Presentation looking at untraditional ways of displaying art from the Beyond the Gallery event at MADE on 24/3/15. Presentation by Stuart Mugridge and Robert Colbourne, Artists.
An introduction to the elements and principles of art, specifically line, shape, contrast, form, mass, volume, and texture. Includes examples by Andre Masson, Otto Dix, Kara Walker, Meret Oppenheim, M.C. Escher, and more! Based on "Gateways to Art" (2012) by DeWitte, Larmann, and Shields.
Art Appreciation- Principles & Elements of Art: Balance-Scale-Proportion-Tim...Paige Prater
A brief introduction to the principles and elements of art, specifically balance, scale, proportion, time and motion, emphasis, contrast, rhythm and pattern. Based on Part One of "Gateways to Art" (2012).
An introduction to the elements and principles of art, specifically line, shape, contrast, form, mass, volume, and texture. Includes examples by Andre Masson, Otto Dix, Kara Walker, Meret Oppenheim, M.C. Escher, and more! Based on "Gateways to Art" (2012) by DeWitte, Larmann, and Shields.
Art Appreciation- Principles & Elements of Art: Balance-Scale-Proportion-Tim...Paige Prater
A brief introduction to the principles and elements of art, specifically balance, scale, proportion, time and motion, emphasis, contrast, rhythm and pattern. Based on Part One of "Gateways to Art" (2012).
Backwards and Forwards Birmingham Public Art, Beyond Public Art, Stuart Mugri...Design South East
Presentation on public art in Birmingham from the Beyond Public Art event at MADE on 24/3/15. Presentation by Stuart Mugridge and Robert Colbourne, Artists.
Backwards and Forwards Birmingham Public Art, Beyond Public Art, Stuart Mugri...Design South East
Presentation on public art in Birmingham from the Beyond Public Art event at MADE on 24/3/15. Presentation by Stuart Mugridge and Robert Colbourne, Artists.
Rebuilding the Brookvale Road flood wall, Tamed, Jenny HorsburghDesign South East
Presentation on MADE's designs for rebuilding the Brookvale Road flood wall in Witton for the project Tamed.
Presentation by Jenny Horsburgh, Environment Agency.
Keynote presentation given by Gyda Grendstad of the Norwegian Public Road Administration at the 2010 CABE Urban Design Summer School in Birmingham, UK.
Tamed, by MADE, Beyond the Gallery, Sally RobertshawDesign South East
Presentation on MADE's project Tamed for the Beyond the Gallery event at MADE on 24/3/15. Presentation by Sally Robertshaw, Community Programmes Manager, MADE.
Designing & Planning for Cycling, Phil Jones & Adrian LordDesign South East
Presentation on Design and Planning for cycling from the Designing and Planning for Cycling workshop at MADE on 19th May 2015. Presentation by Phil Jones and Adrian Lord, Phil Jones Associates.
This presentation highlights the importance of Roadspace Allocation within transport planning and illustrates how to develop a successful Roadspace Allocation Framework. Further to this the presentation gives an insight to understanding and meeting user requirements. It then progresses to utilise various case studies in Birmingham to further demonstrate how these frameworks can be put into practice.
Assignment 81. Thoroughly discuss the two art works below.(Par.docxrock73
Assignment 8
1. Thoroughly discuss the two art works below.
(Paragraph 1 – Mona Lisa)
(Paragraph 2 – Apoxyomenos)
(Paragraph 3 – Compare & Contrast the two art works)
2. Discuss the relevance and/or influence of each work to history/ art history (via historical context. What was going on in the world at that time that influenced the works and/or vise, versa? (Paragraph 4)
3. Make sure paper is no less than three pages, but no more than four pages in length.
4. Include a minimum of three resources per work of art from the internet to support your claims.
5. Include a citation for each source used.
6. Include some of the glossary terms if applicable in the paper.
****The art gallery website may help**** http://smarthistory.khanacademy.org/
“Mona Lisa” by Leonardo da Vinci
“Apoxyomenos by Lysippos of Sikyon
Glossary Terms
· Abstract Expressionism
. Also known as the New York School. The first major American avant-garde movement, Abstract Expressionism emerged in New York City in the 1940s. The artists produced abstract paintings that expressed their state of mind and that they hoped would strike emotional chords in viewers. The movement developed along two lines: gestural abstraction and chromatic abstraction.
· Action painting
. Also called gestural abstraction. The kind of Abstract Expressionism practiced by Jackson Pollock, in which the emphasis was on the creation process, the artist's gesture in making art. Pollock poured liquid paint in linear webs on his canvases, which he laid out on the floor, thereby physically surrounding himself in the painting during its creation.
· Assemblage
. An artwork constructed from already existing objects.
· Chromatic abstraction
. A kind of Abstract Expressionism that focused on the emotional resonance of color, as exemplified by the work of Barnett Newman and Mark Rothko.
· Color field painting
. A variant of Post-Painterly Abstraction in which artists sought to reduce painting to its physical essence by pouring diluted paint onto unprimed canvas, allowing these pigments to soak into the fabric, as exemplified by the work of Helen Frankenthaler and Morris Louis.
· Conceptual art
. An American avant-garde art movement of the 1960s that asserted that the "artfulness" of art lay in the artist's idea rather than its final expression.
· Deconstruction
. An analytical strategy developed in the late 20th century according to which all cultural "constructs" (art, architecture, and literature) are "texts." People can read these texts in a variety of ways, but they cannot arrive at fixed or uniform meanings. Any interpretation can be valid, and readings differ from time to time, place to place, and person to person. For those employing this approach, deconstruction means destabilizing established meanings and interpretations while encouraging subjectivity and individual differences.
· Earthworks
. An American art form that emerged in the 1960s. Often using the land itself as their material, Environmental ar ...
Modernism in Art: An Introduction: Salon des refusesJames Clegg
Modernism in Art An Introduction, 1. This lecture highlights the main context for modernity, highlighting key movements and events such as the Enlightenment and French Revolution. Emphasis is then placed upon the academic model and the subsequent break with it, represented by the Salon De Refuses of 1863. Lecture by James Clegg
PNU – CAD, Course of English for Art and Design (ARH 101) - Dr.docxLeilaniPoolsy
PNU – CAD, Course of English for Art and Design (ARH 101) - Dr. Serena Autiero
Page 1 of 4
Princess Nora bint Abdul Rahman University
College of Fine Arts and Design - Art History Department
Course of English for Art and Design (ARH 101)
Instructor: Dr. Serena Autiero
Reading 1 for Final Paper
ART THROUGH THE AGES
1. The Beginnings of Art
Art history, which begins around 30,000 B.C. with the earliest known cave paintings,
predates writing by about 26,500 years! That makes art history even older than history,
which begins with the birth of script around 3500 B.C. Along with archaeology, art
history is one of our primary windows into prehistory (everything before 3500 B.C.).
Cave paintings, prehistoric sculpture, and architecture together paint a vivid — although
incomplete — picture of Stone Age and Bronze Age life. Without art history, we would
know a lot less about our early ancestors.
With the beginning of history with the invention of script around 3500 B.C. the need for
art is still felt by humanity. And studying that art is still very important to understand the
past, since history is the diary of the past; this means that ancient peoples wrote about
themselves, so that we know their own interpretation of facts, not things as they were. Art
history is instead the mirror of the past. It shows us who we were, instead of telling us, as
history does. History is the study of wars and conquests, mass migrations, and political
and social experiments. Art history is a portrait of man’s inner life: his aspirations and
inspirations, his hopes and fears, his spirituality and sense of self.
2. The Great Ancient Civilizations
If we know who we were 10,000 years ago, we have a better sense of who we are today.
Even studying a few Ancient Greek vases can reveal a lot about modern society — if you
know how to look at and read the vases. Many Greek vases show us what ancient Greek
theater looked like; modern theater and cinema are the direct descendants of Greek
theater. Greek vases depict early musical instruments, dancers dancing, and athletes
competing in the ancient Olympics, the forerunner of the modern Olympic Games. Some
vases show us the role of women and men: Women carry vases called hydrias; men paint
those vases. Ancient art teaches us about past religions (which still affect our modern
religions) and the horrors of ancient war craft. Rameses II’s monument celebrating his
battle against the Hittites and Trajan’s Column, which depicts the Emperor Trajan’s
conquest of Dacia (modern day Romania), are enduring eyewitness accounts of ancient
battles that shaped nations and determined the languages we speak today. Art isn’t just
limited to paintings and sculptures. Architecture, another form of art, reveals the way
men and women responded to and survived in their environment, as well as how they
defined and defended themselves.
PNU – CAD, Course of English for Art and Design (ARH 101.
In between Classicism and Romanticism, The industrial revolution and the industrial city, The critique to the industrial city, the Picturesque Beauty and the Nature of Gothic, John Ruskin and William Morris, Camillo Sitte and Ebenezer Howard. The Garbatella neighborhood in Rome. Innocenzo Sabattini and the Istituto Case Popolari.
Sculpture in the Expanded FieldAuthor(s) Rosalind KraussS.docxkenjordan97598
Sculpture in the Expanded Field
Author(s): Rosalind Krauss
Source: October, Vol. 8 (Spring, 1979), pp. 30-44
Published by: The MIT Press
Stable URL: http://www.jstor.org/stable/778224
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Mary Miss. Perimeters/Pavillions/Decoys. 1978.
(Nassau County, Long Island, New York.)
Sculpture in the Expanded Field
ROSALIND KRAUSS
Toward the center of the field there is a slight mound, a swelling in the earth,
which is the only warning given for the presence of the work. Closer to it, the large
square face of the pit can be seen, as can the ends of the ladder that is needed to
descend into the excavation. The work itself is thus entirely below grade: half
atrium, half tunnel, the boundary between outside and in, a delicate structure of
wooden posts and beams. The work, Perimeters/Pavilions/Decoys, 1978, by Mary
Miss, is of course a sculpture or, more precisely, an earthwork.
Over the last ten years rather surprising things have come to be called
sculpture: narrow corridors with TV monitors at the ends; large photographs
documenting country hikes; mirrors placed at strange angles in ordinary rooms;
temporary lines cut into the floor of the desert. Nothing, it would seem, could
possibly give to such a motley of effort the right to lay claim to whatever one
might mean by the category of sculpture. Unless, that is, the category can be made
to become almost infinitely malleable.
The critical operations that have accompanied postwar American art have
largely worked in the service of this manipulation. In .
This presentation was delivered by Peter Jones from University College London on 2nd October 2015 and highlighted the importance of considering Link and Place when improving street design.
Models for Funding & Management, Functional Landscapes Seminar, Peter NealDesign South East
Presentation on Models for funding and management by Peter Neal from FLI for the RTPI West Midlands Functional Landscapes Seminar on 13th November 2014
Green Infrastructure & Biodiversity, Functional Landscapes Seminar, Sue IllmanDesign South East
Presentation on Green Infrastructure and biodiversity by Sue Illman from Illman Young for the RTPI West Midlands Functional Landscapes Seminar on 13th November 2014
International Cycling Infrastructure, Best Practice Study, Phil JonesDesign South East
Presentation on International Cycling Infrastructure a best practice study by Phil Jones from Phil Jones Associates for the Cycle City Event on 21st October 2014
Birmingham Cycle Revolution, Paul Simkins- Cycle City EventDesign South East
Presentation on Birmingham's Cycle Revolution by Graham Lennard and Paul Simkins from Birmingham City Council for the Cycle City Event on 21st October 2014
Explore the multifaceted world of Muntadher Saleh, an Iraqi polymath renowned for his expertise in visual art, writing, design, and pharmacy. This SlideShare delves into his innovative contributions across various disciplines, showcasing his unique ability to blend traditional themes with modern aesthetics. Learn about his impactful artworks, thought-provoking literary pieces, and his vision as a Neo-Pop artist dedicated to raising awareness about Iraq's cultural heritage. Discover why Muntadher Saleh is celebrated as "The Last Polymath" and how his multidisciplinary talents continue to inspire and influence.
This tutorial offers a step-by-step guide on how to effectively use Pinterest. It covers the basics such as account creation and navigation, as well as advanced techniques including creating eye-catching pins and optimizing your profile. The tutorial also explores collaboration and networking on the platform. With visual illustrations and clear instructions, this tutorial will equip you with the skills to navigate Pinterest confidently and achieve your goals.
Hadj Ounis's most notable work is his sculpture titled "Metamorphosis." This piece showcases Ounis's mastery of form and texture, as he seamlessly combines metal and wood to create a dynamic and visually striking composition. The juxtaposition of the two materials creates a sense of tension and harmony, inviting viewers to contemplate the relationship between nature and industry.
Fashionista Chic Couture Maze & Coloring Adventures is a coloring and activity book filled with many maze games and coloring activities designed to delight and engage young fashion enthusiasts. Each page offers a unique blend of fashion-themed mazes and stylish illustrations to color, inspiring creativity and problem-solving skills in children.
Beyond the Gallery, Tamed, Stuart Mugridge and Robert Colbourne
1. “A place comes into art loaded with content. An artist comes to a place in one of
two ways: either loaded with content or like a clean slate, ready to receive,
interpret and represent what is already there. If the former, an artist will displace
the resident meanings of a place with his preconceptions about art. If the latter,
(s)he will make those meanings visible as if for the first time.” [Jeff Kelley]
2. William Forsyth's 19th century terracotta sunflowers
Are Asteraceae composite hyperaccumulators
Or gardens that interanimate an architecture
Of Walter Ritchie's post-War proposals for shared allotments and sheds
That catch, channel and screen the rainwater across the cattle market park
And over the two acres of Mr. Millington's cabbages, in an 18th century Artichoke Field
John Gwynn's "Shew how Convenience, Beauty, Symmetry, How Method, Art, and Nature will agree"
Becomes an art of unnameable hybrids
That charge the city's everyday plexus with Leader Williams' earthy matters,
That skew John Constable and Samuel Smith panoramas
Through oblique arches, up spires and to peaks of distant hills,
That slip gilded paths with water's edgemarks
Through gate, over sidings, past wall, over ditch and pool, pitch, road and river to the transpontine,
And that pen narratives into textures across crossings
Of sitting-room-caught pike
Or the Screen House refracting and guiding the eye around the convex east bank,
From the South Quay to the Upper Quay stonemason and waterwork's moorings
And up across the plain,
Pearmain and alder become dotted with the plum accents of Octar Copson's brush.
3. The crucial issue is not whether but how an artist enters a space."
[Rosalyn Deutsche]
4.
5. Breaking with the modernist paradigm, artists of extraterritorial reciprocity
undermine the whole issue of topography inasmuch as they refuse not only
geographical borders but borders of all kinds, including those separating art
from what is not art, from other and sundry social undertakings.
Their artistic practice does not necessarily culminate in the production of
works, but nor is it exclusively process based. Rather, these artists see art as
a system for producing meaning, which is most effective when engaged in
overstepping borders and setting up interdisciplinary 'work sites'
[Stephen Wright]
6.
7. Maybe you think things are okay and that you are doing ‘all right’.
But someday the monotonous and ugly spaces you live and work in will
be organised as intelligently and as beautifully as the spaces have
been in some paintings. [Ad Reinhardt 28th April 1946]
The best spaces are often the product of creative cross-cutting
between public art and the design professionals, where the continuity
of user experience and expression of place are prioritised over what
separates art from architecture from landscape. [David Patten]
8.
9.
10. I will argue that the vast vast majority of artists practicing in the public
realm rely on collaborative, rather than co-optive means of achieving
ideas with the people they work with. [Jack Mackie]