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Chapter 2 and 3 notes

by: Ashley Albers

Chapter 2 and 3 notes ART_GNRL 1020

Ashley Albers
GPA 3.3
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second sets of notes for art appreciation
Appreciation of Art
Bonnie Kerridge
Class Notes
art appreciation mizzou




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This 10 page Class Notes was uploaded by Ashley Albers on Friday January 29, 2016. The Class Notes belongs to ART_GNRL 1020 at University of Missouri - Columbia taught by Bonnie Kerridge in Fall 2015. Since its upload, it has received 19 views. For similar materials see Appreciation of Art in Art at University of Missouri - Columbia.


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Date Created: 01/29/16
Chapter 2: Developing Visual literacy  Rene Magritte, 1929 o “Ceci n’est nas une pipe” (this is not a pipe)  Art can be powerfully persuasive  Art can be informative  Art can be aesthetically engaging o Representation - a photograph of a tree, you can see the shadows, you can understand the sketch is also a tree as well as the written word for tree. (All symbolize and represent the tree, the actual tree is not here)  Visual literacy – the ability to comprehend and discuss visual images o Descriptive vocabulary o Historical and social context o Interpretation  Verbal – Visual o Lorna Simpson, 1992 She  Four images of black woman dressed masculine with the word female written above it  Black feminist activist  Focusing on identity and non-identity  Three panels put together with the different neck words (neck tie, neck-ed, necklace, neckless, etc.)  Again words and images  Depersonalization  The subject is without identity  Simpson articulate with her photography the potential violence that lies beneath the surface of the black persons world  Complex network of voyeurism and images are match with paragraphs – 6 panels printed on fabrics of park and city o Shirin Neshat, Rebellious Silence from Women of Allah series  Woman with head wrap and writing on her face  As woman an activist and as an Iranian an activist  “be an individual, to take risks, to learn, to see the world”  Marriage of visuals with literate world (writing across her face, we don’t know what it says but we know that the language is serious and ponderous)  Idea of violence, division of the rifle along her face (female is dangerous and a female with education is more dangerous)  Words and images often result in misreading or misunderstanding (can be oppressive or can be protective: everyone interprets it differently) o Bouquet of men, power o Calligraphy – page from Persian manuscript (calligraphy – fine are through words)  Wording embedded in color scheme and layout, which holds more truth the visuals or script?  Islamic belief: words could be trusted in away images can not  The page of poetry depends for its power on its visual presence and beauty as much as it does on the power of the words and what it actually says  Vocab o Form – the artistic medium, the process o Subject matter – what we see, the recognizable object o Content – meaning, complex social statement (what is the artist trying to say and what are we receiving  A work of art is said to be: o Representation or realistic – if the subject matter is recognizable  Pat, realistic because it represents the woman  Landscapes: Rocky Mountains by Albert Bierstadt  A patient reproduction of the tints and traits which make up and identify its local character – green grass, blue sky  Nathan Sullivan, Contemporary Realism  Domino effect: construction and environmental issues, how the land leading into the mansions showing the plundering of the environment  Battle sights of the civil war, showing one of the old reenactments that are left and talking about power with the showing of the power plant, always making war this time on the environment  William Kentridge, man looking through rearview mirror, charcoal drawing  Sue Coe, talking about hauling the big corporations with uncle Sam holding the whip o Abstract – if the subject matter is recognizable but abstracted or reduced to essential qualities which are then isolated, exaggerated, or distorted  Tjapaltjarri 1978, Man’s Love Story  Aboriginal art/ central Australia  Landscape of the dreaming (ancestral markings)  Ceremonial art/ concise vocabulary of abstract marks  Erna Motna, Bushfire and Corroboree Dreaming 1988  Susan Rothenberg, Horse with blue face  Exaggerating face with blue, talking about motion and ability of enormous power  Red horse with the “x” and is showing the movement of the horse  Cezanne, landscape beginning to blocked off into undefined color forms  Father of modern art  Braque, abstract view of trees and buildings (cubist) o Non-representational – there is no recognizable subject matter (non-object)  Malevich  Minimalist of black and white squares, then with black rectangle and blue triangle (just geometric shapes with form and color not looking at people or animals just looking at color and geometric form)  Beatriz Mihazes  Color and form  Claude Monet, Water Lilies  Looks almost like ocean, no clean cut lines, just smeared colors in certain spot, lines are blurred, floating in color  Haystacks, with snow but still very blurred  Jackson Pollock  Looks almost like crinkled newspaper  Brought art scene to NYC in the 1950s  Piet Mondrian  Creepy tree with blue background  Went from traditional landscape to abstraction  All of the branches start creating negative forms in the background  The grey tree is even more abstract with the non defined areas being more important  The third image is now more focused on the negative space which now becomes the positive space where he now is pure abstraction  To appreciate the communicative value of art one must understand an artwork’s visual and expressive qualities and also be able to situate the artwork in its historical or contemporary period o (Apollo statue) Realistic vision of a handsome Greek face, exemplifying youth, very representational o Leonardo da Vinci, sketching faces of old strange men exemplifying aging process instead of beauty, realism of what he actually saw o African masks, were resonating with artists and public as a gaze in the mirror and another type of gaze  Art is interlaced with larger cultural and aesthetic beliefs o Iconography  Visual images which render meaning  Understood by a given cultural group  Chartres Cathedral, France (stain glass)  Reading into the symbols of the images/artwork  Jan Van Eyck, wedding scene  Hands  Green dress  Shoes  Dog: fidelity, stability  Basquiat 1982  Copyright sign in many piece,  The marketing of an American artist  John Taylor 1867, drawing of treaty signing at medicine creek lodge o Very much like photo journalist o Visually represent the event  Showing the main seated people, the tribes men  The meeting of two cultures  Howling Wolf 1875 o Naïve playful side of the exact same image ^ Lorna Simpson o Marginalized females o Using words mixed with visuals o Talking about neck lining and different styles of hair o Lorna was elected to the prestigious position as ‘artist in residence’ at the walker art system o Attempting to identify oneself through visual association with photographic imagery Chapter 3: Seeing Value in Art ($) Art is big business  People who make it big in art make millions or even billions  It’s a business career as well as artistic approach There’s monetary value and historical value Sylvie Fleury (plumpity… plump)  Golden shopping cart – zest for consuming objects, what are people shopping/paying for  Consumerism, high end shopping, wealthy investors, business of art informs art museum  Is the value of art monetary? o No The art market depends on  Wealthy clients o What are they seeking  Ownership  Investment – if you purchase it then you’re going to follow it and make sure the value keeps moving upward  Patronage – influence the art market, if they find an exciting artist they want to help that artist succeed in the market Art and its Reception  How does the public react to art? o The publics reaction to art is under scrutiny in this chapter o Raises questions about the value of art  Monetary value  Historic value  Intrinsic value  To the individual  To society  Controversial piece n. 1 o Chris Ofili, the Holy Virgin Mary (8 x 6 ft)  British catholic artist  Saatchi Gallery: New young talent 2000 (Brooklyn Museum Exhibition of new and extraordinary talent)  Chris Ofili dared to challenge the traditional version of the virgin Mary  Normal visual of Mary: Dark blue cape, Pious expression, European Caucasian, Celestial and/or gilded settings, No earthly bondage  Has a blue cape but challenges the rest  Medieval religious icon rendered in a scandalous fashion but….  Gilded golden backdrop: not glitter of gold flakes but pushpins  Cherubs afloat n heavens: bottom (porn magazines) cutouts of cherubs  Almost African look  Script low on the podium and painted on hardened elephant dun or feces  Public reaction  Thought to be scandalous  Challenged conservative religious beliefs  Challenged the Eurocentric white virgin Mary  New version – a western black virgin Mary saturated with colors, dazzling texture  Became a street version of medieval icon  Threat to cut off funding or the Brooklyn museum the then mayor of NYC. Giuliani called it “sick stuff” outraged protesters from religious groups – challenge to icon artist as communicator perhaps seeks out criticism and scandal o One of the religious protestors white washed the art work and destroyed it (Any artwork you put out is going to have some sort of public library whether positive or negative)  Controversial piece n. 2 o Manet, Luncheon on the Grass  Controversy in the time frame of 1800s  The idea of being perfect o Paris exhibition – scandal – the painting was rejected o Manet accused of abandoning the painterly tradition of the time  Brush strokes broad and visible  Distorted space and depth of field o Caused public scandal but now 150years later considered masterpiece o Rejected as too modern o Manet: forerunner of modern art o Raimondi 1530, historical presence in Manet’s piece  Controversial piece n. 3 o Pablo Picasso – les Demoiselles d’Avignon  Criticized because of the size, subject matter (prostitutes of Avignon), abstraction of female figure, harshness of line, and the rapport with viewer (the woman looking at viewer)  One of the first painting of the modern movement  Disregard for beauty  Artist freed from concern of accurate representation  Engagement with viewer  Imposing harsh angles  Multiple view points  Predominance of artists inner  Controversial piece n.4 o Nude descending staircase by Duchamp  Trying to put movement on two dimensional surface  The movement of a human body as it descends a staircase o Scandal yes, but successful scandal  Movement  Teddy Roosevelt  Spectrum – who are artists? And what is their function? o Artists as she/he who experiences life and provides information to the greater public o Artist as reporters – represent their world, often whistle blowers o Artists as analysts – attempt to look beyond the visible o Artists as activists – through their art they help us see things in different ways  The artist is considered as bearers of controversy Public Sculptures  Mobile artist – Alexander Calder (La Grand Vitesse) Michigan o Heavily criticized at the beginning but now destination point  Carl Andre – stone field sculpture o Minimalist art, setting them in specific locations almost like chest pieces (Hartford Connecticut) o Just a piece of rock but it has to do with minimalist approach  Richard Cerra – tilted arc 1981 o Lower Manhattan new york city o Public outcry –  “A scar on the plaza”  “An arrogant gesture” o Because of pubic outcry they took it down and stored it in three small pieces  Maya Lin – Vietnam Memorial in Washington D.C. o Made out of black granite, written on it are the names of all the American soldiers that died in Vietnam o When it was put up it was considered scandalous since it wasn’t like a normal war monument If were looking for only beauty we may not necessarily find it Exploration: movement onto a 2-dimensional surface  Muybridge – different photographs of horse and if you look at it all together you see the progression of the movement from the side and straight on  Jules Marey – Man in black suit with white stripe o Dressed friends in these suits and would have them run or walk and do photographs of time and chronological (motion experiment) Visual Politics  Michelangelo – David – Florence Italy o Classic marble 13ft statue of naked man, DAVID, the youth who fought against goliath but its actually a political piece that was commissioned to be done  Symbolize republican (free, city state) Florence  Aesthetic issues discussed in the public arena – artful politic  “Florence will defend herself, defend herself from the entries of the city state”  Wodiczko (projection artist) o He would see the homeless in NYC and think the richest country in the world, the richest city o Homeless vehicle - a place to wash, sleep, carry stuff  Not suggesting the vehicles but more bringing awareness to the homeless  Gomez-Pena and Sifuentes o Took turns being crucified on a cross on the beach  Talking about problem of immigration and the law  Lacy – Whisper, the Waves, The wind o Problems that beset our society o Subtle political statement in la Jolla CA o Older women talking about their lives dressed in white on the beach  In a few years well have a population of older destitute women


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