Class #12 Followup: Final Post-Apocalyptic Society Assignment and Next week's presentation

Final Class Day

For the  Final Class on June 9th  attendance is mandatory. Your group is responsible for arriving with 1.all "Origin Story Collages",
2.the "Symbolizing Society" Banner,
3.your group's manifesto,
4.and a Rubbing collage for each member (see below).

Each group will tell the story of their invented post-NYC society, explain the symbolism of the banner, and describe in detail the ideas behind the rubbing collages.

Your final project grade is worth 3 HW grades. If you have the banner and don't show up to class, you'll be screwing your group!

I will grade based on the quality and thoughtfulness in individual efforts, and how well the individual effort work together to represent the society. I will not grade you on the quality of the presentation, only the work itself.

HW Assignment: Rebuilding from the scraps, due exam day

Each student will be responsible for one (1)  collage made from rubbings of textures found in the world around you. These rubbings can be made with a regular crayon or pencil.

Place a thin sheet of paper against a textured object (tree bark, sidewalk, A.C. unit vent, leaf, metal surface, refrigerator, coin, etc, etc, etc.) Try out many different textures both man-made and natural.

Cut out the areas of texture, using these to build an image of one (1) of the following:

1. a realistic or absurd technological innovation that fits with your group's survival narrative.

2. a statue, building, or other representation of the new religion, state monument, or famous founder that you would wish to be a part of your new society's shared meaning or beliefs

3. a scene of the housing, costumes or other domestic details of your new society's encampment


Use the textures thoughtfully in determining the kind of object(s) that they will produce. It is as if you are re-purposing the materials of our contemporary world to build the world of the future.

You may draw details in with pencil or crayon to augment your collages, but the textures must be the major component

Use multiple textures in your collage and glue them onto an 8.5 by 11 (at least) sheet of paper.


Examples of images made using rubbings.  (by Max Ernst)

Class# 11 Followup: The Semiotics of Survival and next class JUNE 2 (no class memorial day may 26th!) meet at Socrates Sculpture Park

HW for next week: Finish your group banner and post your groups manifesto on all your blogs
Details: http://zegeer-introtoart.blogspot.com/2014/05/class-11-symbolizing-your-society-and-hw.html


Next Class (June 2), meet at 1:45 at Socrates Sculpture Park, 32-01 Vernon Blvd, Queens. 
http://socratessculpturepark.org/visit/directions-and-hours/

N train to broadway 
Q103 http://bustime.mta.info/#q103
Q104 http://bustime.mta.info/#q104
 bus to broadway and vernon blvd





For Online lecture and blog response, see below.





Lecture Followup Questions:

Describe which type of representation each image is below (Iconic, Symbolic, Indexical, or more than one?) and explain why :


1.

Holbein, Hans /Younger/ Sir Thomas More,  oil on canvas, 1527


2.

 Yves Klein, Anthropometry ANT 85, 1960. 155.5 x 352.5cm. 
(body prints of female models painted with his universal blue) 

3.

4.

Francesca Woodman,  35 mm Photograph

Class #11: Symbolizing your Society and HW

Class #11 Lecture
 


HW: Finish your Banner ! and Formal Manifesto


Meet up during the next two weeks to finish your banner !

also,

Collaborate with your group to formally write up your society's rules or manifesto. Write a short introduction headed by your society's chosen name, and a description of the world that you live in. Feel free to adopt a zany tone like the Futurists, be formal like the Declaration of Independence writers, or whatever mood fits your society.

Then write the agreed-upon rules, beliefs, or principles that you defined in class and used to construct your banner. If you wish to change some of these rules, do so by group consensus.

Then post your finished manifesto to each society-member's blog. Attach your banner if you've finished it.

Class #10 Followup: Collages and Manifesto

Folks,

For HW, finish your two collages and bring them into class next week, May 19th!

For your blog response, read the lecture and answer the question below:




Question (For those who attended class)
 Based upon the fictional society that you invented with your group on May 12th's class, write down some of the rules, laws, beliefs, codes, etc. that would be included in a manifesto for your post-apocalyptic community. The manifesto can be very practical ("There will be no stealing or the offending party will be exiled"), or totally absurd (see anything from the Futurist Manifesto).

If you did not attend class on the 12th and did not form a new end-of-the-world society in groups, your task is to write a personal manifesto, either one that represents your beliefs, style, vision of the world, or one that is completely absurd and makes crazy incorrect statements about you .  (also get filled in on the final project by watching the in-class lecture below. You will join one of the existing groups WHEN you come to class next week.

Extra Credit #4 : Museo del Barrio, MUSEUM STARTER KIT: Open With Care

Museo del Barrio, MUSEUM STARTER KIT: Open With Care
Suggested donation $5 for students
Hours:  Wednesday through Saturday from 11:00am to 6:00pm






Some quotes about the project from the website:

The cultural disenfranchisement I experience as a Puerto Rican has prompted me to seek a practical alternative to the orthodox museum, which fails to meet my needs for an authentic ethnic experience. To afford me and others the opportunity to establish living connections with my own culture, I founded El Museo del Barrio.-Raphael Montañez Ortiz

"To create a contemporary parallel to Montanez Ortiz’s open and generous vision, El Museo has invited a group of local artists from East Harlem to in turn invite the people of East Harlem to bring objects from their homes for display in the museum’s galleries. This reversal of expected museum exhibition practice underscores the museum’s commitment to creating connections with its audiences but also its interest in interrogating the role of the museum, the potential of the object and the human impulse to collect."

Answer these questions in essay form and post on you blog with documentation shots of your chosen works. 


1. What do you think about Raphael Montañez Ortiz's mission to represent the Puerto-Rican-American and East Harlem community in a museum space? How is this presentation of art different that the story of modern art presented at MOMA (museum of modern art)? 

2. Pick one artwork in the museum, describing it physically and how it was made. How do the materials and the process communicate something about the community, culture, or neighborhood of East Harlem? 

3. Pick one object or group of objects that was provided by the community (non-artists). Describe if physically. Why you think the individual chose these objects, and what it represents about about their culture or neighborhood history/

4. What do you think about this idea of asking the community to contribute objects that are important to them for the museum? Do you think that museum curation should be left to people with the training, should be totally crowd-sourced, or a combination of both? 


This is worth 2 blog posts and i missed class!

Extra Credit #3: Ai Weiwei at the Brooklyn Museum

Visit the Ai Weiwei Exhbition, "According to What?"
It will cost $10 with your Laguardia ID, or 15 without.

Hours: Monday, Tuesday Closed
Wednesday 11 a.m.–6 p.m.
Thursday 11 a.m.–10 p.m.
Friday, Saturday, Sunday 11 a.m.–6 p.m.
First Saturday of the month (except September)
Target First Saturdays: 5–11 p.m. 11 a.m.–11 p.m.


Find one work in the exhibition that intrigues you and spend at least 30 minutes with it, making notes about any physical details, ideas about what it means, how it was made, why the curator placed it where he/she did in the gallery, any random thoughts that come into your head.

Now in essay form, answer the following questions

1. Describe this work physically
2. What was the process of its making
3. What is the political significance of this piece (what message does it send to the chinese government or the Western art world)?
4. How does the material and the way the piece was made reinforce the politcal message (think about who actually made the work. Did the artist? Hired crastmen?)?
5. What other random thoughts and discoveries did you have while observing this work for a prolonged period.

The post your answers along with some documentation photos. One of these photos should prove that you were actually there...

Once again, this will make up for 2 missed blog posts and one class absence, so do a good job!

Class #9 Followup: Survival

Look at previous post for the HW Assignment. Please watch the below and answer the blog response to prove you "attended" our online portion of class.



1. Write a short paragraph response describing which of the lecture artist's interpretation of escaping, advancing, or repairing society you most agree with, and why.

Class #9: Ai Weiwei and Interventions

Here's the in-class presentation. We watched the 50-minute BBC doc on Ai Weiwei, called, "Without Fear or Favor", https://www.youtube.com/watch?v=gcRodOfu_s8

Homework Below...


HW: Create a Public intervention!

For your HW assignment for next week, I’d like you to plan out a public “Intervention”, and enact it at some point this week, and create suitable documentation to record the intervention.

That intervention must happen in the public space (park, street, work, store, classroom, library, etc.).

It can either focus on an object that you bring into that setting, objects found in that setting that you rearrange, or some simple performance or performance-centered gesture that you make.

-Don’t just repeat an intervention that you saw in class. Think of your own.

--Don’t do anything illegal. Don’t do anything that will get you in trouble.

-It doesnt have to be political. It doesn’t even have to draw attention.  

For class next week, post a description of your intervention and documentation photos on your blog.

Class#8: The Art Market and You're the Curator Homework Assignment

Plan's for an out of class fieldtrip (Brooklyn Museum) are postponed due to scheduling difficulties. We'll still do one or two more field trips before the semester is done. Meet in the classroom next week!



Todays Lecture
 


Homework: Be the Curator

For those of you who were in class today complete the 4 artwork mini-exhibition based on our visit to Fischer-Landau Art Center. For those who did NOT attend class--shame--and
you can create your 4 piece exhibition from the

  Museum of Modern Art's online collection browser 
(stick to the painting and sculpture or drawing sections)



You’re the Curator

As demonstrated in the above slideshow, the Curator is the one who creates the narrative surrounding a solo or group exhibition. The curator decides on the relationship of art objects to each other in a space, the lighting, the color of the walls, and importantly, how the show is written up, how the work is contextualized, in what art tradition this work is placed into.

So it’s your turn to try out the role of writing the art narrative, by acting as curator for a show of your own (theoretical) making.

     Create a mini-exhibition with 4 works from the Columbia MFA Exhibition (or the online MOMA database) that speak to one another, either formally, through their subject matter, through mood, or because of more personal associations. You will create a name for your show and think about who the audience is for this exhibition.

a. Make a blog post with with images of each of your four chosen works. Describe each of the four works in detail, including accompanying information about name, medium, size, etc.


b. Write a  300+ word essay introducing your show, that includes the following information
     1. An exciting title for your show  (“The Color Blue in the 21st Century”, “A Journey in Geometry:, etc.) that evokes the reasons for grouping these works together
     2.Images of all four pieces with details provided by the exhibition
     3. how the pieces relate to one another and to the larger theme
     4. who the audience is for your exhibition. (does it relate especially to a particular group; pregnant women, civil engineering students, your grandmother, cos-play kids?)

This is due before class next week. 

Class #7: The System (Art History Lesson) Class Followup

Watch the lecture then, go here:


http://www.metmuseum.org/toah/

As much as I call into question the tunnel-vision of the conventional art narrative, institutions like the Metropolitan museum are trying to give an honest representation of art-making practices across the globe and throughout history. Explore this amazing Heilbrun Timeline of Art History. You can navigate via a world map based upon historical period, look at historical or regional timelines, search for a particular artwork, or just type keywords in to a general search field.  Play around.

For your blog response, I would like you to compare two artworks made near the same time, one from the European or American mainstream art tradition and one work from a different part of the world.

For your mainstream art work, feel free to just search for "Romanticism", "Modernism" or one of the other terms mentioned in the online lecture. Or just navigate to the place and time via "world map" or "timelines".

Next find your piece from another part of the world using the "world map" or "timelines." Try to pick a work made as close to the date of the original as possible.

Post images and descriptions of both art objects in a blog post, and answer the below questions thoughtfully.

1. Describe each work in brief.

2. Give your best guess as to the audience of each work.

3. Describe what ideas each work it attempting to bear witness to.

4. Describe the differences between the respective works' representations of beauty.

5. Do you think either of the artists knew about the others' art-making tradition? Why?

6. Do you think the mainstream (European) work deserves its place in the mainstream story of art? Why?

7. Do you think the non-mainstream (non-European) work deserves a place in the mainstream story? Why?

Cooking up a Story Example

Cooking Up a Story Example:

I've chosen to cook baklava. My father's family is Lebanese-American and this is one of the many dishes that my grandmother on that side always cooks. It's a real process-oriented recipe, you layer the sheets of fillo dough one by one, brushing on butter in between. It is natural to invite the family children to lend a hand, and I would hear stories about my relatives as I slowly built layer upon layer of paper-thin dough. In a way the dish represented that whole family history, built generation upon generation up until the present moment.

For the sake of convenience I'll be using a different recipe (grandma's is not very desciptive)
1 (5-inch piece) cinnamon stick, broken into 2 to 3 pieces or 2 teaspoons ground
15 to 20 whole allspice berries
6 ounces blanched almonds
6 ounces raw or roasted walnuts
6 ounces raw or roasted pistachio
2/3 cup sugar
1/4 cup water
1 teaspoon rose water
1 pound phyllo dough, thawed
8 ounces clarified unsalted butter, melted
For the syrup:
1 1/4 cups honey
1 1/4 cups water
1 1/4 cups sugar
1 cinnamon stick
1 (2-inch) piece fresh orange peel

Read the full recipe at: http://www.foodnetwork.com/recipes/alton-brown/baklava-recipe.html?oc=linkback



1. slowly layer the fillo sheet by sheet, brushing each layer with melted butter.

After 9 layers, add 1/3 of chopped nuts  ( can use pistachos, walnuts, almonds, cashews, etc.) 

Sprinkle with rosewater.

Layer with 6 more sheets, brushing with butter in between. Add 2nd 1/3 of nuts, sprinkle rosewater, repeat.

Cut and put in the oven for 1/2 an hour.

While the dough is cooking, assemble the ingredients for the syrup

boil the sugar, honey orange rind, cinnamon stick and water until it's all liquid, 10 or 20 minutes

Let everything cool.






eat.






pour the syrup the baklava. Store in a sealed container but do not put in the fridge! It will harden rock-solid.

Class #6 Followup: Translation--Food as Metaphor and HW Assignment Due next class (Wed APRIL 23!!!)

Watch the online lecture below, then answer the following questions in a blog post:

1. How does Yves Klein’s blue cocktail relate to the metaphoric nature of food to transmit ideas?

2. What does Andy Warhol's Campell's Soup piece say about post-WWII America's relationship to food?

3. What do you think about the Bread & Puppet theatre idea that baking your own break is a political act?

4. Compare Judy Chicago's "Dinner Party" to Leonardo da Vinci's "Last Supper".

5. Describe how  Rirkrit Tiravanija's, Theaster Gates', or Michael Rackowitz's projects take advantage of the social aspect of meal-sharing to generate ideas and discussions. 

6. What do you think about Daniel Bozhkov's "Befriend the Bacteria" project? Why did he create such a bizarre foodstuff? What should our relationship be to this yogurt and how does it relate to the history of the "self-portrait" and the idea of the artist 'bearing witness'?

HW. Cooking up a Story (Due Wednesday, April 23rd)

1. Think of a recipe or dish that is important to you or your family, especially one that carries with it a story about your culture, your family, or defines you and your worldview.

2. Make the dish and document the process in several photographs. 

3. Make a blog post that includes the recipe, the cooking directions, the documentation photos of the dishes' preparation, and the story behind this dish, and the occasions that you've prepared or eaten it. Plus, describe as specifically as you can what it's meaning is and how the ingredients or preparation translates this meaning to someone sitting at your table. 

4. Be prepared to present your dish next class (following Spring Break we have an irregular class day, Wed April 23rd, same time, same place)

Class #5 Followup: MOMA and Translation, Bridging the Gap

Due by next week, 3 blog posts
:1. Field Trip response 2. Online Lecture Questions 3. Homework blog post

---------------------------------------------------------------------------------------------------------------------------------

1. Class #5 Fieldtrip Response: Post an image of the second work that you studied at MOMA and also your answers  to the 13 categories of content for this art object in a blog post.




2. Class #5 Lecture: Watch the lecture below and the linked video interview with Janine Antoni, then answer the following questions in a blog post.

a. Describe the process of Antoni's rope-making piece, Moor (2001), that is discussed at length in the video. What is this piece about?


b. The process of rope-tying that she learned is very different from the process of action painting.How is this method particularly appropriate to the meaning that she wants to get across?


c. Do you think a person completely ignorant of Antoni's work, someone with no verbal information to assist them, would understand the meaning of Moor ? What would they get? What would they miss?


3. HW:

 Think about skills that you know, that are important to your family, your traditions, or that you pride yourself in knowing.

Describe in a paragraph-long blog post how you would adapt one of those skills to make an artwork that communicates something important about you, your family, your culture, or some important knowledge about yourself. Think about what materials you would use, the location where you would display the artwork, the group of people you would ask to help in the process, if any. Let yourself think about this problem throughout the week. When your write,be detailed about the how you learned the skill, why it's meaningful to you, the steps in the process, and how you would incorporate other meaning into this process, and what it ultimately is produced as a result of this process.

Class#4: Translation Follow-up

Included Below:

1. Lecture and blog assignment

2. HW Assignment

3. NEXT WEEK MEET AT MOMA! 11 West 53rd Street Manhattan---> 1:45pm!!!



1. Lecture!!!

Watch lecture and listen to all accompanying videos.







Blog Assignment: Answer the questions in a blog post.

In the lecture I highlighted 4 artists whos' processes were about translating some kind of information about the world into a visual form; Jackson Pollock, Lynda Benglis, Maria Elena Conzalez, and Rashaad Newsome.

Pick one of these artists and answer these questions in a substantial paragraph in your own words.

1. Describe the artist's process.
2. What information is the artist trying to translate through this process.
3. What other information is (intentionally or unintentionally) captured in the finished visual/audio work.
4. Is the final outcome of the process interesting to you? Why?


2. HW Assignment: Process Drawing

Now YOU are going to make a drawing that is determined by some kind of process of translation.

Think of it as creating simple ( or complicated) rules for yourself that will produce a visual record.

What kinds of information can you convey through your rule system (gravity, certain physical aspects of the body, the speed of a glassful of grape juice as it crashes into your living room wall, etc. Embrace a system that explores things you are interested in.

Examples (Don't used these. You have to think of your own):

1. Clutch a pencil between your toes and attempt to draw perfect circles on a sheet of paper.

2. Roll a six-sided dye and depending on your roll, draw a pencil line that number of inches long on a sheet of paper, turning the sheet of paper 45 degrees after each roll.

3. Find an ant on the ground and draw a line behind him as he walks, wherever he goes.

4. Cover the floor of your kitchen with slices of bread. Dip your feet in jelly and walk around.
    Dip feet in peanut butter. Repeat.

Decide on the rules. Obviously I'm encouraging you to go a little crazy with this. Dont do anything dangerous. Also, see your system through. Dont try it once and feel like youre finished. PERFECT YOUR SYSTEM.

Then make a second blog post and write up you rule system. Include one or more images of the "drawing" that was produced through the process, enough to fully illustrate your system.




3. MOMA FIELD TRIP next week Monday 3/31 1:45 PM !!!

Show your laguardia student ID for FREE TICKET, meet on 4th floor in front of the below Jackson Pollock Painting

Museum of Modern Art, 11 W 53rd Street, Manhattan



TRAINS:
E,M train to 5 av / 53rd
B,D,F,M to 47-50 Rockefeller
4,5,6 to 59th
7 train to Grand Central and Walk 11 blocks, no sweat!





Meet at this painting at 1:45 (FLOOR 4)

ON VIEW  |  PAINTING AND SCULPTURE II, GALLERY 16, FLOOR 4

Jackson Pollock (American, 1912–1956)

One: Number 31, 1950

Date:

1950

Medium:

Oil and enamel paint on canvas

Dimensions:

8' 10" x 17' 5 5/8" (269.5 x 530.8 cm)

Credit Line:

Sidney and Harriet Janis Collection Fund (by exchange)

MoMA Number:

7.1968

Copyright:

© 2014 Pollock-Krasner Foundation / Artists Rights Society (ARS), New York

Extra Credit #2 : William Powhida Lecture at Laguardia, Tuesday, MArch 25th at 6pm

Extra Credit or makeup assignment. Attend the lecture and write at least two paragraphs summarizing the artist's work, the ideas driving his process, your thoughts on the problems in the art work or society at large that he is addressing: 








Please join us on Tuesday, March 25th at 6pm in E-242 for a presentation by artist William Powhida, part of the LAGCC Visiting Artist Lecture Series, sponsored by the Humanities Department and supported by the College Association and Division of Student Affairs.

Artist William Powhida's work displays a detailed fascination with the politics of access and the powers that control the assignment of value in the art world. These often humorous commentaries and criticisms are presented in beautiful trompe l’oeil compositions that use various combinations of graphite, gouache, and colored pencil on either panel or paper. He is represented in NYC by Postmasters Gallery, where he currently has a solo exhibition. He earned his BFA from Syracuse University, and an MFA from Hunter College.

LaGuardia Community College Visiting Artist Lecture Series presents:
WILLIAM POWHIDA
Tuesday, March 25, 6pm, in E-242

Flyer attached (please share with your students) and you can see his work here: http://williampowhida.com/wordpress/
Hope to see you then!

Sincerely, 
Visiting Artist Committee 

Class #3 Followup:

Homework: For HW, please spend at least one additional Hour and complete on your Mutu-style self-portrait collage for class next week. Bring the collage to class and be prepared to discuss your decisions about how you made the portrait, both in formal terms and you how it responds to the culture of beauty and the ideal.  If you weren't in class #3, please watch the lecture above and go here for a more complete description of the assignment.Class #3 Lecture  



ONLINE Class#3 Followup 
Please complete the assignment below and post on your blog by the end of day next Sunday.

 PART A: Watch this 9-minute interview with Wangechi Mutu, the excerpt from her video collaboration with musician Santigold, then answer the below questions in a blog post.


1. How do Mutu's Human/insect/machine-like distortions of the body relate to conventional notions of female beauty?

 2. Describe how one of her works functions formally. How is the work beautiful and how is it ugly?


PART B




Culturally-defined Beauty, or "Taste". : Part of this conversation on society's standards of beauty, perfection, taste, must cover the separation between "high" and "low" culture. Questioning why some cultural productions deserve the classification "art", and others do not, is at the heart of Jacob Ciocci's project (and his former collaborative group Paperrad)

Read his essay on "The Value of Being Trolled", here:

http://jacobciocci.org/2013/12/the-value-of-being-trolled/


 Did you watched the embedded video of Rebecca Black's cringe reaction to her former video? Whether you believe in Ciocci's viewpoint, clearly the power of the cringe, public failure broadcast widely on the internet, is part of all of our experiences. Like  "Ugliness", this sort of Cringe-culture is freeing for artists, because they don't have to play by the rules of conventional aesthetic conversations. For the final part of your class followup:

 Cringe-Factor 

a.Find an image of yourself several years ago, or,even better, a drawing or painting or artwork that you made a few years ago and are embarassed by:

 b. Post it on your blog. 1. Write a paragraph detailing everything that embarrasses you about the image, about the out-of-step fashion, haircut, attitude, drawing style, everything that your eye goes to and makes you want to cringe. Give yourself some time to think about it and write at least a few sentences.

 2. What about you, or culture at large, has changed since you made this/this was how you presented yourself to the world?

Class #3: Cultural Beauty and Ugliness as Social Critique

Class #3 Lecture

After watching the above lecture, you task is to create a Wagenchi Mutu-style self-portrait out of magazine, newspaper, and scrap paper clippings, at least 11x14" in size. 

You must spend  2 hours on the collage (an additional hour if you started it in class).

This is not a literal self-portrait, it doesnt have to look like you or even a person. 

But it should be made up of objects or parts of objects that have some significance to you, whether they represent what you aspire to, what you dislike about the world, your fears, what you value. Also think about how your self-portrait relates to conventional notions of Beauty, Ugliness. 

Consider how the image is composed formally. Think about color relationships, placement of the parts of the image, how large the po5trait is on the page, etc etc. How do your formal choices aid in communicating the story about yourself and society you want to tell. 

Bring the collage to class next week and be prepared to talk about it both formally and culturally. 

Your are also responsible to a Class #3 Followup Blog Entry: Class #3 Followup

Extra Credit #1: Degenerate Art exhibition at the Neue Gallery

Degenerate Art: The Attack on Modern Art in Nazi Germany, 1937

March 13-June 30, 2014

Neue Galerie New York is located at 1048 Fifth Avenue (at 86th Street).

There is an extra credit assignment that can make up for a missed HW if you visit the exhibition and do a follow-up blog entry. BUT, with a student ID the admission is still $10, (except on the first Friday of each month).

www.neuegalerie.org

Take notes on the questions below during your visit, and answer thoughtfully in a blog post, with a few sentences for each question.

1. After viewing the show, choose one of the works intended to embody the German government version of Beauty. Describe the the work in detail on a formal level. (how colors are used, the relationship of the parts to one another, how the colors and forms establish overall mood).

2. How would you describe the cultural ideal of Beauty being represented here?

3. Think of some examples in contemporary visual culture (ads, movies, etc.) that endorse a similar ideal of beauty.

4. Choose one of the works from the Degenerate side of the exhibition. Describe how the work functions formally in detail.

5. Do you think the artist is pursuing a form of beauty or protesting cultural norms, some combination of the two? What do you think is the artist's intent? Do you like the work?

6. Considering the negative influence of the state-sponsored version of the Ideal in 1930's Germany, what would you say is the responsibility of the artist as social commentator?

Class #2: Met Museum Response and Homework Assignment

Read the linked presentation on Beauty and complete the Homework assignment blog post detailed at the end of the presentation.


If you haven't created your blog yet, follow the instructions detailed here:

http://zegeer-introtoart.blogspot.com/2014/03/homework-1.html

For those who missed the fieldtrip, you can still visit the met and do the exercise. Theyre open 7 days a week. Go here for info:

http://zegeer-introtoart.blogspot.com/2014/03/class-2-3102014-metropolitan-museum-of.html

Class #2, 3/10/2014, Metropolitan Museum of Art

Meet at 1:45pm Inside main Lobby:




From Laguardia, take the R train and transfer to 4train at 59th/Lex, the get of at 86th. The museum is at 82nd and 5th ave. A link to directions below:

https://goo.gl/maps/odM0U

If you're late, text/email zegeer@gmail.com 919-280-6617 I'll tell you where we are :

Questions from the Fieldtrip exercise: 

Intro To Art

Bearing Witness , Part 2

As we talked about in the first class, most art can be said to be an act of bearing witness to one or more of the following:

- the life of the artist or an important person

- the artist’s society or culture

- an important historical event

- something unique about the artist’s personal experience/vision

1.Wander around the museum… explore.

2. Locate three artworks (painting, sculpture, drawing,photography, etc.). Try to pick a range of object types, from different time periods, not just three paintings by the same artist, for instance.

3. Spend a few minutes just looking at each object, walking around it. Record any thoughts you have about the work in your journal.

4. Answer the questions below about each piece, also in your journal. Be as specific as possible,giving each answer a few sentences.

QUESTIONS

1. Info about work; artist, title, medium, dimensions, date.

2. What person, idea, culture, story, or unique vision is the maker of this work attempting to bear witness to?

3. How does the artist communicate this story visually?

4. How was the work made?  What are the materials,the process used? What came first,second, third…?  

5.How do the  materials or manner in which they are applied help the artist tell his/her visual story especially well?

6. What other thoughts do you have about the work?

Meet back at the information desk in the museum lobby at 3:30, where i will take attendance before you leave. There will be a followup lecture and assignment based on this worksheet posted to the class blog sometime tonight, http://zegeer-introtoart.blogspot.com/