Day 1: Andy Goldsworthy Works Only with Materials He Finds in Nature. Some of the Things He Uses to Create Art Are Feathers

Day 1: Andy Goldsworthy works only with materials he finds in nature. Some of the things he uses to create art are feathers, ice, sand, moss, stone, leaves, flower petals, pine cones, wood, thorns, twigs, and water. He likes to work in isolation in nature where he can experiment with different materials and develop his ideas alone. He photographs his sculptures because they only last a few days, hours, or sometimes minutes! The artist welcomes the changes that time brings. Try it! Take a walk outdoors. You do not have to go far to discover something new. Notice the colors, shapes and patterns in natural materials as you wander. Touch different materials to compare their texture, weight, and size. Like Goldsworthy, you may be inspired to make a work of art during your walk. Take a photo to remember it! Day 2: “I think best in wire.” -Alexander Calder Try it! You will need paper, a pencil or pen, and a single length of lightweight wire, such as plastic-coated electrical wire or picture hanging wire. Choose a subject you can observe closely, such as a family member or friend, a flower, an object in your home, or an animal. Before you pick up your pencil, let your eyes wander over the edges of your subject. Next, use your index finger to trace the outlines of the subject in the air, then try tracing them on your paper with your finger. Finally, take your pencil and begin to draw. Work slowly without lifting the pencil until the figure is finished. Let the continuous line cross over itself and loop from one area to another. Continuous line drawings take practice, so try different ways to make several drawings of the same subject. Now try it in wire! Think of wire as a single continuous line. Carefully bend and twist a piece of thin wire to create a three-dimensional “drawing” of your subject. To display your sculpture, stick the ends of the wire into a lump of clay or use string to hang it! Day 3: Andy Warhol, Ethel Scull 36 Times. 1963. For this portrait of art collector Ethel Scull, Andy Warhol took her to a photo booth in Times Square where she posed with different gestures and expressions. Then he used photo-silkscreen printing to transfer the photographs onto canvas. Notice how Warhol used multiple colors and positioned the prints in different ways to create thirty-six representations of her. Can you see the same pose more than once? How are they similar or different? Try it! Invite a family member to be your photographer. Choose a place in your home as your photo studio. Think carefully about the background for your portrait. Pose for the camera and experiment with different facial expressions. Choose nine of your favorite pictures and arrange them together on your device or print out your photographs and create a grid. How do your faces look all together? Day 4: What is the value of art? Why is it important? You don’t have to go to an art museum to appreciate art! You can see it everywhere. Seeing the beauty all around us makes life a little sweeter. Think about what art means to you and create a composition using words, pictures, and/or color! Day 5: Go to the MET! Use the link below to explore the Metropolitan Museum of Art collection using the MetKids Time Machine. Choose your destination by selecting the time, place, and ideas that interest you. This will take you on a virtual tour of the worlds of art that the museum offers! https://www.metmuseum.org/art/online-features/metkids/time-machine .

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The Social and Environmental Turn in Late 20Th Century Art
THE SOCIAL AND ENVIRONMENTAL TURN IN LATE 20TH CENTURY ART: A CASE STUDY OF HELEN AND NEWTON HARRISON AFTER MODERNISM A DISSERTATION SUBMITTED TO THE PROGRAM IN MODERN THOUGHT AND LITERATURE AND THE COMMITTEE ON GRADUATE STUDIES OF STANFORD UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY LAURA CASSIDY ROGERS JUNE 2017 © 2017 by Laura Cassidy Rogers. All Rights Reserved. Re-distributed by Stanford University under license with the author. This work is licensed under a Creative Commons Attribution- Noncommercial-Share Alike 3.0 United States License. http://creativecommons.org/licenses/by-nc-sa/3.0/us/ This dissertation is online at: http://purl.stanford.edu/gy939rt6115 Includes supplemental files: 1. (Rogers_Circular Dendrogram.pdf) 2. (Rogers_Table_1_Primary.pdf) 3. (Rogers_Table_2_Projects.pdf) 4. (Rogers_Table_3_Places.pdf) 5. (Rogers_Table_4_People.pdf) 6. (Rogers_Table_5_Institutions.pdf) 7. (Rogers_Table_6_Media.pdf) 8. (Rogers_Table_7_Topics.pdf) 9. (Rogers_Table_8_ExhibitionsPerformances.pdf) 10. (Rogers_Table_9_Acquisitions.pdf) ii I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Zephyr Frank, Primary Adviser I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Gail Wight I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Ursula Heise Approved for the Stanford University Committee on Graduate Studies. Patricia J.
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