DOCSLIB.ORG

Nude in a Classroom: the Contemporary World of Life Modelling

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2-2019 Nude in a Classroom: The Contemporary World of Life Modelling Kannaki Bharali The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/3019 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] NUDE IN A CLASSROOM: THE CONTEMPORARY WORLD OF LIFE MODELLING by KANNAKI BHARALI A dissertation submitted to the Graduate Faculty in Sociology in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2019 © 2019 KANNAKI BHARALI All Rights Reserved ii Nude in a Classroom: The Contemporary World of Life Modelling by Kannaki Bharali This manuscript has been read and accepted for the Graduate Faculty in Sociology in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. Date Philip Kasinitz Chair of Examining Committee Date Lynn Chancer Executive Officer Supervisory Committee: Cynthia Epstein David Halle Elizabeth Wissinger THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT Nude in a classroom: The Contemporary World of Life Modelling by Kannaki Bharali Advisor: Dr. Phillip Kasinitz Throughout the history of Western art, drawing from live nude models has been considered one of the most efficient way to develop artistic skills. While drawing live nudes used to be something one had to enroll in an art school to do, life drawing has now transformed to a leisure practice across widely diverse cultural groups. Professional art models hold a unique place in contemporary society because of the profession’s historical roots with nudity and sexuality. The symbolic boundaries in life drawing in art schools strongly encourage desexualization as a necessary way of shedding the stigmatized and sexualized identity of life models. New forms of life drawing, however, contradict the desexualized environment, where the boundaries of pedagogical conventions and sexual connotations often blur. Through interviews with art models and participant observation in life drawing sessions in art schools, and recreational spaces in New York City, my dissertation examines the challenges that the social taboo of nudity poses to models and their experiences in the changing work environment. The occupational identity and meaning-making of contemporary life models have implications for understanding the complexities involved in an under-valued occupation. iv Acknowledgements I would like to express my sincere gratitude to the many people who saw me through my dissertation and to all those who supported, encouraged, discussed, read, offered constructive criticism, and assisted in the editing and proofreading. First, I would like to express my sincere gratitude to my committee chair and “academic father” Professor Phillip Kasinitz, for his patience, motivation, openness, encouragement and immense knowledge. He taught me the craft of research, particularly the creative process of connecting intuition with idea generation. I cannot imagine having a better advisor and mentor for my Ph.D. study. Besides my advisor, I would like to thank the rest of my dissertation committee— Professors Cynthia Epstein, David Halle, and Elizabeth Wissinger—for their insightful comments, encouragement, and the challenging questions which pushed me to widen my research from various perspectives. I greatly value the close personal rapport that Professor Epstein and I have forged over the years. I thank my fellow doctoral students Sandy, Hyein, and Simone for the stimulating discussions and all the fun we have had in the last five years. I am grateful to my writing group (especially Hamad and Kyla) for their support. Also, I thank my friends Swati, Gautam, Pongkhi, and Peter for carefully listening to my ideas and for all their valuable suggestions. Coming up with interesting quotes and titles for my dissertation while drinking wine was only possible with their company. v I am especially indebted to all the models, event organizers, and artists for participating in my research. I would like to express my deepest appreciation to the Graduate Center for its financial support, granted through the 2015 Provost Pre-Dissertation Fellowship. Last but not least, I would like to thank my family: my parents and my husband for supporting me spiritually while I wrote this thesis, and in life, and for encouraging me despite all the time it took me away from them. It was a long and difficult journey for them. vi TABLE OF CONTENTS Introduction ................................................................................................................................................. 1 Theoretical Framework ................................................................................................................................. 5 Chapter Overview ......................................................................................................................................... 9 Data and Methodology ............................................................................................................................. 11 Chapter 1. Ethno-sexual Boundaries and Formalization of Life Modelling ....................................... 16 The development of casual labor in formal art training .............................................................................. 17 Ethno-sexual aspects of nude modelling ..................................................................................................... 24 Chapter 2. Learning the art of disrobing ................................................................................................ 33 Professionalism ........................................................................................................................................... 33 Embodied self-awareness and body labor ................................................................................................... 36 Aesthetic labor ............................................................................................................................................ 42 Emotional labor ........................................................................................................................................... 43 Being comfortable with nudity ................................................................................................................... 46 Chapter 3. The perils and pleasures of life modelling ........................................................................... 49 Bohemianism or hustling ............................................................................................................................ 51 The paradox of stigma or honorable work .................................................................................................. 54 Finding dignity at work ............................................................................................................................... 61 Chapter 4. Defense of life modelling from pornography ....................................................................... 69 Non-sexual attitude towards nudity ............................................................................................................ 71 Desexualization ........................................................................................................................................... 73 Adhering to social norms ............................................................................................................................ 81 Chapter 5. Recreational life drawing: a case of urban spectacle .......................................................... 88 New forms of life drawing .......................................................................................................................... 89 Social ambivalence and blurring boundaries ............................................................................................ 102 Conclusion: Cultural production and the reproduction of culture .................................................... 108 Appendix I. Questionnaire ........................................................................................................................ 116 Appendix II. Questions for Models........................................................................................................... 119 Appendix III. Questions for artists, Model coordinator ........................................................................... 120 Appendix IV. Table 1 ............................................................................................................................... 121 Appendix IV. Table 2 ............................................................................................................................... 122 Bibliography ............................................................................................................................................................. 123 vii LIST OF TABLES TABLE 1. Demographic Characteristics…………………………………………………………………………………………….121 TABLE 2. Work Description………………………………………………………………………………………………………………122 viii INTRODUCTION Life models are paid professionals who pose for visual artists. Models
Recommended publications
  • Die Stadt Salzburg 1939

    Die Stadt Salzburg 1939

    Die Stadt Salzburg im Jahr 1939 Zeitungsdokumentation von S. Göllner Die Stadt Salzburg 1939 Zeitungsdokumentation zusammengestellt auf Basis zeitgenössischer Tageszeitungen von Siegfried Göllner Berücksichtigte Tageszeitungen: Salzburger Volksblatt: SVB Salzburger Landeszeitung: SLZ 1 Die Stadt Salzburg im Jahr 1939 Zeitungsdokumentation von S. Göllner Berichte zum Dezember 1938 und Statistiken 1938 31.12.1938 Empfang beim Oberbürgermeister. Unter Führung von Magistratsdirektor Emanuel Jenal finden sich alle städtischen Amtsleiter bei Oberbürgermeister Giger ein, der eine Neujahrsansprache hält. (Teilweiser Abdruck im SVB). SVB, 2.1.1939, S. 7. SLZ, 2.1.1939, S. 6. 31.12.1938 Studenten-Reisegruppe. 84 Studenten aus verschiedenen Ländern besuchen Salzburg im Rahmen ihres Aufenthaltes in Berchtesgaden. SVB, 2.1.1939, S. 8. SLZ, 2.1.1939, S. 7. 31.12.1938 Bilanz Brandschadenversicherung. Die Salzburger Landes-Brandschaden-Versicherungs-Anstalt legt ihre Jahresbilanz 1938 vor. SLZ, 10.11.1939, S. 7. 31.12.1938 Scheidungen zweites Halbjahr. Das neue Eherecht brachte einen sprunghaften Anstieg der Scheidungen im Land Salzburg. Im zweiten Halbjahr 1938 wurden beim Salzburger Landesgericht 313 Ehescheidungsklagen eingebracht (1937: 71). Juli 26 (1937: 11), August 30 (3), September 56 (9), Oktober 88 (16), November 55 (16), Dezember 57 (16). SVB, 10.1.1939, S. 8. SLZ, 9.1.1939, S. 7. 31.12.1938 Bevölkerungsentwicklung viertes Quartal. Das SVB veröffentlicht eine Statistik über die Bevölkerungsentwicklung von Oktober- Dezember 1938 in der Stadt Salzburg. 347 Todesfällen stehen 291 Geburten (davon 64 unehelich) gegenüber. Im gesamten Jahr 1938 gab es 1.327 Todesfälle und 1.036 Geburten. SVB, 22.2.1939, S. 5. 2 Die Stadt Salzburg im Jahr 1939 Zeitungsdokumentation von S.
  • Materials & Process

    Materials & Process

    Sculpture: Materials & Process Teaching Resource Developed by Molly Kysar 2001 Flora Street Dallas, TX 75201 Tel 214.242.5100 Fax 214.242.5155 NasherSculptureCenter.org INDEX INTRODUCTION 3 WORKS OF ART 4 BRONZE Material & Process 5-8 Auguste Rodin, Eve, 1881 9-10 George Segal, Rush Hour, 1983 11-13 PLASTER Material & Process 14-16 Henri Matisse, Madeleine I, 1901 17-18 Pablo Picasso, Head of a Woman (Fernande), 1909 19-20 STEEL Material & Process 21-22 Antony Gormley, Quantum Cloud XX (tornado), 2000 23-24 Mark di Suvero, Eviva Amore, 2001 24-25 GLOSSARY 26 RESOURCES 27 ALL IMAGES OF WORKS OF ART ARE PROTECTED UNDER COPYRIGHT. ANY USES OTHER THAN FOR EDUCATIONAL PURPOSES ARE STRICTLY FORBIDDEN. 2 Introduction This resource is designed to introduce students in 4th-12th grades to the materials and processes used in modern and traditional sculpture, specifically bronze, plaster, and steel. The featured sculptures, drawn from the collection of the Nasher Sculpture Center, range from 1881 to 2001 and represent only some of the many materials and processes used by artists whose works of art are in the collection. Images from this packet are also available in a PowerPoint presentation for use in the classroom, available at nashersculpturecenter.org. DISCUSS WITH YOUR STUDENTS Artists can use almost any material to create a work of art. When an artist is deciding which material to use, he or she may consider how that particular material will help express his or her ideas. Where have students seen bronze before? Olympic medals, statues… Plaster? Casts for broken bones, texture or decoration on walls..
  • Public Art Implementation Plan

    Public Art Implementation Plan

    City of Alexandria Office of the Arts & the Alexandria Commission for the Arts An Implementation Plan for Alexandria’s Public Art Policy Submitted by Todd W. Bressi / Urban Design • Place Planning • Public Art Meridith C. McKinley / Via Partnership Elisabeth Lardner / Lardner/Klein Landscape Architecture Table of Contents 1.0 Introduction 2.0 Vision, Mission, Goals 3.0 Creative Directions Time and Place Neighborhood Identity Urban and Natural Systems 4.0 Project Development CIP-related projects Public Art in Planning and Development Special Initiatives 5.0 Implementation: Policies and Plans Public Art Policy Public Art Implementation Plan Annual Workplan Public Art Project Plans Conservation Plan 6.0 Implementation: Processes How the City Commissions Public Art Artist Identification and Selection Processes Public Art in Private Development Public Art in Planning Processes Donations and Memorial Artworks Community Engagement Evaluation 7.0 Roles and Responsibilities Office of the Arts Commission for the Arts Public Art Workplan Task Force Public Art Project Task Force Art in Private Development Task Force City Council 8.0 Administration Staffing Funding Recruiting and Appointing Task Force Members Conservation and Inventory An Implementation Plan for Alexandria’s Public Art Policy 2 Appendices A1 Summary Chart of Public Art Planning and Project Development Process A2 Summary Chart of Public Art in Private Development Process A3 Public Art Policy A4 Survey Findings and Analysis An Implementation Plan for Alexandria’s Public Art Policy 3 1.0 Introduction The City of Alexandria’s Public Art Policy, approved by the City Council in October 2012, was a milestone for public art in Alexandria. That policy, for the first time, established a framework for both the City and private developers to fund new public art projects.
  • Berger ENG Einseitig Künstlerisch

    Berger ENG Einseitig Künstlerisch

    „One-sidedly Artistic“ Georg Kolbe in the Nazi Era By Ursel Berger 0 One of the most discussed topics concerning Georg Kolbe involves his work and his stance during the Nazi era. These questions have also been at the core of all my research on Kolbe and I have frequently dealt with them in a variety of publications 1 and lectures. Kolbe’s early work and his artistic output from the nineteen twenties are admired and respected. Today, however, a widely held position asserts that his later works lack their innovative power. This view, which I also ascribe to, was not held by most of Kolbe’s contemporaries. In order to comprehend the position of this sculptor as well as his overall historical legacy, it is necessary, indeed crucial, to examine his œuvre from the Nazi era. It is an issue that also extends over and beyond the scope of a single artistic existence and poses the overriding question concerning the role of the artist in a dictatorship. Georg Kolbe was born in 1877 and died in 1947. He lived through 70 years of German history, a time characterized by the gravest of political developments, catastrophes and turning points. He grew up in the German Empire, celebrating his first artistic successes around 1910. While still quite young, he was active (with an artistic mission) in World War I. He enjoyed his greatest successes in the Weimar Republic, especially in the latter half of the nineteen twenties—between hyperinflation and the Great Depression. He was 56 years old when the Nazis came to power in 1933 and 68 years old when World War II ended in 1945.
  • Power of the Stick Year 8

    Power of the Stick Year 8

    Year 8 - Knowledge Organiser - Giacometti The width from shoulder to shoulder = 2heads The elbow roughly lines up with the bottom of the What is proportion? – Proportion is comparison ribcage just above the waist It is important to draw the human figure in proportion. The tip of the middle finger to the armpit = 3 heads Though there are subtle differences between individuals Width of the waist at the belly is 1 head length wide human proportions fit within a fairly standard range, which With the arm stretched out the hand reaches have varied considerably over different periods and regions. midthigh. In modern figure drawing, the basic unit of measurement is Hand = face (chin to hairline) the ‘head’, which is the distance from the top of the head to the chin. Motion -The body is a supple and agile system, The proportions used in figure drawing are: influenced by gravity. It has no natural rigid position • An average person is generally 7 ½ heads tall. • An ideal figure , used when aiming for an impression 1.An exaggerated walking gait. of nobility or grace, is drawn at 8 heads tall. The hip joints move because of • An heroic figure , gods and superheroes, is 8 ½ gravity. The motion of the 1 heads tall. (bigger chest and longer legs) shoulders moves in reverse to the hip joints. 2. A sideways lying person, resting on 1 arm. This causes Power of the Stick • An unbalanced pose conveys the rest of the body (ribcage) to red circle = centreFigure of gravity dynamics, action and motion hang on the resting shoulder.
  • Final Report Provenance Research

    Final Report Provenance Research

    Provenance Research on the Baumgart-Möller Donation Final Report Project management Dr. Thorsten Sadowsky, Director Annick Haldemann, Registrar [email protected] Project handling and report Julia Sophie Syperreck MA, Research Assistant [email protected] 31 August 2018 Kirchner Museum Davos Provenance Research on the Baumgart-Möller Donation 2 Contents 3 I. Work report 4 a. The situation and state of research at the beginning of the project 5 b. Work performed by the project staff and project schedule 6 c. Methodical approach and manner of publication of the findings 7 d. Object statistics 9 e. List of the historical agents (individuals and institutions) relevant to the project 10 f. Documentation of the findings for third parties 11 II. Summary 12 a. Evaluation of the findings 12 b. Unresolved issues and need for further research 13 III. Appendix: List of works Kirchner Museum Davos I. Work report Provenance Research on the Baumgart-Möller Donation 4 a. The situation and state of research at the beginning of the project At the beginning of the project an assessment was made which groups of works within the collection are more likely to be linked to the “liquidation” of private and public collections during the Nazi dictatorship in Germany in the years from 1933 to 1945. It was found that there is only very patchy provenance information for the forty-two artworks donated in 2000 to the Kirchner Museum Davos by “Rosemarie and Konrad Baumgart-Möller in memory of Ferdinand Möller, Berlin.” Since “Möller” is one of the red-flag names in provenance research, the investigation of this part of the collection was given priority.
  • Schweigen Und Erinnern Das Problem Nationalsozialismus Nach 1945

    Schweigen Und Erinnern Das Problem Nationalsozialismus Nach 1945

    Alexander Pinwinkler und Thomas Weidenholzer (Hg.) Schweigen und erinnern Das Problem Nationalsozialismus nach 1945 Die Stadt Salzburg im Nationalsozialismus Herausgegeben von Peter F. Kramml, Sabine Veits-Falk, Thomas Weidenholzer und Ernst Hanisch Band 7 Schriftenreihe des Archivs der Stadt Salzburg 45 Peter F. Kramml Stadtplan der Stadt Salzburg aus 1 dem Jahr 1940. Ausschnitt mit nachträglicher Adolf-Hitler-Platz, Imberg, Kennzeichnung von NS-Namengut Gaismair-Hof . (Original und Repro: AStS). Um- und Neubenennungen öffentlicher Räume 2 im Zeichen der NS-Ideologie 1) Straße der SA 3 2) Imberg 3) Trompeter-Schlößl 4) Langemarck-Ufer 5) Hofstallgasse 6) Karl-Thomas-Burg 4 7) Georg-von- Zwei Jahre nach dem „Anschluß“ und ein Jahr nach der Durchführung Schönerer-Platz der zweiten großen Eingemeindung erschien im Jahr 1940 ein neuer, 5 vom Stadtbauamt herausgegebener Stadtplan der Gauhauptstadt Salz- 6 burg1, der jene Veränderungen des Namenguts dokumentiert, die die 7 neuen Machthaber bis dahin vollzogen hatten. Ein Blick auf diese Karte vermittelt Namen von Straßenzügen und auch Objektbezeichnungen, die sich von den heutigen deutlich unterscheiden. Namen wie das Kapuziner- Inhalte (Deutschtum im Ausland) besonders an. Auch vereinnahmte his- kloster und der Kapuzinerberg oder die Edmundsburg am Mönchsberg torische Gestalten, wie Paracelsus oder die „Helden“ des Bauernkriegs, waren ebenso verschwunden wie einige alte Straßennamen, darunter die wurden bemüht. Es erfolgte aber – wie auch in anderen Städten des Deut- Franziskanergasse, der Giselakai oder die Auerspergstraße. Neue waren schen Reiches – keine „ausschließliche Straßenstürmerei“ (M. Weidner) an ihre Stelle getreten, wie eine „Straße der SA“ oder das Langemarck- und zahlreichen Neubenennungen fehlt jeglicher NS-Bezug4. Es wurde Ufer.
  • Cubo-Futurism

    Cubo-Futurism

    Notes Cubo-Futurism Slap in theFace of Public Taste 1 . These two paragraphs are a caustic attack on the Symbolist movement in general, a frequent target of the Futurists, and on two of its representatives in particular: Konstantin Bal'mont (1867-1943), a poetwho enjoyed enormouspopu­ larityin Russia during thefirst decade of this century, was subsequentlyforgo tten, and died as an emigrein Paris;Valerii Briusov(18 73-1924), poetand scholar,leader of the Symbolist movement, editor of the Salles and literary editor of Russum Thought, who after the Revolution joined the Communist party and worked at Narkompros. 2. Leonid Andreev (1871-1919), a writer of short stories and a playwright, started in a realistic vein following Chekhov and Gorkii; later he displayed an interest in metaphysicsand a leaning toward Symbolism. He is at his bestin a few stories written in a realistic manner; his Symbolist works are pretentious and unconvincing. The use of the plural here implies that, in the Futurists' eyes, Andreev is just one of the numerousepigones. 3. Several disparate poets and prose writers are randomly assembled here, which stresses the radical positionof the signatories ofthis manifesto, who reject indiscriminately aU the literaturewritt en before them. The useof the plural, as in the previous paragraphs, is demeaning. Maksim Gorkii (pseud. of Aleksei Pesh­ kov, 1�1936), Aleksandr Kuprin (1870-1938), and Ivan Bunin (1870-1953) are writers of realist orientation, although there are substantial differences in their philosophical outlook, realistic style, and literary value. Bunin was the first Rus­ sianwriter to wina NobelPrize, in 1933.AJeksandr Biok (1880-1921)is possiblythe best, and certainlythe most popular, Symbolist poet.
  • ART 213 Figure Drawing (Definitive Version)

    ART 213 Figure Drawing (Definitive Version)

    ART 2323 – FIGURE DRAWING I MAIN ART BUILDING, ROOM 201 2:00 P.M. -- 4:50 P.M. Instructor: Gerard Huber [email protected] Office Hours 11:00AM to 1:50PM, Tuesday/Thursday, Room #211 in Art Building CATALOGUE DESCRIPTION: The solving of total compositional problems, through drawing media. Emphasis is placed upon the figure, with additional concentration upon other subject matter and nonobjective image making. ADDITIONAL DESCRIPTION: A course in learning how to draw the nude human body accurately and with sensitivity. Objectives of the course are to acquire a comprehensive understanding of the human form by developing a working knowledge of the structural components of the human body. Course Purpose: The purpose of Figure Drawing is to develop perceptual skills in terms of drawing a correctly articulated human figure with accurate proportions from a nude figure. The student will review basic knowledge of the elements of art structure: line, value, shape, texture, and color to lead to their deliberate manipulation of different types of spatial illusion, compositions, and expressive meaning. Course Goals: Figure Drawing is designed to build each student’s perceptual, compositional, and expressive figure drawing skills so that by the end of the semester he or she will: learn to make a drawing of the live human figure based on increased sensory perception as opposed to preconceived ideas of what the figure should look like. be able to draw the human figure in an objectively accurate manner. be able to analyze underlying structure and proportions of male and female human figures. be able to draw the human figure in an expressive manner, with desired mood or emotional nuance.
  • Historical Painting Techniques, Materials, and Studio Practice

    Historical Painting Techniques, Materials, and Studio Practice

    Historical Painting Techniques, Materials, and Studio Practice PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv Contents vii Foreword viii Preface 1 Leslie A.
  • Kansas Curricular Standards for Visual Arts Are Aligned with the National Standards for the Visual Arts

    Kansas Curricular Standards for Visual Arts Are Aligned with the National Standards for the Visual Arts

    Model Curricular Standards for Visual Arts State Board of Education May 2007 Kansas Curricular Standards for Visual Arts Joyce Huser Fine Arts Education Consultant Kansas State Department of Education 120 Southeast 10th Avenue, Topeka, Kansas, 66612-1182 [email protected] (785) 296-4932 Table of Contents Mission Statement ii Introduction iii Acknowledgements iv Document Usage v Major Objectives of Art Education vi What Constitutes a Quality Art Education? vii Standards, Benchmarks, Indicators, Instructional Samples 1 Basic 2 Intermediate 24 Proficient 46 Advanced 68 Exemplary 90 Scope and Sequence 112 Appendix I 128 Blooms Taxonomy 129 Assessments in Art 135 Kansas Art Teacher Licensure Standards 139 Competitions and Contests 142 Displaying Artwork 144 Shooting Slides of Student Work 145 Museums 146 Needs of Special Students 147 A Safe Work Environment 149 Stages of Artistic Development 151 Technology Time and Scheduling Standards 153 Appendix II 156 Resources/Books 157 Websites 159 Art Museums in Kansas with Educational Materials 162 Appendix III 165 Lesson Plans 166 Appendix IV 253 Glossary 254 i The Mission of the Kansas Curriculum Standards for the Visual Arts The visual arts are a vital part of every Kansas student’s comprehensive education. ii Introduction The Kansas Curricular Standards for the Visual Arts are designed for all visual art students and educators whether experienced or in the preservice years of their teaching career. A range of benchmarks engages students in reaching their greatest potential in the visual arts. Quality activities involve students in thoughtful, creative, and original expression of self. In all cases, students will learn life-skills including critical thinking, astute observation, viewing from multiple perspectives, higher order learning, and authentic problem-solving skills.
  • Tubular Sculptures

    Tubular Sculptures

    Tubular Sculptures Carlo H. Séquin CS Division, University of California, Berkeley, CA E-mail: [email protected] Abstract This paper reviews ways in which many artists have constructed large sculptures from tubular elements, ranging from single cylinders to toroidal or knotted structures, to assemblies of a large number of bent tubes. A few parameterized generators are introduced that facilitate design and evaluation of a variety of such sculptural forms. 1. Introduction Artists like Charles O. Perry have been able to build very large scale sculptures filling volumes of more than 30 feet in diameter at an affordable price by assembling pre-cut and bent tubular pieces. Stellar examples are Eclipse in the Hyatt Regency lobby in San Francisco, or Equinox at the Lincoln Center, Dallas, Texas (Fig.1a). But even much smaller assemblies of tubular elements can make very attractive sculptures. At the small end of this spectrum we find sculptures by Max Bill, e.g., Assembly of three equal cylinders (Fig.1b) [2], or the elegant tubular loops by José de Rivera (Fig.1c) [4]. Additional “minimal sculptures” will be discussed in Section 3. Figure 1: (a) Charles O. Perry: “Equinox;” (b) Max Bill: “Assembly of 3 equal cylinder;” (c) José de Rivera: “Construction #35.” With so many diverse ways of forming attractive sculptures from tubular elements, it seems worthwhile to try to compile an organized overview over the many possibilities and approaches used, and to explore in which ways computer-aided tools may be helpful to create additional, and potentially more complex, artistic structures. In addition, I have a personal, nostalgic reason to write this paper on Tubular Sculptures.