This document discusses key concepts and artists related to Pop Art, including Andy Warhol, Roy Lichtenstein, Robert Rauschenberg, Claes Oldenburg, and others. It explores how Pop Art emerged from earlier movements like Dada that incorporated everyday objects and images. Key techniques discussed include appropriation, repetition, and the use of mass media images and advertising in art. The document also examines how Pop Artists depicted celebrity and consumer culture.
Embracing GenAI - A Strategic ImperativePeter Windle
Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
A Strategic Approach: GenAI in EducationPeter Windle
Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
June 3, 2024 Anti-Semitism Letter Sent to MIT President Kornbluth and MIT Cor...Levi Shapiro
Letter from the Congress of the United States regarding Anti-Semitism sent June 3rd to MIT President Sally Kornbluth, MIT Corp Chair, Mark Gorenberg
Dear Dr. Kornbluth and Mr. Gorenberg,
The US House of Representatives is deeply concerned by ongoing and pervasive acts of antisemitic
harassment and intimidation at the Massachusetts Institute of Technology (MIT). Failing to act decisively to ensure a safe learning environment for all students would be a grave dereliction of your responsibilities as President of MIT and Chair of the MIT Corporation.
This Congress will not stand idly by and allow an environment hostile to Jewish students to persist. The House believes that your institution is in violation of Title VI of the Civil Rights Act, and the inability or
unwillingness to rectify this violation through action requires accountability.
Postsecondary education is a unique opportunity for students to learn and have their ideas and beliefs challenged. However, universities receiving hundreds of millions of federal funds annually have denied
students that opportunity and have been hijacked to become venues for the promotion of terrorism, antisemitic harassment and intimidation, unlawful encampments, and in some cases, assaults and riots.
The House of Representatives will not countenance the use of federal funds to indoctrinate students into hateful, antisemitic, anti-American supporters of terrorism. Investigations into campus antisemitism by the Committee on Education and the Workforce and the Committee on Ways and Means have been expanded into a Congress-wide probe across all relevant jurisdictions to address this national crisis. The undersigned Committees will conduct oversight into the use of federal funds at MIT and its learning environment under authorities granted to each Committee.
• The Committee on Education and the Workforce has been investigating your institution since December 7, 2023. The Committee has broad jurisdiction over postsecondary education, including its compliance with Title VI of the Civil Rights Act, campus safety concerns over disruptions to the learning environment, and the awarding of federal student aid under the Higher Education Act.
• The Committee on Oversight and Accountability is investigating the sources of funding and other support flowing to groups espousing pro-Hamas propaganda and engaged in antisemitic harassment and intimidation of students. The Committee on Oversight and Accountability is the principal oversight committee of the US House of Representatives and has broad authority to investigate “any matter” at “any time” under House Rule X.
• The Committee on Ways and Means has been investigating several universities since November 15, 2023, when the Committee held a hearing entitled From Ivory Towers to Dark Corners: Investigating the Nexus Between Antisemitism, Tax-Exempt Universities, and Terror Financing. The Committee followed the hearing with letters to those institutions on January 10, 202
Acetabularia Information For Class 9 .docxvaibhavrinwa19
Acetabularia acetabulum is a single-celled green alga that in its vegetative state is morphologically differentiated into a basal rhizoid and an axially elongated stalk, which bears whorls of branching hairs. The single diploid nucleus resides in the rhizoid.
Read| The latest issue of The Challenger is here! We are thrilled to announce that our school paper has qualified for the NATIONAL SCHOOLS PRESS CONFERENCE (NSPC) 2024. Thank you for your unwavering support and trust. Dive into the stories that made us stand out!
How to Make a Field invisible in Odoo 17Celine George
It is possible to hide or invisible some fields in odoo. Commonly using “invisible” attribute in the field definition to invisible the fields. This slide will show how to make a field invisible in odoo 17.
Biological screening of herbal drugs: Introduction and Need for
Phyto-Pharmacological Screening, New Strategies for evaluating
Natural Products, In vitro evaluation techniques for Antioxidants, Antimicrobial and Anticancer drugs. In vivo evaluation techniques
for Anti-inflammatory, Antiulcer, Anticancer, Wound healing, Antidiabetic, Hepatoprotective, Cardio protective, Diuretics and
Antifertility, Toxicity studies as per OECD guidelines
2. Andy Warhol. Campbell’s Soup Cans. 1962.
MoMA Pop Art Theme
Let’s look at Campbell’s Soup Cans
by Andy Warhol.
3. Jackson Pollock. One: Number 31, 1950.1950.
Andy Warhol. Campbell’s Soup Cans. 1962.
MoMA Pop Art Theme
Let’s compare these works by Andy
Warhol and Jackson Pollock.
5. Marcel Duchamp. Bicycle Wheel. 1951 (third
version, after lost original of 1913)
• The concept of appropriation—borrowing
images or objects to make art—began in the early
20th century with Dada artists like Marcel
Duchamp.
•In your opinion, is this art? Why or why not?
• How did Duchamp’s act of appropriating two
distinct objects create something new?
MoMA Pop Art Theme
What is appropriation? Let’s take a look at
Marcel Duchamp’s Bicycle Wheel.
6. • Dada artist Kurt Schwitters combined
bits and pieces of tossed off culture in
artworks known as assemblages.
•What kinds of found objects can you
name in this work of art?
• In your opinion, can art be made of
anything at all?
Kurt Schwitters. Merz Picture 32 A. The Cherry Picture. 1921
MoMA Pop Art Theme
Long before Pop Art, artists of the Dada
movement were using everyday materials.
8. Robert Rauschenberg. Bed. 1955
•Bed is one of Robert Rauschenberg's first
Combines, the artist's term for his technique
of attaching cast–off items to a traditional
support.
•Could Bed be considered a self-portrait of
the artist? Why or why not?
•How is it different than a traditional self-
portrait?
MoMA Pop Art Theme
Now let’s look at Rauschenberg’s Bed
9. Andy Warhol. Campbell’s Soup Cans. 1962
•Why do you think Andy Warhol chose Campbell’s Soup Cans
as a subject?
•Why do you think he included so many canvases?
MoMA Pop Art Theme
10. Roy Lichtenstein. Drowning Girl. 1963
• How does the painting differ from the original?
• How does the meaning change?
MoMA Pop Art Theme
DC Comics. Cover illustration for the comic story
“Run for Love!”, from Secret Love #83 , 1962.
How do artists like Lichtenstein transform
their pop culture sources?
11. Roy Lichtenstein. Turkey Shopping Bag. 1964
Art or advertising? What do you think?
Andy Warhol. Campbell’s Tomato Soup Shopping Bag.
1966.
MoMA Pop Art Theme
12. Tom Wesselmann. Still Life #30. 1963
MoMA Pop Art Theme
•What is going on in this
picture?
•Which objects are ‘real’,
collaged or painted?
•How do these juxtapositions
create visual tension and
balance?
Let’s take a look at Still Life #30 by Tom
Wesselmann
13. MoMA Pop Art Theme
Let’s take a look at Standard Station by
Ed Ruscha
Edward Ruscha. Standard Station. 1966
14. •What do you notice in
Standard Station?
•Have you ever seen a gas
station like this one?
•How does the color help to tell
the story?
Edward Ruscha. Standard Station. 1966
MoMA Pop Art Theme
Let’s take a look at Standard Station by
Ed Ruscha
15. • Can you guess what this is?
• How do you think it was made?
• How are the materials different from
more traditional sculptures?
Claes Oldenburg. Giant Soft Fan. 1966-67
MoMA Pop Art Theme
Let’s take a look at this sculpture by
Claes Oldenburg
17. Andy Warhol. Double Elvis. 1963
• Look closely at this life-size image of
Elvis Presley.
• What do you notice?
• What visual effect do you think
Warhol was trying to create?
MoMA Pop Art Theme
Let’s look at Double Elvis by Andy Warhol
18. Let’s look at Gold Marilyn by Andy Warhol
• Do you think this is a tribute painting to
Marilyn Monroe? Why or why not?
• Why do you think Warhol chose gold for
the background?
• What might that color signify?
Andy Warhol. Gold Marilyn. 1962
MoMA Pop Art Theme
Original publicity still for the 1953 film
Niagara.
19. Let’s look at Andy Warhol “Marilyn Monroe”, 1964 by
Richard Pettibone
•What do you think about
Pettibone’s process of
‘borrowing’ art to make his
own?
•Do you consider this art?
Why or why not?
Richard Pettibone. Andy Warhol, "Marilyn Monroe," 1964. 1968
MoMA Pop Art Theme
20. Let’s compare Warhol’s Gold Marilyn to
Pettibone’s miniature ‘art replica’
• What do you think Pettibone’s artistic
project of creating smaller ‘art replicas’ is
about?
• Do you think Warhol minded? Why or why
not?
Andy Warhol. Gold Marilyn. 1962
MoMA Pop Art Theme
Richard Pettibone. Andy Warhol, "Marilyn
Monroe," 1964. 1968.
21. •Can you identify all of the
different colors and color
combinations Warhol used in
the self-portrait grid?
•What visual affect does the
repeated image have on your
perception of Warhol?
• Do you think Warhol was
emulating other media? Why or
why not?
Andy Warhol. Self-Portrait. 1966.
MoMA Pop Art Theme
Let’s look at Self-Portrait by Andy Warhol
22. James Rosenquist. Marilyn Monroe, I. 1962.
MoMA Pop Art Theme
Let’s look at Marilyn Monroe I by James
Rosenquist
23. Let’s compare two celebrity portraits by
Richard Avedon
Richard Avedon. Malcolm X, Black Nationalist leader.
New York. 1963
Richard Avedon. Marilyn Monroe, actress, New York. May 6, 1957
MoMA Pop Art Theme
24. Let’s compare these celebrity portraits
from the 1960s to today
Richard Avedon. John Lennon. 1967
Sheppard Fairey. Barack Obama "Hope" poster.
2008
Andy Warhol. Untitled from Marilyn Monroe
(Marilyn). 1967
MoMA Pop Art Theme
Share this information with your students:
Roy Lichtenstein was another Pop artist who appropriated popular culture as the subject of his art. Comics were Lichtenstein’s interest. Lichtenstein found sources for many of his early paintings in comic books. The source for this work is "Run for Love!" published by DC Comics in 1962. In the original illustration, the drowning girl's boyfriend appears in the background, clinging to a capsized boat. Lichtenstein cropped the image dramatically, showing the girl alone, encircled by a threatening wave. He shortened the caption from "I don't care if I have a cramp!" to the ambiguous "I don't care!” In addition to appropriating the melodramatic content of comics, Lichtenstein manually simulated the Benday dots used in the mechanical reproduction of images.
Roy Lichtenstein. Drowning Girl. 1963
Oil and synthetic polymer paint on canvas, 67 5/8 x 66 3/4" (171.6 x 169.5 cm). Philip Johnson Fund (by exchange) and gift of Mr. and Mrs. Bagley Wright
DC Comics. Cover illustration for the comic story “Run for Love!”
From Secret Love #83 , 1962.
Share this information with your students:
Painter Tom Wesselmann loved to construct complicated juxtapositions. In his series of still-lifes, Wesselmann appropriated images from magazines and collaged them directly onto the surface of his paintings, concentrating on the juxtaposition of objects, colors and textures. As well, he experimented with assemblage. Still Life #30 is a giant still-life composed of a table laden with food balanced by a pink icebox door, 7-Up bottles, and window.
Wesselmann remarked, “This kind of relationship helps establish a momentum throughout the picture… At first glance my pictures seem well behaved, as if –that is a still life, O.K. But these things have such crazy give-and-take that I feel they get really very wild.” Interview with G. Swenson, ARTnews, 1964, p. 44
Tom Wesselmann. Still Life #30. April 1963
Oil, enamel and synthetic polymer paint on composition board with collage of printed advertisements, plastic flowers, refrigerator door, plastic replicas of 7-Up bottles, glazed and framed color reproduction, and stamped metal, 48 1/2 x 66 x 4" (122 x 167.5 x 10 cm).
Gift of Philip Johnson
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Richard Pettibone’s, Andy Warhol, “Marilyn Monroe,” 1964 is a small silkscreened ‘replica’ of Warhol’s 1962 famed silkscreened portrait of Marilyn Monroe. Seeing art as a ‘readymade’—or an object for creative opportunity, Pettibone appropriates others’ artwork to explore authorship. His versions are scaled down to an art magazine size. This piece is only 5 inches tall.
Richard Pettibone. Andy Warhol, "Marilyn Monroe," 1964. 1968
Silkscreen ink on canvas, 5 1/4 x 5 1/4" (13.3 x 13.3 cm). Frances R. Keech Bequest