An under development Guided Art Inquiry on Kathe Kollwitz's woodcut Die Freiwillige from her portfolio Krieg (@MoMA) to serve as an entry point for both a sources-based Contemporary History class and an Art Activity.
Please offer your comments!
An under development Guided Art Inquiry on Kathe Kollwitz's woodcut Die Freiwillige from her portfolio Krieg (@MoMA) to serve as an entry point for both a sources-based Contemporary History class and an Art Activity.
Please offer your comments!
Art has a unique way of informing the values and beliefs of culture. Exploring that idea, a group of friends and I visited the Timken Museum in San Diego recently. We spent time pursuing their small but impressive collection, then focused on their amazing Russian Iconography collection. We then had a conversation about some of what we saw, and how it relates both to the culture of the past and the present.
VCE English Language Analysis: Analysing VisualsAmy Gallacher
VCE English Language Analysis: Analysing Visuals, PowerPoint from Mrs Gallacher's after school presentation on analysing visual elements in the Using Language to Persuade outcome
During my years as a teacher and tutor, lecturer and adult educator, 1967 to 2005, I used various television documentaries. The doco I used more than any other was Civilisation: A Personal View by Kenneth Clark, a documentary series outlining the history of Western art, architecture and philosophy since the Dark Ages. The series was produced by the BBC and aired in 1969 on BBC2.2
Art has a unique way of informing the values and beliefs of culture. Exploring that idea, a group of friends and I visited the Timken Museum in San Diego recently. We spent time pursuing their small but impressive collection, then focused on their amazing Russian Iconography collection. We then had a conversation about some of what we saw, and how it relates both to the culture of the past and the present.
VCE English Language Analysis: Analysing VisualsAmy Gallacher
VCE English Language Analysis: Analysing Visuals, PowerPoint from Mrs Gallacher's after school presentation on analysing visual elements in the Using Language to Persuade outcome
During my years as a teacher and tutor, lecturer and adult educator, 1967 to 2005, I used various television documentaries. The doco I used more than any other was Civilisation: A Personal View by Kenneth Clark, a documentary series outlining the history of Western art, architecture and philosophy since the Dark Ages. The series was produced by the BBC and aired in 1969 on BBC2.2
Art for change It is often taken for granted that art f.docxrossskuddershamus
Art for change?
It is often taken for granted that art functions as a tool and a vehicle of social change;
indeed, it was just this theme that we took up in our first discussion board posting. While the
vocal majority seemed to agree that art could foster social change, many of us, when
encountering work such as Warhol’s 200 One Dollar Bills or Marcel Duchamp’sFountain
might find ourselves wondering exactly what type of change such work could really make.
Does a painting that takes money for its subject do anything to unsettle a culture that seems
more and more to place the individual pursuit of money above the needs of the community?
Does a urinal inscribed with a forged signature (see Duchamp’s work mentioned above) do
anything more than offer a paltry challenge to the taste of a leisured class?
It was precisely the complicity of market system art like Duchamp’s and the American Pop
artists like Warhol, Jasper Johns, and Robert Rauschenberg with the oppressive class that
was at the heart of a 1973 protest staged in front of another landmark Sotheby’s auction. On
that October day a group of New York City taxi drivers and artists stood before the renowned
auction house to call down Robert C. Scull who they claimed made his fortune robbing
cabbies and hawking art. Some of the artists marching in solidarity with the taxi cab drivers
rushed out to a nearby hardware store to by a snow shovel to sell at exorbitant price, poking
fun at Duchamp’s In Advance of the Broken Arm. Is this critique of art’s complicity with big
money an apt one?
The idea that the art market is synonymous with ‘business as usual’ is an idea that is as
pervasive today as ever—if not more so. As Eleanor Heartney reminds us in her lecture on
art and labour, one move made by activists of the recent Occupy Wall Street movement was
to set up occupations in a number of New York City’s museums. The organizers of the
Occupy Museums march declared in a public statement that “for the past decade and more,
artists and art lovers have been the victims of the intense commercialization and co-optation
or art.” They further claimed that “art is for everyone, across all classes and cultures and
communities” and not merely for the cultural elite, or the 1%. The artist activists closed their
statement by exhorting museums to open their minds and their hearts: “Art is for everyone!”
they claimed. “The people are at your door!”
These two protests demonstrate an abiding and perhaps growing suspicion of the received
idea that market system art can change things. But while market system art is placed under
intense scrutiny, a growing field of artists and educators have been working to disseminate
the practices and techniques of art making in order to sow the seeds of change. This
community based art (sometimes referred to as ‘dialogical art’ or ‘community arts’) seeks to
place in the hands of the marginalized, the worker, or, in the words of the.
Art for change It is often taken for granted that art fBetseyCalderon89
Art for change?
It is often taken for granted that art functions as a tool and a vehicle of social change;
indeed, it was just this theme that we took up in our first discussion board posting. While the
vocal majority seemed to agree that art could foster social change, many of us, when
encountering work such as Warhol’s 200 One Dollar Bills or Marcel Duchamp’sFountain
might find ourselves wondering exactly what type of change such work could really make.
Does a painting that takes money for its subject do anything to unsettle a culture that seems
more and more to place the individual pursuit of money above the needs of the community?
Does a urinal inscribed with a forged signature (see Duchamp’s work mentioned above) do
anything more than offer a paltry challenge to the taste of a leisured class?
It was precisely the complicity of market system art like Duchamp’s and the American Pop
artists like Warhol, Jasper Johns, and Robert Rauschenberg with the oppressive class that
was at the heart of a 1973 protest staged in front of another landmark Sotheby’s auction. On
that October day a group of New York City taxi drivers and artists stood before the renowned
auction house to call down Robert C. Scull who they claimed made his fortune robbing
cabbies and hawking art. Some of the artists marching in solidarity with the taxi cab drivers
rushed out to a nearby hardware store to by a snow shovel to sell at exorbitant price, poking
fun at Duchamp’s In Advance of the Broken Arm. Is this critique of art’s complicity with big
money an apt one?
The idea that the art market is synonymous with ‘business as usual’ is an idea that is as
pervasive today as ever—if not more so. As Eleanor Heartney reminds us in her lecture on
art and labour, one move made by activists of the recent Occupy Wall Street movement was
to set up occupations in a number of New York City’s museums. The organizers of the
Occupy Museums march declared in a public statement that “for the past decade and more,
artists and art lovers have been the victims of the intense commercialization and co-optation
or art.” They further claimed that “art is for everyone, across all classes and cultures and
communities” and not merely for the cultural elite, or the 1%. The artist activists closed their
statement by exhorting museums to open their minds and their hearts: “Art is for everyone!”
they claimed. “The people are at your door!”
These two protests demonstrate an abiding and perhaps growing suspicion of the received
idea that market system art can change things. But while market system art is placed under
intense scrutiny, a growing field of artists and educators have been working to disseminate
the practices and techniques of art making in order to sow the seeds of change. This
community based art (sometimes referred to as ‘dialogical art’ or ‘community arts’) seeks to
place in the hands of the marginalized, the worker, or, in the words of the ...
Este trabajo consiste en una investigación que con mi grupo hicimos sobre 'Trastorno Bipolar: Desarrollo de la noción médica del Trastorno Bipolar y vínculos entre la etapa maníaca y la creatividad'.
En este PPT doy una descripción muy dinámica personal sobre quién soy yo, cuáles son mis intereses y, por último, por qué elegí esta carrera y qué quiero llegar a ser como profesional.
1. TASK
1. What is political satire?
Political satire is a significant part of satire that specializes in gaining entertainment
from politics; it has also been used with subversive intent where political speech and
dissent are forbidden by a regime, as a method of advancing political arguments where
such arguments are expressly forbidden.
2. How is it used?
It is used to bring light to contemporary societal problems and provoke change within a
culture. Many artists have tackled serious issues using this form of comedy to appeal to
their audience. Satire has been used for centuries as a means of assessing the faults of
society.
3. What is graffiti? Explain.
Graffiti is writings or drawings scribbled, scratched, or sprayed illicitly on a wall or other
surface in a public place.Stickers and other adhesives are not considered graffiti. Graffiti
ranges from simple written words to elaborate wall paintings, and has existed since
ancient times, with examples dating back to Ancient Greece and the Roman Empire.
4. Choose a Banksy image that catches your attention.
5. Explain what you think he is trying to say with this specific work of graffiti/art.
In my opinion, I think this art refers to the economic-social status. Rich people is seen as
the ones who are perfect, have everything in life and are the happiest in the world; so
2. being rich is what the ‘other ones’ (middle class and low class) want to become in life, is
everybody´s goal. What I mean is that the majority of people’s achievement is to be like
high class people; however this lifestyle is out of the reach of both low and middle class
because rich people are just a few ones. I think that Banksyis trying to say that middle and
low class always would want to be in a higher position and high class is the top one (their
role model), so they (low and middle class) wish to be like them because society has
imposed that the perfect and powerful ones are the people that the other classes must be
and become so in that way they will be ‘happy’ and ‘perfect’. What I understand about this
art is that low and middle class do everything to reach this position (rich class) but that
‘lifestyle’ is out of the reach of them so that’s why the art says “…is currently out of stock”.
6. How do you think these images influence individual people and society?
I think these images drag the attention of every person that walks by these streets
because these graffitis/arts are very uncommon and some of them say things that are
about the reality of their society. It also makes you analyze what is that image trying to say
and as a result you make a reflection about the issue that this art/graffiti reflects. Banksy’s
artworks have a lot of influence above people because of the issues he portrays in each
one, and because it also speaks about other people’s realities from different countries, so
in that way individual people and society would realize about their current situation and
that every nation have many things in common like them.