Friday, December 4, 2009

Be a Museum Curator!

Be a Museum Curator

PICTURE THIS

Have you ever wondered who gets to choose the works that a museum will put on display? Who decides how an exhibit of artworks should be shown to the public, or what particular style should be highlighted? Such important and creative decisions are made by the museum curator. The curator is responsible for selecting the artwork to be featured and arranging it in displays that are both appealing and informative. The job is as challenging as it is fun. Consider the choices a curator faces. Art shows and exhibits are usually organized around themes. Here are some common themes:

Subject Matter
animals
portraits
landscapes
still lifes
flowers

Style or Genre
Abstract
Impressionism
Expressionism
Pop Art

Content
Social Protest
Environmentalism
Religion
Labor

Media
sculpture
watercolors
drawings
prints
photographs

Time Period
Ancient
Classical
Renaissance
Contemporary

Culture
American
European
African
Native American

These are just a few examples of the possible choices a curator can make when organizing an exhibit or show. As you can imagine, the job of a curator requires a knowledge of art as well as a creative outlook. You might even say that curating is an art in itself!

Your Assignment:

1. Read your textbook pages 345 before you begin this web quest.

2. Read through the webquest below and READ ALL directions beforehand. You will be responsible for printing out your own worksheet (see below right side? click to open). If you finish early, you may be the curator for multiple shows (and multiple themes) for extra credit.

3. Homework: read textbook pages 342-345 and complete reading comprehension (given to you by the teacher).

Remember to use complete sentences and Standard English for full credit!

Imagine that you have been named Fine Arts Curator of a Cyberspace Museum. Your task is to plan your first art show. First, click on the button that will print out your worksheet. Print enough copies for each museum site you visit. Next, view the artworks at the sites listed in the Artist's Passport. Each museum website will be different and it is up to you to find the links to explore the collection. Then, decide on a theme. Choose five or six works that will suit your theme. Gather information about each work and organize the details you will need to complete your worksheet. You are ready to begin your job as curator. Print Worksheet

Artist's Passport Web Links

Monet

Bierstadt

O'Keeffe

Cassatt

Latin American Art

Morisot

Egypt

Petroglyphs

Greek & Roman

Mexico

Africa

Miró

Picasso

Thursday, February 19, 2009

A Room Interior

What is the difference between 1-point and 2-point perspective?

(besides the fact the number of vanishing points they each have)

HW: Using the technique similar to the one you see below in Da Vinci's Last Supper, draw a picture of a room in your home. Include furniture and other objects. Make sure that if something is sitting on the floor (like a chair) that the legs of that chair stay on the floor!


Wednesday, February 18, 2009

Linear Perspective

Read through Linear Perspective pages 128-129.

Analyze fresco by Raphael, The School of Athens:

What is a fresco? How is it different from a mural?
Who are the men in this fresco? What do you think the artist's intentions were?
Can you find the vanishing point? horizon?
What techniques were used (besides linear perspective) to create the illusion of 3-D depth on a 2-D surface?

HW: bring in a image that contains 1-point perspective
(cut out from a magazine or a newspaper)

Tuesday, February 17, 2009

One-Point Perspective Basics

Now that you have learned how to determine scale, use negative space, and understand the basic rules to create the illusion of depth and volume through size, placement, contrast and overlapping, it is time to learn the basic rules of linear perspective.

You did not have to use linear perspective before because your objects were round. When drawing objects that have angular shapes, you will use the techniques of linear perspective.


Linear perspective can become complex with mathematical calculations. For now, we will keep this real simple:












Vocabulary:

1-point perspective
vanishing point
horizon
converging lines


Here's what One-point boxes look like from above and below, right and left of the vanishing point:

















Practice this technique using a real box. Start by drawing the part of the box that is FACING you first. Let the converging lines create the top or bottom.

If you are viewing the top of a box, is it above or below your eye level?

Friday, February 13, 2009

Don't Keep it All Bottled Up!



We learned an easy way to draw bottles
(which are basically stylized cyllinders).


What a workout! Which muscles did you use most?
Did this surprise you?


Remember: It's your shoulder and your legs that do the work--not your wrist or elbow.

Thursday, February 12, 2009

From Shape to Form!

The term value is used in art to describe the lightness or darkness of lines, shapes, and colors.

Look carefully at the sectons of Picasso's drawing Woman in White. Locate at least five different values and try to draw them .



Artists use values in various ways. Picasso shaded objects to make them look three-dimensional (not flat). Shading is a very gradual change from light to dark values.


Describe where you see shading in Woman in White. How does Picasso's use of value effect the work's meaning?
Classwork: turn a circle into a sphere by following the easy guidelines.
HW: Sphere worksheet

Sunday, October 26, 2008

Balance WebQuest

Art Quest:

Balance

In this Art Quest you will have the opportunity to learn more about balance. After you complete this Art Quest take the online quiz to test your knowledge.

After you have learned to recognize the elements of art, you will learn the ways in which the elements can be organized for different effects. We call these organizational rules the principles of art.

One of the principles of art is balance. You know that when you speak of balance in everyday life, you are usually speaking of equalizing the weight of one or more objects so someone or something won’t fall. For example, a seal might balance a ball on its nose. Or a person may have to keep his balance if he walks a tightrope.

Balancing Visual Forces
In order to know whether two objects are of equal weight—that is, whether they balance each other—a balance scale can be used. In the visual arts, however, balance must be seen rather than weighed. The art elements become the visual forces, or weights, in an art object.

Central Axis
A central axis is a dividing line that works like the point of balance in the balance scale. Many works of art have a central vertical axis with equal visual weight on both sides of the dividing line.

Look at the painting here:
An Afterglow, 1883
Winslow Homer

The light area down the center acts as a central axis. The dark sailboats on each side provide balanced visual weights.

Horizontal Axis
Works of art can also have a horizontal axis. In this case, the visual weight is balanced between top and bottom.

Late classic sarape - Navajo 19th century

Formal Balance
Formal balance occurs when equal, or very similar, elements are placed on opposite sides of a central axis. The axis can be vertical or horizontal. It may be a real part of the design or it may be an imaginary line. The examples we have looked at so far have formal balance. So do the following images:


Symmetrical Balance

Symmetry is a special type of formal balance in which two halves of a balanced composition are identical, mirror images of each other. Most textiles, pottery, and architectural works are perfectly symmetrical. This type of balance is sometimes called bilateral symmetry.



Ancient Art
Female Figure (bioma or agiba), 20th century

Radial Balance
Another type of symmetry is radial balance. Radial balance occurs when the forces or elements of a design flow outward (radiate) from a central point. The axis in a radial design is the center point. Radial balance is often used in pottery designs.

Native American Baskets


Native American Pottery

Recognizing Natural Balance
Natural balance gives the viewer the same comfortable
feeling as formal balance, but in a much subtler way. Sometimes called informal balance, or asymmetry, natural balance involves a balance of unlike objects.

Many factors influence the visual weight, or attraction, that elements in a work of art have to the viewer’s eye.


Size and Contour
A large shape or form appears to be heavier than a small shape or form. Look at Red, White, and Green below and notice how the smaller shapes on the right in this painting balance the larger ones on the left.

Red, White, and Green, 1940
Arthur G. Dove

An object with a complicated contour is more interesting and appears to be heavier than one with a simple contour. Click on the following image:

Place Pasdeloup No. 2, 1929
Stuart Davis

The decorative contours of the building and the wall balance the large, smooth, and featureless shapes of the surroundings.


Color

A high-intensity color has more visual weight than a low-intensity color. The viewer’s eyes are drawn to the area of bright color.

The intense colors of the boy with the hatchet and the man in the red coat draw our attention even though the figure in the foreground is much larger.

Parson Weems' Fable,1939
Grant Wood


Value

The stronger the contrast in value between an object and the background, the more visual weight the object has.

The black and white area in the center has much more weight than the more neutral color surrounding it.

Super Table, 1925
Stuart Davis

In this print, the black area seems to press down with its weight upon the woman.

Heimarbeit (Piece Worker), 1925
Käthe Kollwitz


Texture

A rough texture attracts the viewer’s eye more easily than a smooth, even surface does.
Think about how the texture in the The Farmer’s Kitchen attracts the viewer’s eye.

The Farmer’s Kitchen, 1933-34
Ivan Albright


Position

Children playing on a seesaw quickly discover that two friends of unequal weight can balance the seesaw by adjusting their positions. The heavier child moves toward the center; the lighter child slides toward the end. The board is then in balance. In visual art, a large object close to the dominant area can be balanced by a smaller object placed farther away from the dominant area. In My Egypt, by Charles Demuth, the large shapes of the white building extend from one side over the middle of the painting. Two smaller shapes—a black chimney and part of a red building—sit on the far right.

My Egypt, 1927
Charles Demuth

Test Yourself! (print off for participation grade and turn in tomorrow, along with assignment)

ASSIGNMENT: Due at the beginning of class tomorrow (before the bell).
Create an outline showing the three main types of balance, along with a small illustration or sketch showing an example of each. Now think about one of the art projects you have completed in class this year. Describe how you achieved balance in this art project, which type of balance it uses (one of the three main types), and which elements and principles were dominant in achieving that balance. Remember: all artwork must use some kind of balance; remember that good design is one of the factors when determining whether or not something is art! Good design includes BALANCE!
This may be typed or handwritten. If you do not finish today, you can use the notes you took to complete the assignment or you can get back online before then.