Category: Art

Instructions (Please ready carefully)
Although you are perhaps not an artist, over this semester you have become a curator of the arts, and in this way, you have consolidated and expressed your aesthetic views and commitments, and/or have discovered and developed them along the way. This licenses you to posit an overarching philosophy regarding your feelings on art and how it communicates about, or connects to, your world. In this assignment, you will unify your semester’s work into a kind of bigger analytic whole.
To begin this assignment, look over the many written works you’ve completed for this course and try to find some overarching theme.  Keep in mind that you have considerable leeway and creativity in how you approach this, but it should be something that you can support by citing and discussing the assignments and discussion posts you’ve submitted over the course of the semester. You may not find a theme to connect all of the posts and assignments (though it is possible), but you can surely find some theme to connect several of them.
For example, let’s assume that I – a student in HUM 2020 – am looking over my discussion posts and assignments, seeking within them patterns or unifying values. I notice that I chose to analyze an abstract painting that’s busy with jagged lines and sharp angles; my playlist features songs like Wham’s “Wake Me up before You Go-Go,” and Eminem’s “Stay Wide Awake”; my photo series features shots of my favorite coffee cups from my considerable home collection. I realize a unifying theme of stimulants/stimulation, thus I write “The Stimulist Manifesto” (note that I make up this term, but one that makes sense in its context, just like Andre Breton did in his “Surrealist Manifesto”–keep in mind, in this assignment you can be creative, have fun, and still be analytical). In classic manifesto-style I might begin such a document, “WAKE UP AND SMELL THE COFFEE!!!” Or, in another make-believe example, I realize that the scene from one of the movies I viewed for this class is about family ties; my public sculpture happens to be of a boy and his dog; I have analyzed the scene in which Hamlet chastises his mother for betraying his late father. Thus, I might see a pattern here and pen, “Manifesto of the Loyalists,” my imaginary movement celebrating art that celebrates commitment between people.
Take time to look over your posts and assignments, consider what these say about you and your tastes and interests and try to find the connective tissue that can synthesize them. This may take some time and thought. You don’t need to connect all of the written work you’ve completed over the course of the semester, but the more the merrier, and you should reference at least three as examples in your manifesto. It is likely that your first post featuring your own representative work will help guide you toward some unifying theme.
When it is done, your manifesto will have a name that reflects its theme, an introduction that contains a statement of its intent (the chief cultural/artistic value or values that you want to promote). Somewhere within it, there will also be some statement of the things it opposes. It will then go on to show several examples from your assignments and posts that support your point in some way (this is your evidence). Don’t merely repeat the posts, but instead weave the artifacts and your thoughts about them into the larger structure of your manifesto’s point, showing how they fit into this bigger analytic picture. Again, have fun with this, and be as creative as you’d like; but be sure that you forge a meaningful connection between your assignments and posts by recognizing the things you value in your aesthetic experience. You may look over some of the manifesto examples below to see how this has been done in the past.
Although this is the course’s final assignment, a document of this kind is an explanation of you and your thinking. This assignment should be at least 650 words. It will be assessed on its formal clarity, the quality of the writing and editing, its degree of engagement with its topic, its creativity/inventiveness/originality of ideas, and the sophistication of thought it expresses.

Visit a local museum or art gallery and show proof of your visit in the form of a ticket stub or selfie in front of the museum. (Add these at the end of your paper or in the comments section). 
Your analysis should be at least 500 words, in MLA format, and use 12-point font.
It should be in essay style with intro paragraph. In the body of the paper, please include name of the museum/gallery visited, titles of art, and names of artist(s). Make sure you include a picture of each piece you discuss. Cut and paste them at the end of your paper or include an upload in the comments section of the assignment. 
Pick 2 works and focus on your objective response (using elements of design, etc*) and subjective response (why you like/dislike the pieces; how the colors make you feel, your interpretation, etc). You may compare/contrast the works or discuss them separately.
You may use information on the artist taken from the internet, just be sure to cite references.
Objective terms use:
Elements and Principles of Design* (Do not have to include all of them)
Line (actual, implied, etc) Unity and variety
Shape and mass Time and motion
Light balance (symmetrical, asymmetrical)
Rhythm
Texture and pattern Emphasis and focal point
Space Proportion and scale
Color schemes: (Complementary, analogous, triadic, monochromatic)
IMG 4262 AND 4263 ARE FOR ONE PICTURE. 
IMG 4350 4351 4352

During your Getting to Know You, a veiled hint was made about what kind of art you liked, what art galleries, museums and history museums were in your area that you have passed by or visited or have been dragged into, and what I might be asking of you! We have spent four sessions learning about art, pouring through art books, learning the language – now let’s go out and explore!
Submit a 2 page paper on your visit and experience to a local art gallery, online art gallery, museum, or historical center. Be creative and expand the definition – could a knitting or rug hooking shop be an art resource for this assignment? What about a sports memorabilia store or Harley Davidson showroom? (You will have to provide hard evidence of the art form – but it can be done!)
Once you have taken a tour, come back and report on what you experienced. You are to select at least two pieces of art that hit you or grabbed your attention.
In a two page paper with APA formatting, answer the following questions:
What was the time period of the pieces of art that you chose? How do they reflect the art of that period?
Who was/were the artist(s)?
What is the worldview expressed in the pieces? How do you know?
What did you like or dislike about it? Why did you choose these pieces? Compare and contrast them.
What is it? (medium)
How is it put together? (technical response)
How does it appeal to the senses? (an experiential response)
What does it mean? (a contextual or personal response)
Please use proper APA citation and reference format for this paper.
I am excited to see what you bring to this learning community! You may even want to take your family or a friend with you – to help you with your homework!
Please. complete the assignment on Le Louvre Museum. There is a virtual museum available. Any exhibit is fine with me.

You will refer to Assignments #1, 6, 7, and 8 in the Gateways to Art’s Journal for Museum and Gallery Projects. Each section provides questions to help you form your analysis. Use the guided questions in the journal to draft a thorough, detailed analysis of the artwork you select.
I havw attached a representational, non-objective, or abstract work of art. Complete a formal analysis of the piece. (Refer to assignment #1 of the journal.)
I have attached a historical or cultural work of art. Complete a contextual and thematic analysis of the piece. (Refer to assignment #6 and #7 of the journal)
You will hypothetically evaluate and document a museum experience at Perez Art Museum in Miami Fl. (Refer to assignment #8 of the journal)

Please create a PDF according to the outline
You can think of the meaning of the work as you like
Think about it online
I want you to finish all of this
I think we need research and PowerPoint
Please complete one large PDF
EXHIBITION PROPOSAL OUTLINE
For Kana Furuichi, W22511374
ALL art majors are required to develop and install a BFA Capstone exhibition. However, this Prototype Exhibition Proposal will take the place of a physical exhibition. This proposal is for practice only (although it could be used as a model for a real proposal later).
FINAL VERSION: Submit as a PDF file no later than December 3, 2024
To: Marguerite Perret: ******************************
PROPOSAL PACKET: Develop an exhibition proposal reflecting the themes and artworks for an exhibition of your work. NOTE: this will be accepted in place of a physical senior thesis show.
1. Exhibition Space: a. Pick a REAL site located anywhere (this may be done in Japan).
b. Write a brief report on your proposed space. Visit (in person or online) and research that venue. What kind of space is it? A museum, gallery, community arts space? Coffee House? Other? c. Is there gallery lighting available? What kind of wall space/hanging system, pedestals/floor space is available. Is it appropriate for the work you are proposing? d. If you visit the space, ask for an exhibition proposal form and floor plan. Often these forms are available online. OR take photos or make a sketch—you can tell the gallery staff—if asked—that you are working on a school project.
2. Description of Work to be installed:
a. How much work is already completed/available work;
b. Describe any new work that will be created;
c. Media/ type;
d. Describe any series or bodies of work as applicable;
e. How many 2D/3D/4D;
f. Scale/Size;
g. Framing? How will 2D work be displayed?
h. Special equipment or technology requirements (if any);
i. Note any specific installation requirements (wall space, pedestals, hanging items from the ceiling…?)
j. How will viewers experience the work? 3. Cover Letter to your well-researched exhibition. Know to whom you are addressing the letter. Introduce yourself briefly in the first paragraph and explain why you are interested in showing in this space. You do not have to send this letter!
4. Exhibition Statement: An exhibition Statement addresses concept, what unifies that work into a coherent exhibition, what work in what media will be offered, and addresses presentation and installation considerations. Up to one paragraph for each of these considerations or one page
• Open with a strong, clear sentence that communicates your idea. There should be a clear purpose to the exhibition. A strong proposal has a point of view. Be specific when writing and make a compelling case for your idea and how this is expressed in the exhibition and through your practice.
• What are you trying to accomplish with this work, in this show? Bring awareness to an issue? Explore a new idea or medium? Present a narrative or tell a story?
• What is this project about? Is there anything innovative or unique about your concept and work? Conceptual premise? Medium and/or approach?
• Why did you choose these artworks and how do they support the conceptual premise of your exhibition? Are you creating a dynamic cohesive experience?
• Type of exhibition as applicable—retrospective/reflective, installation, new media or immersive, or a thematic group of paintings?
5. Exhibition Planning Schedule: Working backwards from the ‘proposed’ date of your exhibition. Look at a Calendar and Plan your time. The following is NOT a complete list of considerations, make sure you include EVERYTHING that you will need to take into account to ensure a successful project.
3 months-1 year or more depending on project
• Artwork—Inventory and production: Which existing works will be part of your exhibition. If your show is THIS semester, you should have a good idea already of what is going on display. What still needs to be created? Schedule how long it will take to make that work. Do you need to have any of the work commercially printed before framing or other forms of display? Where will you go to have this done? What is the turn-around for that? Put it on the calendar.
• Preparing artwork for display: How much time do you need for framing? Are there pedestals available or do you need to create your own display furniture? Do you need projectors, or a way to hang from the ceiling? Does anything need to be painted?
• Budgeting and funding: Research and seek funding sources as soon as possible, ideally, as soon as you have a concept for your project. A WTE (Washburn Transformational Experience) grant can cover up to $1,200 of your material costs. Apply if you are eligible!
• When should you have your invite and PR lists ready? And your PR materials ready to send out?
• When would you visit the gallery/venue/space to do a final planning of artwork placement?
• When will you order your signage lettering and print your labels?
• How long will you need for installation? And how long for de-installation?
6. Installation Plan BFA: relate this information to the gallery in which you will be installing your BFA show. A floor plan of the Art Building galleries is available online under this module.
BA Studio or Art History: relate this information to the space you are using for your proposal, and not the art department gallery. Most exhibiting venues will have a gallery floor plan available online. If not, use the photos you took when researching spaces.
• Aesthetic design of your display in the gallery: discuss how you will group similar works, incorporate any installation elements, create a flow in the space and how you are designing for the space.
• Framing and-or other and alternative methods of presenting 2D work • Requirements for pedestals, custom displays/other installation requirements such as false walls or hanging from the ceiling
• Gallery Sketch marked up with proposed layout
• Draft/Study for signage (title of show + your name)
• Draft/Study for label (title of work, date completed, media, other explanatory information as applicable)
7. Supporting Materials: (Required)
a. Artists Statement: An artist statement is not the same as the exhibition statement. This address you, as an artist, more broadly, beyond this particular exhibition. What kind of artist are you, what media do you work in? What themes, concepts, aesthetic concerns interest you? Why?
b. Artist/Curator Bio (1 short paragraph–summary);
c. Draft/study for the required poster OR social media announcement;
d. Ten-twenty images of work to be considered for exhibition;
i. IMAGES: Hi quality jpegs, bright, in focus, neutral background. No bigger than 1-4 MB Jpegs ii. Number these in the file name– Examples;
1. 01Your Name-DuckPainting.jpg
2. 02YourName-Cat Painting.jpg
iii. Annotated Image List: this is a corresponding list of details about your images and video links.
1. Name (Your Name)
2. Title of work (ie: Whispering Willows)
3. Medium and size of work (ie: Watercolor and mixed media, 11” x 17”)
4. Year completed (ie: 2024)
5. Any specific notes relevant to the piece, unique techniques or content (Machine embroidered designs add texture and reference 19th Century textile works)
8. SAMPLE Budget: Exhibition Budget: include printing artwork, framing and other presentation costs, signage, installation, publicity, reception and…? You can group items under subcategories.
Installation
TYPE DESCRIPTION VENDOR PRICE PER UNIT TOTAL
Framing Prefabricated black frames, 11” x 16” for “cold case” series Michael’ s Arts and Crafts 12 @ 19.99 each 239.98
Picture Hanging 20lb 3M command hooks Home Depot 6- 2 hook pack@ 3.90 each 23.40
Subtotal $263.38
Publicity and PR
TYPE DESCRIPTION VENDOR PRICE PER UNIT TOTAL Postcards 100 postcards, printed 2 sides, color front, B&W back psprint.com 100 digital: 53.44
shipping: 10.45 63.44
Subtotal $
INCOME:
TYPE DESCRIPTION Source Amount
Grant Scholarly and Creative Grant WTE Program 1000.00
TOTAL EXPECTED INCOME $
Out of pocket expenses $     

Painting in Spain – final exhibition submission guidelines
PinS Gallery, Summer Exhibition 2024
INSTRUCTIONS: Please use the following paintings and in the order: El 2 de Mayo by Francisco Goya, El 3 de Mayo by Frncisco Goya and La Batalla de Tetuan to create a virtual exhibition. Below are the detailed instrcutions of the assignment. (Write a curator’s notes of 400 words  each and write a 300 word introductory note). Please also ome up with a title for the exhibition.  
Presentation and Technical Information
1.      
Prepare
the exhibition on Powerpoint and save the final version to pdf.
2.     
Label
your document: MLAC3183_Student ID_23-24.
3.     
Don’t
add in any extra images or other embellishments and keep your slides as
visually clean as possible. Avoid templates with background patterning, design
formatting that plays with the shape of the painting or any unnecessary other
graphics. The Gallery format is just one of the many design options available
but it isn’t working well for us this year. I suggest using a blank slide (no
formatting), with a black or very dark grey background for the slides one which
you show your paintings. Insert them without any formatting and try to make
them as big on the slide as possible. Place the painting captions in the note
slides, as titles  but not in a font
larger than the note itself.
4.     
Present
your slides in this order:
a.     
title
slide (please do not include your name; your student ID should only appear on
the filename)
b.     
introductory
curator’s note
c.     
first
image (corresponding to the left-hand wall).
d.    
curator’s
note for first image with caption as title
e.     
second
image (centre wall)
f.      
curator’s
note for second image
g.     
third
image (right-hand wall)
h.    
curator’s
note for third image
i.       
bibliography
– you can present an integrated bibliography containing material for all three
images or a differentiated bibliography with material for each image listed
separately and, if appropriate, material used for the introductory note. These
can be arranged over several slides. Keep the font size the same for the
bibliography as for the curator’s notes. The captions should also be in the
same font size.
5.     
Don’t
include footnotes or Harvard-style author-date referencing in any of your
notes. If you include a direct quote then make it clear in your text who made
the statement.
6.      The painting caption or title should be in
Spanish if the image is kept in a Spanish gallery, in English if in an
English-language gallery. After that it’s up to you if you wish to use the
language of the country in which the gallery is located. The same applies to
the names of galleries. There’s no need for inventory numbers. Use the order
below:
Francisco de Goya y Lucientes, La maja vestida, 1800-1807, Museo del
Prado, Madrid, oil on canvas, 94.7 x 188cm.
Diego Rodríguez de Silva y Velázquez, Philip IV of
Spain in Brown and Silver, c. 1631-32, National Gallery, London, oil on
canvas, 195 x 110cm.
7.     
Download
your images from the galleries where they are kept unless this is impossible.
This will ensure the best colour reproduction. Don’t forget this exhibition
should be a pleasant visual experience for the viewer and the most important
element of that is that the images should be optimally displayed.
8.    
The
word limits are for each individual note. Try to stick as closely as possible
to the word limit. You can’t aggregate the word counts and swop surplus words
from one note to another. Each curator’s note should be 400 words or within 20
words of that. The introductory note should be 300 words or within 15 words of
that. The title, captions and the bibliography are not subject to word count.
Put a word count at the end of each note.
Style and Content
9.     
Avoid
lazy formulae such as ‘some say’, ‘many believe’ etc.
10. 
Don’t
use ‘we’ or ‘I’. Maintain an objective distance.
11.  
Avoid
‘isms’ (Mannerism, Impressionism), terms relating to periodisation (Baroque,
Romantic) and technical terms (chiaroscuro, tenebrism, brushwork) unless they
are indispensable to your analysis and you’re using them in a clearly targeted
way.
12. 
You
don’t need to explain to the viewer how the painting works as a technical
composition. Try to help your viewer to explore the content of the painting:
objects, creatures, topography, buildings; gestures, clothing, interpersonal
dynamics; time of day and resultant lighting etc.
13. 
You
will need to include relevant historical context but we do not need who the
painter trained with nor which other painters he/she may have been influenced
by – unless you yourself have observed such influence and are familiar with the
work of the other painter(s)
14. 
You
can refer to other paintings in an individual note but try not to produce a
comparison-style text. These can be other paintings in your exhibition or other
paintings you think are relevant (and you are familiar with). The bulk of your
overarching argument, ie the theme of your exhibition, should be presented in
the introduction.
15. 
Don’t
(unlike me in these notes) use contractions. Be more formal. Each gallery has a
house style and this is part of our PinS Gallery style.
16. 
The
title should be the last thing you decide upon after you’ve written the
introduction. The introduction should only be done after the individual notes.
The title should be short and snappy. It should not look like an essay title or
a research question. It doesn’t have to present your theme/topic
comprehensively. It should entice viewers in to see your exhibition.

Please choose primary source(2 films) from the following films: 
Boat People 投奔怒海 (1982) directed by Ann Hui 許鞍華.
Song of the Exile (1990) directed by Ann Hui 許鞍華.
A Simple Life 桃姐 (2011) directed by Ann Hui 許鞍華.
if you can’t find a source to watch the film, please contact with me.

Audrey Flack’s still life Wheel of Fortune (top) contains objects often found in 17th century Dutch vanitas paintings like Willem Claesz Heda’s Still Life with Oysters, a Roemer, a Lemon, and a Silver Bowl (bottom). Objects in such paintings remind viewers that life is short and transient. Fruit and food decay; glasses are broken or tipped; and skulls imply human mortality. Describe Flack’s use of color in Wheel of Fortune and Willem Claesz Heda’s Still Life with Oysters, a Roemer, a Lemon, and a Silver Bowl. Describe and compare color values and intensities of the two paintings. What do the colors suggest about the mood of each painting?

As we saw in Saltz’s review of Urs Fischer’s You (remember, the hole in the ground?), sometimes a reviewer can become so ecstatic over a work of art that his review begins to slip into what might be called hyperbole, yet reviewers can be reasonably enthusiastic about a good work of art, as critic A.O. Scott is in his review of Ratatouille.
I especially like it because, rather than addressing an elite circle of art connoisseurs as Saltz did (after all, who else could understand You?), Scott shares his enthusiasm in a more grounded, accessible way.
Even if you already like Ratatouille, you will likely come away appreciating the artistry of film even more after reading this review! 
Turan’s review of Cameron’s Titanic, on the other hand, is a fine example of a negative review. Turan thinks Cameron’s work a bloated product of the director’s overweening ego and does a fine job explaining why.
In your response, respond to these questions along with offering your own perspective upon our two reading assignments for this module: Scott’s review of Ratatouille and Turan’s review of Titanic:
Can you identify a thesis statement in each film review? In your own words, restate each reviewer’s opinion of the film.
What is one subpoint each reviewer uses to support his thesis idea? What examples and analysis does each reviewer use to explain this subpoint?
Does the reviewer use the right amount of plot summary? Why or why not? Please explain your response using examples from the text to support your analysis.
How would you describe the style and tone of each reviewer?
Which reviewer has a stronger ethos? Give evidence from the reviews to support your opinion.

In Arts Paper 1, you will conduct an in-depth study of an artwork of your choice and write a 1200-word paper to demonstrate your learning of the artwork. This artwork should be chosen from one of the following disciplines of the arts: literature, art, or theater. You must obtain a firsthand experience with the artwork. The artwork does not need to be a well-known piece; however, it is very helpful if the artwork has been reviewed by a critic, historian, or seasoned arts enthusiast. For example, you may attend an art exhibition in your local library or a play in a local school or a community theater; you may find further information about the artist, director, actors, and creative process through the review in the local newspaper or the organization’s website. If you are unable to gain a firsthand experience with the visual art or theater, you should consider writing about a literary work for this assignment.   
Title of your paper should be placed directly before the introductory paragraph. Give your paper an engaging title according to the main topic or thesis of your paper.  
Introductory paragraph including a thesis statement (about 100 words). Open your paper with some interesting thoughts or questions, for example, based on your impression of the artwork or the most intriguing comment you’ve read from the review. Follow it by a thesis statement highlighting the essential information of the artwork and other important topics you will discuss in the paper.
Description of the artwork (about 200 words). Summarize the plot (Literature), describe what you see (Art), or do both (Theater). For visual art or theater, make sure to apply the proper language of visual art or drama developed in its discipline to describe the artwork. The textbook “Writing about the Humanities” or a quality review of the artwork can guide your description of the artwork. You may also research the Internet to find out what additional “elements of art” professionals used to describe an artwork.
Information of the artist(s) (about 200 words). Introduce the artist only using and describing the information that contributes to further understanding of your selected artwork, for example, the artist’s training and preferred art genre, artist statement, and artist’s intention of making the selected artwork.
Information of the creative process (about 200 words). Explain the creative process from the conceptualization stage to the making of the final product. Identify the style, genre, medium, technique, technology, and other important artistic matters the artist employed to create the artwork. You may describe more of a step-by-step creative process (e.g., how Jeff Koons constructed the gigantic Puppy located in front of Guggenheim Bilbao Museum, 2005), or the ideas and conditions that influence the creative process (e.g., how the visual images of advertising and the entertainment industry influenced Jeff Koons’ design of Puppy). 
Analysis, interpretation, and/or evaluation of the artwork (about 400 words). Use the questions in Chapter 2 and sample essays in other chapters from “Writing about the Humanities” as references to learn how to analyze, interpret, and evaluate a work of art. Specifically, explain the artistic, sociocultural, and historical significance of the work you chose to study. Consider questions such as what the original or innovative aspects of the artwork are; what sociocultural issues the artwork addresses or how the artwork contributes to the humanities—a better society; and whether or not the artwork will be remembered for a long time or what the important role the artwork plays in the history.
Final reflection (about 100 words). Summarize the vital aspects you’ve examined in the paper and your own informed summative response to the artwork.
References. Use a proper citation style to cite at least 2 references. MLA style is preferred in the field of the humanities. Attach an image of the artwork, if available, and include a caption containing essential information