ART105 FULL COURSE (June 2019)
Ace your studies with our custom writing services! We've got your back for top grades and timely submissions, so you can say goodbye to the stress. Trust us to get you there!
Order a Similar Paper Order a Different Paper
ART 105 Introduction to Visual Art
Module 1 Assignment
Write one or two short paragraphs (3-4 sentences each) answering the following:
- Have you taken an online course before? Which ones? When?
- What are your expectations for this online course? What types of experiences do you anticipate, wish to have, or wish to avoid?
- Do you have any previous art/art history background? Have you ever taken art or art history in college or high school? If so, what types of courses? Do you consider yourself an amateur artist?
- Who is your favorite visual artist and why?
If you have no art background or favorite artist, that’s OK, just let me know. Hopefully by the end of our semester together you will have found one
Save your work as a Microsoft Word document. Make sure to include your last name as part of the file’s name. Turn in your work by clicking the “Practice Submitting an Assignment 1” link above. Type your name in the comment box and attach your file in the area below. (If you do not have Microsoft Word, copy and paste your assignment into the comment box as well.) Click “Submit” to hand in your work.
ART 105 Introduction to Visual Art
Module 2 Assignment
Visit the Art Institute of Chicago’s website at http://www.artic.edu/aic/. Browse the images in the permanent collection (click “Collection” in the gray bar at the top of the webpage). Select any one piece that interests you, and copy and paste it into a one-slide PowerPoint presentation, along with your name, the artist’? s name, the title of the piece, the year(s) it was made, and the medium (material from which the work was made). Also include a short sentence explaining why this piece intrigues you. If you do not have PowerPoint, you may create the document in Microsoft Word. When you save your file, make sure you include your last name as part of your file name.
How to hand in your work:
Click the “Assignment 2: Practice Submitting an Assignment 2” link above. Type your name in the comment box and attach your file in the area below. Click “Submit” to hand in your work.
ART 105 Introduction to Visual Art
Module 3 Assignment 3
Assignment: Visual Elements
- Look through the permanent collection at the Art Institute of Chicago’s website. Go to www.artic.edu/aic and click on “ Collection†at the top.
- Select artworks from the permanent collection that illustrate 15 of the visual element terms listed below. Do not use the same image for more than one term.
- Copy and paste your images into a 15-slide presentation. Each slide should include an image, the artist (if given), title, date and medium (materials: e.g. oil on canvas, engraving, wood carving), the term your piece exemplifies, and a short sentence explaining how the image effectively demonstrates that term. (For example, “The photograph uses complementary hues because the two main colors, blue and orange, are opposite each other on the color wheel†or “This woodcut demonstrates hatching under the table because parallel lines are set closely next to one another to create a darker value.â€) If you do not have PowerPoint, you may create a document using Microsoft Word.
List of Visual Elements (choose any 15):
contour line
implied line
implied compositional lines
psychological lines
lines that outline and shape
lines that create texture
modeling/chiaroscuro
hatching
cross-hatching
contour hatching
stippling
lines that suggest direction or movement
actual mass
implied mass
geometric rectilinear shapes
geometric curvilinear shapes
organic shapes
positive and negative shape (image must have both)
figure-ground reversal
high value contrast
low value contrast
cool colors, warm colors, saturated colors, tints, shades (image must have at least three)
analogous color scheme
complementary color scheme
optical color
impasto
actual texture other than impasto
visual texture
trompe l’oeil
subversive texture
overlapping
relative size
linear one-point perspective (explain where the horizon line, minimum of two orthogonals, and vanishing points are)
linear two-point perspective (explain where the vanishing point, minimum of four orthogonals, and two vanishing points are)
atmospheric perspective
actual motion
stopped time
implied time/implied motion
illusion of motion
How to hand in your work: When saving your work, include your last name as part of the file name. Then click the “Visual Elements” link above. Type your name in the appropriate field and attach your file in the area below the comment box. Click “Submit” to hand in your work.
ART 105 Introduction to Visual Art
Module 4 Assignment
Assignment: Principles of Design
- Look through the permanent collection at the Metropolitan Museum of Art’s website. Go to http://www.metmuseum.org/home.asp and click on “Curatorial Departments†or “Collection Database†at the left.
- Select artworks from the permanent collection that illustrate 15 of the principles of design listed below. Do not use the same image for more than one term.
- Copy and paste your images into a 15-slide presentation. Each slide should include an image, the artist (if given), title, and date, the design principle your piece exemplifies, and a short sentence explaining how the image effectively demonstrates that term. (For example, “The cat, being the largest and most complex form in the photograph, is the focal point,†or “Because of the repetition of triangular shapes and the color red, visual unity is created.â€) If you do not have PowerPoint, you may create a document using Microsoft Word. Be sure to save your work with a title that includes your last name within it.
Principles of Design (choose 15):
visual unity
conceptual unity
variety
actual balance
pictorial balance
bilateral (pure or formal) symmetry
approximate symmetry
symmetrical balance
asymmetrical balance
horizontal balance
vertical balance
diagonal balance
radial balance
imbalance
focal point
rhythm
hierarchical scaling
distorted scale (not hierarchical scaling)
violating the canon of proportion for expressive purposes
How to hand in your work: Click the “Assignment: Principles of Design” link above. Type in your name and attach the file to the area below the comment box. Click “Submit” to hand in your work.
ART 105 Introduction to Visual Art
Module 5 Assignment
Assignment: Decoding Iconography
Name: ______________________________________________________________________
Subject Matter (list all items that make up the subject matter):
Symbolism (list the symbolism of the subject matter listed above):
Meaning (What is the meaning and how does the subject matter and symbols create the overall meaning of the work of art?):
As noted in your textbook, iconography refers to the themes and symbols in a work of art and their connections with the meanings of the work. Complex iconographies sometimes get lost across generations and cultures, and require research to decode. However, the painting depicted here uses many symbols that are still comprehensible to us today.
- Answer the following:
- What objects are represented in this painting? In other words, what is the “surface” subject matter?
- What does each object symbolize?
- Based on your interpretation of the symbols, what is the overall message of the piece, as stated in one or two sentences?
- Fill out the document with your findings and submit to the instructor.
ART 105 Introduction to Visual Art
Module 9 Assignment
Assignment: Curate Your Own Sculpture Exhibition (in pairs)
Attached Files:
File Peer Evaluation Form (52.282 KB)
This assignment will be done with a partner. Remember, paired assignments function best if you work together rather than merely dividing the assignment; while you certainly may communicate via your group discussion board and email, remember that you can also communicate “ in real time†using the group chat feature, the telephone, facebook chat, or any other medium that allows you to communicate synchronously (i.e. at the same time).
- Check the Group Pages in the Tools- Communication tab on the left menu to contact your partner and determine how and when you will complete the assignment. (Be sure to touch bases by Wednesday at midnight.)
- Together, determine a theme for your sculpture exhibition. (Examples of exhibition themes could be “mythological heroes,†“religion,†“the human body,†etc.) The sculptures you select for this assignment must all fit the theme in some way.
- Name your exhibition and create a brief paragraph that gives an overview of your exhibition topic. This information should be included on slide 1 of your PowerPoint presentation.
- Next, select a minimum of 10 sculptures for your exhibition that illustrate 10 of the 19 sculptural terms listed below. (Remember, each sculpture must both illustrate a term and fit your theme.) Choose your sculptures from the following museums’ permanent collections: the Getty Museum (http://www.getty.edu/museum/), the Louvre Museum (http://www.louvre.fr/llv/commun/home.jsp?bmLocale=en), or the Museum of Modern Art (www.moma.org).
- Create a “visual tour†of your sculpture exhibition in PowerPoint format. Each slide of your PowerPoint presentation should include a high quality image of a selected sculpture, plus the artist’s name, title, date, medium, and the name of the museum that owns it.
- Also on each slide, label the term illustrated. Write one or two sentences explaining how your piece illustrates each term. Then, include one or two sentences explaining how the sculpture fits your exhibition theme.
Sculptural Terms:
bas-relief
high relief
freestanding sculpture
subtractive process
additive process
carving
modeling
casting
lost-wax technique
burnished
casting of human figures
stone
wood
clay
metal
direct metal sculpture
patina
constructed sculpture
assemblage
readymade
mixed-media
kinetic sculpture
light sculpture
“ other†materials
How to download the peer evaluation form:
Click the “Curate Your Own Sculpture Exhibition (in pairs)†link above. The file can be downloaded by clicking on the link at the bottom of Section 1: Assignment Information.
How to hand in your work:
Note: Only one person per group should submit the PowerPoint file, but all students must submit a peer evaluation form. The peer evaluation form will count as part of your group participation grade.
Click the “Curate Your Own Sculpture Exhibition (in pairs)” link above. Be sure your files’ names include your last name within them. Also type your names in the comment box. Attach the PowerPoint file and peer evaluation form. Click “Submit” to hand in your work.
ART 105 Introduction to Visual Art
Module 13 Assignment
Assignment: Period Styles and Their Key Stylistic Attributes
The purpose of this assignment is to gain a deeper understanding of the key artistic characteristics of each of the period styles discussed in this week’s reading.
Based on this module’s readings, write one short, 3-4 sentence paragraph explaining the most important stylistic characteristics of each of the following, for a total of 11 short paragraphs:
Early Christian Art
Byzantine Art
Early Medieval Art
Romanesque Art
Gothic Art
Fifteenth-Century Northern Painting
The Early and Midcentury Italian Renaissance
The High Italian Renaissance
High and Late Venetian Renaissance
High and Late Renaissance Art Outside Italy
Mannerism
How to hand in your work: Save your work with a name that includes your own last name. Then, click the “Period Styles and Their Key Stylistic Attributes” link above. Type your name in the “Comments” text box and attach your work as a Word document file. If you do not have Microsoft Word, copy and paste your work into the “Comments” box. Click “Submit” to hand in your work.
ART 105 Introduction to Visual Art
Final Paper
Your final paper will be a three-page Formal Analysis. This assignment will required you to visit and observe a work of contemporary art (made after 1960). You may select a work from any major museum: The Art Institute of Chicago, The Museum of Contemporary Art, The Museum of Modern Art, etc. Not a commercial gallery. You should also include an image of the artwork that you have analyzed as well as a selfie as proof of attendance, at the end of the paper. This paper is a detailed visual analysis of an artwork of any media (video, photography, textile, sculpture, painting, drawing, etc.) and should come from your own one-on-one engagement with a work of art.
ART 105 Introduction to Visual Art
Journal: “What Qualities Make For A Good Work Of Art?â€
Journal assignments are designed to facilitate critical thinking about issues related to art.
- Carefully consider your own, personal definition of “good” art. Then, locate a work of art that you believe constitutes “good†visual art and illustrates your ideas. There are no limitations regarding what type of visual art you can select–for example, you may use an advertising image, a work of fine art, an album cover, etc. The image may be the work of either a known or an unknown artist. Any visual medium (painting, sculpture, photography, architecture, fashion design, etc.) is acceptable.
- Write a one page journal response addressing the following: What qualities make for a good work of art? What makes your chosen artwork “good?†Bear in mind that explaining “what is good†is not the same thing as explaining “what I like,†and your answers need to contain a deeper level of reflection. Avoid responses such as “Good art is a matter of opinion and is in the eye of the beholder.â€
Grades will be determined based on the depth and thoughtfulness of your response.
Requirements: Your journal entry should be a minimum of 300 words long. Include your image in digital format in your journal response. Your writing must be proofread for errors and spell checked. Students who have obviously not proofread and/or spell checked their entries or have not followed the above instructions will lose points.
How to hand-in your work:
Click the “Journal Response: What Qualities Make For A Good Work Of Art?” link above. Type your name in the “Comments” field and attach your work as a Word document file. (Be sure the file name contains your last name as part of it.) If you do not have Microsoft Word, you may copy and paste your work into the “Comments” box. Click “Submit” to hand in your work.
ART 105 Introduction to Visual Art
Journal: Mini Compare/Contrast Formal Analysis
A Formal Analysis (also called a visual or stylistic analysis) is a description of a work of art’s visual elements and an analysis of how they convey meaning to the viewer. Reread the Compare + Contrast example on p. 15 of your text (Chapter 1) for an example of a short compare/contrast formal analysis.
Next, compare and contrast Jacob Lawrence’s Harriet Tubman Series no. 4 with Vincent Van Gogh’s Sunflowers . In both works, color, whether clashes of red and yellow or blends of blues and violets, is central in communicating ambience. What feelings or messages are conveyed by the choice of color palette? For example, do you find one painting soothing and the other irritating? What do the palette choices suggest about the moods conveyed in the paintings? How do the artists also use texture, shape, space, and other visual elements to underscore the effects of color on the viewer?
Requirements: Your journal entry should be a minimum of 300 words long. Journal responses must be proofread for errors and spell checked. Students who have obviously not proofread and/or spell checked their entries or have not followed the above instructions will lose points.
How to hand in your work: When saving your work, be sure to incorporate your last name into the file name. Next, click the “Journal: Compare/Contrast Formal Analysis” link above. Type in your name in the “Comments” text box and attach your work as a Word document file. If you do not have Microsoft Word, copy and paste your work into the “Comments” box. Click “Submit” to hand in your work.
ART 105 Introduction to Visual Art
Journal: Comparing and Contrasting Woodcuts
Albrecht Dürer, The Four Horsemen of the Apocalypse, 1498 Emil Nolde, Prophet, 1912
Compare and contrast Albrecht Dürer, The Four Horsemen of the Apocalypse, 1498, with Emil Nolde, Prophet, 1912. Both images are woodcuts, and both images are famous and powerful prints, but they “work†for entirely different reasons.
- First, explain how the woodcut process works—in your own words.
- Second, compare and contrast the two prints. What feelings or emotions are conveyed by the two images? How do the artists’ choices in technique, style, and composition affect the impact on the viewer?
Requirements: Your journal entry should be a minimum of 300 words long. Journal responses must be proofread for errors and spell checked. Students who have obviously not proofread and/or spell checked their entries or have not followed the above instructions will lose points.
How to hand in your work:
Click the ” Assignment: Journal: Comparing and Contrasting Woodcuts†link above. Type your name in the “Comments” text box and attach your work as a Word document file. If you do not have Microsoft Word, copy and paste your work into the “Comments” box. Click “Submit” to hand in your work.
ART 105 Introduction to Visual Art
Journal: Shirin Neshat — Photographer, Video Artist, Filmmaker
First, use the index to look up and read the passages on Shirin Neshat in your textbook (pg. 161-2) Then watch the documentary video Shirin Neshat: Expressing the Inexpressible. Keep the following questions in mind as you take notes on the film: What concepts does Shirin Neshat deal with in her work? What benefits does working in video, film, and non-traditional photography (i.e. painting on photographs) give her as an artist? How do these media allow her to express her ideas in a way that traditional mediums like drawing, painting, printmaking, or sculpture would not? Finally, how would the experience of viewing Shirin Neshat’s video and film installations in a museum context be fundamentally different than viewing her work in this video?
To view the video, click on the link below these instructions.
Requirements: Your journal entry should be a minimum of 300 words long. Journal responses must be proofread for errors and spell checked. Students who have obviously not proofread and/or spell checked their entries or have not followed the above instructions will lose points
How to hand in your work:
Be sure you have saved your work with a file name that includes your last name. Then, click the ” Assignment: Journal: Shirin Neshat — Photographer, Video Artist, Filmmaker” link above. Type in your name in the “Comments” text box and attach your work as a Word document file. If you do not have Microsoft Word, you may copy and paste your work into the “Comments” box. Click “Submit” to hand in your work.
ART 105 Introduction to Visual Art
Journal: Site-Specific Art Proposal
According to your textbook (pg. 193), four different types of site-specific art are: land art, ephemeral art, public art, and monuments or memorials. However, these terms are by no means mutually exclusive. A single artwork can fit more than one of these categories simultaneously.
Instructions: Create a proposal for your own site-specific artwork that fits a minimum of three of the four site-specific categories listed above. You do not need to draw or build your project, so dream big. What you do need to do is explain your piece in detail (in both form and meaning), title your piece, and explain how your piece is site specific and fits three of the four categories.
As always, your journal entry should be a minimum of 300 words long. Journal responses must be proofread for errors and spell checked. Students who have obviously not proofread and/or spell checked their entries or have not followed the above instructions will lose points.
Example: Take as an example Robert Smithson’s Spiral Jetty, 1969-70 (pictured in page 194 of your textbook), which can be seen to fit all four categories. (Remember, however, that you will be inventing your own piece, not finding one in the textbook!)
Smithson was inspired to create Spiral Jetty as he was scouting out the Great Salt Lake in Utah for possible land art locations. He discovered a site littered with abandoned equipment left behind by a mining company. Apparently, the mining company had tried to extract tar and oil from the site, but had left their equipment behind when the attempt failed. Smithson saw the site as evidence of nature’s enduring power; he believed that despite whatever harm humans may inflict upon nature, nature will reclaim itself in the end, outliving humankind. Thus, Spiral Jetty was meant to be a monument to nature.
Smithson wanted Spiral Jetty to relate to its site in both its form and its function. Therefore, he researched the site before determining the shape the jetty would take. He learned of a local Native American legend stating that an underground tunnel or vent ran from the Great Salt Lake to the Pacific Ocean, creating a whirlpool in the middle of the lake. He also wanted to relate the high salt concentration in the Great Salt Like to the concept that salt molecules are spiral-like in nature. Thus, the shape of the jetty was determined the characteristics of the site itself, reinforcing its site-specificity. Clearly, a spiral jetty would not work anywhere else but in the Great Salt Lake.
Spiral Jetty was constructed out of local dirt and rocks moved into position via bulldozers and earthmoving equipment. Since its original inception, its mediums have expanded to include pink bacterial forms growing on the jetty and the accumulation of white salt crystals. Because it is made out of the natural environment, it is clearly distinguished as a work of land art.
When Spiral Jetty was created, Utah was in the midst of a drought. Subsequently, when rain levels rose to normal several years later, Spiral Jetty was completely submerged. Much of the time, Spiral Jetty is now completely under water, but during drought conditions, the jetty returns to view. Eventually, however, Spiral Jetty will completely erode, and thus is temporary or ephemeral in nature (although much ephemeral art is meant to have a much shorter lifespan than Spiral Jetty). This is apt, as the piece is meant to speak to nature’s power to reclaim itself despite human intervention in the landscape.
Finally, although the piece is in a remote location “maintained†by the Dia Art Foundation, it is meant to be visited by all those who wish to make the pilgrimage. It is not in the collection of a single collector, museum, or gallery, but is mean to be owned by “the public.†The piece is thus also a work of public art.
How to hand in your work:
Click the ” Journal: Site-Specific Art Proposal†link above. Type your name in the “Comments” text box and attach your work as a Word document file. (Remember to save your work with your last name in the file name.) If you do not have Microsoft Word, copy and paste your work into the “Comments” box. Click “Submit” to hand in your journal assignment.
ART 105 Introduction to Visual Art
Journal: Good Art Revisited
Journal assignments are designed to facilitate critical thinking about issues related to art.
For your first journal assignment at the beginning of the semester (Module 2), you were asked to consider the following question:
What qualities make for a good work of art?
For your final journal assignment, revisit your original answer. Have any of your ideas changed as a result of this course? Have your definitions of “good†art narrowed or expanded? If so, in what ways? Refer to specific artworks you have learned about this semester in your answer.
Requirements: Your journal entry should be a minimum of 300 words long. Include your image in digital format in your journal response. Your writing must be proofread for errors and spell checked. Students who have obviously not proofread and/or spell checked their entries or have not followed the above instructions will lose points.
How to hand-in your work: Click the “Good Art Revisited” link above. Type your name in the “Comments” field and attach your work as a Word document file. (Be sure the file name contains your last name as part of it.) If you do not have Microsoft Word, you may copy and paste your work into the “Comments” box. Click “Submit” to hand in your work.
ART 105 Introduction to Visual Art
Module 1 Discussion
DQ1 Introductions
Welcome
Glad you are part of this class! I look forward to getting to know you through your thoughts about art and the creative process. Please tell me a little bit about yourself and how you feel about art.
DQ2 Course Expectations
Growth and expectations
I expect to see your understanding of art grow throughout the duration of this course. I hope you can learn to appreciate the art you find beautiful as well as challenging art that makes you question things and issues around you. Keep an open mind while doing readings and researching. Please tell me what you’re expecting from this course and how you plan on growing.
ART 105 Introduction to Visual Art
Module 3 Discussion
Expressive Qualities of Lines
Search for a visual work that strikes you as interesting. Please copy it onto your desktop and attach the image or copy the link. See menu above the type box. Don’t settle for the first image you find. Look at both, art and non art sources.
Here are a few sources:
http://www.thejealouscurator.com/blog/
http://hyperallergic.com/
http://www.thisiscolossal.com/
Look for a linear component in the work and discuss the type and expressive quality of the lines. Are the lines measured and calculated as in Mangold’s work, do they have a emotional human presence such as Ritchie’s, or are they working on a completely new way? (see pg. 21 in our book)
Your initial response is due Wednesday, at midnight. Be sure to reply to two other students by Sunday, at midnight.
ART 105 Introduction to Visual Art
Module 4 Discussion
Reflection
What is one thing you learned from this module that you didn’t know before? What is one thing from this chapter that you still don’t understand?
Post your initial response by Wednesday, at midnight. Students should respond to at least two students’ questions by Sunday, at midnight. I will answer a question only if other students cannot answer it satisfactorily.
ART 105 Introduction to Visual Art
Module 6 Discussion
Painting
Painting is self-discovery. Every good artist paints what he is.†– Artist Jackson Pollock
What do you think Jackson Pollock meant by this statement? Read the section about Jackson Pollock on pgs. 492-3 of your textbook. (You may also use the internet to research Pollock’s life and painting methods.) Then explain how you think Pollock specifically used painting as self-discovery.
Your initial response is due Wednesday, at midnight. Be sure to reply to two other students by Sunday, at midnight.
ART 105 Introduction to Visual Art
Module 7 Discussion
Photo Silkscreen and Andy Warhol
Andy Warhol, Marilyn Diptych, photo silkscreen on canvas, 1962
Andy Warhol is one of the best known artists to have used the photo silkscreen medium on a wide scale. When you look at Marilyn Diptych, reproduced above, you will notice there are many “imperfections†in the piece, such as misregistered colors, areas that have received too much or too little ink, etc. Yet Andy Warhol was a consummate draftsman; before becoming a fine artist, he had won multiple awards for his ad designs and was the highest paid commercial artist in New York City. It is safe to assume that these “imperfections†are intentional and designed to add to the piece’s content.
Warhol created Marilyn Diptych in the weeks after her death. In many ways, it is a response to her death. However, Marilyn Diptych suggests a much different reaction to her death than Audrey Flack’s Marilyn. (Audrey Flack’s Marilyn was the painting on for “Decoding Iconography†pg13.)
Carefully observe the Warhol’s stylistic choices in this piece. Why do you think he wanted Marilyn Diptych to look this way? What is Warhol trying to say about Marilyn Monroe, society, or himself via the use of formal elements and design principles? Be sure to back up your response. (Hint: Use the index in the back of your textbook to locate and read the passages on Andy Warhol’s work. They may help stimulate your ideas.)
Your initial posting is due Wednesday, at midnight. Be sure to reply to two other students by Sunday, at midnight. Let’s get a dialogue going and see what we can learn from each other!
ART 105 Introduction to Visual Art
Module 8 Discussion
Photography in the Digital Age
How do you see social media like Instagram, Pinterest, and other image based Apps, influencing the way we view photography? How does viewing an image on a smart phone or online differ than viewing a photograph as a material object in a museum and/or gallery? Be specific in your claims and your examples.
ART 105 Introduction to Visual Art
Module 9 Discussion
Readymades and Appropriation Art
Carefully read the sections in Chapter 11 on Marcel Duchamp and readymades and on Sherrie Levine and appropriation art. Duchamp’s readymades were revolutionary because they shifted the definition of art from a skillfully hand-made object to art as idea or concept. Duchamp’s concept of the readymade has had a profound impact on contemporary art—a 2004 survey of over 500 artists, museum curators, art dealers, and critics voted Fountain the most influential work of modern art ever created. Those that voted most overwhelmingly for Fountain were the artists themselves.
In 1991, artist Sherrie Levine made Fountains after Duchamp. In a sense, Levine has appropriated an appropriation, since Duchamp himself had appropriated the Mott Plumbing Company, who mass-manufactured the urinal in Fountain to begin with. Your textbook says that Levine’s work is meant to question artistic ideas like authorship and originality. How does Fountains After Duchamp do this? What other notions does Levine’s piece bring up or challenge? (You may use the internet to research Levine’s ideas, but be sure to cite your sources.)
Your initial response is due Wednesday, at midnight. Be sure to reply to two other students by Sunday, at midnight.
ART 105 Introduction to Visual Art
Module 10 Discussion
Site-Specific Art
In this module we are focusing on site-specific art, art that is made for one particular location and would be diminished or destroyed if removed from its intended setting. Select one site-specific work from your textbook, either from Chapter 11 or elsewhere, and explain how its environment is necessary for the piece to “work.” Choose a piece that another student has not yet written about. Why would the piece fail to work if sited elsewhere? Consider both the form (style) of the piece and its intended message/content. Either post an image of the piece in your discussion board response, or else include the artist’s name, the title of the piece, and the page number for easy reference.
Reply to this thread by Wednesday, at midnight. Be sure to respond substantively to two other student posts by Sunday, at midnight.
ART 105 Introduction to Visual Art
Module 11 Discussion
Fallingwater vs. Farnsworth House
In creating works of architecture, architects must not only be sensitive to the aesthetics of their structures, but they must also pay attention to the relationships between their structures and the building sites. Read about Frank Lloyd Wright’s Fallingwater (pg. 237) and read ahead on Mies van der Rohe’s Farnsworth House (p. 526). Both were built as single family homes and both incorporate a landscape environment that is crucial to the architecture. Compare and contrast the way these two homes are integrated with (or antagonistic to) their setting. In what ways are they similar, and how does the interaction between building and natural environment function differently?
Reply to this thread by Wednesday, at midnight. Be sure to comment substantively on at least two other students’ posts before Sunday, at midnight.
ART 105 Introduction to Visual Art
Module 12 Discussion
Compare and Contrast
1) Venus of Villendorf (p. 249) and Cycladic idol ( p. 266)
2) Victory Stele of Naram Sin (p. 253) and Stele inscribed with the Law Code of Hammurabi (p. 254)
3) Statue of Khafre from Gizeh (p. 259) and Pillar statue of Akhenaton from Temple of Amen-Re, Karnak (see image below)
Use stylistic analysis along with what you have learned from the textbook to discuss the similarities and differences in the paired pieces. Then explain why these observations are important. In other words, what do these attributes tell us about the cultures that made them?
Reply to this thread by Wednesday, at midnight. Be sure to comment substantively on at least two other students’ posts before Sunday at midnight. At least one of your responses should be on a pairing you did not choose for your initial post.
ART 105 Introduction to Visual Art
Module 14 Discussion
Non-Western Art and European Modernism
Non-Western art is widely recognized by art historians as one of the defining influences on the development of European modernism. Reread the passage in your textbook on African Art and Picasso (p. 466). How do you feel about European artists appropriating aspects of Non-Western art into their work? Is there a potential problem with this, or is it a positive development? Refer to any information from your textbook as part of your answer.
Note: In this question, I am not asking so much about appropriation, but rather, the appropriation of Non-Western cultures.
Remember that your initial response is due Wednesday, at midnight. Be sure to reply to two other students by Sunday, at midnight.
ART 105 Introduction to Visual Art
Module 17 Discussion
End of Semester Reflection
Congratulations! We’ve spent the last 8 weeks discussing and learning about art in its many forms and incarnations. What is the biggest thing you think you will take away from this course? What kind of effect do you think the new ideas you’ve acquired might have on your life and/or future scholastic or career endeavors?
Remember, your initial response is due Wednesday, at midnight. Be sure to reply to two other students by Sunday, at midnight. Thanks for a great semester!
<pclass=”msonormal” style=”box-sizing: border-box; overflow-wrap: break-word;”>ART 105 Introduction to Visual Art</pclass=”msonormal”>
Syllabus and Course Policies QUIZ
Question 1Most modules, your homework will consist of:
Question 2Which of the following statements about the Final Group Presentation is true?
Question 3What is the late work policy in this course?
Question 4Under the netiquette policies, which of the following behaviors are permissible?
Question 5How can you figure out your current grade at any point in the semester?
ART 105 Introduction to Visual Art
Drawing QUIZ
Question 1Paper is the most common drawing _____.
Question 2Match the image with the sentence that accurately describes it.
Question 3In your own words, what is the definition of drawing?
Question 4What type of drawing, in which the artist studied and recorded the human body during a cadaver dissection, is this?
Leonardo’s Anatomical Drawing of a Man’s Head and Shoulders, smaller.jpg
Question 5What type of drawing is this?
charles white, preacher, smaller.jpg
ART 105 Introduction to Visual Art
Architecture, Craft, and Design QUIZ
Question 1Define architecture in your own words.
Question 2This poster for the French newspaper L’Intransigeant is an example of _____.
Cassandre, poster for L’Intransigeant, smaller.jpg
Question 3This bridge is an example of ______.
Old Little Belt Bridge, Denmark, smaller.jpg
Question 4These dresses best exemplify _____.
Christian Dior Haute Couture Spring 2009.jpg
Question 5These symbols are best categorized as _____.
Dreyfuss, Symbols, smaller.jpg
ART 105 Introduction to Visual Art
Recognizing Cultural Style QUIZ
Question 1 Below is a photograph of an artwork not reproduced in your textbook. Based on what you have learned in Chapters 13 and 14, determine the correct cultural or period style and type it into the blank field.
Cultural and Period Styles (choose one):
Paleolithic
Neolithic
Sumerian
Akkadian
Babylonian
Assyrian
Persian
Egyptian
Cycladic
Minoan (from Crete)
Mycenaean
Geometric Greek
Archaic Greek
Early Classical Greek
(High) Classical Greek
Late Classical Greek
Hellenistic Greek
Etruscan
Roman Republican
Early Roman Empire
Late Roman Empire
Tutankhamen, death mask, smaller.jpg
Question 2 Consider the cultural or period style you selected in your previous answer. In one or two sentences, explain how you knew your answer was correct.
Tutankhamen, death mask, smaller.jpg
Question 3 Below is a photograph of an artwork not reproduced in your text book. Based on what you have learned in Chapters 13 and 14, determine the correct cultural or period style and type it into the blank field.
Cultural and Period Styles (choose one):
Paleolithic
Neolithic
Sumerian
Akkadian
Babylonian
Assyrian
Persian
Egyptian
Cycladic
Minoan (from Crete)
Mycenaean
Geometric Greek
Archaic Greek
Early Classical Greek
(High) Classical Greek
Late Classical Greek
Hellenistic Greek
Etruscan
Roman Republican
Early Roman Empire
Late Roman Empire
Figurine of a Woman from Syros, smaller.jpg
Question 4 Consider the cultural or period style you selected in your previous answer. In one or two sentences, explain how you knew your answer was correct.
Figurine of a Woman from Syros, smaller.jpg
Question 5 Below is a photograph of an artwork not reproduced in your text book. Based on what you have learned in Chapters 13 and 14, determine the correct cultural or period style and type it into the blank field.
Cultural and Period Styles (choose one):
Paleolithic
Neolithic
Sumerian
Akkadian
Babylonian
Assyrian
Persian
Egyptian
Cycladic
Minoan (from Crete)
Mycenaean
Geometric Greek
Archaic Greek
Early Classical Greek
(High) Classical Greek
Late Classical Greek
Hellenistic Greek
Etruscan
Roman Republican
Early Roman Empire
Late Roman Empire
Bison, Altamira, smaller.jpg
ART 105 Introduction to Visual Art
Slide Attributions QUIZ
Question 1Based on what you have learned from this module’s assigned reading, plus what you observe with your own eyes, identify the artist and type his or her name into the blank field below.
Image 21.jpg
Question 2Consider your previous answer. In one or two sentences, explain which stylistic indicators allowed you to identify the artist of this piece.
Image 21.jpg
Question 3Below is a photograph of a Non-Western artwork not reproduced in your textbook. Based on what you have learned from Chapter 18 and from what you visually observe, determine the cultural style and type it into the blank field.
Cultural Styles (choose one):
African: Benin
African: Yoruba
African: Kuba
African: Kongo
African: Dogon
Oceanic: Polynesia
Oceanic: Maori
Oceanic: Melanesian
Mexican: Olmec
Mexican: Maya
Mexican: Teotihuacan
Mexican: Aztec
Peruvian: Mochica
Peruvian: Inca
Native North American: Eskimo
Native North American: Kwakiutl
Native North American: Plains
Islamic
Indian: Buddhist
Indian: Hindu
Chinese
Japanese
Benin Head, smaller.jpg
Question 4Consider your previous answer. In one or two sentences, explain which stylistic indicators allowed you to identify the artwork’s cultural style.
Benin Head, smaller.jpg
Question 5Below is a photograph of a Non-Western artwork not reproduced in your textbook. Based on what you have learned from Chapter 18 and from what you visually observe, determine the cultural style and type it into the blank field.
Cultural Styles (choose one):
African: Benin
African: Yoruba
African: Kuba
African: Kongo
African: Dogon
Oceanic: Polynesia
Oceanic: Maori
Oceanic: Melanesian
Mexican: Olmec
Mexican: Maya
Mexican: Teotihuacan
Mexican: Aztec
Peruvian: Mochica
Peruvian: Inca
Native North American: Eskimo
Native North American: Kwakiutl
Native North American: Plains
Islamic
Indian: Buddhist
Indian: Hindu
Chinese
Japanese
Eagle transformation mask, open view, Kwakiutl, smaller.jpg
Question 6Consider your previous answer. In one or two sentences, explain which stylistic indicators allowed you to identify the artwork’s cultural style.
Eagle transformation mask, open view, Kwakiutl, smaller.jpg
ART 105 Introduction to Visual Art
WWII 20th-Century Slide Attributions QUIZ
Question 1Based on what you have learned from this module’s assigned reading, plus what you observe with your eyes, identify the artist and type his or her name into the blank field below.
Bearden, The Dove, 1964, smaller.jpg
Question 2Consider your previous answer. In one or two sentences, explain which stylistic indicators allowed you to identify the artist of this piece.
Bearden, The Dove, 1964, smaller.jpg
Question 3Based on what you have learned from this module’s assigned reading, plus what you observe with your eyes, identify the artist and type his or her name into the blank field below.
Question 4Consider your previous answer. In one or two sentences, explain which stylistic indicators allowed you to identify the artist of this piece.
Question 5Based on what you have learned from this module’s assigned reading, plus what you observe with your eyes, identify the artist and type his or her name into the blank field below.
Bacon, Painting, 1946, smaller.jpg
ART 105 Introduction to Visual Art
Style Fill in the Blank and Short Answer QUIZ
Question 1 This painting can be accurately described as being either [x] or [y].
representational
realistic
abstract
nonobjective
expressionistic
Question 2
realistic
abstract
representational
expressionistic
nonobjective
Using complete sentences, briefly explain how this painting demonstrates the two terms you selected.
• Question 3
realistic
abstract
representational
expressionistic
nonobjective
This painting can be accurately described as being [a], [b], and [c].
Specified Answer for: a expressional
Specified Answer for: b representational
Specified Answer for: c realistic
• Question 4
realistic
abstract
representational
expressionistic
nonobjective
Using complete sentences, briefly explain how this painting demonstrates the three terms you selected.
• Question 5
realistic
abstract
representational
expressionistic
nonobjective
This painting can be accurately described as being either [d] or [e].
Looking for top-notch essay writing services? We've got you covered! Connect with our writing experts today. Placing your order is easy, taking less than 5 minutes. Click below to get started.
Order a Similar Paper Order a Different Paper