KVB127 02 Identity
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This document discusses identity and how artists explore and express different aspects of identity through their work. It provides examples of artists who examine gender, race, culture, sexual orientation, and other identity markers. Students are asked to consider how the chosen artists represent various identities, how materials and processes shape the works, and how artists position themselves in relation to different identities. The document also includes homework prompting students to explore their own cultural backgrounds and create work based on a process from their heritage.
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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.
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This document provides an overview for a visual art open studio course. It includes:
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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.
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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.
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This document provides an overview for a visual art open studio course. It includes:
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- 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.
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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.
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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.
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RUIZ BAÑON, Maria Luz. LAND ART. 2ND SCULPTURE 14/15
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1. looking to learn naea 2011
Here are some tips for analyzing images:
- Describe what you see without making inferences. Focus on details.
- Note the composition - where is the subject located, angles, lighting, etc.
- Consider when and where it was created to understand context.
- Think about the intended audience and purpose. Was it meant to educate, persuade, etc.
- Compare and contrast images on the same topic from different eras or cultures.
- Identify any symbols and consider their meaning both originally and how meanings can change over time.
- Discuss how the image makes you feel and what message or ideas it conveys. Support with evidence from the image.
- Analyze the
NATIONAL ARTISTS OF THE PHILIPPINES
The document summarizes information about National Artists of the Philippines. It discusses that the National Artists Award bestows the highest recognition to Filipino artists and is administered by the NCCA and CCP. It was established in 1972 by President Ferdinand Marcos. The first recipient was Fernando Amorsolo. Currently there are 66 recipients across 7 disciplines, although other categories have been awarded by presidential prerogative, such as historical literature and fashion design. Examples of works by National Artists on display in public spaces at UP Diliman are provided. Specific details about the Church of the Holy Sacrifice designed by National Artist Leandro Locsin are also given.
Final ncss 2010 art
This document discusses ways that visual arts can be used to expand student understanding of history in social studies classrooms. It provides 10 concepts for how visual arts can deepen historical study, such as allowing students to research particular artists or art movements to better understand historical periods. Other concepts include studying art-related technologies, interpreting meaning from images, analyzing artistic styles, and using art to experience history. The document provides examples for each concept and additional resources for integrating visual arts and social studies.
Lecture, 1990-2000
The document discusses several contemporary artists from 1990-2000 including Felix Gonzalez-Torres, Mark Dion, Rachel Whiteread, and William Kentridge. It provides background information on their works, artistic strategies and themes relating to identity politics, institutional critique, the abject body, drawing and erasure techniques. Specific works mentioned include Gonzalez-Torres's candies installations, Dion's mixed media pieces, Whiteread's concrete casting of a house, and Kentridge's animated charcoal drawings.
Art100Sp16Week10Class1
This document discusses different categories of artifacts including art objects, vernacular objects, and designed objects. It provides definitions for key terms like artifact, vernacular object, and design. It explores how these different types of objects can reveal cultural information and how their presentation and values differ. Examples of objects from each category are presented along with perspectives from scholars on analyzing and understanding artifacts and material culture.
0134484592 ch33
This document provides an overview of key developments in art since the 1950s. It discusses the rise of abstract expressionism and its influence on new forms like assemblage, happenings, and performance art. Artists like Rauschenberg, Kaprow, and Beuys staged multimedia performances that combined different elements. Pop art, exemplified by Warhol and Lichtenstein, incorporated popular culture imagery. Minimalism emerged to reduce artworks to basic forms using industrial materials, as seen in Donald Judd's identical rectangular units. The text explores how these new movements reflected the political, economic, and social changes in the post-World War II era.
First person: Performing Oral History in the World Languages Classroom
First person: Performing Oral History in the World Languages ClassroomCenter for Global Education at Asia Society
This document discusses using oral history interviews in the world language classroom. It provides examples of students conducting oral history interviews to learn about significant historical events, like protests in Mexico City in 1968. The document emphasizes teaching history through narrative storytelling and having students meaningfully perform oral history interviews.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
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Shapeshifting - Transformations in Native American Art at PEM
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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
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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
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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.
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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
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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.
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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.
Week 2: Researching Practices
Group research into examples of creative practitioners who explore site-specific approaches relevant to Botanica 2021
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In this module we will look at ways of extending your analysis of an artwork from description to interpretation
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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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This week we will continue our investigation into materiality by looking at a selection of works that engage the body through their use of materials - both directly and via evocation.
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This document provides information about a visual art open studio course assignment on materiality and photomedia. It features descriptions of works by several artists including Hélène Boisrenaud, Garth Evans, Anne Brigman, Hannah Höch, Irving Penn, Rea, Abigail Reynolds, Brook Andrew, Martin Smith, Christopher Russell, and Elisa Sighicelli. The works utilize a variety of materials and presentation methods like inkjet print, color slide projection, gelatin silver print, collage, platinum palladium prints, digital direct positive color photographs, cut and folded book pages, and backlit C print on lightbox. Students are asked to review several images and consider how the artist exploits and
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- 1. KVB127 Visual Art Open Studio 2 Week 2: Identity
- 2. Nikki S. LEE (Korean b.1970) The Ohio Project, 1999 The Skateboarders Project #7, 2000
- 3. Identity • Gender • Class • Race • Culture • Sexual orientation • Generation/age • Language • Religion • Political • Ethics/Morality • Social position • Marital status • Geography/country • Suburb-City-State-Nation-Region AND.. • ..let’s remember that identifying as an artist brings with it a field of history/protocols/tropes… Adrian PIPER | Catalysis III, IV 1970
- 4. THE GUERRILLA GIRLS (US 1987- present) Do women have to be naked to get into the Met. Museum?, 1989 The advantages of being a woman artist, 1988
- 5. David WOJNAROWICZ (American, 1954-1992) Untitled (One day this kid…), 1990 Photostat, 76.2 × 101.9 cm David McDIARMID (Australian 1952–1995) Rainbow Aphorisms 1994
- 6. PARALLEL PARK (Holly Bates and Tayla Haggarty) (Australian) Tandem, 2016 Digital photograph Callum MCGRATH (Australian) River Torrens, 2017 Single channel digital video, 6:00min looped
- 7. Casey Jane ELLISON (American b.1988) Still from It’s So Important to Seem Wonderful, Part II, 2015 Tracey EMIN (British b. 1963) Mad Tracey From Margate - Everyone's Been There, 1997
- 8. Shirin NESHAT (Iranian, b.1957) Untitled (from Women of Allah Series), 1994/2015 Silver gelatin prints and ink 152.4 x 107.3 cm each
- 9. Fiona FOLEY (Badtjala Nation, born 1963) HHH #1, 2004 Ultrachrome print on paper, 8/15, 76 × 101cm and HHH, 2004 (mixed media)
- 10. Gordon HOOKEY (Waanyi Nation, b. 1961) MURRILAND!, 2017 oil on linen and mural, 2 × 10 m, mural dimensions variable, Neue Neue Galerie (Neue Hauptpost), Kassel, documenta 14.
- 11. Michael COOK (Bidjara Nation b.1968) Through My Eyes, 2010 Inkjet print on Hahnemuhle photo rag bright white 310 gsm paper, each 50 cm x 40 cm
- 12. Week 2 Reflection Prepare for class by reviewing the resources in the Week 2 folder and considering the following questions: •What kinds of identity are explored by the artist (eg. feminist, queer, national, cultural, artistic tropes) •How do the materials and processes employed by the artist shape the content of the work? •How does the artist position themselves through identification and/or differentiation? Make notes in your blog and bring your observations and questions to class. Adrian PIPER | Catalysis III, IV 1970
- 13. 2.1 BACKGROUNDING (Homework Task) Consider your family and/or cultural background. What kind of processes do you connect with this background (eg. cultural practices, traditions, habits, routines, rituals, mannerisms, language, etc) Identify a single PROCESS from your background and use this as the basis of an artwork (4hrs) Feedback Session: Week 3 Tutorial Kara WALKER Fons Americanus, 2019 Turbine Hall Commission, Tate Modern, UK,
- 14. 1.2 REPEAT AFTER ME (In-class Task) Prepare a short teaching activity that shares a non-art skill with another student. In pairs, share your skills, then use these 2 processes to develop an improvised work. Week 2 Studio Martha ROSLER Semiotics of the Kitchen, 1975 Video (black and white, sound), 6:09 min