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Planning Curriculum in Art and Design
Planning Curriculum in Art and Design Wisconsin Department of Public Instruction Planning Curriculum in Art and Design Melvin F. Pontious (retired) Fine Arts Consultant Wisconsin Department of Public Instruction Tony Evers, PhD, State Superintendent Madison, Wisconsin This publication is available from: Content and Learning Team Wisconsin Department of Public Instruction 125 South Webster Street Madison, WI 53703 608/261-7494 cal.dpi.wi.gov/files/cal/pdf/art.design.guide.pdf © December 2013 Wisconsin Department of Public Instruction The Wisconsin Department of Public Instruction does not discriminate on the basis of sex, race, color, religion, creed, age, national origin, ancestry, pregnancy, marital status or parental status, sexual orientation, or disability. Foreword Art and design education are part of a comprehensive Pre-K-12 education for all students. The Wisconsin Department of Public Instruction continues its efforts to support the skill and knowledge development for our students across the state in all content areas. This guide is meant to support this work as well as foster additional reflection on the instructional framework that will most effectively support students’ learning in art and design through creative practices. This document represents a new direction for art education, identifying a more in-depth review of art and design education. The most substantial change involves the definition of art and design education as the study of visual thinking – including design, visual communications, visual culture, and fine/studio art. The guide provides local, statewide, and national examples in each of these areas to the reader. The overall framework offered suggests practice beyond traditional modes and instead promotes a more constructivist approach to learning. -
2020-2021 Catalog Year Pathways Coming Soon
Art History for Transfer (AA-T) CAREER PATHS: Art, Drama, History and/or Music Teacher Art Therapist Art Director Museum Curator, Technician, or Conservator Fine Artist rt History Additional Career Paths and related data, including state-by-state wage info and growth in the A field, can be found at www.onetonline.org. Associate in Arts for Transfer This program map represents one possible pathway. See a counselor to create a GE Pattern: IGETC Program customized education plan. Map is for the 2019-2020 catalog year. Total Units: 60-65 For more information please contact: FIRST SECOND (707) 864-7114 1 SEMESTER 2 SEMESTER Total Recommended Units: 15 Total Recommended Units: 16-17 GET STARTED NOW! ART 001 3 units ART 002 3 units Art History Art History Get started on your Pathway now LIST B of the ADT 4 units with these recommended courses! ART 014 3 units Suggested: ART 006, 007, or 008 Then –See a counselor to create a CUSTOMIZED education plan ENGL 001 4 units IGETC 1B 4 units personalized to your career and College Composition (IGETC 1A) Suggested: ENGL 002 or 004 transfer goals! Required courses may change IGETC 1C 3 units LR 010 1 unit depending on a student's career and Introduction to Library Research and Suggested: COMM 001 or 002 or 006 Information Competency transfer goals, including requirements for cross-cultural and foreign language IGETC 2 3-4 units IGETC 4 3 units Suggested: MATH 011 or 012 courses, and/or specific requirements 2020-2021Suggested: PSYCH 001 catalogfor an individual CSU or UC. -
The Development of Art Education in America 1900-1918
Eastern Illinois University The Keep Plan B Papers Student Theses & Publications 7-30-1964 The Development of Art Education in America 1900-1918 Jerry Josserand Follow this and additional works at: https://thekeep.eiu.edu/plan_b Recommended Citation Josserand, Jerry, "The Development of Art Education in America 1900-1918" (1964). Plan B Papers. 398. https://thekeep.eiu.edu/plan_b/398 This Dissertation/Thesis is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Plan B Papers by an authorized administrator of The Keep. For more information, please contact [email protected]. THE DEVELOPMENT OF ART EDUCATION IN AMERICA 1900-1918 (TITLE) BY Jerry Josserand PLAN B PAPER SUBMITIED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE MASTER OF SCIENCE IN EDUCATION AND PREPARED IN COURSE Art 591 IN THE GRADUATE SCHOOL, EASTERN ILLINOIS UNIVERSITY, CHARLESTON, ILLINOIS 1964 YEAR I HEREBY RECOMMEND THIS PLAN B PAPER BE ACCEPTED AS FULFILLING THIS PART OF THE DEGREE, M.S. IN ED. This paper was written for Art 591 the summer of 1961. It is the result of historical research in the field of art education. Each student in the class covered an assigned number of years in the development of art education in America. The paper was a section of a booklet composed by the class to cover this field from 1750 up to 1961. The outline form followed in the paper was develpped and required in its writing by the instructor. THE DEVELOPMENT OF ART EDUCATION IN AMERICA 1900-1918 Jerry Josserand I. -
Books and Catalogues
Books and Catalogues 2016 “DAZEWORLD”, forward by Sacha Jenkins, texts by Jay "J.SON" Edlin and essayist Claire Schwartz, published by Schiffer Books “Street Art, Banksy & Co”, L’arte Allo Stato Urbano, Bononia University Press 2015 “Coney Island: Visions of an American Dreamland, 1861-2008”, Robin Jaffee Frank, Yale University Press “Daze, New Work”, Galleria del Palazzo, Italy “Surface”, Soren Solkaer, Gingko Press “Urban Art Legends”, Alan Ket, Lom Art “Graffiti Fine Art”, Museo Brasileiro da Escultura “Wall Therapy 2013”, Wall Therapy “The Bronx Artist Documentary Project”, Judith C. Lane, The Bronx Documentary Artist Project 2014 “Don1, The Kings from Queens”, Louie Gasparro, Schiffer “Training Days: The Subway Artists Then and Now”, Henry Chalfant and Sascha Jenkins, Thames and Hudson 2013 “Hall of Fame, New York City”, Alan Ket, On the Run Press “I’m in Miami Bitch”, Andrew Kaufman “City as Canvas, New York City Graffiti/The Martin Wong Collection”, Museum of the City of New York, edited by Sean Corcoran and Carlo McCormick, Skira/Rizzoli 2012 “Wynwood Walls and Doors”, published by Wynwood Walls Project “Piece Book Reloaded”, Sacha Jenkins/David Villorente, Prestel Books “Lʼart Du Graffiti, 40 Ans de Pressionisme”, Monaco Alain Gallizia Collection 2011 “The Grey Scale”, Known Gallery, Solo Exhibition Catalog “Pantheon, a History of Art From the Streets of NYC”, Daniel Feral and Joyce Manalo, Pantheon Projects, New York, NY “Graff in the City”, Opera Gallery, New York, NY “Graffcity”, Opera Gallery, Paris, France “The History of -
How the Commercialization of American Street Art Marks the End of a Subcultural Movement
SAMO© IS REALLY DEAD1: How the Commercialization of American Street Art Marks the End of a Subcultural Movement Sharing a canvas with an entire city of vandals, a young man dressed in a knit cap and windbreaker balances atop a subway handrail, claiming the small blank space on the ceiling for himself. Arms outstretched, he scrawls his name in loops of black spray paint, leaving behind his distinct tag that reads, “FlipOne.”2 Taking hold in the mid ‘70s, graffiti in New York City ran rampant; young artists like FlipOne tagged every inch of the city’s subway system, turning the cars into scratchpads and the platforms into galleries.3 In broad daylight, aerosolcanyeilding graffiti artists thoroughly painted the Lower East Side, igniting what would become a massive American subculture movement known as street art. Led by the nation’s most economically depressed communities, the movement flourished in the early ‘80s, becoming an outlet of expression for the underprivileged youth of America. Under state law, uncommissioned street art in the United States is an act of vandalism and thereby, a criminal offense.4 As a result of the form’s illegal status, it became an artistic manifestation of rebellion, granting street art an even greater power on account of its uncensored, defiant nature. Demonized for its association with gang violence, poverty, and crime, local governments began cracking down on inner city street art, ultimately waging war upon the movement itself. As American cities worked to reclaim their streets and rid them of graffiti, the movement eventually came to a standstill, giving way to cleaner, more prosperous inner city communities. -
Defining and Understanding Street Art As It Relates to Racial Justice In
Décor-racial: Defining and Understanding Street Art as it Relates to Racial Justice in Baltimore, Maryland A thesis presented to the faculty of the College of Arts and Sciences of Ohio University In partial fulfilment of the requirements for the degree Master of Arts Meredith K. Stone August 2017 © 2017 Meredith K. Stone All Rights Reserved 2 This thesis titled Décor-racial: Defining and Understanding Street Art as it Relates to Racial Justice in Baltimore, Maryland by MEREDITH K. STONE has been approved for the Department of Geography and the College of Arts and Sciences by Geoffrey L. Buckley Professor of Geography Robert Frank Dean, College of Arts and Sciences 3 ABSTRACT STONE, MEREDITH K., M.A., August 2017, Geography Décor-racial: Defining and Understanding Street Art as it Relates to Racial Justice in Baltimore, Maryland Director of Thesis: Geoffrey L. Buckley Baltimore gained national attention in the spring of 2015 after Freddie Gray, a young black man, died while in police custody. This event sparked protests in Baltimore and other cities in the U.S. and soon became associated with the Black Lives Matter movement. One way to bring communities together, give voice to disenfranchised residents, and broadcast political and social justice messages is through street art. While it is difficult to define street art, let alone assess its impact, it is clear that many of the messages it communicates resonate with host communities. This paper investigates how street art is defined and promoted in Baltimore, how street art is used in Baltimore neighborhoods to resist oppression, and how Black Lives Matter is influencing street art in Baltimore. -
A Beginner's Guide to Acrylics & the WILL KEMP ART SCHOOL
SIMPLE STEPS TO GET PAINTING • A N I N T R O D U C T I O N T O A C R Y L I C S & T H E W I L L K E M P A R T S C H O O L A Beginner's Guide to Acrylics & THE WILL KEMP ART SCHOOL WILL KEMP WILL KEMP ART SCHOOL CONTENTS contents 1 WELCOME - An introduction to 19 COLOUR PALETTE - My suggested Will Kemp & The Online Art School basic acrylic colour palette to get you 8 WORKING WITH ACRYLICS - The started importance of flow 25 FREE TUTORIALS - Free step-by- 10 PAINT COVERAGE - Opacity vs step video and written lessons transparency 28 THE TEACHING METHOD - Where 12 PALETTES - Tear off & stay-wet to start on the website? 13 SUPPORTS - Canvas, paper 33 7 PAINTING PRINCIPLES - or board? Principles that will give you a solid 15 BRUSHES - The difference foundation for any subject between a flat and a filbert 38 PAID COURSES - Which 17 ADDITIONAL MATERIALS - Jam paid course is right for you. Drawing, jars, paper towel & easels Painting, Still Life or Portraits? PAGE 1 WILL KEMP ART SCHOOL WELCOME hello A N I N T R O D U C T O R Y G U I D E T O A C R Y L I C S & T H E W I L L K E M P A R T S C H O O L Morning class! I’m Will Kemp, founder of Will Kemp Art School & I’d like to welcome you to my website! If this is the first time you’re visiting, you may be wondering where to start, so I've put together this beginners guide to show you how the different areas of the Will Kemp Art School fit together and answer some of the most frequently asked questions. -
Art Review the Art of Shepard Fairey: Questioning Everything
Vol. 10, No. 2 International Journal of Multicultural Education 2008 Art Review The Art of Shepard Fairey: Questioning Everything Hwa Young Caruso, Ed. D. Art Review Editor Selected Artworks of Shepard Fairey Exhibitions Acknowledgment Reference Given the recent erosion of the United States’ moral reputation and economic status as a super power, the social and political criticism of Shepard Fairey’s street art becomes more poignant. Fairey is a street artist who speaks out against the abuse of power and militarism while supporting people of color and women who seek equity. Abandoned buildings, empty wall spaces, and streets have become his blank canvas and target to raise his voice and pose questions. During the summer of 2007, the Jonathan Levine Gallery introduced Shepard Fairey in his first New York City solo exhibition. Thousands of viewers saw his works at the gallery in Chelsea and the D.U.M.B.O. Installation Space in Brooklyn, New York. The title of the exhibition, “E Pluribus Venom” (out of many, poison), parodied the Great Seal of “E Pluribus Unum” (out of many, one) which appears on US currency. Public interest in Fairey’s works and the magnetic power of his persuasive visual rhetoric created great interest in the younger generation of art enthusiasts, critical reviewers, and collectors. Fairey’s first New York City solo exhibition was sold out. Shepard Fairey was born in Charleston, South Carolina, in 1970. He studied illustration art at the Rhode Island School of Design in 1991 and is currently living and working in Los Angeles. He began his street art project in Rhode Island and spent time in the neighborhood on his skateboard. -
Shepard Fairey V1 USD.Pdf
V1 GALLERY PROUDLY PRESENTS YOUR AD HERE – A SOLO EXHIBITION BY SHEPARD FAIREY OPENING: FRIDAY AUGUST 5. 2011. TIME: 17.00 - 22.00 EXHIBITION PERIOD: AUGUST 6. – SEPTEMBER 3. 2011 It is a great pleasure to welcome Shepard Fairey back to Copenhagen for his second solo exhibition at V1 Gallery. Since Fairey’s first exhibition at the Gallery in 2004, he has aided the change of American history with his iconic Hope poster for Barack Obama’s presidential campaign, contributed to the countinous debate about art in public space with numerous exhibitions in public and private arenas. Most recently with his participation in the Oscar nominated Banksy documentary “Exit Through The Gift Shop” and the current “Art In The Streets” exhibition at MOCA in Los Angeles. “Your Ad Here”, recent works by Shepard Fairey, comprises a broad array of mixed media works on canvas and paper, as well as screen prints, retired stencils, and Rubylith cuts. Building upon Fairey’s history of questioning the control of public space and public discourse, much of the art in “Your Ad Here” examines advertising and salesmanship as tools of propaganda and influence. One series in “Your Ad Here” portrays politicians like Reagan and Nixon as insincere salesmen wielding simple slogans that represent their true agendas when stripped of verbose demagoguery. Another series of works are paintings of Fairey’s “Obey” icon face in various urban settings usually reserved for advertising as the primary visual. These works showcase the power of images in the public space, and encourage the viewer to think of public space as more than a one-way dialogue with advertising, but as a venue for creative response. -
Artist Resources – Kenny Scharf (American, B. 1958) Kenny Scharf Website Scharf on Instagram Scharf at Honor Fraser Gallery, Los Angeles
Artist Resources – Kenny Scharf (American, b. 1958) Kenny Scharf website Scharf on Instagram Scharf at Honor Fraser gallery, Los Angeles “I think a lot of the magic happens when you don’t know what you’re going to do. You just let fate guide you and the use of magic. You depend on another kind of energy or something outside of yourself. It’s kind of a scary thing and it’s really exciting. I really believe spontaneity and magic come together.” Scharf told Art21 Magazine in a 2012 interview covering the artist’s solitary, spontaneous, and eternally optimistic process. Scharf began transforming rundown spaces into immersive installations in the 1980s, creating art out of his love of collecting found objects and making something unexpected out of trash. His dayglow blacklight installation, Cosmic Cavern was born from his former studio and living space in Brooklyn, which he transformed into an art installation and party space. In 2014, Scharf led a group of students in creating their own cosmic caverns at The Modern in Fort Worth, Texas, and the Portland Art Museum recreated the cavern in 2015. Scharf also led Art in Focus through the space in a 2016 video interview. Though painting is Scharf’s primary medium in his mature practice, he still creates sanctioned graffiti in the form of murals, which can be seen enlivening Scharf in New York, 1982 streets in New York and Los Angeles, and even the interior and exterior of parking garages. In 2014 Scharf entered the fashion industry, adapting his dayglow graffiti aesthetic for Louis Vuitton, creating apparel and shoe designs with Jeremy Scott for Adidas, and producing limited addition body lotion sets for skin care experts Khiels. -
Kenny Scharf
Kenny Scharf 1 2 Kenny Scharf has remained a key and prolific figure in the art world since his Preface early participation as a key proponent in the NYC East Village Art scene in the early 1980s, where he worked alongside artist peers such as Keith Haring and Jean-Michel Basquiat. His works have been exhibited widely ever since. When we look at a work by Kenny Scharf, we see a dynamic and joyous burst of colour, form and energy radiating from the canvas. However, these saturated, seemingly playful shapes have sharp teeth that lurk beneath, reflecting the dual nature of our modern society. Kenny Scharf’s paintings are always reflective of the artist’s unique, self generated, visual universe, drawing from ideas and experiences extracted from the surrounding world. He succesfully conjoins fine art with popular culture feeding from the traditions of Pop Art, Abstract Expressionism, Surrealism, comic books and Street Art. We are delighted to collaborate with this major international artist and showcase ‘Blobz’, an incredible new collection of works, signalling his first solo show with Opera Gallery at our flagship London space. Gilles Dyan Chairman and Founder, Opera Gallery Group Sébastien Plantin Director, Opera Gallery London 4 5 “My ambition as a professional artist is to maintain the course that I set nearly 30 years ago by establishing my work in the fields of painting, sculpture, and performance. Every project I undertake is building on my past experiences. My original approach has remained unchanged; it is a personal challenge to produce the best work possible every time. -
For the Love of Spraying – Graffiti, Urban Art and Street Art in Munich
Page 1 For the love of spraying – Graffiti, urban art and street art in Munich (21 January 2018) Believe it or not, Munich was a pioneer of the German graffiti scene. As the graffiti wave arrived from New York and swept through Europe during the early ‘80s, it was Munich that rode that wave even before Berlin. Some of today’s leading figures in the international graffiti scene were immortalised by their legally-painted murals in what was, at the time, the largest Hall of Fame in Europe on the flea market grounds on Dachauer Straße – though the thrill of illegal spraying was also of course a driving force behind the Munich scene. By the late 1990s, Munich was considered a mecca for graffiti artists, alongside New York. Today, there are several sites in Munich displaying a wide variety of urban art, and they have long been considered a boon to the city. Over the years, legends of the street art scene such as BLU, ESCIF, Shepard Fairey and Mark Jenkins have discovered Munich for themselves and, in collaboration with the Positive Propaganda e.V. art association, have used art to breathe new life into public spaces in the city. The first German museum of urban art, MUCA (Museum of Urban and Contemporary Art), doesn't just showcase celebrated artists, but also offers a stage for experimental formats. A whole range of forums, events and guided tours bring these contemporary, quirky, energy-charged art forms to life in Munich. Contact: Department of Labor and Economic Development München Tourismus, Trade & Media Relations Herzog-Wilhelm-Str.