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EDAR308: Visual Arts 1

Lecture series for EDAR308 semester 1, 2011
by

Adam Staples

on 20 March 2011

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Transcript of EDAR308: Visual Arts 1

EDAR308: Visual Arts Education 1 lectures week one: the conceptual framework artwork artist audience world artwork artist audience world artwork artist audience world artwork artist audience world Painter: unknown
Subject: Christ Pantokrator
Date: 16th century
Material: tempera on wood
Measurements: 79.8 x 58.8 x 3 cm
Location: powerful portrait of Christ Pantokrator (almighty) customarily displayed on the iconostasis, or icon screen
artist? artwork? audience? world? Painter: unknown
Subject: Christ Pantokrator
Date: 16th century
Material: tempera on wood
Measurements: 79.8 x 58.8 x 3 cm
Location: powerful portrait of Christ Pantokrator (almighty) customarily displayed on the iconostasis, or icon screen
audience? Painter: unknown
Subject: Christ Pantokrator
Date: 16th century
Material: tempera on wood
Measurements: 79.8 x 58.8 x 3 cm
Location: powerful portrait of Christ Pantokrator (almighty) customarily displayed on the iconostasis, or icon screen
artist? artwork? audience? world? Painter: unknown
Subject: Christ Pantokrator
Date: 16th century
Material: tempera on wood
Measurements: 79.8 x 58.8 x 3 cm
Location: powerful portrait of Christ Pantokrator (almighty) customarily displayed on the iconostasis, or icon screen
artist? artwork? audience? world? the artwork

what is the title and the date of the artwork?
where is the artwork located?
what is the artwork made out of? what is it? [painting,
sculpure, drawing, video etc]
describe the formal qualities of the artwork [colour, line, texture, tone, compostion....]
what signs and symbols are used in the artwork?
what is the mood of the artwork?
what is the artwork about?
who / what has influenced the artwork?
what is the function of the artwork? - historical record,
personal propaganda, decoration, religious message,
social or political comment, entertainment... the artist

who is the artist?
when, where, how does the artist work?
what are the artist's messages in the works?
what materials and processes has the artist selected to convey these messages?
what are the artist's intentions?
what signs and symbols in the artwork display the artist's beliefs and identity?
what are movement / style is the artist associated for? the audience

who is the intended audience? has the audience changed over time?
who is the audience today?
how has the artist considered the audience?
how does the artwork make the audience feel?
what collective meaning does the audiences decode - how & why?
how might a cultural background of the audience influence the reading of the artwork?
what styles or other artworks might the audience recall when reviewing this artwork?
how does the audience identify with the works?
does the artwork conjure up memories and associations with the audience?
where might the audience see this work? artist? artwork? world? the world

is the artwork a representation of the artist's own personal world? or the physical world?
what do we learn about the world at the time this artwork was made?
does the artwork represent a particular event, class, race, religion, place, culture, environment
how has the artist been influenced by world events?
has the artist been influenced by today's world? television, media, technology
[how do these artworks comment on Australian lifestyle?]
how has the artist used past artworks as inspiration or subject matter? artist: Jan van Eyck
artwork: The Arnolfini Marriage
date: 1434
material: oil on wood
measurements: 82.2 x 60cm
location: National Gallery, London artist: Marcel Duchamp
artwork: fountain
date: 1917 / 1964
materials: ceramic
measurements: 38.1 x 48.9 x 62.55 cm
location: San Francisco Museum of Modern Art artist: Damien Hirst
artwork: Some Comfort Gained from the Acceptance of the Inherent Lies in Everything
date: 1996
material: steel, glass, plexiglass, cows and formaldehyde soluti
measurements: 12 tanks, each tank: 85 x 39 1/4 x 21 inches Brown & Freeman, 1991 http://library.artstor.org/library/secure/ViewImages?id=%2FThWdC8hIywtPygxFTx5TnQkVn0ncw%3D%3D&userId=iTxAdzA%3D&zoomparams= http://library.artstor.org/library/secure/ViewImages?id=8CdWeS03PTUpIjZUej54R34oXX4oeg%3D%3D&userId=iTxAdzA%3D&zoomparams= http://library.artstor.org/library/secure/ViewImages?id=8CNVfzckJjw9NEA7eD95QX4tXXsu&userId=iTxAdzA%3D&zoomparams= http://library.artstor.org/library/secure/ViewImages?id=%2FTxTdD4gJDAnIS4ld1N7R3soV3Qsf119&userId=iTxAdzA%3D&zoomparams= why do we use the conceptual framework? when do you start to use the
conceptual framework? week 2: 'artists who work with identity' [podcast] please bring a newspaper and a photograph
of yourself to the week 2 workshop edar308: visual arts lectures - week 2 'identity and intention in 3D' the focus of this second lecture is the connection between [artist & artwork] and [identity & intention]. how does an artist convey a message about self-identity? what form of language is being used to do so? why is this language being used? http://www.petergreenberg.com/2008/02/27/off-the-brochure-travel-guide-florence-italy/ Albrecht Durer
Self-portait in a fur-collared robe
1500
Self-portrait
Oil on wood
Munich http://www.pinakothek.de/en/albrecht-duerer?curImg=3 Jeff Koons
Self Portrait
1991
Marble http://www.jeffkoons.com/site/index.html Caravaggio
self-portrait as Bacchus http://library.artstor.org/library/secure/ViewImages?id=4iFCeTg4NCciJy8laCt2KngqVXYseFxxcg%3D%3D&userId=iTxAdzA%3D&zoomparams= L2 E2 marc quinn a british artist, quinn's sculpture, paintings and drawings' often deal with the distanced relationship we have with our bodies'. quinn has produced a series of works entitled 'self' in which he creates busts of his own head (3D self portrait) by casting it in blood. this is perhaps an extreme take on the notion of self-portraiture and is certainly not an activity you would want to replicate in a classroom, but the strategy and reasoning underlying his work is well worth your contemplation. in this video quinn discusses his work in which he has addressed the ideas and intention of identity, and its portrayal.

http://www.theartnewspaper.tv/content.php?vid=817

task for the week 2 workshop:

watch the video, answer these questions & bring them to the week 2 workshop -

as quinn discusses his 'Self' [blood head] series, how does he define an artwork?
what process or strategy does quinn use in the creation of his 'Self' artworks and which is similar to the one we used in the week 1 self-portrait artworks?
briefly outline how you could use this strategy whilst designing a visual arts program in your classroom L2-E3 L3 E1 in week three colour is our focus. retrieved from http://www.google.com.au/images?hl=en&q=rothko&um=1&ie=UTF-8&source=univ&sa=X&ei=XMZxTcLkH4SqvQOA_eC9AQ&ved=0CEQQsAQ&biw=1456&bih=733 http://library.artstor.org/library/secure/ViewImages?id=8D1Efjk2NjsgQi85fzN6SHQl&userId=iTxAdzA%3D&zoomparams= LE5 le5 appreciation & practice: the world around us portrayal of our world
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