KVB127 01 Unit Overview and Introduction
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This document provides an overview of the KVB127 Visual Art Open Studio 2 unit for week 1. It introduces the unit objectives of developing art practice through process and experimentation. It outlines the weekly structure of seminars, critiques, and studio time. Assessment includes an oral presentation and final folio. Key themes to be covered are identity, body, time/memory, environment, and place. Examples are provided of artworks demonstrating process and techniques. Students are instructed to review resources, consider how process influences artwork, and bring questions to the first class. An in-class task of addition and subtraction is assigned, along with a homework task using a single verb.
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This document provides an overview and introduction for students taking the KVB117 Visual Art Open Studio 1 course. It outlines the unit coordinators and tutors, the objectives of developing art practice skills and visual literacy, and the structure of lectures, studio sessions, and assessments. Students are expected to develop a blog to document their creative process and complete works. The document provides guidance on the use of studio spaces and workshops, the focus on material exploration and conceptual development in artmaking, and weekly tasks covering sound-to-image and image-to-sound exercises.
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This document provides definitions of key art terms including:
- Art is a manifestation of aesthetic culture that transforms nature to create meanings apprehended by our senses or imagination.
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2 quarter art for gr 7-printmaking 2nd qtr (6 plans)
For more of my uploads please visit me:
PPT - http://brisktopia.com/Jd3
Videos - http://brisktopia.com/K4A
FB page - http://brisktopia.com/Knf
Choir sheets are also available just ping me- http://brisktopia.com/PVd
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This document provides an overview for a visual art open studio course. It includes:
- Acknowledgement of the Indigenous owners of the land and their culture and struggle.
- Course objectives of developing art practice through process and experimentation, visual literacy, and independent and group work.
- Assessment details including an oral presentation and final folio with rationale.
- An introduction to themes covered throughout the course like identity, time, body, environment, and belief systems.
- Examples of artists and their exploration of materials, processes, forms, and sites in their work.
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2) It emphasizes the importance of formal description and analyzing the visual elements and principles of design in an artwork before interpreting its meaning.
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Minimalism emerged in the 1960s as a reaction against abstract expressionism. Minimalist artists aimed to eliminate composition from their work and create purely visual, non-representational pieces. Key minimalist artists included Frank Stella, Sol LeWitt, Donald Judd, and Dan Flavin. They used industrial materials and geometric forms to create ordered and simplistic sculptures and installations. Their goal was for the works to be seen as literal objects rather than symbolic representations.
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2 quarter art for gr 7-printmaking 2nd qtr (6 plans)
For more of my uploads please visit me:
PPT - http://brisktopia.com/Jd3
Videos - http://brisktopia.com/K4A
FB page - http://brisktopia.com/Knf
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A list of all famous minimalist artists, architects and designers
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This document provides an overview for a visual art open studio course. It includes:
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- Examples of artists and their exploration of materials, processes, forms, and sites in their work.
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Brief history of printmaking presentation illustrating the different techniques of printmaking from lino-cuts, silkscreen, woodcuts and etching/engraving from artists past and present.
KVB127 05 Time and Memory
The document discusses how contemporary visual artists after 1980 have engaged with themes of time and memory. It provides examples of works by various artists such as James Nares, Joel Meyerowitz, Hiroshi Sugimoto, Christian Marclay, Lisa Reihana, and others that represent different approaches to evoking time and memory through material traces, temporality, history, and intergenerational dialogue. The document also provides thought-provoking questions on how each artist engages with notions of history and invites readers to consider general principles of art practice demonstrated by these artists. Students are asked to review and reflect on the resources, and to discuss how time and memory are represented in the works.
History of art n design (week 1 2)
The document provides an overview of chapters 1 and 2 from a book on the history of art and design.
Chapter 1 discusses how appearance influences perception and how art represents ideas and feelings. It also examines talent, observation skills, technical skills, and viewing art as a language.
Chapter 2 looks at how standards of quality have changed over time and place. It then defines the basic elements of design such as line, shape, form, space, and color, exploring types of lines, functions of lines, and color theory including primary/secondary colors and use of value.
Order and/or Disorder
The document provides guidance for an art exam, including the four assessment objectives that must be addressed. It outlines six starting points for project ideas: People, Places, Natural World, Objects, Activities, and Imagination. Each section features several artist examples to inspire ideas related to the given theme. The document emphasizes beginning work on the exam paper immediately and provides exam dates.
KVB127 02 Identity 2021
This document discusses the topic of identity as explored by various artists in their works. It introduces several artists such as Nikki S. Lee, The Guerrilla Girls, David Wojnarowicz, and Shirin Neshat, and provides examples of works by each that relate to identities such as gender, race, culture, and sexual orientation. Students are asked to analyze how the artists explore issues of identity through their chosen materials and techniques. They are also prompted to consider how the artists portray or position their own identities through their artworks.
Chapter 22 conceptual and activist art
Joseph Kosuth's conceptual artwork One and Three Chairs from 1965 consisted of a real chair with a photo of the chair and the dictionary definition, exemplifying the emerging Conceptual art movement that valued an artwork's concept over physical properties. Lawrence Weiner, Douglas Huebler, and Robert Barry were influential early Conceptual artists who created text-based works or documented everyday activities. Hans Haacke and Michael Asher practiced institutional critique, questioning how art was valued and presented in society. Bruce Nauman worked across mediums like video and neon to blend Conceptualism with performance and language-based works. The feminist art movement, led by Judy Chicago and Miriam Schapiro at CalArts, encouraged female artists to address
Art since 1945
After WWII, Abstract Expressionism became the first truly American art movement, centered in New York City. It featured gestural abstraction like Jackson Pollock's drip paintings and chromatic abstraction works by Mark Rothko using blocks of color. Meanwhile, Pop Art emerged in the 1960s as a reaction, appropriating imagery from popular culture in works like Richard Hamilton's collage. Sculpture also evolved through minimalism which emphasized objecthood over imagery in sculptures by artists like Donald Judd.
AICLE - MODERN ART
Here are the key points from the listening:
1. Some painters wanted to break the rules from the 19th century because the world was changing very fast politically, socially and scientifically and they felt art needed to change and create something new too.
2. Photography contributed to breaking the rules because it could capture realistic images, so realism in painting was no longer seen as challenging or innovative by some artists.
3. From this period onward, the subject of painting would not necessarily be realistic depictions of external reality, but could experiment with different styles, techniques and ways of expressing ideas, emotions and experiences.
Lesson 6: interpretion and analysis in contemporary art
This document provides information about analyzing and interpreting contemporary art. It discusses key concepts like modernism, postmodernism, and influential artists. Modernism emphasized rational thinking while postmodernism embraced irrationality. The document outlines several steps for analyzing art, including description, analysis, interpretation, and judgment. It profiles important art critics like Immanuel Kant, Clive Bell, Roger Fry, and Harold Rosenberg, and how they shaped views of contemporary art. Overall, the document aims to teach how to properly analyze and interpret modern and postmodern artworks.
Places
This document provides guidance for students on an art assignment about places of personal significance. It instructs students to choose two artworks to analyze using an analysis guide. It then prompts students to create an artwork representing an important place in their life, explaining why it is significant and how they will visually depict it. Students are told to create a visual journal with pictures, ideas and materials to develop their project. Finally, they will draw, paint and display their completed place-based artwork in December.
Collaboration 2013 final
This document discusses collaboration in art and provides several examples. It notes that artists have long collaborated in various ways, such as with studios, other artists, technicians, and the public. Collaboration can take hidden or visible forms and be acknowledged or unacknowledged. The document then provides examples of collaborative artworks and collectives, including works by Damien Hirst, WochenKlausur, Fluxus, CoLab, Tim Rollins + K.O.S., and many artist duos and groups. It discusses strategies for collaboration, such as using instructions or gradually blending approaches. Collaboration is presented as a way to gain critical feedback and broaden skills.
Fall15Module1.1
In our first class we survey a broad range of possible modes of representation covered by the category of visual culture.
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Lesson 6: interpretion and analysis in contemporary art
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KVB127 07 Belief Systems 2021
This document discusses themes related to belief systems in contemporary visual art after 1980. It provides examples of artists who incorporate spirituality and religion into their work from a variety of cultural traditions. The document examines how artists express their own belief systems and values through their work, and how globalization has influenced the incorporation of non-Western religious motifs and practices. It highlights several artists such as Bill Viola, Shirazeh Houshiary, and Angelica Mesiti who reflect on themes of faith, ritual, and culture in their multimedia installations and videos.
KVB127 07 Place 2020
This document discusses the theme of place in contemporary visual art. It provides examples of artists who address place in their work in different ways:
- Some artists respond to specific environments, scenes, or ecosystems to capture the appearance or feeling of real places through memory or imagination.
- Others grapple with ideas of place in a more conceptual manner.
- The document lists several artists who explore place in their work, such as Mark DION, Robert SMITHSON, Michael ASHER, Julie MEHRETU, and Doris SALCEDO.
- It also presents questions for reflection on how place informs artistic approaches and how artworks can reflect multiple places.
KVB127 05 Environment 2021
The document provides information about various artists and artworks that explore environmental themes, such as land art, site-specific works, and activism. It discusses land art from the 1970s, works that combine knowledge systems, and art that collaborates with communities. Examples mentioned include works by Andy Goldsworthy, Nancy Holt, Alan Sonfist, Agnes Denes, Lucas Ihlein and Kim Williams, Judy Watson, Ken Yonetani and Julia Yonetani, SUPERFLEX, and Mark Dion and the Chicago Urban Ecology Action Group. The document also provides reflection questions about how human activities relate to the natural world and how climate change might affect artmaking.
Botanica Pres Week 5 Rendell
An overview of key ideas from the reading: Rendell, J. (2008). Space, place and site in critical spatial arts practice. In C. Cartiere & S. Willis (Eds.), The Practice of Public Art (0 ed., pp. 33–55). Routledge. https://doi.org/10.4324/9780203926673
KVB127 04 Body 2021
This document provides an overview of themes and concepts related to representations of the body in contemporary visual art after 1980. It discusses topics like beauty and the grotesque, performance art, sexuality and the gaze, and posthumanism. It also lists specific artists and artworks that exemplify exploring identity through expressions of gender, race, ability, and other personal characteristics. Students are prompted to consider how the works challenge or reinforce notions of bodily identity and to discuss the emotions or feelings conveyed by the artworks.
KVB127 03 Time and Memory
This document discusses themes of time and memory in contemporary visual art after 1980. It provides examples of artworks that engage with these themes in different ways, such as indexical traces of time in materials, temporality as an active element, histories and their social impacts, and intergenerational dialogue through biography and autobiography. The document also includes reflection questions on how different artists evoke notions of time and memory through their works.
KVB127 08 Belief Systems 2020
Historically, art and spirituality have often reinforced each other through shared belief systems expressed in works. Contemporary art increasingly draws from global cultures and non-Western motifs to represent diverse beliefs. Bill Viola's video installation The Crossing depicts the need for art to help reclaim time for stillness and contemplation.
KVB127 07 Place
Contemporary artists address the theme of place in their work in several ways: by responding to specific environments, trying to capture the feeling of remembered places, inventing imaginary places, or conceptualizing ideas of place. Examples include Mark DION's work with the Chicago Urban Ecology Action Group documenting real environments, Julie MEHRETU's ink painting "Black City" representing an imaginary place, and Emily Kame KNGWARREYE's acrylic painting "Big Yam" of her Anmatyerre homeland. Artists represent place through various mediums and consider the relationships between real and imagined places and how human actions inform our experiences of places.
KVB127 06 Environment
This document discusses artists who explore environmental themes and our relationship with the natural world. It provides examples of land art from the 1970s that featured site-specific, experiential works. More recent artists combine different knowledge systems and engage in environmental actions or socially engaged practices involving field work and community collaboration. Students are prompted to reflect on whether human activities can be considered separate from nature, if 'nature' is as constructed as the urban environment, how environmental ethics can be embodied in artworks, and how climate change affects how we make art and an artist's responsibilities.
Space, place and site in critical spatial arts practice
An overview of the key ideas of Rendell, J. (2008). Space, place and site in critical spatial arts practice. In C. Cartiere & S. Willis (Eds.), The Practice of Public Art (0 ed., pp. 33–55). Routledge. https://doi.org/10.4324/9780203926673
Time in place: New genre public art a decade later
The document summarizes a reading about how public art has evolved from earlier forms to new genre public art, which focuses on community engagement and social issues. It discusses key terms like dialogic art, civic art, and relation aesthetics. Case studies of public art projects are presented that highlight history, engage communities, and tackle social issues. The reading argues new genre public art is process-based and dependent on audience interaction over long periods. This relates to the Botanica project, which aims to engage communities through interactive art and raise awareness of social issues.
Sculpture in the Expanded Field
Rosalind Krauss argues that the traditional definition and logic of sculpture has expanded over time. Originally, sculpture was closely tied to the logic of the monument - meant to commemorate a specific place. However, in the modernist period, sculpture became more abstract and nomadic, detached from representations of space. Krauss claims that in postmodernism, sculpture has become one term among many possibilities in an expanded cultural field, as artists employ different media and logic not defined by materials or specific mediums. Sculpture's internal logic is no longer centered around its definition but relates to cultural terms and positions.
Design Specs in the Anthropocene
A summary of Ellsworth, E., & Kruse, J. (2015). Design Specs in the Anthropocene: Imagining the Force of 30,000 Years of Geologic Change. In E. Turpin & H. Davis (Eds.), Art in the Anthropocene: Encounters Among Aesthetics, Politics, Environments and Epistemologies (pp. 155–165). Open Humanities Press. https://doi.org/10.26530/OAPEN_560010
Social Aesthetics
A summary of Larsen, L. B. (2006). Social Aesthetics. In C. Bishop (Ed.), Participation (p. tbc). Whitechapel ; MIT Press.
KVB127 04 Assessment 1
This document provides instructions for Assessment 1 for a visual art course. It outlines two components: 1) A 3-minute oral presentation analyzing the creative processes and ideas behind one of the student's artworks. 2) A 600-word written submission analyzing connections between themes in one work the student saw this semester and one of their own artworks, different from the one discussed in the oral presentation. Guidelines are provided for both assignments, including describing the works, analyzing processes and themes, using references, and submitting video and written versions by the deadlines.
Indigenous Approaches to Place
A summary of: Memmott, P., & Long, S. J. (2001). Place Theory and Place Maintenance in Indigenous Australia. Urban Policy and Research, 20(1), 39–56.
KVB127 03 The Body
This document discusses how artists have used the body as a theme in visual art after 1980. It covers topics like beauty and the grotesque, performance, and the posthuman. It provides examples of works by artists from different time periods, cultures and backgrounds that reference the body in various ways. Some key works mentioned include Antony Gormley's Still Standing intervention at the Hermitage Museum, Wangechi Mutu's Lizard Love installation, and Hannah Bronte's Heala mixed media piece. The document suggests assignments for students to consider the body and produce works derived from bodily actions or cultural backgrounds.
Week 2: Researching Practices
Group research into examples of creative practitioners who explore site-specific approaches relevant to Botanica 2021
KVB117 11 Writing your Rationale II: Interpretation
In this module we will look at ways of extending your analysis of an artwork from description to interpretation
KVB117 10 Writing your Rationale I: Description
In this module we will break down the process of visual analysis by focussing on 4 key principles of good descriptive writing.
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Syllabus
Chapter-1
Introduction to objective, scope and outcome the subject
Chapter 2
Introduction: Scope and Specialization of Civil Engineering, Role of civil Engineer in Society, Impact of infrastructural development on economy of country.
Chapter 3
Surveying: Object Principles & Types of Surveying; Site Plans, Plans & Maps; Scales & Unit of different Measurements.
Linear Measurements: Instruments used. Linear Measurement by Tape, Ranging out Survey Lines and overcoming Obstructions; Measurements on sloping ground; Tape corrections, conventional symbols. Angular Measurements: Instruments used; Introduction to Compass Surveying, Bearings and Longitude & Latitude of a Line, Introduction to total station.
Levelling: Instrument used Object of levelling, Methods of levelling in brief, and Contour maps.
Chapter 4
Buildings: Selection of site for Buildings, Layout of Building Plan, Types of buildings, Plinth area, carpet area, floor space index, Introduction to building byelaws, concept of sun light & ventilation. Components of Buildings & their functions, Basic concept of R.C.C., Introduction to types of foundation
Chapter 5
Transportation: Introduction to Transportation Engineering; Traffic and Road Safety: Types and Characteristics of Various Modes of Transportation; Various Road Traffic Signs, Causes of Accidents and Road Safety Measures.
Chapter 6
Environmental Engineering: Environmental Pollution, Environmental Acts and Regulations, Functional Concepts of Ecology, Basics of Species, Biodiversity, Ecosystem, Hydrological Cycle; Chemical Cycles: Carbon, Nitrogen & Phosphorus; Energy Flow in Ecosystems.
Water Pollution: Water Quality standards, Introduction to Treatment & Disposal of Waste Water. Reuse and Saving of Water, Rain Water Harvesting. Solid Waste Management: Classification of Solid Waste, Collection, Transportation and Disposal of Solid. Recycling of Solid Waste: Energy Recovery, Sanitary Landfill, On-Site Sanitation. Air & Noise Pollution: Primary and Secondary air pollutants, Harmful effects of Air Pollution, Control of Air Pollution. . Noise Pollution Harmful Effects of noise pollution, control of noise pollution, Global warming & Climate Change, Ozone depletion, Greenhouse effect
Text Books:
1. Palancharmy, Basic Civil Engineering, McGraw Hill publishers.
2. Satheesh Gopi, Basic Civil Engineering, Pearson Publishers.
3. Ketki Rangwala Dalal, Essentials of Civil Engineering, Charotar Publishing House.
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KVB127 01 Unit Overview and Introduction
- 1. KVB127 Visual Art Open Studio 2 Week 1: Unit Overview and Introduction
- 2. First Nations Acknowledgement I acknowledge the Turrbal and Yugara, as the First Nations owners of the unceded lands where QUT now stands. I pay respect to their Elders, lores, customs and creation spirits and the important role Aboriginal and Torres Strait Islander people play within the QUT community. I recognise that these lands have always been places of teaching, research and learning, and acknowledge the Turrbal and Yugara peoples’ living culture, knowledge and struggle in this region. Dave Hullfish Bailey and Uncle Sam Watson, Maiwar Performance 2009. Performance View, Brisbane River (Maiwar)
- 4. Objectives: the development of your art practice Understanding of studio experimentation through PROCESS and EXPANSION – making and thinking the development of your visual literacy Identify and discuss PROCESS in relation to contemporary art and selected THEMES to get you working independently and in groups Ugo RONDINONE (Swiss b. 1963) achtzehnterjanuarzweitausendundnull, 2000 acrylic airbrush on canvas, silkscreen on plexiglass plaque, ø 270 cm
- 5. Structure: Studio 1 (1hr) Seminars (key themes), crits, and reviews (inc Oral videos) + Studio 2 (2hr) Activities (inc digital labs), reviews and consultations Blackboard unit details, class schedule, assessment details, handouts, lecture notes, faculty info and links Tim Payungka TJAPANGARTI, Tingarri Story, 1975, synthetic polymer paint on canvas, 190 x 170 cm. National Museum of Australia
- 6. Assessment: 1. Oral Presentation (40%) 3 mins + Notes/Written(600 words) Weeks 5-10 (via video and Blackboard) 2. Folio/Blog/Rationale/Artist Review (60%) Folio (min. 12 works) Rationale/Artist Review (1200 words) Due Week 13 : Folio Interviews (live and via Blackboard) Tracey EMIN, We Have Lift Off, 1998 monoprint
- 7. Grading 1.Involvement Have you completed all of the tasks? Are you challenging yourself by exploring scale, quantity or complexity? 2.Creative Development Have you explored a range of different materials and ways of making art (and documented these on your blog)? Are you showing that you have reflected on what ’works’ and what does not? 3.Quality of Research and Reflection Are you looking at good examples of contemporary and reflecting on how PROCESS and the key THEMES play a role in these works? 4.Clarity of communication Have you observed correct academic format in your written work? Spellchecked? Have you conveyed your ideas clearly? Sean LANDERS, Le'Go My Ego, 2007, oil on linen, 198.1 x 243.8 cm
- 8. Themes Ceal FLOYER (British b.1968), Press, 2014, Plexiglas and newsprint, 75 x 50 cm. • Identity (Wk 2) How we locate and see ourselves in the world, especially in relation to normative codes and values (gender, neoliberal, colonial, etc) • Body (Wk 3) How the body is considered as a sensory experience and/or cultural construction • Time/memory (Wk 5) Time and the sensations, images, and emotions associated with memory • Environment (Wk 6) The relationship between humans and the natural world • Place (Wk 7) How location, place and setting inform artists’ practice
- 9. Basic Features of an Artwork: Material ‘Stuff’ (usually nouns) Process Actions, techniques (usually verbs) Form Composition, relationship between parts (usually adjectives) Site Place (physical, institutional, cultural, historical)
- 10. ROBERT MORRIS (American b. 1931) Continuous Project Altered Daily 1969 Process • Extends beyond simple‘technique’ • The method by which an artwork is made. • Is arguably the dominant aspect of the artist’s experience of his/her own work. • Has ‘corporeal’ connotations – a record of the artist’s bodily actions. • ‘Process Art’ of the 1960s emphasised the performative dimension of art making (as opposed to its final form). • time - change - transience were seen as an antidote to the order and structure of earlier modern art.
- 11. Hans NAMUTH (German/American 1915–1990) Jackson Pollock painting One and Lee Krasner, 1950 Edvard MUNCH (Norwegian, 1863-1944) The Scream, 1893
- 12. Lynda BENGLIS (American b. 1941) Blatt 1969 Richard SERRA (American b.1939) Splashing, 1968 lead
- 13. Claude CAHUN Que me veux-tu? (Do you want me?) 1928 Bracha ETTINGER (Israeli/French b. 1948) Lichtenburg Flower Medusa 2010-12, india ink, xerography on paper
- 14. Ellsworth KELLY (American, born 1923) Spectrum Colors Arranged by Chance 11, 1951 cut and pasted color coated paper and pencil on four sheets of paper, 38 1/4 in x 38 1/4in Chance Tacita DEAN (British, born 1965) Four, Five, Six and Seven Leaf Clover Collection (1972–present)
- 15. ROBERT MORRIS (American b. 1931) Continuous Project Altered Daily 1969 Week 1 Prepare for class by reviewing the resources in the Week 1 folder and considering the following questions: •How does process influence the form of each work? •How do these artists/writers describe the role of process in the work? •What content/affects does process create in each work? Make notes in your blog and bring your observations/questions to class.
- 16. 1.1 ADD/SUBTRACT (In-class Task) In pairs, create a work using the combined processes of addition and subtraction. Week 1 Studio
- 17. 2.1 VERB (Homework Task) Produce a work using the sustained application of a single verb Feedback Session: Week 2 Tutorial