Drawing and Painting
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Visual Arts – Specific Rules/Guidelines
Visual Arts – Specific Rules/Guidelines VISUAL ARTS include many art forms that are visual in nature. The artist (student submitting entry) is a person who captures their own thoughts and ideas to create a visual piece of art. Accepted forms of visual art include: Collages, photographic collages (multiple photos cut/pasted), computer-generated image, design, drawing, painting, and printmaking. Non-accepted forms of visual art include: 3D artwork (artwork that is not flat on the surface). Reproductions or enlargements of another artwork. Reflect on the 2020-2021 Theme: I Matter Because… An explanation of the art form might be a useful addition to the artist statement. Whether an entry displays use of formal technique or a simple approach, it will be judged primarily on how well the student uses his or her artistic vision to portray the theme, originality and creativity. Copyright: Use of copyrighted material, including any copyrighted cartoon characters or likeness thereof, is not acceptable in any visual arts submission, with the following exceptions: • Visual artwork may include public places, well-known products, trademarks or certain other copyrighted material as long as that copyrighted material is incidental to the subject matter of the piece and/or is a smaller element of a whole. The resulting work cannot try to establish an association between the student and the trademark/business/material, or influence the purchase/non-purchase of the trademarked good. • Visual arts collages may include portions of existing copyrighted works, such as photographs, magazine clippings, internet images and type cut out of a newspaper, as long as those portions of copyrighted works are used to create a completely new and different work of art. -
Dolan Middle School Visual Art Course Syllabus 6
DOLAN MIDDLE SCHOOL VISUAL ART COURSE SYLLABUS 6TH through 8th Grade Teacher: Mrs. Marchetti Course title: Visual Arts Course Description: 6th and 7th Grade: Students will spend the semester completing art projects designed to develop the student’s individual ideas and talents as an artist. The students will explore concepts that will increase their knowledge about art materials and use, art equipment, art history, and the application of it. 8th Grade: Students will further explore the many venues of art education. Students will focus on higher order thinking skills while concentrating on specific applications of the given media. Students will use their skills in various relevant and rigorous projects. Scope and Sequence: The Visual Art Curriculum is divided into the 6 major aspects of art creation. These will serve as a solid foundation for High School and beyond. Projects that cover each of the following aspects will be divided equally over the course of the semester. 1. Drawing: Foundation skill that is taught in many different ways throughout the semester. These may include pencil, charcoal, pastels, pen & ink, and colored pencil. 2. Painting: This are will explore two primary media techniques, watercolor and acrylic. 3. Sculpture: This area exposes students to the unique characteristics of creating in 3 dimensions and usually includes wire and plastering. 4. Printmaking: This area examines the creation process through the lens of producing repeated images. This is usually done through block and plate printing. 5. New Media: This area looks at Contemporary Design, illustration, and photography within the context of computer-based and digital media. -
Grade by Grade Fine Arts Content Standards
Montgomery County Public Schools Pre-k–12 Visual Art Curriculum Framework Standard I: Students will demonstrate the ability to perceive, interpret, and respond to ideas, experiences, and the environment through visual art. Indicator 1: Identify and describe observed form By the end of the following grades, students will know and be able to do everything in the previous grade and the following content: Pre-K Kindergarten Grade 1 Grade 2 I.1.PK.a. I.1.K.a. I.1.1.a. I.1.2.a. Identify colors, lines, shapes, and Describe colors, lines, shapes, and Describe colors, lines, shapes, textures, Describe colors, lines, shapes, textures, textures that are found in the textures found in the environment. and forms found in observed objects forms, and space found in observed environment. and the environment. objects and the environment. I.1.K.b. I.1.1.b. I.1.2.b. I.1.PK.b. Represent observed form by combining Represent observed physical qualities Represent observed physical qualities Use colors, lines, shapes, and textures colors, lines, shapes, and textures. of people, animals, and objects in the of people, animals, and objects in the to communicate observed form. environment using color, line, shape, environment using color, line, shape, texture, and form. texture, form, and space. Clarifying Example: Clarifying Example: Clarifying Example: Clarifying Example: Given examples of lines, the student Take a walk around the school property. The student describes colors, lines, Given examples of assemblage, the identifies lines found in the trunk and Find and describe colors, lines, shapes, shapes, textures, and forms observed in a student describes colors, lines, shapes, branches of a tree. -
Monet and American Impressionism
Harn Museum of Art Educator Resource Monet & Impressionism About the Artist Claude Monet was born in Paris on November 14, 1840. He enjoyed drawing lessons in school and began making and selling caricatures at age seventeen. In 1858, he met landscape artist Eugène Boudin (1824-1898) who introduced him to plein-air (outdoor) painting. During the 1860s, only a few of Monet’s paintings were accepted for exhibition in the prestigious annual exhibitions known as the Salons. This rejection led him to join with other Claude Monet, 1899 artists to form an independent group, later known as the Impressionists. Photo by Nadar During the 1860s and 1870s, Monet developed his technique of using broken, rhythmic brushstrokes of pure color to represent atmosphere, light and visual effects while depicting his immediate surroundings in Paris and nearby villages. During the next decade, his fortune began to improve as a result of a growing base of support from art dealers and collectors, both in Europe and the United States. By the mid-1880s, his paintings began to receive critical “Everyone discusses my acclaim. art and pretends to understand, as if it were By 1890, Monet was financially secure enough to purchase a house in Giverny, a rural town in Normandy. During these later years, Monet began painting the same subject over and over necessary to understand, again at different times of the day or year. These series paintings became some of his most when it is simply famous works and include views of the Siene River, the Thames River in London, Rouen necessary to love.” Cathedral, oat fields, haystacks and water lilies. -
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. -
Current Issues in the Conservation of Contemporary Art and Its Non-Traditional Materials
Sotheby's Institute of Art Digital Commons @ SIA MA Theses Student Scholarship and Creative Work 2018 Current Issues in the Conservation of Contemporary Art and its Non-traditional Materials Sandra Hong Sotheby's Institute of Art Follow this and additional works at: https://digitalcommons.sia.edu/stu_theses Part of the Art and Materials Conservation Commons, Contemporary Art Commons, Interactive Arts Commons, and the Interdisciplinary Arts and Media Commons Recommended Citation Hong, Sandra, "Current Issues in the Conservation of Contemporary Art and its Non-traditional Materials" (2018). MA Theses. 15. https://digitalcommons.sia.edu/stu_theses/15 This Thesis - Open Access is brought to you for free and open access by the Student Scholarship and Creative Work at Digital Commons @ SIA. It has been accepted for inclusion in MA Theses by an authorized administrator of Digital Commons @ SIA. For more information, please contact [email protected]. High or Low? The Value of Transitional Paintings by Jackson Pollock, Willem de Kooning, and Mark Rothko Monica Peacock A thesis submitted in conformity with the requirements for the Master’s Degree in Art Business Sotheby’s Institute of Art 2018 12,043 Words High or Low? The Value of Transitional Paintings by Jackson Pollock, Willem de Kooning, and Mark Rothko By: Monica Peacock Abstract: Transitional works of art are an anomaly in the field of fine art appraisals. While they represent mature works stylistically and/or contextually, they lack certain technical or compositional elements unique to that artist, complicating the process for identifying comparables. Since minimal research currently exists on the value of these works, this study sought to standardize the process for identifying transitional works across multiple artists’ markets and assess their financial value on a broad scale through an analysis of three artists: Jackson Pollock, Willem de Kooning, and Mark Rothko. -
Postmoderní Interiérový Design V 70. a 80. Letech 20. Století: Rozdíly a Paralely Mezi Československem a Itálií
UNIVERZITA KARLOVA KATOLICKÁ TEOLOGICKÁ FAKULTA Ústav dějin křesťanského umění Sofya Komarova Postmoderní interiérový design v 70. A 80. letech 20. století: rozdíly a paralely mezi Československem a Itálií Bakalářská práce Vedoucí práce: PhDr. Milan Pech, Ph.D. Praha 2020 Prohlášení 1. Prohlašuji, že jsem předkládanou práci zpracovala samostatně a použila jen uvedené prameny a literaturu. 2. Prohlašuji, že práce nebyla využita k získání jiného titulu. 3. Souhlasím s tím, aby práce byla zpřístupněna pro studijní a výzkumné účely. V Praze dne 12.07.2020 Sofya Komarova Anotace Tato bakalářská práce se zabývá postmoderním designovým nábytkem a interiéry 80. - 90. let 20. století v Itálii a Československé republice. Prozkoumá, jak italské řemeslo změnilo svět designu nábytku, zejména jak se odráželo v Československém nábytkovém designu v letech 1970 až 1980 na příkladech výstav z obou zemí. Klíčová slova Design, postmodernismus, nábytek, interiér, 70. - 80. léta 20. století, Itálie, Československo, výstava. Abstract Postmodern interior design between the 1970s - 1980s: Differences and parallels between Czechoslovakia and Italy. This bachelor thesis deals with postmodern design furniture and interiors of the 1970s - 1990s in Italy and the Czechoslovak Republic. It explores how Italian craft has changed the world of furniture design, especially how it was reflected in Czechoslovak furniture design in the 1970s to 1980s on examples of exhibitions from both countries. Key words Design, postmodernism, furniture, interior, ‘70s – ‘80s of the 20th -
GREEN PAPER Page 1
AMERICANS FOR THE ARTS PUBLIC ART NETWORK COUNCIL: GREEN PAPER page 1 Why Public Art Matters Cities gain value through public art – cultural, social, and economic value. Public art is a distinguishing part of our public history and our evolving culture. It reflects and reveals our society, adds meaning to our cities and uniqueness to our communities. Public art humanizes the built environment and invigorates public spaces. It provides an intersection between past, present and future, between disciplines, and between ideas. Public art is freely accessible. Cultural Value and Community Identity American cities and towns aspire to be places where people want to live and want to visit. Having a particular community identity, especially in terms of what our towns look like, is becoming even more important in a world where everyplace tends to looks like everyplace else. Places with strong public art expressions break the trend of blandness and sameness, and give communities a stronger sense of place and identity. When we think about memorable places, we think about their icons – consider the St. Louis Arch, the totem poles of Vancouver, the heads at Easter Island. All of these were the work of creative people who captured the spirit and atmosphere of their cultural milieu. Absent public art, we would be absent our human identities. The Artist as Contributor to Cultural Value Public art brings artists and their creative vision into the civic decision making process. In addition the aesthetic benefits of having works of art in public places, artists can make valuable contributions when they are included in the mix of planners, engineers, designers, elected officials, and community stakeholders who are involved in planning public spaces and amenities. -
10 Great Reasons to Support Public Art
Article 26 10 Great Reasons to Support Public Art 1. It’s public! Everyone has access to public art. It’s directly in the public sphere and not confined to galleries or museums. 2. It enriches our physical environments, bringing streetscapes, plazas, town buildings and schools to life. 3. It’s a great tool for civic engagement, building social capital and encouraging civil discourse. 4. It provides professional opportunities for artists and cultivates an environment in which the creative class thrives. 5. It boosts local economies. Businesses supply materials and labor; restaurants, hotels and transportation companies benefit from a site that attracts visitors. 6. It’s an investment in place making—measured by livability and quality of life—that also engenders community pride. 7. It connects citizens to their neighbors and their shared history through documentation and celebration, and makes cultural heritage a tangible community asset. 8. It enlivens places where people work, which can improve employee morale, productivity and respect. 9. It creates supportive learning environments. It opens eyes—and minds! It attracts students to environments conducive to both learning and fun. 10. It raises public awareness about important community issues, such as environmental stewardship and respect for diversity. --From the Amherst Public Art Commission and the National Assembly of State Arts Agencies. The Amherst Public Art Commission Why Public Art for Amherst? Public art adds enormous value to the cultural, aesthetic and economic vitality of a community. It is now a well-accepted principle of urban design that public art contributes to a community’s identity, fosters community pride and a sense of belonging, and enhances the quality of life for its residents and visitors. -
Past Looking: Using Arts As Historical Evidence in Teaching History
Social Studies Research and Practice www.socstrp.org Past Looking: Using Arts as Historical Evidence in Teaching History Yonghee Suh Old Dominion University This is a comparative case study of how three high school history teachers in the U.S.A. use art in their practice. The following research question was investigated: How do secondary history teachers incorporate the arts—paintings, music, poems, novels, and films—in their teaching of history and why? Data were collected from three sources: interviews, observations, and classroom materials. Grounded theory was utilized to analyze the data. Findings suggest these teachers use the arts as historical evidence roughly for three purposes: First, to teach the spirit of an age; second, to teach the history of ordinary people invisible in official historical records; and third, to teach, both with and without art, the process of writing history. Two of the three teachers, however, failed to teach historical thinking skills through art. Keywords: history, history instruction, art, interdisciplinary approach, thinking skills, primary sources. Introduction Encouraging historical thinking in students is not a new idea in history education. Since the turn of the 20th century, many historians and history educators have argued that history consists of not only facts, but also historians’ interpretation of those facts, commonly known as the process of historical thinking, or how to analyze and interpret historical evidence, make historical arguments, and engage in historical debates (Bain, 2005; Holt, 1990; VanSledright; 2002; Wineburg, 2001). Many past reform efforts in history education have shared this commitment to teach students to think historically, in part by being engaged in the process of historical inquiry (Bradley Commission on History in Schools, 1988; National Center for History in the Schools, 1995). -
Line, Color, Space, Light, and Shape: What Do They Do? What Do They Evoke?
LINE, COLOR, SPACE, LIGHT, AND SHAPE: WHAT DO THEY DO? WHAT DO THEY EVOKE? Good composition is like a suspension bridge; each line adds strength and takes none away… Making lines run into each other is not composition. There must be motive for the connection. Get the art of controlling the observer—that is composition. —Robert Henri, American painter and teacher The elements and principals of art and design, and how they are used, contribute mightily to the ultimate composition of a work of art—and that can mean the difference between a masterpiece and a messterpiece. Just like a reader who studies vocabulary and sentence structure to become fluent and present within a compelling story, an art appreciator who examines line, color, space, light, and shape and their roles in a given work of art will be able to “stand with the artist” and think about how they made the artwork “work.” In this activity, students will practice looking for design elements in works of art, and learn to describe and discuss how these elements are used in artistic compositions. Grade Level Grades 4–12 Common Core Academic Standards • CCSS.ELA-Writing.CCRA.W.3 • CCSS.ELA-Speaking and Listening.CCRA.SL.1 • CCSS.ELA-Literacy.CCSL.2 • CCSS.ELA-Speaking and Listening.CCRA.SL.4 National Visual Arts Standards Still Life with a Ham and a Roemer, c. 1631–34 Willem Claesz. Heda, Dutch • Artistic Process: Responding: Understanding Oil on panel and evaluating how the arts convey meaning 23 1/4 x 32 1/2 inches (59 x 82.5 cm) John G. -
Brunswick Mural Project 106 Island Drive Saint Simons Island, GA 31522 912-638-8770
Brunswick Mural Project 106 Island Drive Saint Simons Island, GA 31522 912-638-8770 www.glynnvisualarts.org/brunswick-mural-project.html [email protected] INFO FOR ARTISTS Brunswick Mural Project 106 Island Drive Saint Simons Island, GA 31522 912-638-8770 www.glynnvisualarts.org/brunswick-mural-project.html [email protected] Brunswick Mural Committee ROLES AND PROCESS o Serves as the clearing house and coordination point for the Brunswick Mural Project to implement murals o Collects and records names of potential mural artists, building owners and volunteers as a resource bank to execute murals in downtown Brunswick o Identifies and communicates with various community stakeholders including city and county government (elected officials, DDA, Main Street, etc.), businesses, the arts community, the historic preservation board and other interested parties about BMP o Seeks funding and other resources for murals o Glynn Visual Arts as a non-profit community arts center and part of the CoH Arts Sub-Committee acts as repository and distribution point for any monies collected to fund the BMP project Brunswick Mural Project 106 Island Drive Saint Simons Island, GA 31522 912-638-8770 www.glynnvisualarts.org/brunswick-mural-project.html [email protected] ARTIST’S PROCESS 1. Artist submits design ideas and budget to the Mural Committee based on the guidelines included in BMP package 2. Mural Committee matches artist and design with building owner 3. Artist and building owner agree on design, timeline, budget, etc. (contract or MOU may be required) 4. Artist or building owner submits design and completed Certificate of Appropriateness Form to the Historic Preservation Board for approval 5.