exposed to setting and characters.
Situation: event in the story which kicks the action forward and begs for an outcome.
Complication: difficulties faced by characters as they experience internal and external conflicts.
Climax: watershed moment when it becomes apparent that major conflicts will be resolved.
Resolution: (Denouement): tying up of the loose ends of the story.
B SUB-PLOTS: PLOTS BENEATH AND AROUND THE MAJOR PLOT.
Foreshadowing: hints and clues of plot.
Flashback: portion of a plot when a character relives a past experience.
Frame story: plot which begins in the present, quickly goes to the past for story, then returns.
Episodic plot: a large plot sequence that is made up of a series of minor plot sequences.
Plausibility: likelihood that certain events within a plot can occur.
Soap Opera: multiple stories told along the sequence and spaced to sustain continual interest.
2 POINT OF VIEW (eyes through which a story is told)
C First Person major (participant major): narrator is the major character in the story.
First Person minor (participant minor): narrator is a minor character in the story.
Third Person omniscient (non-participant omniscient): narrator is outside the story and capable of
seeing into the heart, mind and motivations of all characters.
Third Person limited (non-participant limited): narrator is outside the story and capable of seeing, at
most, into the heart, mind, and motivations of one character. Narrator is
objective if not omniscient.
3 SETTING (time and place of a story, both physical and psychological)
D Physical (external) Setting: the time and place of a story, general and specific.
Psychological (internal) Setting: mood, tone, and temper of story.
E Major Tempers: Romanticism: man is free to choose against moral, spiritual backdrops. If you make
good decisions, you will be rewarded. There is a God that is in control
Existentialism: man is free to choose absent backdrops other than his own. If he feels it is right, then it is
right.
Naturalism: man is largely trapped, a cog in the impersonal machinery. He has no real way of
changing his circumstances.
Realism: eclectic view, but leaning toward the naturalistic position. Sometimes good things happen to
bad people, and sometimes bad things happen to good people. That is just the way it is.
F Other Tempers: Classicism: Man is free, but appears to be trapped due to conflicting codes.
Transcendentalism: Offshoot of romanticism, nature is a window to divine.
Nihilism: Fallout of either extreme existentialism or naturalism. Life is horrible and painful. It
lacks meaning.
4 CONFLICT (nature of the problems faced)
G Four Universal Conflicts: Person versus self
Pe.
10 ers. Although one can learn definitions favor- able to .docx
10
ers. Although one can learn definitions favor-
able to crime from law-abiding individuals,
one is most likely to learn such definitions
fiom delinquent friends or criminal family
A Theory of sociation members. with These delinquent studies typically others find is the that best as-
Differential predictor of crime, and that these delinquent others partly influence crime by leading the
individual to adopt beliefs conducive to
Association crime (see Agnew, 2000; Akers, 1998; Akers and Sellers, 2004; Waw, 2001 for summaries
of such studies).
Sutherland 's theory has also inspired
Edwin H. Sutherland dnd much additional theorizing in criminology.
Theorists have attempted to better describe
Donald R. Cressey the nature ofthose definitions favorable to vi-
olation of the law (see the next selection in
Chapter 11 by Sykes and Matza). They have
Before Sutherland developed his theory, attempted to better describe the processes by
crime was usually explained in t e r n ofmul- which we learn criminal behavior from oth-
tiple factors-like social class, broken homes, ers (see the description o f social learning the-
age, race, urban or rural location, and mental ory by Akers in Chapter 12). And they have
disorder. Sutherland developed his theory of drawn on Sutherland in an effort to explain
differential association in an effort to explain group differences in crime rates (see the Wolf-
why these various factors were related to gang and Ferracuti and Anderson selections
crime. In doing so, he hoped to organize and in this part). Sutherland's theory o f differen-
integrate the research on crime u p to that tial association, then, is one of the enduring
point, as well as to guide future research. classics in criminology (for excellent discus-
Sutherlandk theory is stated in the f o m o f sions ofthe current state o f differential asso-
nine propositions. He argues that criminal ciation theory, see Matsueda, 1988, and Waw,
behavior is learned by interacting with oth- 2001).
ers, especially intimate others. Criminals
learn both the techniques of committing
crime and the definitions favorable to crime References
from these others. The s k t h proposition> Agnew Robe*. '2000. "Sources of Mminality:
which f o r n the heart of the theory, states Strain and Subcultural Theories." In Joseph F.
that 'h person becomes delinquent because of Sheley (ed.), Criminology: A Contemporary ,
an excess of definitions favorable to law vio- Handbook, 3rd edition, pp. 349-371. Belmont,
lation over definitions unfavorable to viola- CA: Wadsworth.
tion oflaw."According to Sutherland, factors Akers, Ronald L. 1998. Social Learning and So-
such as social class, race, and broken homes cia1 Structure: A General Theory of Crime and
influence crime because they affect the likeli- Deviance. Boston: Northeastern University
hood that individuals willdssociate with oth- Press.
ers who present definitions favorable to Akers, Ronal.
10 academic sources about the topic (Why is America so violent).docx
10 academic sources about the topic (Why is America so violent?)
*Address all 10 academic sources in the literature review
*What have they added to the literature?
*End literature review with "What has not been addressed is.... "and with "What I'm Addressing....." (I am addressing that overpopulation is the main reason America is so violent).
*Literature review should be a minimum of 2-2 1/2 pages
Attached are my 10 academic sources.
.
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- 1. I’m supposed to visit a museum and write 4 pages about the art on it but I didn’t go And here is the link to the museum so you can have some information: http://www.mcasd.org/exhibitions/on-view Name of the museum: Museum of Contemporary Art, San Diego Downtown (NOT La Jolla) And now read the assignment below This field trip provides students with a visual experience of art in its present medium, rather than by slides or copies in books, etc. Students completing this field trip will explore the Museum of Contemporary Art in downtown San Diego and demonstrate the ability to express a critical analysis by addressing the following specific questions and taking personal notes on the exhibitions. Assignment (written paper format in paragraphs) Complete ALL parts in any order. Part I – Dimensions of Black: A Collaboration with the San Diego African American Museum of Fine Art (12/16/2016- 4/30/2017) 1. Select three works of art in this exhibit which you feel address an experience about race, gender and/or sexuality? Remember to state the artist’s name, title of work, medium used and date. 2. What message do you think each artist created in your three selected works of art? Do you personally relate to any of these works of art? Why or why not? Part II – Jennifer Steinkamp: Madame Curie (12/16/2016 – 8/20/2017) 1. An installation is a work of art which occupies an entire room. As a viewer you participate with the work of art in a different way than viewing a painting on a wall or a sculpture on a pedestal. Describe the feeling you had when you entered this installation. 2. View the piece from a distance and also up close to the wall.
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