ART105 FULL COURSE (June 2019)

ART 105 Introduction to Visual Art

Module 1 Assignment

Write one or two short paragraphs (3-4 sentences each) answering the following:

  1. Have you taken an online course before? Which ones? When?
  2. What are your expectations for this online course? What types of experiences do you anticipate, wish to have, or wish to avoid?
  3. 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?
  4. 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

  1. 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.
  2. 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.
  3. 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.”) 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

  1. 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.
  2. 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.
  3. 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.”) 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.

  1. Answer the following:
  2. What objects are represented in this painting? In other words, what is the “surface” subject matter?
  3. What does each object symbolize?
  4. Based on your interpretation of the symbols, what is the overall message of the piece, as stated in one or two sentences?
  5. 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).

  1. 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.)
  2. 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.
  3. 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.
  4. 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).
  5. 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.
  6. 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?”

Journal assignments are designed to facilitate critical thinking about issues related to art.

  1. 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.
  2. 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.”

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.

  1. First, explain how the woodcut process works—in your own words.
  2. 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].