School of Art 2015–2016
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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. -
The Artist's Voice Since 1981 Bombsite
THE ARTIST’S VOICE SINCE 1981 BOMBSITE Peter Campus by John Hanhardt BOMB 68/Summer 1999, ART Peter Campus. Shadow Projection, 1974, video installation. Courtesy Paula Cooper Gallery. My visit with Peter Campus was partially motivated by my desire to see his new work, a set of videotapes entitled Video Ergo Sum that includes Dreams, Steps and Karneval und Jude. These new works proved to be an extraordinary extension of Peter’s earlier engagement with video and marked his renewed commitment to the medium. Along with Vito Acconci, Dara Birnbaum, Gary Hill, Joan Jonas, Bruce Nauman, Nam June Paik, Steina and Woody Vasulka, and Bill Viola, Peter is one of the central artists in the history of the transformation of video into an art form. He holds a distinctive place in contemporary American art through a body of work distinguished by its articulation of a sophisticated poetics of image making dialectically linked to an incisive and subtle exploration of the properties of different media—videotape, video installations, photography, photographic slide installations and digital photography. The video installations and videotapes he created between 1971 and 1978 considered the fashioning of the self through the artist’s and spectator’s relationship to image making. Campus’s investigations into the apparatus of the video system and the relationship of the 1 of 16 camera to the space it occupied were elaborated in a series of installations. In mem [1975], the artist turned the camera onto the body of the specator and then projected the resulting image at an angle onto the gallery wall. -
The Role of Art in Enterprise
Report from the EU H2020 Research and Innovation Project Artsformation: Mobilising the Arts for an Inclusive Digital Transformation The Role of Art in Enterprise Tom O’Dea, Ana Alacovska, and Christian Fieseler This project has received funding from the European Union’s Horizon 2020 research and innovation programme under grant agreement No 870726. Report of the EU H2020 Research Project Artsformation: Mobilising the Arts for an Inclusive Digital Transformation State-of-the-art literature review on the role of Art in enterprise Tom O’Dea1, Ana Alacovska2, and Christian Fieseler3 1 Trinity College, Dublin 2 Copenhagen Business School 3 BI Norwegian Business School This project has received funding from the European Union's Horizon 2020 research and innovation programme under grant agreement No. 870726 Suggested citation: O’Dea, T., Alacovska, A., and Fieseler, C. (2020). The Role of Art in Enterprise. Artsformation Report Series, available at: (SSRN) https://papers.ssrn.com/sol3/papers.cfm?abstract_id=3716274 About Artsformation: Artsformation is a Horizon 2020 Research and Innovation project that explores the intersection between arts, society and technology Arts- formation aims to understand, analyse, and promote the ways in which the arts can reinforce the social, cultural, economic, and political benefits of the digital transformation. Artsformation strives to support and be part of the process of making our communities resilient and adaptive in the 4th Industrial Revolution through research, innovation and applied artistic practice. To this end, the project organizes arts exhibitions, host artist assemblies, creates new artistic methods to impact the digital transformation positively and reviews the scholarly and practi- cal state of the arts. -
KEHINDE WILEY Bibliography Selected Publications 2020 Drew
KEHINDE WILEY Bibliography Selected Publications 2020 Drew, Kimberly and Jenna Wortham. Black Futures. New York: One World, 2020. 2016 Robertson, Jean and Craig McDaniel. Themes of Contemporary Art: Visual Art after 1980, Fourth Edition. Oxford: Oxford University Press, 2016. 2015 Tsai, Eugenie and Connie H. Choi. Kehinde Wiley: A New Republic. New York: Brooklyn Museum, 2015. Sans, Jérôme. Kehinde Wiley: The World Stage: France 1880-1960. Paris: Galerie Daniel Templon, 2015. 2014 Crutchfield, Margo Ann. Aspects of the Self: Portraits of Our Times. Virginia: Moss Arts Center, Virginia Tech Center for the Arts, 2014. Oliver, Cynthia and Rogge, Mike. Kehinde Wiley: The World Stage: Haiti. Culver City, California: Roberts & Tilton, 2014. 2013 Eshun, Ekow. Kehinde Wiley, The World Stage: Jamaica. London: Stephen Friedman, 2013. Kandel, Eric R. Eye to I: 3,000 Years of Portraits. New York: Katonah Museum of Art, 2013. Kehinde Wiley, Memling. Phoenix: Phoenix Art Museum, 2013. 2012 Golden, Thelma, Robert Hobbs, Sara E. Lewis, Brian Keith Jackson, and Peter Halley. Kehinde Wiley. New York: Rizzoli, 2012. Haynes, Lauren. The Bearden Project. New York: The Studio Museum in Harlem, 2012. Weil, Dr. Shalva, Ruth Eglash, and Claudia J. Nahson. Kehinde Wiley, The World Stage: Israel. Culver City: Roberts & Tilton, 2012. 2010 Wiley, Kehinde, Gayatri Sinha, and Paul Miller. Kehinde Wiley, The World Stage: India, Sri Lanka. Chicago: Rhona Hoffman Gallery, 2011. 2009 Wiley, Kehinde, Brian Keith. Jackson, and Kimberly Cleveland. Kehinde Wiley, The World Stage: Brazil = O Estágio Do Mundo. Culver City: Roberts & Tilton, 2009. Jackson, Brian Keith, and Krista A. Thompson. Black Light. Brooklyn: Powerhouse Books, 2009. -
BIOGRAPHICAL SKETCH of DR. FRED OLSEN Fred Olson Was Born 28 February, 1891 in Newcastle-On-Tyne, England. at the Age of 15 He E
BIOGRAPHICAL SKETCH OF DR. FRED OLSEN Fred Olson was born 28 February, 1891 in Newcastle-on-Tyne, England. At the age of 15 he emigrated to Canada, where he entered the University of Toronto and was the recipient of the Edward Blake Scholarship in chemistry—defeating 3,000 examinees in a nation-wide competition. Olson received his BA and MA in chemistry in 1916 and 1917, respectively. Dr. Olson was awarded an honorary doctorate from Washington University, St. Louis, for his many research achievements in chemistry. In 1917 he married Florence Quittenton of Toronto. During World War I, Dr. Olson was loaned by the Canadian govern ment to the United States to assist in the manufacture of munitions. He was put in charge of US Army research at the Picatiny, New Jersey arsensal, where he became aware of the high incidence of explosions and consequent injuries and fatalities in the powder factories. As a result of his observations, Dr. Olson developed a safe and widely adopted technique for manufacturing explosives under water (ball powder). This innovation greatly reduced the hazard of explosion in the powder factories; in fact, during World War II not a single casualty was incurred by US Army personnel during the manufacture of munitions. After the War, Dr. Olson was employed by Olin-Matheson as Vice President in charge of research until his retirement. In 1960 he bought a house at the Mill Reef Club, Antigua, West Indies. There he discovered the Mill Reef archaeological site, which he called to the attention of Professor Irving Rouse of the Department of Anthropology, Yale University. -
Art in America the EPIC BANAL
Art in America THE EPIC BANAL BY: Amy Sherald, Tyler Mitchell May 7, 2021 10:08am Tyler Mitchell: Untitled (Blue Laundry Line), 2019. Amy Sherald (https://www.artnews.com/t/amy-sherald/): A Midsummer Afternoon Dream, 2020, oil on canvas, 106 by 101 inches. Tyler Mitchell and Amy Sherald—two Atlanta-born, New York–based artists—both capture everyday joy in their images of Black Americans. Recurring motifs in Mitchell’s photographs, installations, and videos include outdoor space and fashionable friends. Sherald, a painter, shares similar motifs: her colorful paintings with pastel palettes show Black people enjoying American moments, their skin painted in grayscale, the backgrounds and outfits flat. Both are best known for high-profile portrait commissions: in 2018 Mitchell became the first Black photographer to have a work grace the cover of Vogue. That shot of Beyoncé was followed, more recently, by a portrait of Kamala Harris for the same publication. Michelle Obama commissioned Amy Sherald to paint her portrait, and last year Vanity Fair asked Sherald to paint Breonna Taylor for a cover too. Below, the artists discuss the influence of the South on their work, and how they navigate art versus commercial projects. —Eds. Amy Sherald: Precious jewels by the sea, 2019, oil on canvas, 120 by 108 inches. TYLER MITCHELL: Amy, we spoke before about finding freedom and making your own moments of joy. I think of Precious jewels by the sea [2019]—your painting of two couples at the beach, showing the men standing with the women on their shoulders—as a moment that you constructed. -
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. -
SEA TURTLES SWIM in to Essex County Turtle Back Zoo
THE SPIRIT OF SPRING 2017 SEA TURTLES SWIM IN TO Essex County Turtle Back Zoo PAGE 5 PAGE 7 PAGE 10 PAGE 14 Joseph N. DiVincenzo, Jr. A Blossom Event for Any Day Essex County Executive Saturday, April 8 ~ 7am-1pm 2017 CHERRY BLOSSOM and the Board of Essex county CHALLENGE BIKE RACE Oval, Northern Division Chosen Freeholders Sunday, April 9 ~ 10am Start CHERRY BLOSSOM 10K RUN Cherry Blossom Welcome Center, Extension Saturday, April 22 ~ 10am Race Start 1-MILE FUN RUN/WALK Daniel K. Salvante AND ESSEX COUNTY FAMILY DAY Prudential Concert Grove, Southern Division Director of Parks, Recreation Sunday, April 23 ~ 11am-5pm BLOOMFEST! and Cultural Affairs Cherry Blossom Welcome Center, Extension and Prudential Concert Grove, Southern Division PUTTING ESSEX COUNTY FIRST COMPLIMENTARY ISSUE A MESSAGE FROM THE COUNTY EXECUTIVE SEA TURTLES SWIM IN TO Dear Friend, Soon, the mercury will rise and the cold temperatures and wet weather of winter will be a ESSEX COUNTY TURTLE BACK ZOO faded shadow in the springtime sunshine. The warm air, flowers in bloom and tranquil blue skies signal a rebirth in all of our lives, beckoning us to shake off the doldrums and explore our community. Spring is the best time to reacquaint yourself with – or discover for the first time – our historic Essex County Parks System and the loveliness of flowers, trees and the beauty of nature. From April through June, visitors can experience a marathon blooming season of unparalleled diversity. There are more than 5,000 cherry trees transforming the canvas of Essex County Branch Brook Park into a canopy of pink and white every April. -
Jackson Pollock & Tony Smith Sculpture
Jackson Pollock & Tony Smith Sculpture An exhibition on the centennial of their births MATTHEW MARKS GALLERY Jackson Pollock & Tony Smith Speculations in Form Eileen Costello In the summer of 1956, Jackson Pollock was in the final descent of a downward spiral. Depression and alcoholism had tormented him for the greater part of his life, but after a period of relative sobriety, he was drinking heavily again. His famously intolerable behavior when drunk had alienated both friends and colleagues, and his marriage to Lee Krasner had begun to deteriorate. Frustrated with Betty Parsons’s intermittent ability to sell his paintings, he had left her in 1952 for Sidney Janis, believing that Janis would prove a better salesperson. Still, he and Krasner continued to struggle financially. His physical health was also beginning to decline. He had recently survived several drunk- driving accidents, and in June of 1954 he broke his ankle while roughhousing with Willem de Kooning. Eight months later, he broke it again. The fracture was painful and left him immobilized for months. In 1947, with the debut of his classic drip-pour paintings, Pollock had changed the direction of Western painting, and he quickly gained international praise and recog- nition. Four years later, critics expressed great disappointment with his black-and-white series, in which he reintroduced figuration. The work he produced in 1953 was thought to be inconsistent and without focus. For some, it appeared that Pollock had reached a point of physical and creative exhaustion. He painted little between 1954 and ’55, and by the summer of ’56 his artistic productivity had virtually ground to a halt. -
Spring 2015 Syllabus V5.1 1 Performance and Video FILM 203B
FILM 203 Performance & Video – Spring 2015 Syllabus v5.1 Performance and Video FILM 203B—Spring 2015 Ben Coonley Wednesdays: 10:10–1:10 PM Email: [email protected] Office: Avery 220 Office Hours: Wednesdays, 1:30–2:30 PM, or by appointment COURSE DESCRIPTION This course examines the intersections of video and performance art. Course participants will be challenged to make artworks that respond to video technology's most fundamental property: its ability to reproduce a stream of real-time synchronized images and sounds. How does video mediate between a human performer and her audience? How can artists interested in creating critical and self-reflexive art utilize and respond to and draw upon video’s immediacy and "liveness"? How can performance artists exploit video technologies (playback devices, displays, projectors, and interactive software) within live performance art? In the first half of the course, you will create performance "tapes" (or tapeless digital recordings), while examining and reflecting on the history of experimental video that has emphasized live performance for the videocamera. The second half of the course will concentrate on the use of video as a central component within live art events. In addition, we will carry on a continued discussion about the larger cultural and psychological impact of video technologies on our understanding of subjectivity and the real. This conversation will be supplemented by readings and viewings of work (screened in class and online) by a wide range of contemporary and historically significant artists in the field. I’ve selected screenings and readings that I hope will challenge you, inspire your creative assignments, and introduce you to significant moments in the history of video and performance art. -
Jordan Casteel
Jordan Casteel CASEY KAPLAN 121 West 27th Street September 7–October 28 In 2015, while in residence at the Studio Museum in Harlem, Jordan Casteel took to the streets with her camera and iPhone, photographing men she encountered at night. Adopting this process for the exhibition of paintings here, the artist presents herself as a flaneuse, capturing the vibrant life of the neighborhood without categorizing it for easy consumption. In these portraits, men appear alone or in groups of two or three, sitting in subway cars, on stoops, and standing in front of store windows. (Women are absent, save for images on a braiding salon’s awning.) Nonetheless, Casteel’s subjects are perfectly at home in their environments, often bathed in the fluorescence of street lamps, as in Q (all works 2017), where the eponymous subject gazes back, phone in hand, a Coogi-clad Biggie Smalls on his red sweatshirt. Casteel has a knack for detail where it counts: the sharp glint of light hitting the subject’s sunglasses in Zen or the folds of a black puffer jacket and the stripes of a Yankees hat in Subway Hands. In Memorial, a bright spray of funeral flowers on an easel sits over a street-corner trashcan—the pink bows attached to the easel’s legs feel almost animated, celebratory. The artist also possesses a wry humor: The pair of bemused men in MegasStarBrand’s Louie and A-Thug sit on folding chairs next to a sign that reads “Melanin?” Jordan Casteel, Memorial, 2017, oil on canvas, 72 x 56". Casteel’s paintings capture Harlem’s denizens beautifully, a community that has long shaped black American identity despite years of white gentrification.