You are required to write a 5-page (double-spaced, standard tabs) research paper about a musical culture NOT covered in this course. Areas covered in this course include Indonesia, Japan, Middle East, Sub-Saharan Africa and Latin America, so you can choose any part of the world OTHER than these. Some areas to consider are: Native America, Polynesia, Australia, China, Korea, India, Ireland, Portugal, Greece, Caribbean, Arctic Circle…. wherever, as long as it’s not covered in our course.

For this assignment, please use Nettl’s 3-part model, addressed in “Unit 1: Introduction” and Chapter 1 in our textbook. Focus on the Sounds, Behaviors and Ideas or Conceptions that govern the sounds and behaviors of the musical genre/activity you choose. It’s best if you stick to a specific genre or ensemble from whatever region you choose for this research paper. For example, if you wanted to write about music from Spain, don’t try to summarize all Spanish music (too broad, too big) but pick a specific genre or activity to focus on, such as Flamenco. Want to research Hawaiian music? Stick to hula or string bands. The point is, focus on one genre or activity from a region and give in-depth details, not just a broad, surface cultural overview.

Sound:

What sounds are you hearing? Talk about the instruments (and voices) of the musical genre/activity. What are they made of and what do they sound like? Are there any rules or restrictions surrounding these instruments, like who can play or when one can play? Can you comment on the texture and form of the music? Texture refers to layers of activity. How many musicians are present and how do they relate to one another? Form refers to how the music is organized and presented,. How long does a performance last and how are the melodies and rhythms arranged. Lastly, what does the music sound like to you, the outsider?

Behaviors:

What activities are associated with this musical genre/activity? What are people doing while this musical activity is happening? Is there a specific purpose or function surrounding this music, or is it just for enjoyment/entertainment? Does this musical activity have any behavioral restrictions regarding religion, age or gender? Is everyone participating communally or are the musicians/singers/dancers presenting music to an audience…. why? Lastly, can you draw any connections to musical behaviors in your life or culture?

Ideas/Conceptions:

What ideas or conceptions govern the sounds and behaviors of your chosen musical genre/activity? Why are people creating this music and why are people participating? Address ideas surrounding history, culture and musical evolution. Most musical genres throughout the world express indigenous and foreign, or outsider aspects. What traits are uniquely regional, or indigenous, and what traits are coming from an outside influence and why? Again, almost all music has a combination of both! How have politics, religion or human migration affected this musical genre/activity? Lastly, can you relate what you learned to your own life experiences?

1- Medieval Manuscripts, an Introduction

1. Why are medieval books more likely to survive than scrolls?
2. Who made the books?
3. Why were books essential to the practice of Christianity?

The Bestiary

1. What is a bestiary?

Listening to the medieval book

1. What is parchment made out of?
2. What is the difference in sound between the cheap parchment and the expensive parchment?
3. What is a Paris Bible?
4. Who likely used the Paris Bible?

————–

2- Complete and respond to classmates:

• Look at the pictures of the Romanesque Churches below, exteriors and interiors.

Edit

St. Sernin, Toulouse, France

Interior of St. Sernin

Pisa Cathedral, Italy

Pisa Cathedral, Interior

• Read the following excerpt about peasant life in Medieval Europe and try to imagine what your life would be like if you lived then.

Barbara Tuchman, in A Distant Mirror: the Calamitous Fourteenth Century, tells us that peasants were considered:

“aggressive, insolent, greedy, sullen, suspicious, tricky, unshaved, unwashed, ugly, stupid and credulous… in satiric tales it was said the [peasant’s] soul would find no place in Paradise or anywhere else because the demons refused to carry [him] due to the foul smell.” And…

… by what right does a [peasant] eat beef? …Rather let them eat thistles and briars, thorns and straw and hay on Sunday and peapods on weekdays… they should chew grass on the heath with the horned cattle and go naked on all fours.”

The following is a fictional, but likely, account of a day in the life of a medieval peasant:

“Woke up this morning. Little Jacques lost some more teeth in the evening; so did I. Marie has dysentery, the less said about that, the better. Julianne continues to breast-feed Robert, even though he’s four years old [Extended breast feeding lowers fertility]. Michel showed up this morning with my spade; he’d buried four of his plague-stricken children himself. He was unable to hire gravediggers as they won’t bury diseased dead. I’m not sure I want my spade back.

Went to town. Left seven-year-old Jacques to borrow one of Lord Foix’s oxen and plow the field. He’s a tough little bugger. Saw a large party, maybe 300, striding through town, beating themselves with iron-studded leather whips in front of sobbing townspeople. Pretty strange bunch. They must have a lot of free time. [The flagellants, as they were later called, felt corrupt clergy could no longer save mankind and decided self-abuse was the proper way to absolve humanity’s sins. Tuchman tells us “they were forbidden to bathe, shave, change their clothes, sleep in beds, talk or have intercourse…” without their leader’s permission. “Evidently this was not withheld, since the flagellants were later charged with orgies in which whipping was combined with sex.” While originally possessing religious fervor, the flagellants grew secular and attempted to usurp power from the Church. Failing that, they settled for slaughtering some 10,000 Jews before France’s Philip VI hanged and beheaded them. -HH] After the crowd moved through, saw neighbor Jean, covered with red rashes, staring openmouthed at the sky, talking about demons, frogs, and wildflowers. He looks different. His wife tells me his left arm fell off last week [Jean has St. Anthony’s Fire, a poisoning caused by the ergot fungus in rye flour kept over winter. Ergot contaminates grains in the field, causes wild hallucinations, blood vessel constriction and limb loss and is still a threat to modern agriculture. -HH].

Ran into friends Charles, Philip, and Gaston in the center of a large crowd, playing the village’s favorite game with Marat’s cat. They had their hands tied behind their backs, and they were trying to beat it to death with their heads. It was nailed to the post in the middle of town, and Guillaume played his trumpet. Gaston had his eye put out by the cat. After a few beers it was an awfully good laugh. He bit its paw off, and finally killed it. Well done, fellows. [Tuchman refers us to Origo’s Merchant of Prato, which details this and other horrific peasant games. – HH] Smells pretty bad in town, and I don’t think it’s just the decapitated bodies from last week’s inquisition. Seems like the last time I was in town it was to watch old Louis get flogged, hanged and quartered for something or other. [In 1327, Avignon’s public sanitation was so deficient that the stench forced historian Petrarch to move out to nearby Vaucluse “to prolong my life.” It also caused a visiting ambassador from Aragon to faint. In addition, Tuchman notes that “torture was authorized by the Church… in everyday life passersby saw some criminal flogged… passed corpseshanging on the gibbet and decapitated headsand quartered bodiesimpaled on stakes in the city walls.” -HH].

Game over, we went to church. Before Jean went mad, he had organized an Indignation Meeting for tonight, and we met in the cemetery. The nobles have been treating us rather poorly [While the codes of chivalry prohibited killing unarmed men, knights reasoned peasants did not abide by the codes and were thus fair game. Pillage, rape, and slaughter by local nobility were common. -HH]. What’s more, they have contributed to the capture of our beloved king. We found out last week that some local knights fled Jean II while fighting the English in Poitiers without actually fighting. Cowards. [Jean II was captured in the Battle of Poitiers against Charles of Navarre in 1358. -HH] We all got pretty riled up, went to Lord Foix’s castle, raped then killed his wife and daughter, saving him for last, and then burned the castle. I guess Foix won’t get his ox back. It was pretty nuts. Went home, drank a gallon of ale, and went to bed. Long day.

[Our protagonist had joined a movement started in 1358 that eventually encompassed tens of thousands of peasants in France who pillaged and raided cowardly nobility. However, a large garrison of nobles eventually met the peasants in Meaux and killed a bunch of them, giving new license to the slaughter of commoners, and the original order was swiftly returned. Because this site is made in America, where we believe in the happy ending, our hero survived the retribution of the nobles and the Plague and died of pneumonia at the ripe age of 35. -HH]”

• Share with us what you think it was like for a poor peasant, to enter the Church of St. Sernin in Toulouse, France?
• What was it like to sit in the Mass, listen to the Bishop in his holy regalia and participate in the service? Remember, you are a poor peasant.

Now read the following excerpt from St. Bernard of Clairvaux as regards his views of opulence of the Benedictine Bishops.

Bernard of Clairvaux was a member of the Cistercians, an ascetic order founded in the eleventh century in opposition to the increasing opulence of the Benedictines. His letter to the Benedictine abbot William of St.-Thierry of about 1127 denounces all monastic luxury, especially the presence of art in cloisters. Like many others, Bernard believed that monks were spiritually superior to the “carnal” layfolk and so should not need material inducements to devotion.

“As a monk, I put to monks the same question that a pagan used to criticize other pagans: “Tell me, priests,” he said, “what is gold doing in the holy place?” I, however, say…”Tell me, poor men, if indeed you are poor men, what is gold doing in the holy place?” For certainly bishops have one kind of business, and monks another. We [monks] know that since they [bishops] are responsible for both the wise and the foolish, they stimulate the devotion of a carnal people with material ornaments because they cannot do so with spiritual ones. But we who have withdrawn from the people, who have left behind all that is precious and beautiful in this world for the sake of Christ, we who regard as dung all things shining in beauty, soothing in sound, agreeable in fragrance, sweet in taste, pleasant in touch-in short, all material pleasures-…whose devotion, I ask, do we strive to excite in all this?…

Does not avarice…cause all this…? Money is sewn with such skill that it may be multiplied…the very sight of these costly but wonderful illusions inflames men more to give than to pray. In this way wealth is derived from wealth…Eyes are fixed on relics covered with gold and purses are opened. The thoroughly beautiful image of some male or female saint is exhibited and that saint is believed to be more holy the more highly colored the image is. People rush to kiss it, they are invited to donate, and they admire the beautiful more than they venerate the sacred…What do you think is being sought in all this? The compunction of penitents, or the astonishment of those who gaze at it? O vanity of vanities…! The Church is radiant in its walls and destitute in its poor….It serves the eyes of the rich at the expense of the poor. The curious find that which may delight them, but those in need do not find that which should sustain them…”

-Janson

• What was it like to be a powerful Bishop with access to the opulence of a rich church?
• What was it be like to be a monk, dedicated to poverty, chastity and charity? What did monks do artistically?

1- Medieval Manuscripts, an Introduction

1. Why are medieval books more likely to survive than scrolls?
2. Who made the books?
3. Why were books essential to the practice of Christianity?

The Bestiary

1. What is a bestiary?

Listening to the medieval book

1. What is parchment made out of?
2. What is the difference in sound between the cheap parchment and the expensive parchment?
3. What is a Paris Bible?
4. Who likely used the Paris Bible?

————–

2- Complete and respond to classmates:

• Look at the pictures of the Romanesque Churches below, exteriors and interiors.

Edit

St. Sernin, Toulouse, France

Interior of St. Sernin

Pisa Cathedral, Italy

Pisa Cathedral, Interior

• Read the following excerpt about peasant life in Medieval Europe and try to imagine what your life would be like if you lived then.

Barbara Tuchman, in A Distant Mirror: the Calamitous Fourteenth Century, tells us that peasants were considered:

“aggressive, insolent, greedy, sullen, suspicious, tricky, unshaved, unwashed, ugly, stupid and credulous… in satiric tales it was said the [peasant’s] soul would find no place in Paradise or anywhere else because the demons refused to carry [him] due to the foul smell.” And…

… by what right does a [peasant] eat beef? …Rather let them eat thistles and briars, thorns and straw and hay on Sunday and peapods on weekdays… they should chew grass on the heath with the horned cattle and go naked on all fours.”

The following is a fictional, but likely, account of a day in the life of a medieval peasant:

“Woke up this morning. Little Jacques lost some more teeth in the evening; so did I. Marie has dysentery, the less said about that, the better. Julianne continues to breast-feed Robert, even though he’s four years old [Extended breast feeding lowers fertility]. Michel showed up this morning with my spade; he’d buried four of his plague-stricken children himself. He was unable to hire gravediggers as they won’t bury diseased dead. I’m not sure I want my spade back.

Went to town. Left seven-year-old Jacques to borrow one of Lord Foix’s oxen and plow the field. He’s a tough little bugger. Saw a large party, maybe 300, striding through town, beating themselves with iron-studded leather whips in front of sobbing townspeople. Pretty strange bunch. They must have a lot of free time. [The flagellants, as they were later called, felt corrupt clergy could no longer save mankind and decided self-abuse was the proper way to absolve humanity’s sins. Tuchman tells us “they were forbidden to bathe, shave, change their clothes, sleep in beds, talk or have intercourse…” without their leader’s permission. “Evidently this was not withheld, since the flagellants were later charged with orgies in which whipping was combined with sex.” While originally possessing religious fervor, the flagellants grew secular and attempted to usurp power from the Church. Failing that, they settled for slaughtering some 10,000 Jews before France’s Philip VI hanged and beheaded them. -HH] After the crowd moved through, saw neighbor Jean, covered with red rashes, staring openmouthed at the sky, talking about demons, frogs, and wildflowers. He looks different. His wife tells me his left arm fell off last week [Jean has St. Anthony’s Fire, a poisoning caused by the ergot fungus in rye flour kept over winter. Ergot contaminates grains in the field, causes wild hallucinations, blood vessel constriction and limb loss and is still a threat to modern agriculture. -HH].

Ran into friends Charles, Philip, and Gaston in the center of a large crowd, playing the village’s favorite game with Marat’s cat. They had their hands tied behind their backs, and they were trying to beat it to death with their heads. It was nailed to the post in the middle of town, and Guillaume played his trumpet. Gaston had his eye put out by the cat. After a few beers it was an awfully good laugh. He bit its paw off, and finally killed it. Well done, fellows. [Tuchman refers us to Origo’s Merchant of Prato, which details this and other horrific peasant games. – HH] Smells pretty bad in town, and I don’t think it’s just the decapitated bodies from last week’s inquisition. Seems like the last time I was in town it was to watch old Louis get flogged, hanged and quartered for something or other. [In 1327, Avignon’s public sanitation was so deficient that the stench forced historian Petrarch to move out to nearby Vaucluse “to prolong my life.” It also caused a visiting ambassador from Aragon to faint. In addition, Tuchman notes that “torture was authorized by the Church… in everyday life passersby saw some criminal flogged… passed corpses hanging on the gibbet and decapitated heads and quartered bodiesimpaled on stakes in the city walls.” -HH].

Game over, we went to church. Before Jean went mad, he had organized an Indignation Meeting for tonight, and we met in the cemetery. The nobles have been treating us rather poorly [While the codes of chivalry prohibited killing unarmed men, knights reasoned peasants did not abide by the codes and were thus fair game. Pillage, rape, and slaughter by local nobility were common. -HH]. What’s more, they have contributed to the capture of our beloved king. We found out last week that some local knights fled Jean II while fighting the English in Poitiers without actually fighting. Cowards. [Jean II was captured in the Battle of Poitiers against Charles of Navarre in 1358. -HH] We all got pretty riled up, went to Lord Foix’s castle, raped then killed his wife and daughter, saving him for last, and then burned the castle. I guess Foix won’t get his ox back. It was pretty nuts. Went home, drank a gallon of ale, and went to bed. Long day.

[Our protagonist had joined a movement started in 1358 that eventually encompassed tens of thousands of peasants in France who pillaged and raided cowardly nobility. However, a large garrison of nobles eventually met the peasants in Meaux and killed a bunch of them, giving new license to the slaughter of commoners, and the original order was swiftly returned. Because this site is made in America, where we believe in the happy ending, our hero survived the retribution of the nobles and the Plague and died of pneumonia at the ripe age of 35. -HH]”

• Share with us what you think it was like for a poor peasant, to enter the Church of St. Sernin in Toulouse, France?
• What was it like to sit in the Mass, listen to the Bishop in his holy regalia and participate in the service? Remember, you are a poor peasant.

Now read the following excerpt from St. Bernard of Clairvaux as regards his views of opulence of the Benedictine Bishops.

Bernard of Clairvaux was a member of the Cistercians, an ascetic order founded in the eleventh century in opposition to the increasing opulence of the Benedictines. His letter to the Benedictine abbot William of St.-Thierry of about 1127 denounces all monastic luxury, especially the presence of art in cloisters. Like many others, Bernard believed that monks were spiritually superior to the “carnal” layfolk and so should not need material inducements to devotion.

“As a monk, I put to monks the same question that a pagan used to criticize other pagans: “Tell me, priests,” he said, “what is gold doing in the holy place?” I, however, say…”Tell me, poor men, if indeed you are poor men, what is gold doing in the holy place?” For certainly bishops have one kind of business, and monks another. We [monks] know that since they [bishops] are responsible for both the wise and the foolish, they stimulate the devotion of a carnal people with material ornaments because they cannot do so with spiritual ones. But we who have withdrawn from the people, who have left behind all that is precious and beautiful in this world for the sake of Christ, we who regard as dung all things shining in beauty, soothing in sound, agreeable in fragrance, sweet in taste, pleasant in touch-in short, all material pleasures-…whose devotion, I ask, do we strive to excite in all this?…

Does not avarice…cause all this…? Money is sewn with such skill that it may be multiplied…the very sight of these costly but wonderful illusions inflames men more to give than to pray. In this way wealth is derived from wealth…Eyes are fixed on relics covered with gold and purses are opened. The thoroughly beautiful image of some male or female saint is exhibited and that saint is believed to be more holy the more highly colored the image is. People rush to kiss it, they are invited to donate, and they admire the beautiful more than they venerate the sacred…What do you think is being sought in all this? The compunction of penitents, or the astonishment of those who gaze at it? O vanity of vanities…! The Church is radiant in its walls and destitute in its poor….It serves the eyes of the rich at the expense of the poor. The curious find that which may delight them, but those in need do not find that which should sustain them…”

-Janson

• What was it like to be a powerful Bishop with access to the opulence of a rich church?
• What was it be like to be a monk, dedicated to poverty, chastity and charity? What did monks do artistically?
• 
  

The content of this short comic strip comes from you, but what we did that led up to it was first we split a page into three squares like this:

After that we labeled each of the squares like this:

The squares that you see there, inside of the ‘Splash Page’ part can be bigger or made on a separate sheet of paper.

Under the ‘Characters’ square/section you want to draw/doodle or write in bullet point format (or in short sentences) 4 to 5 possible characters that could become characters of a story or comic you could write – maybe you can borrow from what you did in the Photography Hands-on Assignment #1. This is like a big brainstorm, and you want to write or visualize the kinds of characters that could populate an art piece or story you build, a world with your style and imagery.

Under the ‘Stories’ square/section you want to draw/doodle or write in bullet point format (or in short sentences) 3 to 4 possible characters that could become stories or story-ideas (maybe part of a story) you could write – maybe you can also borrow here from what you have written in some of the Writing Entries, where you have reflected on stories your family have told you or parts of Chicano/a/x history that you wish you would have learned more about in school.

Then under the ‘Splash Page’ part you have 3 cells/squares, and each one will have inside of it something you draw to make a comic, or a short story though visuals. You could title your first cell/square ‘Past’, and the second one titled ‘Present’, and the third one titled ‘Future’. You don’t have to title them at all, and you don’t have to title them that, it’s just to help you. You basically want the first one to be a kind of beginning to your very short comic, and you want the second one to be a kind of middle to your very short comic, and then the last/third one to a kind of ending to your very short comic. Besides drawing something inside the 3 squares, you want to also write a sentence or two above or below each square, briefly stating what it is that the cell/square is about (it can be poetic, it doesn’t need to be so matter-of-fact). Here’s what the one I made in class looked like (please spend more time on yours, and you don’t need to do it digitally if you don’t want to):

the short story you have already written – the one that is about a page or so in length, and that is about a Narrator coming from an Earth-like planet, and coming from the future, into a time closer to our present day and Earth where the story takes place.

The comic strips, which consist of 3 squares each, will use these building blocks of the textual-visual comic-language (They are from Scott McCloud’s book ‘Making Comics’, and are referred to as ‘Panel-to-Panel Transitions’):

Please turn in the Square you did for the ‘Characters’, as well as the square you did for ‘Stories’, and also your ‘Splash Page – section that was the 3-cell/square short comic strip’.

PART 1 : Go to the http://www.colormatters.com website.

1. Click on the Color and Design link (top menu bar).

2. Click on Basic Color Theory. Read the information and take notes on pertinent

material.

3. Click on Color and Vision (top menu bar). Read the information on Color &

Vision Matters and Color & Accident Matters.

4. Click on the Color & the Body (top menu bar). Read the information on

the Color and Appetite Matters and Drunk Tank Pink.

5. I encourage you to explore all of the other pages and links on the

colormatters.com website.

6. After reading the interesting pages about color post a well thought out reaction.

(250 word minimum) about what you found most interesting and why.’

PART 2: Google “college public art collections”, “university public art collections” and “public art” to see some examples of artwork other colleges are collecting through percent for public art programs.

1. Based on what you’ve learned so far in this course, do you see a need for public artwork on the South Texas College (McAllen, TX) campuses? Explain why.

2. Do you think South Texas College would benefit from a percent for public art program which would provide a permanent public art collection on all the campuses?

3. How could public art on campus benefit students and the community?

4. If you think STC should start a percent for public art program, insert an image in your post of a public artwork you think would be appropriate for one of the 5 STC campuses.

5. If you do not live in the area and are not familiar with the STC campuses, choose an artwork you think would be appropriate on any college campus.

6. If on the other hand, you don’t think public art would benefit the STC campuses, explain why and insert an image of something you think would benefit the students and community. Example: Rose Garden, Rock Climbing Wall

When choosing an artwork to insert in your post remember public art must be available to the public without entering a building or paying a fee. Consider how the elements will affect the artwork. Public art must be able to withstand bad weather, animals, critters, bugs, birds and must be fairly easy to clean and maintain. An oil painting in a frame would not be a good choice to hang on the side of building. Search Google or other search engines for images of public art to consider.

Write a research paper of 1500 words minimum about a photograph by one of the photographers listed below. Select a second work, this one by an artist who worked in another medium (not photography), that you believe is a good comparison to the photograph that you have selected. The work may be a painting, sculpture, etching, song, poem, play or movie. Compare and contrast the two works.

It is not enough that the two works are similar in subject, but they should also have the same feeling or character (dark and brooding or light and airy, for example).

Upload your paper as a Word document or PDF. Please write in 12 point type, double spaced (or 1.5 line spaces), on a white background. Please provide a cover page with your name and the title of your paper.

Be certain to include the following (I will look for these when I grade):

• Biographical information concerning the photographer
• Description of the selected photograph
• Interpretation of the photograph’s meaning and/or importance – include contextual information (personal, political, social or world events)

• Biographical information on the other artist (this can be somewhat brief)
• Description of the other artwork that you selected
• Interpretation of the other artwork’s meaning and/or importance
• Explain how these two works are related – devote more words to this as it is the essence of the project.

• Include two images – one of the photograph and one of the other artwork

Use the rubric below as a guide, also.

Photographers

Diane Arbus Bill Brandt Harry Callahan

Richard Avedon Man Ray William Mortensen

John Baldessari Cindy Sherman Ed Ruscha

Julia Margaret Cameron Andy Warhol Lewis Baltz

William Eggleston Edward Weston Edward Steichen

Lewis Hine Moholy-Nagy Garry Winogrand

Weegee Irving Penn Hans Bellmer

Ralph Meatyard Duane Michals Dorothea Lange

Ask me if you want to do a different photographer. It will need to be someone who is widely respected and whose work I know.

Sources of Information

Select your sources carefully! Be certain that they are authentic and trustworthy, such as museums, major newspapers and magazines, universities and colleges. Your care in selecting sources will be reflected in your grade.

Citations

Whenever you use an idea that is not your own, quote or paraphrase the writing of someone else, you must cite it. You may use online sources, but NOT Wikipedia. I recommend sources such as museum websites, college and university websites, or other institutional sources.

To cite your references, use the Chicago Manual of Style to create either footnotes or endnotes. Most papers will include around 10 to 15 citations. Do NOT include a bibliography. You do NOT need to cite widely known information, such as the birth or death dates of an artist.

Slides from presentation concerning footnotes or endnotes:

Requirements: Minimum 1500 Words Times New Roman Size 12 Font Double-Spaced Chicago Format Excluding the Title and Reference Pages | .doc file

Please:

Be sure to use scholarly sources. Please include a minimum of 10 to 15.

Please include in-text citations in the form of footnotes.

No plagiarism & No Course Hero & No Chegg. My professor will be submitting the paper to Turnitin.

Include at least one in-text citation for every body paragraph.

Please be sure to carefully follow the instructions.

Please for this assignment I want a lady to record her voice not male

You will be making a video presentation.

Pick an artist you are interested in from any time period, working in any medium, EXCEPT, as in DO NOT DO Frida Kahlo, Diego Riviera, Pablo Picasso, Michelangelo, Leonardo Da Vinci, Bob Ross, Andy Warhol and Salvador Dali. (Sorry these artists are too familiar. I want you to find an artist you don’t know much about). Take a chance on a film director or a sculptor or ceramicist. Research that artist and address ALL of these prompts:

• the history of their life,
• events happening at the time they live or lived and were working,
• other art movements happening at the same time they were working,
• their theories on art,
• what if any art movement they belong or belonged to,
• a summary of their body of work- did they pioneer a new direction in their medium,
• what were the main elements and principles of design they tend or tended to use,
• what of the 6 functions does their art employ,
• what art criticism have they received (which of the theories are applied to their work) and do you agree or disagree with that assessment, does the artist?

You’ll have to read not only about the artist, but articles written about their work (from art magazines for example, books written) and research the time period in which they were working.Remember to cite resources correctly and use your own words.

Write a script for your presentation. Then you will record it and upload it to this discussion. (Instructions below). You are not handing in a written paper.

Your notes (expanded upon) and thoughts for the presentation should be written clearly, so you can use it as a script. (FYI to be sure you have enough information prepared for the oral presentation you will record. 500-600 words is the approximate equivalent of a 5-6 minute speech), create a powerpoint (or equivalent) presentation (include key points, images of work, the artist, other artist’s work going on at that time, etc) and present it to the class.

Plan on approximately a 5-6 minute presentation ONLY. Be concise!

After uploading your own video, View classmates videos so you can learn about even more artists. Respond to 2 other presentations within 24 hours of the due date.

PART 1: This essay fulfills the course requirement to conduct written research on a work of art or architecture. The work of art (or architecture) that you select will also be used to create your Research PowerPoint . This work of art or architecture must be from the eras covered in Modules 1 and 2. Your topic does not have to be covered in the textbook, but it should have been created during the Prehistoric era through the Ancient Greece (Module 1 through 2). In your paper, you must provide a clear thesis and demonstrate your support for that thesis in your research. I want to see your thesis stated by the end of your first paragraph. Remember, a thesis is: a statement or theory that you intend to prove by the end of your paper.

Details

• 3 pages, double-spaced and typed, in 12pt. font
• at least 3 sources (other than your text)

Information Literacy

You must use this Research Resource Guide (Links to an external site.) to access the following credible academic sources on the basis of your research:

• books
• dissertations
• interviews
• journals
• magazines
• videos

Websites and encyclopedic entries will not be counted as appropriate research sources. What is provided for you through the Research Resource Guide are the required, credible, peer-reviewed sources you will need for this assignment. If you are unsure of the legitimacy of any of your sources, please ask the instructor.

Demonstrate

• You must provide a clear thesis, which states what you hope to show about a specific work. For example, you may want to discuss a work of architecture and its relation to social and political ideas of the society that created it. If the artist’s biography is known, you may discuss how the work of art might relate to that biography.
• Provenance is the history of ownership. In addressing provenance, you answer: Was the work commissioned and why? If not, why was it made? What were the artist’s intentions?
• How do factors like the historical context and location shape the meaning of the work?
• Remember that in discussing style, you are often referring to a period style or regional style. You must also utilize formal analysis in your approach to communicating the work’s key features. Give attention to the materials and techniques the artist used to effectively communicate their ideas.
• The possibilities are endless, but you must demonstrate that you understand the interpretations of a work of art architecture. This should be responsive to the research you have encountered, and you may be expanding upon or arguing against previous research.
• You must include MLA (Links to an external site.) citation style, with endnotes and a complete bibliography on two separate pages at the end of the paper. Your endnotes should be on their own page, as well as your bibliography. You don’t need to fill these two pages, but they should be on separate pages at the end of your paper. A full resource guide to MLA citation is also included in the Research Resource Guide.

Part 2:

Purpose

Using the same work of art (or architecture) that you researched and discussed in your Research Essay, you will create a Research PowerPoint. In this PowerPoint, you will compile the important points of your research into a presentation for your classmates.

Directions

You will lead a bullet-point discussion on style, context, content, purpose of your chosen work and offer some insight into the use of formal analysis. During your discussion, you should not only introduce the basic facts of the work but give consideration to the following:

• Provenance: was the work commissioned and why? If not, why was it made? What were the artist’s intentions?
• What are the interpretations of the work?
• How do factors like the historical context, location, artist biography, shape the meaning of the work?
• Remember that in discussing style you may refer to a period, region, or personal style.

You may also include any other methodology for discussion that you think applies or is interesting, such as a psychological analysis, a feminist response, politics, science, etc.

You may choose any application to create your presentation, but it must be in the format of a slide show and saved as a .ppt or .pptx file. Your presentation must include both images and bullet points to explain your artwork.

This is an observational project. Your observations should be illuminated by the material from class, but outside research is required and should be utilized through the Research Resource link. Research findings must be properly cited and must be properly credited in your last slide. Please use MLA format.

(See https://owl.purdue.edu/owl/research_and_citation/mla_style/mla_formatting_and_style_guide/mla_formatting_and_style_guide.html (Links to an external site.))

A typical project will spend the first 5 slides describing both the content and the form of the artwork in detail using at least 5 terms learned in class (ie. sculpture in the round, complementary colors, abstraction, etc.) and possibly providing some background about the artist (but not more than 1 slide).

You should address how the form and content are interacting (ie. Does the artist’s choice of medium enhance or detract from the narrative/subject or the message they are sending to the viewer?). The content includes the narrative or story that is conveyed in the artwork.

The rest of the project should be spent revealing new insights into the work that goes beyond the textbook. This is the essential findings of your research. In the next 5 slides, you should talk about the work’s context. You may want to talk about the work’s significance – how it may be a political statement or shows an innovative style, for example. Feel free to compare your work to other works from this time frame, by the same artist or others.

You can show historical photographs or diagram material that help to illustrate your points. Feel free to also incorporate videos into your slides.

I suggest the following organization:

(SAMPLE PRESENTATION)

Slide 1: Title slide

Slide 2: An image of your selected artwork (with artist, title, date, location)

Slide 3: Bullet points describing your artwork

Slide 4: More bullet points describing your artwork

Slide 5: Image of detail(s)of your artwork, or background of the artist

Slide 6: Bullet points describing the significance of the work

Slide 7: Image comparison artworks

Slide 8: Bullet points describing the comparison

Slide 9: More bullet points describing the comparison

Slide 10: Other images (different views of your artwork or historical images related to its context)

Slide 11: Bullet points summarizing your major ideas

Slide 12: Footnotes/Works Cited

In your bullet points, do not copy any sentences or parts of sentences from any publication or website from the museum’s label or audio guide. If you decide to include anyone else’s ideas or words, limit it to a few words and add an endnote to the final slide. (Otherwise, you are committing plagiarism.)

The Portfolio PowerPoint assignment allows you, the student, to showcase your knowledge and

understanding of the course concepts. It will also provide you with a tangible display of your
repertoire of processes and resources in the visual and performing arts that may be shared with
future employers, fellow staff members, parents, and children, as well as, of course, your instructor
for the purpose of evaluation.
Your portfolio should be a creative effort with your own personal touches. The general outline is as
follows:
o Philosophy Statement
o Table of Contents
o Environment/Art Studio
o Section One – Visual Arts
 Drawing
 Painting
 Collage
 Clay and other modeling materials
 Building and construction
 Wire
 Printing and rubbings
 Textiles
 Book making
 Beautiful stuff – recycling
 Nature
o Section Two – Music & Movement
 Finger plays
 Musical instruments
 Creative movement/dance
o Section Three – Drama
 Dramatic Play
 Types of Drama
 Pantomime
 Story Dramatization
 Child-created Plays and Props
 Puppetry and Masks
 Storytelling
The portfolio should include all of the materials created and distributed in class. If you are working
for a “B” or an “A” it should also include a variety of other resources gathered from books, mentors,
Internet, etc. It should also be beautiful (aesthetically pleasing) and represent work that you are
proud to share with others.CD 121: Arts/Creativity for Young Children
Portfolio PowerPoint Assignment
(100 points)
The Portfolio PowerPoint assignment allows you, the student, to showcase your knowledge and
understanding of the course concepts. It will also provide you with a tangible display of your
repertoire of processes and resources in the visual and performing arts that may be shared with
future employers, fellow staff members, parents, and children, as well as, of course, your instructor
for the purpose of evaluation.
Your portfolio should be a creative effort with your own personal touches. The general outline is as
follows:
o Philosophy Statement
o Table of Contents
o Environment/Art Studio
o Section One – Visual Arts
 Drawing
 Painting
 Collage
 Clay and other modeling materials
 Building and construction
 Wire
 Printing and rubbings
 Textiles
 Book making
 Beautiful stuff – recycling
 Nature
o Section Two – Music & Movement
 Finger plays
 Musical instruments
 Creative movement/dance
o Section Three – Drama
 Dramatic Play
 Types of Drama
 Pantomime
 Story Dramatization
 Child-created Plays and Props
 Puppetry and Masks
 Storytelling
The portfolio should include all of the materials created and distributed in class. If you are working
for a “B” or an “A” it should also include a variety of other resources gathered from books, mentors,
Internet, etc. It should also be beautiful (aesthetically pleasing) and represent work that you are
proud to share with others.

I am looking for a tutor to do my Art 100 6 week Crash Course. It is extremely important that the tutor has a wide range of knowledge around the subject and can confidently deliver a B or above. Deadlines are important, so it is 100% necessary that the work is done on time or ahead of schedule. Paid Bi-Weekly + 10% Tips for early completion.

Here’s some of the details below:

Course Overview

Welcome to Art Appreciation! This course provides a general introduction to art through the analysis of art theory, terminology, themes, design principles, media, and techniques. This course also introduces the visual arts across time and through diverse cultures with an emphasis on function, meaning, and style. This course includes topics such as: Defining Art, Functions of Art, Visual Elements of Art and the Principles of Design, Media and Techniques, Methodologies of Art History and Art Criticism, and an overview of Art History from a local and global perspective. We explore such questions as: What purposes does art serve? How do art materials change over time? How do elements of a composition (such as line and color) influence our response to an artwork? What methods do art historians use to interpret works of art? How can viewing artworks in art galleries and museums enhance our appreciation?

Course Text

The course textbook we’ll be using is:

Gateways to Art: Understanding the Visual Arts. Third Edition.
Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields

Please purchase the e-book version with InQuizitive. See the Textbook and Materials page for more information.

Course Objectives

In this course, students will:

1. Evaluate and critique works of art and architecture based on formal elements of art and principles of design and employ appropriate art historical terminology.
2. Analyze, evaluate, and distinguish materials and techniques used for creating art and architecture.
3. Differentiate art historical methodologies.
4. Identify, analyze, and discuss the functions of art and architecture and the roles of artists in local and global cultures.

Student Learning Outcomes (SLOs)

Upon completion (C or better) of this course, students will be able to:

1. Successfully analyze, compare, and contrast works of art in terms of style, symbolic content, and context.
2. Explain artistic methods and materials applying correct terminology.
3. Evaluate and discuss art’s essential capacity to communicate and inform.
4. Demonstrate critical thinking skills through independent study of artworks following guidelines for assigned research projects in this course.

How is the Course Structured?

We will use Canvas as our online (distance education) learning platform. Canvas functions much like a course website.

The course is divided into weekly modules. You must complete all of the assignments within one module in order to move to the next. Cues in each module–VIEW, SUBMIT, CONTRIBUTE, MARK as DONE are helpful reminders. If you complete the current module early, you can jump ahead to the next module to work ahead within the available dates.

Assignments and Quizzes

There will be homework as a part of this course. Your homework will consist of weekly reading assignments, InQuizitive assignments, and discussions. InQuizitive is structured so that you can earn a 100%—a perfect score—in each module. After the due date, you can continue to work on a particular homework assignment but you cannot increase your score after that time. So, be mindful of the posted due dates.

There will also be weekly quizzes that will test your knowledge of the week’s content, and you will be allowed to drop your lowest quiz score. I provide terms and works of art to focus on to help you prepare for the quizzes and keep track of which works of art and concepts are important to know. There will be a cumulative final exam at the conclusion of the course, also taken through the online quizzes tool.

Assignments are not accepted late. There is a strict policy on late assignments in this course. Plan ahead to allow yourself sufficient time to complete your assignments, as you have at least a week to complete each module. If you miss an important assignment, make-ups may be scheduled only in the case of illness or emergency, and only with timely communication to me and with documentation, such as a doctor’s note. If I do not hear from you in a timely manner, a make-up quiz or extension will not be granted and you will receive a 0 for the assignment. Because you may drop your lowest score on a quiz assignment, there is already some flexibility built into the course to accommodate those times when you may not be able to complete an assignment on time or forget about a due date, so make-ups or late assignments for those will not be granted. If you are concerned about your ability to complete any assignments on time for a valid reason, please talk to me ahead of time so we can accommodate your situation if need be.

Grading

We will use the Grades tool in Canvas, which will keep track of your score and allow you to easily see your progress in the course. Please note, final grades will NOT be rounded up. Here’s the grading scale (this is subject to change without notice):

Grading Distribution by Assignment

Assignment	Points	Weight
Quizzes (15 – drop one low score)	140	30%
Discussions (8)	160	35%
InQuizitive Homework Assignments (15)	100	22%
Museum discussion assignment (1)	60	13%
TOTAL	460	100%

Grade Percentage with Letter Grade

Percentage	Grade
97-100%	A+
93-96%	A
90-92%	A-
87-89%	B+
83-86%	B
80-82%	B-
77-79%	C+
70-77%	C
60-69%	D
Below 60%	F

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Attendance

Because this is a 100% online course, there are no in-person or synchronous class meetings. You can complete the assignments and watch the recorded lectures at your own pace. Logging into Canvas regularly and keeping up with the weekly assignments is necessary to succeed in this class. At a very minimum, please plan to login at least twice per week to check Canvas and work on your assignments (once per week for full-semester courses). California Education Code instructs community college teachers to keep attendance. Because tuition is subsidized by state taxes, the college policy is strict: students who are absent or inactive for more than two weeks (consecutively or intermittently) may be dropped from the class. Also, it is your responsibility to officially withdraw from a course before the withdrawal deadline. After that date, a student cannot be dropped and will receive a letter grade. You probably want to have a W on your record rather than an F! Check deadlines at Grossmont’s academic calendar. (Links to an external site.)

Online Etiquette

The “classroom” we are working with now is entirely online. So, this may be new to a lot of us. I understand technological glitches can occur, but it is on you to make sure you have working computer and internet connection (the library or campus parking lot offer free wifi if you don’t have it at home). We all should do our best to be present and to learn, focus, and keep on track. Please be respectful by keeping your comments and questions in our discussions polite, checking spelling and grammar, and not using any inappropriate language, no abbreviations such as LOL, etc. Thank you!

Tips for Success

The key to doing well in this course is staying on track! Here are some general tips to help you succeed:

1. Check Canvas regularly. Logging into Canvas several times a week and participating in the activities assigned is key to your success. You will fall behind if you do not complete the weekly Modules on time. Make sure you have notifications enabled so you receive real-time updates to your email. Please login at least 2x per week.
2. Check your internet. You’ll need to have a working and reliable internet connection for this course. If you don’t have good internet, find a place where you can access a reliable connection, at least for taking the online quizzes. Grossmont library, campus, or parking lot offers free wifi if you’re in a pinch.
3. Take good notes and review them regularly. Take thorough notes and review the key points in a study notebook. Hand-write your notes for best results! Handwriting actually improves our learning and memory.
4. Do the readings. The information is most likely going to stick if you are learning it from multiple modalities – reading, watching the lecture, and writing.
5. Maintain your calendar. Mark important dates from this syllabus on your calendar. Set reminders. We’ll also have the calendar tool in Canvas to help you keep track of important dates.
6. Study for the quizzes. Spend a significant amount of time reviewing notes, making sure you’ve done the readings ahead of time.
7. Complete your assignments on-time. Work will not be accepted late.
8. If you are struggling, ask for help! Don’t wait until it’s too late if you are experiencing problems with the course please talk to me! My main objective is to help you to learn and to succeed.

Academic Integrity

It is the responsibility of each student to understand the actions and behaviors that constitute academic dishonesty, including plagiarism and cheating. You are encouraged to ask questions of instructors and are expected to read the College’s statement on Academic Fraud (located in the class schedule). Cheating and plagiarism (using as one’s own ideas writings, materials, or images of someone else without acknowledgement or permission) can result in any one of a variety of sanctions. If you use any material that is not your own in your discussions or paper assignments, you must cite your source. For example, cite a web site if you directly quote another author’s original idea, or your textbook if you copy a sentence word-for-word. Penalties for actions inconsistent with classroom, library and college expectations for academic integrity range from a failing grade on an assignment, quiz, exam, paper, or project (which may lead to a failing grade in the course) to, under certain conditions, suspension, or expulsion from a class, program, or the college. For more information and/or further clarification, please consult with your instructor or contact the Student Affairs Office.

Department Advisory

The content of this class is such that it may conflict with your personal opinions or beliefs. The nature of art is often controversial, and sensitive topics may come up in lecture. All class content will be discussed in a respectful and mature manner without any intention to cause or incite a hostile environment.

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please do all the three assignments separately

1-First assignment

Kara Walker.

Kara Walker uses solid black silhouettes and projectors to create racist-based imagery with the appearance of 18th- and 19th-century graphics. Walker said “I knew that if I was going to make work that [dealt] with race issues, they were going to be full of contradictions.” Look at her cut paper and projector image of “They Waz Nice White Folks While They Lasted” (Says One Gal to Another) (Links to an external site.) (Fig. 10.19). Discuss the meaning of the work while considering the title of the work and Walker’s quote.

Post your answer and respond to all in your group within 24 hours of the due date. You may and should respond to the responses you get.

2-Second assignment

Poster Protest

7373 unread replies.7373 replies.

Against oppressive government? Child labor? False imprisonment? Slavery? Discrimination against the poor? Deplorable conditions against the mentally ill? American commercialization? Pesticides? Racial discrimination? Create a poster-sized advertisement using any media (from computer, photography, paint, drawing, etc) to protest or call attention to an important issue.

3- Third assignment

Monumental Design

Buildings and structures can commemorate events, such as battles, and people, such as emperors. Even churches make religion monumentally grand (and the patron who built it). But for those people that were displaced by the victors, monuments can be a reminder of oppression.

Public can monuments stir up some controversy.

View and learn about these:

• President Dwight Eisenhower Monument by architect Frank Gehry, website (http://www.eisenhowermemorial.org (Links to an external site.)) and protests (http://www.eisenhowermemorial.net (Links to an external site.))
• Maya Lin Viet Nam Memorial (Links to an external site.)
• site on 13 most controversial (Links to an external site.)
• monument and memorial controversies in the US (Links to an external site.)
• there are several articles here (Links to an external site.)

Pick 1 to discuss. Give a summary of the monument and its controversy. Do you support the memorial or are you against it? Why? Do you think there is a way to help avoid controversy in monuments? If so what can be done? 200-350 Words. Cite your work.

Discuss the three value types that are most important in your life and explain how each value type is expressed by a specific work of art – with each work of art being a “Representative Work” from a different art discipline – using evaluative criticism.

Your essay must be 1250-1500 words long and should be written in multiple paragraphs, as follows:

Write one to two opening paragraphs [at least 250 words] in which you state the purpose of this essay (an introductory sentence) and explain which of the three value types that we have considered (individual, societal, religious, political, or environmental) are the most important in your human experience. Your discussion of your three chosen value types should include specific reasons why each of them is important in your life.

Write one to two paragraphs [at least 250 words] in which you state and discuss the ONE “Representative Work” that YOU believe best demonstrates the evaluative criticism standard of perfection in expressing your first value type. Be sure to justify how your chosen work does this, using relevant discipline-based vocabulary to discuss the quality of the work’s form. Your chosen work may be from any of the five artistic disciplines that we have studied in this course (visual art, architecture, literature, music, or performing art), though you may only discuss one work from this artistic discipline in your essay.

Write one to two paragraphs [at least 250 words] in which you state and discuss the ONE “Representative Work” that YOU believe best demonstrates the evaluative criticism standard of insight in expressing your second value type. Be sure to justify how your chosen work does this, using relevant discipline-based vocabulary to discuss the quality of the work’s content. Your chosen work may be from any of the five artistic disciplines that we have studied in this course (visual art, architecture, literature, music, or performing art), though it must be from a different artistic discipline than your previous work.

Write one to two paragraphs [at least 250 words] in which you state and discuss the ONE “Representative Work” that YOU believe best demonstrates the evaluative criticism standard of inexhaustibility in expressing your third value type. Be sure to justify how your chosen work does this, using relevant discipline-based vocabulary to discuss the strength of the work’s form and/or content. Your chosen work may be from any of the five artistic disciplines that we have studied in this course (visual art, architecture, literature, music, or performing art), though it must be from a different artistic discipline than your two previous works.

Write one to two closing paragraphs [at least 250 words] in which you discuss your opinion regarding art’s ability to express the human experience and/or its significance in doing so. For example, how well do you believe art expresses the human experience? Why? Do you believe that one art discipline does a better job at this than another art discipline? Why? Etc. Basically, there are no specific requirements for your conclusion, as long as you address the topic in a developed and meaningful fashion

Length: variable though I imagine it will likely take approx. 1.5 pages single spaced to respond to each question

Inclusion of readings: How does she or he interpret the work at hand and what does she or he see as the work’s significance?

Questions:

1. In the second half of the semester, we looked at several examples of “visual culture” or “popular culture,” i.e, images that were not made to be “art,” but that had a large cultural impact. Select, identify, and discuss one work of art that we discussed that was a direct or indirect response to visual or popular culture and explain how and why it can be seen to respond to popular imagery.
   • Art work: Andy Warhol, Blue Marilyn, 1962.
   • Because it was a publicity still for film Niagara
2. Define “abstraction” then select, identify, and discuss two abstract works we studied in the second half of the semester and explain the meaning of the works and the artists’ respective investments in this practice. Invoke at least one reading in your response; identify its author and title and summarize its main argument before applying it to your answer.
   • Reading: Harold Rosenberg, “American Action Painters”
   • Art work #1: Jackson Pollock, Autumn Rhythm (Number 30), 1950
   • Art work #2: Alma Thomas, Iris, Tulips, Jonquils, and Crocuses, 1969
3. Using one work from the first half of the semester and one work from the second half of the semester that participate in the same genre, explain how and why the character of the genre shifted over the course of the modern era. Feel free to be creative in categorizing works from the second half of the semester as a certain genre – just be sure to justify your

classification. Invoke at least one reading in your response; identify its author and title and summarize its main argument before applying it to your answer.visual or popular culture and explain how and why it can be seen to respond to popular imagery.

• Classification:Photography
• Reading: Michael Harris, “Color Lines: Mapping Color Consciousness in the Art of Archibald Motley, Jr.”

Applicable more so to racial elements of Artwork #1

• Art work #1 (second half of the semester): Photograph of lynching of Thomas Shipp, Abram Smith, James Cameron in Anderson Daily Bulletin
• Art work #2 (first half of the semester): Timothy O’Sullivan, A Harvest of Death in Gardner’s Photographic Sketchbook of the Civil War, 1863

This assignment has 2 parts one is an essay and the other one is to make a presentation on it.

PART 1: ESSAY

This essay fulfills the course requirement to conduct written research on a work of art or architecture, as seen in person. This work of art or architecture must be from the period covered in the course. Your topic does not have to be covered in the textbook, but it should be from the period of 1300 – Present. In your paper, you must provide a clear thesis and demonstrate your support for that thesis in your research.

This assignment combines the required skills necessary for investigating a work of art, and the necessity of actually seeing those objects to that research. Therefore, in this assignment, you will be required to write about a work of art you have seen in person. For area museums that you can visit, access the Sources of Museum Visit link below. If you live outside of Northern Virginia or the Washington, DC Metro area, please contact your instructor for approval or ideas for museum visits in your area. You will need approval from your instructor to use online museum collections in lieu of an on-site visit. Referring to the museum catalog and/or label information (what contextualizes the important facts about the work of art), your research will expand upon one Important aspect of the work you learned from the museum.

Details

• 750 – 1000 words
  • 3 to 4 FULL pages, double-spaced and typed, in 12pt. font
• Images should be submitted separately
• at least 3 sources (other than your text)

Information Literacy.

You must use this Research Resource Guide (Links to an external site.) to access the following credible academic sources on the basis of your research:

• books
• dissertations
• interviews
• journals
• magazines
• videos

Websites and encyclopedic entries will not be counted as appropriate research sources. What is provided for you through the Research Resource Guide are the required, credible, peer-reviewed sources you will need for this assignment. If you are unsure of the legitimacy of any of your sources, please ask the instructor.

Demonstrate

• You must provide a clear thesis, which addresses an important aspect of the museum’s context of the work. For example, the museum text may discuss a work of art’s relation to social and political ideas within society when it was created it. If it discusses the artist’s biography, you may discuss how the work of art related directly to that biography.
• Provenance is the history of ownership. In addressing provenance, you answer: Was the work commissioned and why? If not, why was it made? What were the artist’s intentions? Provenance is also an important aspect you will find in the museum’s information.
• How do factors like the historical context and location shape the meaning of the work?
• You must also discuss style. Remember that in discussing style, you are often referring to a period style or regional style. In order to discuss style, you must utilize formal analysis to communicate the work’s key features. Give attention to the materials and techniques the artist used to effectively communicate their ideas. Those materials and techniques are also particular to time and place.
• The possibilities are endless, but you must demonstrate that you understand the existing and accepted interpretations of a work of art architecture. This essay should be thoughtfully responsive to the museum’s research you encountered in your visit, and you will be expanding upon, or even arguing against, previous research.
• You must include MLA (Links to an external site.) citation style, with endnotes and a complete bibliography on two separate pages at the end of the paper. A full resource guide to MLA citation is also included in the Research Resource Guide.

PART 2: pRESENTATION

Purpose

Earlier in the class, you researched a work of art or architecture and discussed your findings in a Research Essay. Research Powerpoint will compile the important points of your research into a presentation for your classmates.

Directions

You will lead a bullet-point discussion on style, context, content, purpose of your chosen work and offer some insight into the use of formal analysis. During your discussion, you should not only introduce the basic facts of the work but give consideration to the following:

• Provenance: was the work commissioned and why? If not, why was it made? What were the artist’s intentions?
• What are the interpretations of the work?
• How do factors like the historical context, location, artist biography, shape the meaning of the work?
• Remember that in discussing style you may refer to a period, region, or personal style.

You may also include any other methodology for discussion that you think applies or is interesting, such as a psychological analysis, a feminist response, politics, science, etc.

You may choose any application to create your presentation, but it must be in the format of a slide show and saved as a .ppt or .pptx file. Your presentation must include both images and bullet points to explain your artwork.

This is an observational project. Your observations should be illuminated by the material from class, but outside research is required and should be utilized through the Research Resource link. Research findings must be properly cited and must be properly credited in your last slide. Please use MLA format.

(See https://owl.english.purdue.edu/owl/resource/747/01/ (Links to an external site.) (Links to an external site.))

A typical project will spend the first 5 slides describing both the content and the form of the artwork in detail using at least 5 terms learned in class (ie. sculpture in the round, complementary colors, abstraction, etc.) and possibly providing some background about the artist (but not more than 1 slide).

You should address how the form and content are interacting (ie. Does the artist’s choice of medium enhance or detract from the narrative/subject or the message they are sending to the viewer?). The content includes the narrative or story that is conveyed in the artwork.

The rest of the project should be spent revealing new insights into the work that goes beyond the textbook. This is the essential findings of your research. In the next 5 slides, you should talk about the work’s context. You may want to talk about the work’s significance – how it may be a political statement or shows an innovative style, for example. Feel free to compare your work to other works from this time frame, by the same artist or others.

You can show historical photographs or diagram material that help to illustrate your points. Feel free to also incorporate videos into your slides.

I suggest the following organization:

(SAMPLE PRESENTATION)

Slide 1: Title slide

Slide 2: An image of your selected artwork (with artist, title, date, location)

Slide 3: Bullet points describing your artwork

Slide 4: More bullet points describing your artwork

Slide 5: Image of detail(s)of your artwork, or background of the artist

Slide 6: Bullet points describing the significance of the work

Slide 7: Image comparison artworks

Slide 8: Bullet points describing the comparison

Slide 9: More bullet points describing the comparison

Slide 10: Other images (different views of your artwork or historical images related to its context)

Slide 11: Bullet points summarizing your major ideas

Slide 12: Footnotes/Works Cited

Using one of the images in this module, write a summary essay using the following format.

Part I – General Information

• Who or what is represented?
• What person or group made it? Often this is not known. If there is a name, refer to this person as the artist or architect, not “author.” Refer to this person by their last name.
• When was it made? Is it a copy of something older? Was it made before or after other similar works?
• Where was it made? For whom? Is it typical of the art of a geographical area?
• Where is the work of art now? Where was it originally located? Does the viewer look up at it, or down at it? If it is not in its original location, does the viewer see it as the artist intended? Can it be seen on all sides, or just on one?
• What materials is it made of? How was it executed? How big or small is it?

Part II – Brief Description

• In a few sentences describe the work. What does it look like?
• Does it represent something? If so, tell what is shown. Tell what the subject is and what aspects are emphasized.
• Is it a non-objective work? If so, tell what elements are dominant.

This section is not an analysis section yet, though some terms used in Part III might be helpful here. This section is primarily a few sentences to give the reader a general idea of what the work looks like.

Part III – Form

This is the major portion of your paper. It should be the largest section of the paper.

Art Elements

1. Line (…straight, curved, angular, flowing, horizontal, vertical, diagonal, contour, thick, thin, implied etc.)
2. Shape (…what shapes are created and how)
3. Light and Value (…source, flat, strong, contrasting, values, emphasis, shadows)
4. Color (…primary, secondary, mixed, complimentary, warm, cool, values)
5. Texture (…real, implied, simulated)
6. Space (…depth, overlapping, kinds of perspective)

Principles of Design

1. Unity
2. Variety
3. Balance (symmetry, asymmetry)
4. Emphasis
5. Scale and Proportion (weight, how objects or figures relate to each other and the setting)
6. Mass/Volume (three-dimensional art)
7. Rhythm
8. Function/Setting/Site (architecture)
9. Interior/Exterior Relationship (architecture)

Part IV – Opinions and Conclusions

This is the portion of the paper where the writer goes beyond description. A conclusion should be presented as well as an informed opinion about the work. Any statements made about the artwork should be grounded by the analysis in Part III above.

• Discuss how and why the key elements and principles of art used by the artist create meaning.
• Support the discussion of content with facts about the work.

Additional Information

1. Always italicize or underline titles of works of art.
2. Use the present tense in describing artwork.
3. Remember that any information you use from another source, whether it is your textbook or the Internet, must be documented with a citation. Failure to do so is considered plagiarism, and violates the behavioral standards of GaVS. MLA format is the acceptable form.
4. Double-space the text of your paper, and use a legible font (e.g. Times New Roman). Whatever font you choose, MLA recommends that the regular and italics type styles contrast enough that they are recognizable one from another. The font size should be 12 pt.

This essay fulfills the course requirement to conduct written research on a work of art or architecture, as seen in person. This work of art or architecture must be from the period covered in the course. Your topic does not have to be covered in the textbook, but it should be from the period of 1300 – Present. In your paper, you must provide a clear thesis and demonstrate your support for that thesis in your research.

This assignment combines the required skills necessary for investigating a work of art, and the necessity of actually seeing those objects to that research. Therefore, in this assignment, you will be required to write about a work of art you have seen in person. For area museums that you can visit, access the Sources of Museum Visit link below. If you live outside of Northern Virginia or the Washington, DC Metro area, please contact your instructor for approval or ideas for museum visits in your area. You will need approval from your instructor to use online museum collections in lieu of an on-site visit. Referring to the museum catalog and/or label information (what contextualizes the important facts about the work of art), your research will expand upon one Important aspect of the work you learned from the museum.

Details

• 750 – 1000 words
  • 3 to 4 FULL pages, double-spaced and typed, in 12pt. font
• Images should be submitted separately
• at least 3 sources (other than your text)

Information Literacy.

You must use this Research Resource Guide (Links to an external site.) to access the following credible academic sources on the basis of your research:

• books
• dissertations
• interviews
• journals
• magazines
• videos

Websites and encyclopedic entries will not be counted as appropriate research sources. What is provided for you through the Research Resource Guide are the required, credible, peer-reviewed sources you will need for this assignment. If you are unsure of the legitimacy of any of your sources, please ask the instructor.

Demonstrate

• You must provide a clear thesis, which addresses an important aspect of the museum’s context of the work. For example, the museum text may discuss a work of art’s relation to social and political ideas within society when it was created it. If it discusses the artist’s biography, you may discuss how the work of art related directly to that biography.
• Provenance is the history of ownership. In addressing provenance, you answer: Was the work commissioned and why? If not, why was it made? What were the artist’s intentions? Provenance is also an important aspect you will find in the museum’s information.
• How do factors like the historical context and location shape the meaning of the work?
• You must also discuss style. Remember that in discussing style, you are often referring to a period style or regional style. In order to discuss style, you must utilize formal analysis to communicate the work’s key features. Give attention to the materials and techniques the artist used to effectively communicate their ideas. Those materials and techniques are also particular to time and place.
• The possibilities are endless, but you must demonstrate that you understand the existing and accepted interpretations of a work of art architecture. This essay should be thoughtfully responsive to the museum’s research you encountered in your visit, and you will be expanding upon, or even arguing against, previous research.
• You must include MLA (Links to an external site.) citation style, with endnotes and a complete bibliography on two separate pages at the end of the paper. A full resource guide to MLA citation is also included in the Research Resource Guide.

Purpose

Earlier in the class, you researched a work of art or architecture and discussed your findings in a Research Essay. Research Powerpoint will compile the important points of your research into a presentation for your classmates.

Directions

You will lead a bullet-point discussion on the style, context, content, purpose of your chosen work and offer some insight into the use of formal analysis. During your discussion, you should not only introduce the basic facts of the work but give consideration to the following:

• Provenance: was the work commissioned and why? If not, why was it made? What were the artist’s intentions?
• What are the interpretations of the work?
• How do factors like the historical context, location, artist biography, shape the meaning of the work?
• Remember that in discussing style you may refer to a period, region, or personal style.

You may also include any other methodology for discussion that you think applies or is interesting, such as a psychological analysis, a feminist response, politics, science, etc.

You may choose any application to create your presentation, but it must be in the format of a slide show and saved as a .ppt or .pptx file. Your presentation must include both images and bullet points to explain your artwork.

This is an observational project. Your observations should be illuminated by the material from class, but outside research is required and should be utilized through the Research Resource link. Research findings must be properly cited and must be properly credited in your last slide. Please use MLA format.

(See https://owl.english.purdue.edu/owl/resource/747/01/ (Links to an external site.) (Links to an external site.))

A typical project will spend the first 5 slides describing both the content and the form of the artwork in detail using at least 5 terms learned in class (ie. sculpture in the round, complementary colors, abstraction, etc.) and possibly providing some background about the artist (but not more than 1 slide).

You should address how the form and content are interacting (ie. Does the artist’s choice of medium enhance or detract from the narrative/subject or the message they are sending to the viewer?). The content includes the narrative or story that is conveyed in the artwork.

The rest of the project should be spent revealing new insights into the work that goes beyond the textbook. This is the essential findings of your research. In the next 5 slides, you should talk about the work’s context. You may want to talk about the work’s significance – how it may be a political statement or shows an innovative style, for example. Feel free to compare your work to other works from this time frame, by the same artist or others.

You can show historical photographs or diagram material that help to illustrate your points. Feel free to also incorporate videos into your slides.

I suggest the following organization:

(SAMPLE PRESENTATION)

Slide 1: Title slide

Slide 2: An image of your selected artwork (with artist, title, date, location)

Slide 3: Bullet points describing your artwork

Slide 4: More bullet points describing your artwork

Slide 5: Image of detail(s)of your artwork, or background of the artist

Slide 6: Bullet points describing the significance of the work

Slide 7: Image comparison artworks

Slide 8: Bullet points describing the comparison

Slide 9: More bullet points describing the comparison

Slide 10: Other images (different views of your artwork or historical images related to its context)

Slide 11: Bullet points summarizing your major ideas

Slide 12: Footnotes/Works Cited

** Radial Balance Assignment:

Using value and scale to show Radial Balance

Since we have been learning about the elements and principles of two-dimensional design, it is important to understand the concept of balance. In this exercise you will be creating a composition that shows radial balance.

Radial balance is any type of balance based on a circle with its design extending
from center. The designer must sense if the composition feels balanced. You want to explore the whole image and not get stuck on one area. The idea of unity is important. Remember that negative space (areas where no object is present) can also be used in radial balance.

DO NOT MAKE A STAR. Make a complex image

For this exercise, Please download the Power Point slide, and then position the provided shapes and create a composition that shows radial balance. You may change the scale of the shapes, rotate shapes, add or remove shapes, as well as overlap shapes (as we have done in previous exercises). Once you have created your composition, please double check to see that it shows radial balance, then save it as a PowerPoint or PDF, and upload it to the dropbox for Radial Balance. Do not save as a Keynote file!

This assignment is worth 10 points. It is graded on completion of the exercise so don’t be too concerned if you are not a visual artist.

**Asymmetrical balance Composition Assignment:

Using value and scale to show Asymmetrical Balance

Since we have been learning about the elements and principles of two-dimensional design, it is important to understand the concept of balance. In this exercise you will be creating a composition that shows asymmetrical balance.

Balance can be of equal weight – ten pounds on one side of a seesaw and ten points on the other side will keep the seesaw level. In asymmetrical balance we strive for a sense of order but not a mirror image. The designer must sense if the composition feels balanced. You want to explore the whole image and not get stuck on one area. The idea of unity is important. Remember that negative space (areas where no object is present) can also be used in asymmetrical balance.

For this exercise, Please download the Power Point slide, and then position the provided shapes and create a composition that shows asymmetrical balance. You may change the scale of the shapes, rotate shapes, add or remove shapes, as well as overlap shapes (as we have done in previous exercises). Once you have created your composition, please double check to see that it shows asymmetrical balance, then save it as a PowerPoint or PDF, and upload it to the dropbox for interactive exercise #3, Asymmetrical Balance. Do not save as a Keynote file!

In this discussion topic, I’m going to ask you to do a bit of work.

IMAGINE you have a budget to curate an art show!

You are going to describe, in as much detail as you can muster, what your ideal show would be.

First, Review all of the content in module six, because this module is filled with tons of information tucked into the six short “pages”

Be as professional as possible and tell me ( and everyone in the class) about the show you are curating.

REMEMBER YOU ARE THE CURATOR, not representing yourself.. but putting together an exhibibit to showcase the work of others.

This is an imaginary show, but I want you to think of some real variables, for instance:

• Will your show/exhibition have a theme? ( if yes, what would that be)
• Will your show/exhibition have the work of several artists? Or promote the work of just one artist?
• Will the show be a ” retrospective,” looking back over the historical scope of an artist, or a new ” collection” of work never seen by the public?
• Write a little bit about why you are interested in this artist, ( or these artists) or the style or genre, or medium.
• Basically, why are you compelled to put this collection together( besides the fact that your grade this week depends on doing so).
• I’d love if you are able to research and choose artists who you admire, who are alive today. Let me know WHO they are!
• Will you represent local artists, regional, or from other places, other cultures far from where we are now.

• It’s ok if you want your show to be artists who are deceased if you have some artists in mind.
• Where will you host your show/exhibition ? Describe in detail anything about the space that you can. ( It’s ok to describe a real space or something you can imagine as an ideal space for your show/exhibition . Will you show in a conventional gallery, or ” non-conventional” space?
• How will you promote the show/exhibition ?
• Will you create a pamphlet or catalog of art for historical purposes?
• What kind of opening or closing reception will you host? Will you cater the event? What will you serve?
• What do you expect to achieve as a result of this show?

If you can think of anything else, like perhaps insert afew images of the art you are showcasing that would be great.

If you want to create a pdf to upload this week, or powerpoint, that is fine too. Otherwise, you can write in the text block below.

But I do think this week, you might need to do a bit writing outside of the portal, and copy the text after you have completed the task.

I truly do look forward to reading your posts this week! I think it will be exciting to see where your curiosity or your passion will lead you as you decide the ” who, what, and where, and why ” in curating your imaginary show!

To clarify:

YOU make up a Show for module 6!

YOU decide the who what where and when for the mod 6 assignment.

( review the theme of what a curator does, all the content in mod 6)

Imagine YOU are the Curator, making ALL the decisions! ( do not just repeat a show that already exists)

Kathleen Quaife

First assignment

1. Frida Kahlo’s Symbolism. (at the bottom left on this link you can click to see her work) http://www.pbs.org/weta/fridakahlo/ (Links to an external site.)

Frida Kahlo’s work is infused with symbolism, such as a monkey on her shoulder. In Mexican mythology, a monkey represents the patron of the dance and is a symbol of lust. In this context, however, the monkey is more of a protector and friend and represents her animal alter ego. Locate more examples of Kahlo’s work. Research the symbolism Kahlo used in her works and the context in which these symbols appear together. Discuss your findings with the class. Be concise 150-200 words

then

2. Self-Portrait. For centuries, artists have drawn, painted, sculpted, and photographed their own likenesses. Create a portrait by drawing, collaging, painting, or photographing your likeness. The self-portraits should express your characteristics and interests. Use symbolism to enhance the meaning of your self portrait. Will your portrait be a flattering portrayal of your physical qualities, or will it be an expressive abstraction of your inner emotion? Will the portrait reveal your current position in society, or will it reveal where you would like to be years from now?Also, decide on a portrait length: should the portraits be bust length, half-length, three-quarters length, or full length?

Second assignment

How are women depicted in popular culture today? The expression “sex sells” can readily be validated by looking in virtually any magazine, those geared for either men or women.

1. Look in five different types of magazines to find five images of how a woman is depicted. What is the purpose of the image/ad? How is the woman being depicted? What are the intentions of the figure? And how do you, the viewer, feel towards this woman and/or the intentions of the image/ad? 100-300 words
2. Then as an extension of this project, choose one image of particular interest. Copy or scan to create a black and white image. Incorporate a contrasting or provocative statement in red, similar to Barbara Kruger’s work Untitled (Your body is a battleground).

First assigment

1. Frida Kahlo’s Symbolism. (at the bottom left on this link you can click to see her work) http://www.pbs.org/weta/fridakahlo/ (Links to an external site.)

Frida Kahlo’s work is infused with symbolism, such as a monkey on her shoulder. In Mexican mythology, a monkey represents the patron of the dance and is a symbol of lust. In this context, however, the monkey is more of a protector and friend and represents her animal alter ego. Locate more examples of Kahlo’s work. Research the symbolism Kahlo used in her works and the context in which these symbols appear together. Discuss your findings with the class. Be concise 150-200 words

then

2. Self-Portrait. For centuries, artists have drawn, painted, sculpted, and photographed their own likenesses. Create a portrait by drawing, collaging, painting, or photographing your likeness. The self-portraits should express your characteristics and interests. Use symbolism to enhance the meaning of your self portrait. Will your portrait be a flattering portrayal of your physical qualities, or will it be an expressive abstraction of your inner emotion? Will the portrait reveal your current position in society, or will it reveal where you would like to be years from now?Also, decide on a portrait length: should the portraits be bust length, half-length, three-quarters length, or full length?

Second assignment

How are women depicted in popular culture today? The expression “sex sells” can readily be validated by looking in virtually any magazine, those geared for either men or women.

1. Look in five different types of magazines to find five images of how a woman is depicted. What is the purpose of the image/ad? How is the woman being depicted? What are the intentions of the figure? And how do you, the viewer, feel towards this woman and/or the intentions of the image/ad? 100-300 words
2. Then as an extension of this project, choose one image of particular interest. Copy or scan to create a black and white image. Incorporate a contrasting or provocative statement in red, similar to Barbara Kruger’s work Untitled (Your body is a battleground).

Directions

• Watch the video.
• Complete your activity.
• Prepare your activity for submission.
• Review the rubric.
• Submit it correctly.

Activity #1: Submit Your Ex & Squiggle Drawing

Use this checklist to review your activity:

• Is your paper folded in half?
• Do you have an ex-drawing on one side and a squiggle-drawing on the other?
• Have you given them each a title?
• Have you done the minimum OR have you embellished the drawings, elaborated them with a background, and really gone for it?

Follow this checklist to prepare your submission:

• Handwrite your first and last name in the upper right corner of the page
• On next line, write the course name and your section number
  • Art 100 – Section ####
• On the next line, write the date: month, day, and year
• Have you done the minimum OR have you taken care to write neatly and legibly?
• Have you included your section number? Have you checked WebAdvisor to confirm it? (I don’t respond to emails requesting this information: It is the student’s responsibility.)
• Review the rubric.

Follow this checklist to submit your file:

• Watch How do I Submit an Online Assignment? (Links to an external site.)
• Watch How do I Upload a File as an Assignment? (Links to an external site.)
• Watch Troubleshooting How to Submit a Canvas Assignment (Links to an external site.)
• Place your drawing on a flat surface and take a photo that shows all four edges of the paper. Show the whole sheet so that we are assured it is original work. [No cropped-edged scans].
• Save the photo to your phone or computer.
• Right-side the photo (rotate if needed).
• Right-size the photo (save it as a smaller file size if needed).
• Save the file as a jpeg, jpg, or pdf.
• Submit the file by the due date.

Follow this checklist to double-check your submission:

• Return to the assignment and check that the file opens and is right-sided.
• If not, edit your assignment and resubmit it.
• If you encounter a technical issue, contact CANVAS Support.
• Review the rubric again.

Directions

• Watch the video.
• Complete your activity.
• Prepare your activity for submission.
• Review the rubric.
• Submit it correctly.

Activity #1: Submit Your Ex & Squiggle Drawing

Use this checklist to review your activity:

• Is your paper folded in half?
• Do you have an ex-drawing on one side and a squiggle-drawing on the other?
• Have you given them each a title?
• Have you done the minimum OR have you embellished the drawings, elaborated them with a background, and really gone for it?

Follow this checklist to prepare your submission:

• Handwrite your first and last name in the upper right corner of the page
• On next line, write the course name and your section number
  • Art 100 – Section ####
• On the next line, write the date: month, day, and year
• Have you done the minimum OR have you taken care to write neatly and legibly?
• Have you included your section number? Have you checked WebAdvisor to confirm it? (I don’t respond to emails requesting this information: It is the student’s responsibility.)
• Review the rubric.

Follow this checklist to submit your file:

• Watch How do I Submit an Online Assignment? (Links to an external site.)
• Watch How do I Upload a File as an Assignment? (Links to an external site.)
• Watch Troubleshooting How to Submit a Canvas Assignment (Links to an external site.)
• Place your drawing on a flat surface and take a photo that shows all four edges of the paper. Show the whole sheet so that we are assured it is original work. [No cropped-edged scans].
• Save the photo to your phone or computer.
• Right-side the photo (rotate if needed).
• Right-size the photo (save it as a smaller file size if needed).
• Save the file as a jpeg, jpg, or pdf.
• Submit the file by the due date.

Follow this checklist to double-check your submission:

• Return to the assignment and check that the file opens and is right-sided.
• If not, edit your assignment and resubmit it.
• If you encounter a technical issue, contact CANVAS Support.
• Review the rubric again.

You are required to view a contemporary, original piece of art in your area and compare/contrast it to an ancient work from your text, after analyzing both pieces. For example, if you choose a portrait of a leader, find one in your text; if you choose a building, like a church, find one in your text to compare.

Note: If a museum is not available, try your public library, local community college, or an art gallery for sculptures, parks for statues, or government buildings for paintings. Also, don’t forget that architecture is an art form. Look around for a church or an interesting building. Art is everywhere!

Your paper should address the following:

1. Identification: Provide Identifying details for each work (10 points = 5 points for each work):
   • Artist: Who was the artist?
   • Title of the work: What is the title of the work?
   • Date: When was the work created?
   • Media: How/with what was the work created?
   • Location: Where is the work from your area displayed? For the work from your text, please also include the page number.
2. Description: What does each work look like? (100 points = 50 points for each work):
   • Describe the subject matter of each work, in detail. Imagine you are describing the work to a blind person; use that level of detail. For example, don’t just say there’s a house in a field.
   • Identify and discuss five formal elements of art (Choose from line, shape, color, texture, space, contrast, scale, balance, and emphasis) in detail, for each work. For instance, don’t just tell me there were lines in the work, tell me what kind (straight, curved, horizontal, diagonal, thick, thin, implied, etc.) and tell me how they affect the composition (lines dominate the left half of the work, etc.).
3. Compare and Contrast the two (2) works (70 points):
   • Compare and contrast the works (Do not compare the terms from part 2), and answer these questions in your analysis: How are the works similar and how are they different? Is the message or function the same? Is the intended audience different? Do they look alike or not? Has the meaning changed over time?
   • Also discuss such things as symbolism and purpose (aesthetic, social commentary, propaganda, etc.) and evaluate the effectiveness of the works.

Important Guidelines

1. Format
   • Organize this material into a 4-5 page paper.
   • The paper should be double-spaced with a 1” margin and type size should not exceed 12 pts.
   • Art History, as a discipline, utilizes the MLA style.
2. Sources:
   • Always cite your sources!
   • Please read the document, “Important-Tips to Avoid Plagiarism” located in the Content section.
   • Refer to the video lecture again from week 6 on Visual Elements and Design Principles and view the activities for week 7 to help you complete the assignment.
3. Submission:
   • Remember to proofread!
   • Please submit your completed paper to this Dropbox folder

You will expand the outline you wrote in Module 3 into a complete paper. Papers must be typed in 12-point type and be double-spaced. There is no set length for the paper, though the average length is four or five pages. Citations are not necessary. Other important aspects are thoroughness, clarity, and a demonstrated sensitivity to the work of art.

Your paper should have the following elements:

Introduction

• Include specific information about the work within the first few paragraphs of your essay analysis: title, artist, date, location, dimensions, medium of the work, and the name of the exhibition/museum in which the work is displayed.
• Introduce the reader to the work of art by writing a detailed description of it. Your writing should be so detailed that the reader can picture the artwork.
• End the introductory paragraph with your thesis statement.

Body

• Discuss the Elements of Art and Principles of Design that you think are important in understanding and analyzing this work. This part of the paper should be very detailed and will take several paragraphs. Go through each Element and Principle and describe in as much detail as possible how it is utilized in the work of art. Also worth noting is any apparent lack of a particular Element or Principle. For example, if a piece is in black and white, you should also address the impact of the lack of the Element of color.
• Discuss the medium the artist used and how the artist exploited the particular qualities of this medium. Always refer to the artist by her or his last name, not the first name, and put the title of the work in italics.
• Explain your personal response to the work based on its form as you analyzed it in the previous sections.

Conclusion

Wrap up the essay by summarizing your thesis. Do not simply repeat your thesis statement; instead, reiterate the thesis while finalizing your thoughts on the entire topic.

Keep in mind:

• Writing a formal analysis does involve your interpretation of and personal response to the work, but your reactions must be supported by referring to specific elements and qualities which you see in the work.
• Accept the work as it is. Do not “second guess” the artist and make such statements as, “I think the painting would have been better if the artist had . . .”
• Titles of exhibitions are in quotation marks; titles of works of art are underlined or are in italics.

Common mistakes you will want to avoid:

• Failure to proofread your paper to check for spelling, punctuation, subject/verb agreement, incomplete sentences, run-on sentences, etc. Don’t rely on your computer’s spellchecker; the computer may not know if you mean “there” or “their.”
• Confusing “it’s” and “its.” “It’s” means “it is.” “Its” is the possessive of “it,” for example, “The car is red, and its wheels are green.”
• Referring to the artist by her/his first name. Would you write English literature paper on Romeo and Julietteand refer to the author as
• Do not use personal pronouns in academic writing. Personal pronouns include I, we, you, our, and my. Every sentence can be reworded to avoid personal pronouns.
  • For example, instead of saying “I feel Waterlillies, by Claude Monet is a beautiful painting,” you should just say “Monet’s painting, Waterlillies, is beautiful because…”
  • Instead of saying, “When you first look at Ballerina by Edgar Degas, you will notice many details,” you should say, “Degas’ painting, Ballerina, contains many interesting details, such as…”

Here is the rubric for this paper.

• Module 05 Course Project – Formal Analysis

Scoring Rubric:

Criteria	Points
Includes specific information about the work within the first few paragraphs of essay analysis: title, artist, date, location, dimensions, medium of the work, and the name of the exhibition/museum in which the work is displayed.	10
Introduces the reader to the work of art by writing a detailed description of how it looks, including setting, colors, subject(s), and background.	10
Analyzes the Elements of Art and Principles of Design important in understanding this work.	15
Discusses the medium the artist used and how the artist exploited the particular qualities of this medium.	15
Conclusion that reiterates the thesis statement without repeating it	10
Grammar and mechanics	10
Total

PURPOSE:

Works of art are the subject of various scholarly interpretations that often yield multiple meanings depending on the scholar and their methodology. This assignment will enable you to practice art history by investigating an artist or art historical topic that interests you through the detailed analysis of a painting, sculpture, drawing, print, or photograph in the collection of a local art museum. While museums are all closed due to the coronavirus, this is an opportunity to take a virtual visit via the museum’s website. The purpose of visual analysis is to increase your ability to see, describe, and analyze works of art while contextual analysis will provide insight into the culture of the time. The final assignment requires you to do a 3-page paper that is a visual and contextual analysis of a work of art. If you have any questions, please email me.

SKILLS:
This assignment will increase your ability to see, describe, and analyze works of art. Conducting research and evaluating sources and arguments are key 21st century skills you can use both in your academic career and in your professional life. You will hone your writing skills as you synthesize a variety of sources and improve your ability to use proper citations and bibliographic formats.

KNOWLEDGE:
This assignment focuses on works of art from the periods we study in ART 2 helping you to better understand renaissance to modern art and the role art continues to play in our society. When doing research, how do you find sources beyond a google search? How do you evaluate the credibility of your research sources? Become familiar with the LBCC library databases and internet sources about historical art.

PROCESS PART I – Virtual Museum Visit and Bibliography

1. Virtually visit one of the museums listed below.
Pick a work of art done from the 15th through the 19th centuries (1400-1899).

1. Virtually visit one of the museums listed below.

Pick a work of art done from the 15th through the 19th centuries (1400-1899).

Look at this list of Question as a guide and take notes when closely viewing the art work you select.A) Getty Center, Los Angeles. European art 15th – 19th centuries www.getty.edu

B) Norton Simon Museum, Pasadena. European or U.S. art, 15th – 19th centuries. www.nortonsimon.org

C) Los Angeles County Museum of Art, Los Angeles. European or U.S. art 15th – 19th centuries. www.lacma.org

D) The Huntington, San Marino. European or U.S. art 18th – 19th centuries. www.huntington.org

2. What is Visual Analysis?

Meaning or content in a work of art is conveyed in the language of art. A visual or formal analysis of a work of art is based on this language of art elements, as well as the media and techniques used by the artist to produce the work. Carefully study the object. You are looking at the style and form of the work, as well as the subject, to determine its meaning. Answer the list of questions in your own words as you analyze the artwork. Describe what you see as fully as possible including:

1) Art elements: line, color, shape, spatial depth, light, texture, movement, etc.

2) Composition and Design Principles: How the elements relate to one another as well as balance, scale and proportion.

3) Subject (if there is one) and mood or feeling of piece

4) Size, medium (or materials), and techniques used

Copy the following information from the museum label to put at the top of your paper:

Artist’s name, (birth and death dates in parentheses),
Title of the art (in italics), date the art was created, medium.

3. Conduct Research
The secondary purpose of this assignment, beyond your own visual analysis, is also to become familiar with different sources about works of art and the basic methods of citing these sources in footnotes and bibliography. You must use at least 4 sources. Select from books, exhibition catalogues, magazine articles, and scholarly journals. (Wikipedia is NOT an acceptable scholarly source.) Research should help you support your own thoughts, not be a substitute for them. Read what others have written about your art work and its culture and choose the evidence that supports your own ideas. When doing a database search, Arts & Sciences (JSTOR), EBooks, EBSCO, Gale, ProQuest, SIRS Renaissance all have art related articles. Click to include peer reviewed journals which include Art Bulletin, Art Journal, Modernism/Modernity for examples. Museum websites are also good sources.

LBCC Library Guides

Curbside Book Pickup (Links to an external site.)
Using Article Databases (Links to an external site.)
Using Internet Sources (Links to an external site.)

Professional Art History publications use a variety of citation formats. You can use either MLA or Chicago Manual of Style, but not APA. Here are examples of Bibliography citations using Chicago Manual. They would appear in alphabetical order, but not need the type of source listed (book, journal, website, etc.)

Book:
Grazer, Brian, and Charles Fishman. A Curious Mind: The Secret to a Bigger Life. New York: Simon & Schuster, 2015.

Journal article:
Mitchell, Dolores. “The ‘New Woman’ as Prometheus: Women Artists Depict Women Smoking.” Woman’s Art Journal 12, no. 1 (1991): 2-9.

Website:
Strudwick, Nigel. Egyptology Resources. The Isaac Newton Institute for Mathematical Sciences, Cambridge University, 1994. http://www.newton.com.ac.uk/egypt/. date accessed.

Online exhibition:
Urtiaga, Gabriela. curator. OaxaCalifornia: Through the Experience of the Duo Tlacolulokos. Museum of Latin American Art, Long Beach, CA. 2020.

For Citation Guides of footnotes (or endnotes) and bibliography see the following websites:

LBCC Library MLA Citation

Owl Purdue MLA Citation Guide
Chicago Manual of Style Online Guide

WHAT IS DUE? – Virtual Visit and Bibliography.
You need to turn in 1 page of notes based on your observation of the art elements and composition in answer to the Questions. At the top, include the artist, title, date, and medium of the art and at what museum you saw it. Also include a bibliography in proper format (not just URLs) of 4 sourcesthat are about the historical context for the artwork.

Here are the Guidelines that will be posted again for the Contextual Analysis and Writing the final paper.

Process Part II – Contextual Analysis

1. What is contextual analysis?

How does your artwork reflect the culture that produced it? Consider some aspect of the social, cultural, political, technological, religious, or economic circumstances of the time period. The following questions would be a good starting point.

• What is the subject matter of the art work?
• For what purpose was it created?
• How does the work reflect the historical era in which it was produced?
• Where was the artwork meant to be seen? How would the setting affect our perceptions?
• What role(s) do patrons and or audience play in the creation of the work?

Process Part III – Format of the paper

Based on your observations and your reading, develop a thesis which articulates the main point of your paper. In your finished paper, you are combining your visual and contextual analyses into a coherent essay that explains how the visual elements and the historical circumstances contribute to the artwork’s meaning.

• Include the identifying information from the museum label at the top of your paper.
• Use 12 point type, double or 1.5 line spacing, and no more than 1 inch margins.
• Use an essay format with introductory and concluding paragraphs.
• Develop a thesis or main idea that you will prove with your analysis in your essay.
• The body of the paper should support your thesis.
• You must document quotes with footnotes or endnotes.
• List your sources of research in a bibliography at the end.
• Include an image of your selected work and any other art work that you reference to support your interpretation, although this is not a comparison essay. These would be at the end and not included in the 3 page count. You can include links to the image(s) online as opposed to downloading the images themselves. Include captions for the images (or URLs) and in the body of your paper when you refer to the art work for the first time write Figure 1 (or 2, 3, etc. if you have multiple image).
  CAPTION format sample: Figure 1. Leonardo da Vinci, Virgin of the Rocks, ca. 1485. oil on woo
• https://www.hamilton.edu/documents/Writing%20an%20.
• Citation guides for footnotes or endnotes and bibliography: See the websites in Part I above.
  CRITERIA FOR SUCCESS:
  Close observation is essential to visual analysis; good research and organization is key to writing an effective contextual analysis essay. The clarity of your analysis, description of the visual elements, careful consideration of the historical circumstances, and a thoughtful personal response is important. A well conceived thesis statement, effective argument, correct spelling and grammar will ensure the success of your interpretation. The Art History Paper Rubric for the assignment will be available on Canvas with the assignment.

Here is the Museum Paper Assignment. You can find this, and all of the information you need, in the Paper module, located after Lecture 14, and before Quiz III, in Modules. You will also post your paper there.

Museum

For this assignment, you will go online to visit a national or international art museum website of your choice. This includes the Detroit Institute of Arts and the Toledo Museum of Art.

Paper

1. You will write a paper of no less than 1000 words about one painting in the collection of your chosen museum.

You must choose a painting that has not been shown and discussed in the course, as of the assignment due date.

At least eighty percent (800 words) of your paper must be an analysis of the artist’s use of the Elements of Art, and the compositional Principles of Design to create the painting. The analysis of Color in your chosen painting should be an important part of your paper.

You may use up to twenty percent (200 words) of your paper for such things as an introduction, conclusion, historical information about the artist and painting.

2. You must embed an image of your chosen painting, along with an active link to your chosen museum’s website.

3. Be sure to include the name of the artist, the title and dimensions of the painting, and the date of its creation. If the title or subject of your selected painting refers to a particular religious, historical or mythological event or person, find out what the reference means, and include that information in your paper.

4. Use the vocabulary from the course to describe and analyze the artwork. Use examples from the painting to support your statements. Cite any sources you use for research or quotations. Check your spelling and grammar.

5. You must respond to one student’s paper.Your response must be 150 words in length. Use and explain at least one example of something you found interesting or informative in your colleague’s paper.

Tips for Writing a Successful Paper*

* Choose a painting that gives you a lot to write about.

That is, one that gives you plenty to analyze. The focus of your paper should be an analysis of the artist’s use of the Elements of Art, and the compositional Principles of Design to create the painting.

* Pick a colorful painting.

The analysis of Color in your chosen painting should be an important part of your paper. You may have to read ahead in the Lectures to have all of the information you need for your analysis. Use what you learn about Color in Lectures 11 and 12. It would help you to write your response to the Lecture 12 Threaded Discussion 4 before writing your paper.

* Use the Museum Paper Resource.

The Resource is a located in the Paper module, just below the Museum Paper Assignment. This is a collection of web links to major art museums here, in the United States, and around the world.

* Use the Museum Guide.

The Guide is located in the Paper module, just below the Museum Paper Resource. The Museum Guide is a complete list of questions to consider as you view your chosen painting. You don’t have to answer all of the listed questions in your paper, but you can choose those that seem most relevant to your chosen painting.

* Read the Sample Papers.

The Samples are located in the Paper module, just below the Museum Guide. There you will find three successful student papers.

* If you choose the DIA, and decide to write about Diego Rivera’s “Detroit Industry” murals (Lecture 14), pick just one wall or one area to write about. Don’t write about the entire room; that is too much for this assignment. Some history and symbolism is fine, but focus on an analysis of the Element and Principles, as described in the assignment.