Glossary of Art Terms
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The Total Work of Art in European Modernism Series Editor: Peter Uwe Hohendahl, Cornell University
The Total Work of Art in European Modernism Series editor: Peter Uwe Hohendahl, Cornell University Signale: Modern German Letters, Cultures, and Thought publishes new English- language books in literary studies, criticism, cultural studies, and intellectual history pertaining to the German-speaking world, as well as translations of im- portant German-language works. Signale construes “modern” in the broadest terms: the series covers topics ranging from the early modern period to the present. Signale books are published under a joint imprint of Cornell University Press and Cornell University Library in electronic and print formats. Please see http://signale.cornell.edu/. The Total Work of Art in European Modernism David Roberts A Signale Book Cornell University Press and Cornell University Library Ithaca, New York Cornell University Press and Cornell University Library gratefully acknowledge the support of The Andrew W. Mellon Foundation for the publication of this volume. Copyright © 2011 by Cornell University All rights reserved. Except for brief quotations in a review, this book, or parts thereof, must not be reproduced in any form without permission in writ- ing from the publisher. For information, address Cornell University Press, Sage House, 512 East State Street, Ithaca, New York 14850. First published 2011 by Cornell University Press and Cornell University Library Printed in the United States of America Library of Congress Cataloging-in-Publication Data Roberts, David, 1937– The total work of art in European modernism / David Roberts. p. cm. — (Signale : modern German letters, cultures, and thought) Includes bibliographical references and index. ISBN 978-0-8014-5023-5 (pbk. : alk. paper) 1. Modernism (Aesthetics) 2. -
Nietzsche and Aestheticism
University of Chicago Law School Chicago Unbound Journal Articles Faculty Scholarship 1992 Nietzsche and Aestheticism Brian Leiter Follow this and additional works at: https://chicagounbound.uchicago.edu/journal_articles Part of the Law Commons Recommended Citation Brian Leiter, "Nietzsche and Aestheticism," 30 Journal of the History of Philosophy 275 (1992). This Article is brought to you for free and open access by the Faculty Scholarship at Chicago Unbound. It has been accepted for inclusion in Journal Articles by an authorized administrator of Chicago Unbound. For more information, please contact [email protected]. Notes and Discussions Nietzsche and Aestheticism 1o Alexander Nehamas's Nietzsche: L~fe as Literature' has enjoyed an enthusiastic reception since its publication in 1985 . Reviewed in a wide array of scholarly journals and even in the popular press, the book has won praise nearly everywhere and has already earned for Nehamas--at least in the intellectual community at large--the reputation as the preeminent American Nietzsche scholar. At least two features of the book may help explain this phenomenon. First, Nehamas's Nietzsche is an imaginative synthesis of several important currents in recent Nietzsche commentary, reflecting the influence of writers like Jacques Der- rida, Sarah Kofman, Paul De Man, and Richard Rorty. These authors figure, often by name, throughout Nehamas's book; and it is perhaps Nehamas's most important achievement to have offered a reading of Nietzsche that incorporates the insights of these writers while surpassing them all in the philosophical ingenuity with which this style of interpreting Nietzsche is developed. The high profile that many of these thinkers now enjoy on the intellectual landscape accounts in part for the reception accorded the "Nietzsche" they so deeply influenced. -
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
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. -
Painting Merit Badge Workbook This Workbook Can Help You but You Still Need to Read the Merit Badge Pamphlet
Painting Merit Badge Workbook This workbook can help you but you still need to read the merit badge pamphlet. This Workbook can help you organize your thoughts as you prepare to meet with your merit badge counselor. You still must satisfy your counselor that you can demonstrate each skill and have learned the information. You should use the work space provided for each requirement to keep track of which requirements have been completed, and to make notes for discussing the item with your counselor, not for providing full and complete answers. If a requirement says that you must take an action using words such as "discuss", "show", "tell", "explain", "demonstrate", "identify", etc, that is what you must do. Merit Badge Counselors may not require the use of this or any similar workbooks. No one may add or subtract from the official requirements found in Scouts BSA Requirements (Pub. 33216 – SKU 653801). The requirements were last issued or revised in 2020 • This workbook was updated in June 2020. Scout’s Name: __________________________________________ Unit: __________________________________________ Counselor’s Name: ____________________ Phone No.: _______________________ Email: _________________________ http://www.USScouts.Org • http://www.MeritBadge.Org Please submit errors, omissions, comments or suggestions about this workbook to: [email protected] Comments or suggestions for changes to the requirements for the merit badge should be sent to: [email protected] ______________________________________________________________________________________________________________________________________________ 1. Explain the proper safety procedures to follow when preparing surfaces and applying coatings. 2. Do the following: a. Explain three ways that coatings can improve a surface. 1. 2. 3. Workbook © Copyright 2020 - U.S. -
Hints and Tips - Painting 28Mm Armies
Hints and Tips - Painting 28mm Armies Good results in less than 45 minutes per figure. By Michael Farnworth Original January 2007, Updated January 2008 Wargamers need to put several figures on a table before they can play. Even a small skirmish game needs fifty figures to form two opposing sides. Painting Guides often show you how to create a masterpiece in a few hours. However a few hours per figure, translates into several months before a game is playable. There are few guides to help you to paint a large number of figures to a reasonable standard in a relatively short time. I paint and base a 28mm figure in about 45 minutes. WW2 soldiers take less time but usually medieval soldiers and Vikings take a little longer. I paint about 350 figures per year. Although the standard is not stunning, they do look presentable on a table. To paint large quantities of figures in a relatively short time requires a little bit of a production engineering mentality. Choice of materials is important as is choice of tools. However, the best paints and the best tools do not get the job done. A well thought out sequence and a sensible batch size makes the job quicker. As a last point, psychology is important. Figure painting is a hobby. It should be fun. Boredom means that projects do not get finished. Unfinished projects and a growing lead pile is a common frustration. I have developed my technique to maximise the sense of achievement early on in the process. I find that this helps to carry me through to the end result – a finished army. -
Visual Arts Curriculum Guide
Visual Arts Madison Public Schools Madison, Connecticut Dear Interested Reader: The following document is the Madison Public Schools’ Visual Arts Curriculum Guide If you plan to use the whole or any parts of this document, it would be appreciated if you credit the Madison Public Schools, Madison, Connecticut for the work. Thank you in advance. Table of Contents Foreword Program Overview Program Components and Framework · Program Components and Framework · Program Philosophy · Grouping Statement · Classroom Environment Statement · Arts Goals Learner Outcomes (K - 12) Scope and Sequence · Student Outcomes and Assessments - Grades K - 4 · Student Outcomes and Assessments - Grades 5 - 8 · Student Outcomes and Assessments / Course Descriptions - Grades 9 - 12 · Program Support / Celebration Statement Program Implementation: Guidelines and Strategies · Time Allotments · Implementation Assessment Guidelines and Procedures · Evaluation Resources Materials · Resources / Materials · National Standards · State Standards Foreword The art curriculum has been developed for the Madison school system and is based on the newly published national Standards for Arts Education, which are defined as Dance, Music, Theater, and Visual Arts. The national standards for the Visual Arts were developed by the National Art Education Association Art Standard Committee to reflect a national consensus of the views of organizations and individuals representing educators, parents, artists, professional associations in education and in the arts, public and private educational institutions, philanthropic organizations, and leaders from government, labor, and business. The Visual Arts Curriculum for the Madison School System will provide assistance and support to Madison visual arts teachers and administrators in the implementation of a comprehensive K - 12 visual arts program. The material described in this guide will assist visual arts teachers in designing visual arts lesson plans that will give each student the chance to meet the content and performance, or achievement, standards in visual arts. -
Modernism 1 Modernism
Modernism 1 Modernism Modernism, in its broadest definition, is modern thought, character, or practice. More specifically, the term describes the modernist movement, its set of cultural tendencies and array of associated cultural movements, originally arising from wide-scale and far-reaching changes to Western society in the late 19th and early 20th centuries. Modernism was a revolt against the conservative values of realism.[2] [3] [4] Arguably the most paradigmatic motive of modernism is the rejection of tradition and its reprise, incorporation, rewriting, recapitulation, revision and parody in new forms.[5] [6] [7] Modernism rejected the lingering certainty of Enlightenment thinking and also rejected the existence of a compassionate, all-powerful Creator God.[8] [9] In general, the term modernism encompasses the activities and output of those who felt the "traditional" forms of art, architecture, literature, religious faith, social organization and daily life were becoming outdated in the new economic, social, and political conditions of an Hans Hofmann, "The Gate", 1959–1960, emerging fully industrialized world. The poet Ezra Pound's 1934 collection: Solomon R. Guggenheim Museum. injunction to "Make it new!" was paradigmatic of the movement's Hofmann was renowned not only as an artist but approach towards the obsolete. Another paradigmatic exhortation was also as a teacher of art, and a modernist theorist articulated by philosopher and composer Theodor Adorno, who, in the both in his native Germany and later in the U.S. During the 1930s in New York and California he 1940s, challenged conventional surface coherence and appearance of introduced modernism and modernist theories to [10] harmony typical of the rationality of Enlightenment thinking. -
Outline of a Sociological Theory of Art Perception∗
From: Pierre Bordieu The Field of Cultural Production: Essays on Art and Literature ©1984, Columbia University Press Part III: The Pure Gaze: Essays on Art, Chapter 8 Outline of a Sociological Theory of Art Perception∗ PIERRE BOURDIEU 1 Any art perception involves a conscious or unconscious deciphering operation. 1.1 An act of deciphering unrecognized as such, immediate and adequate ‘comprehension’, is possible and effective only in the special case in which the cultural code which makes the act of deciphering possible is immediately and completely mastered by the observer (in the form of cultivated ability or inclination) and merges with the cultural code which has rendered the work perceived possible. Erwin Panofsky observes that in Rogier van der Weyden’s painting The Three Magi we immediately perceive the representation of an apparition’ that of a child in whom we recognize ‘the Infant Jesus’. How do we know that this is an apparition? The halo of golden rays surrounding the child would not in itself be sufficient proof, because it is also found in representations of the nativity in which the Infant Jesus is ‘real’. We come to this conclusion because the child is hovering in mid-air without visible support, and we do so although the representation would scarcely have been different had the child been sitting on a pillow (as in the case of the model which Rogier van der Weyden probably used). But one can think of hundreds of pictures in which human beings, animals or inanimate objects appear to be hovering in mid-air, contrary to the law of gravity, yet without giving the impression of being apparitions. -
Chapter 12. the Avant-Garde in the Late 20Th Century 1
Chapter 12. The Avant-Garde in the Late 20th Century 1 The Avant-Garde in the Late 20th Century: Modernism becomes Postmodernism A college student walks across campus in 1960. She has just left her room in the sorority house and is on her way to the art building. She is dressed for class, in carefully coordinated clothes that were all purchased from the same company: a crisp white shirt embroidered with her initials, a cardigan sweater in Kelly green wool, and a pleated skirt, also Kelly green, that reaches right to her knees. On her feet, she wears brown loafers and white socks. She carries a neatly packed bag, filled with freshly washed clothes: pants and a big work shirt for her painting class this morning; and shorts, a T-shirt and tennis shoes for her gym class later in the day. She’s walking rather rapidly, because she’s dying for a cigarette and knows that proper sorority girls don’t ever smoke unless they have a roof over their heads. She can’t wait to get into her painting class and light up. Following all the rules of the sorority is sometimes a drag, but it’s a lot better than living in the dormitory, where girls have ten o’clock curfews on weekdays and have to be in by midnight on weekends. (Of course, the guys don’t have curfews, but that’s just the way it is.) Anyway, it’s well known that most of the girls in her sorority marry well, and she can’t imagine anything she’d rather do after college. -
Appreciation and Appropriation, Art and Architecture
84TH ACSA ANNUAL MEETING THEORY AND CRITICISM 1996 263 Appreciation and Appropriation, Art and Architecture ALEX T. ANDERSON University of Pennsylvania INTRODUCTION journey in this enlightened way must satisfy themselves with 'nutrition' and 'digesting,' the rationalized and limited Architecture differentiates itself from other forms of art by forms of tasting, savoring and incorporation of food. It is demanding a different sort of attention. Rapt concentration difficult for tourists to fully experience the places they visit does not reveal it. Appreciation is not enough. Architecture because they cannot live with them. demands appropriation. This becomes particularly evident when we consider the In this essay I demonstrate that art and architecture difference between tourist's experience of a building and a distinguish thernselves not in their physical constitutions, lived experience of it. "Buildings," according to Benjamin, but according to the relationships they form with those who "are appropriated in a twofold manner: by use and percep- observe them. In making a work of architecture, it is crucial tio~rrather by touch and by sight."' The tourist's expe- first to understand these relationships, and then to create a rience of a building is limited because the inevitable brevity field that is capable of sustaining them. of 'touring' precludes tactile appropriation, which, Ben- jamin asserts, "is accomplished not so much by attention as VISUAL EXPERIENCE by habit."4 The true experience of a building involves a In his well-known essay, "Art in the Age of Mechanical gradual incorporatio~notthe "introjection of an 'out- Reproduction" Walter Benjamin disparages "the attentive side"' that Calvino's sophisticated tourist experiences, but concentration of the tourist before a famous building."' He an extended temporal involvement. -
Mathematics K Through 6
Building fun and creativity into standards-based learning Mathematics K through 6 Ron De Long, M.Ed. Janet B. McCracken, M.Ed. Elizabeth Willett, M.Ed. © 2007 Crayola, LLC Easton, PA 18044-0431 Acknowledgements Table of Contents This guide and the entire Crayola® Dream-Makers® series would not be possible without the expertise and tireless efforts Crayola Dream-Makers: Catalyst for Creativity! ....... 4 of Ron De Long, Jan McCracken, and Elizabeth Willett. Your passion for children, the arts, and creativity are inspiring. Thank you. Special thanks also to Alison Panik for her content-area expertise, writing, research, and curriculum develop- Lessons ment of this guide. Garden of Colorful Counting ....................................... 6 Set representation Crayola also gratefully acknowledges the teachers and students who tested the lessons in this guide: In the Face of Symmetry .............................................. 10 Analysis of symmetry Barbi Bailey-Smith, Little River Elementary School, Durham, NC Gee’s-o-metric Wisdom ................................................ 14 Geometric modeling Rob Bartoch, Sandy Plains Elementary School, Baltimore, MD Patterns of Love Beads ................................................. 18 Algebraic patterns Susan Bivona, Mount Prospect Elementary School, Basking Ridge, NJ A Bountiful Table—Fair-Share Fractions ...................... 22 Fractions Jennifer Braun, Oak Street Elementary School, Basking Ridge, NJ Barbara Calvo, Ocean Township Elementary School, Oakhurst, NJ Whimsical Charting and