Category Archives: Arts(Performing Arts)

Need Help-Art


­Need Help-Art

Length: 4-5 pages (1000-1250 words, double-spaced, 12-point type)

Choose one of the following broad thesis statements (which relate to class themes and readings), and at least three related artworks, and then do the following:

 

  • narrow the thesis down and refine it to make a more specific claim with regard to the artworks you have chosen
  • use the evidence from your research to support the thesis.

 

For many artists in the late 19th and earlier 20th centuries, an emphasis on the use of non-naturalistic colours was a key means for developing new modes of artistic expression. (Classes 2, 3. Suggested artists: Vincent van Gogh, Paul Gauguin, Henri Matisse and the Fauves, Ernst Kirchner and other members of Die Brücke)

 

For the Cubist artists Pablo Picasso and Georges Braque, jokes, puns, and visual games played an important role in their development of a groundbreaking new artistic style. (Class 4. Suggested artists: Pablo Picasso, Georges Braque)

 

(*This highlighted text is the topic that I have chosen for this assignment.)

 

 

GUIDELINES FOR WRITING YOUR RESEARCH PAPER:

1) Use the observations you made in the first written assignment – the Research Log Worksheet – as a jumping off point to write a carefully crafted and well-argued research paperon your selected topic.

2) Choose THREE artworks to focus on in your paper. The artworks may be by the same artist, or different artists.

3) Provide a figure number (i.e. Fig. 1, Fig. 2, etc.) for any image you include in the paper, the first time you mention it. Put the figure number in brackets at the end of the sentence. Provide the figure number again if you compare this work to another work. At the end of the paper, include your illustrations, and identify each one with the appropriate figure number.

 

4) Your opening paragraph should include yourthesis statement,which will put forward the argument you are going to make about the artworks you are focusing on. The thesis statement is an important element and MUST BE INCLUDED in the opening paragraph. In other words, avoid generalizations at the start of your essay and focus on your thesis from the very beginning.

 

5) Support your thesisby comparing the three artworks you have chosen, and through additional research from AT LEAST FOUR scholarly sources (which can include the one you used for the first written assignment).

 

6) Your scholarly sources should consist of secondary sources (i.e. books by art historians, articles in scholarly journals by art historians), andprimary sources, if appropriate (i.e. writing by artists and/or critics from the period of the works you discuss).

 

7) Be sure to cite your sources thoroughly in order to avoid plagiarism, a very serious academic office. You are to follow the guidelines from the Chicago Manual of Style. For tips on how to cite your sources properly and avoid plagiarism, consult your course syllabus.

 

8) Provide a title page that includes the title of your essay. The title of the essay should relate to or signal your thesis.Also include your name, student number, and course information. Add page numbers to your research paper, but do not include the title page, or the pages with the image illustrations, in your page count.

 

(please turn over…)

SUBMISSION CHECKLIST:

__ Include colour illustrations of any works you discuss with your research paper (see #3 above for formatting instructions).

__ Submit your first written assignment with your research paper, so that we may refer back to this when marking the research paper – both assignments will be returned to you at the final exam. (Staple the two assignments together; place the research paper on top.)

__ Fill in and submit the Academic Integrity Checklist with your hard copy.

__ Submit a copy of your research paper to turnitin.com.

Important note: your research paper WILL NOT BE MARKED until you have submitted the Academic Integrity Checklist to us, and submitted your research paper to turnitin.com.

 Need Help-Art

 

 

 

Art Criticism


Art criticism is the process of gathering facts and information about a work of art and the artist to describe, analyze, interpret, and evaluate art. For this assignment, you will choose one work of art from the following artists to critique.

Select ONE (1) work of art by one of the following artists:

  • Mary Cassatt
  • Pierre-Auguste Renoir
  • Claude Monet
  • Edgar Degas
  • Berthe Morisot
  • Gustave Caillebotte

Complete the following:

  • Identify the artist, the title of the artwork, the date it was completed, and the size of the art piece in the first paragraph.
  • Paste an image of the painting in your paper. (The images in the textbook are copyright-protected and cannot be copied. To find the exact painting, search the Internet by the artist’s name and the title of the work. Right-click and copy the image. Open a Word document and right-click and paste. If the image does not paste into your paper, try another image. Sometimes images are protected and cannot be copied. Wherever you do find the image, make sure to cite your source in APA style. If you are unsure how to cite an image, this resource can help you.)
  • Use the four steps to critiquing art that are found in Chapter 9 of the Embracing Art textbook to develop a critique of the work. Be sure that you write a well-developed paragraph on each of the four areas indicating specific areas in the painting in your explanation:
    • Description
    • Analysis
    • Interpretation
    • Evaluation
  • Explain how art can be “aesthetically pleasing” even if it isn’t beautiful?
  • How did viewers of the selected work of art respond to the work at the time it was created?

Part 2

Using a camera or cell phone, take THREE (3) of your own, uniquely different, photographs from your immediate environment that exemplify each of the following styles of art (be creative!):

  • Realism
  • Impressionism
  • Post-Impressionism

You can manipulate your photographs with any software effects to achieve the appropriate results. For example, you can take a photo of a friend or family member, and using software, blur the image to represent impressionism.

Include your 3 original photographs in your paper. (Save the photos to your desktop. If you use your phone camera, you can e-mail them to yourself. Open the image and right-click and copy. Open a Word document and right-click and paste.)

Include the following information in paragraph style:

  • Number each photo and identify the style it closely resembles.
  • Explain the characteristics of each style that you tried to emulate.
  • What style of art would best be used to communicate a direct message? Explain
  • What style of art would evoke an emotional response? Explain.
  • Identify 3 examples of Realism in art or design that you see on a daily basis.
  • Describe a situation in which the style of Impressionism might best be used in art and/or design today?

In-text citations and a list of references are required when including or paraphrasing any idea, fact, date, or other information from the textbook or other references.

Reference

Hume-Pratuch, J. (2010). There’s an art to it. APA Style Blog. Retrieved fromhttp://blog.apastyle.org/apastyle/2010/04/theres-an-art-to-it.html

This assignment will also be assessed using additional criteria provided here.

Please submit your assignment.

For assistance with your assignment, please use your text, Web resources, and all course materials.

Grading Rubric:

Purpose of Assignment and Content Development Demonstrates an outstanding use of appropriate, relevant, and compelling content with excellent expression of topic, main idea, and purpose.

Demonstrates exemplary knowledge or analysis of human perspectives appropriate to the assignment’s purpose and context.

Graphics accurately reflect the assignment requirements.

30%
Organization, Grammar and Presentation Organization is clear.

Language clearly and effectively communicates ideas and content relevant to the assignment.

Presentation and delivery are confident and persuasive (where applicable).

Audience, style, tone and perspective are consistent and appropriate to assignment.

Format is consistently appropriate to assignment, and follows assignment requirements.

Few if any errors in grammar, spelling, and sentence structure.

30%
Information Literacy and Research Demonstrates outstanding selection and use of high quality, credible, and relevant sources to develop ideas that are appropriate to the assignment.

Sources are consistently cited according to required style sheet (e.g., APA), with no errors beyond punctuation. Manuscript style is completely correct, according to style sheet guidelines.

5%
Critical Thinking Demonstrates outstanding or exemplary ability to analyze assumptions and evaluate evidence, complexities of issues, and alternatives. Where required, demonstrates outstanding or exemplary ability to use creativity and originality in problem-solving.

Quantitative literacy – Demonstrates outstanding ability to provide accurate understanding and explanations of information presented in mathematical forms.

Calculations attempted are essentially all successful and sufficiently comprehensive to solve the problem.

35%

Good Design”: Modernist hegemony in the USA and Britain


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Good Design”: Modernist hegemony in the USA and Britain
Choose one of the course themes below. Write a review of two of the recommended texts, plus one other of your choice relevant to the theme (which can be from the course reading or any other published source). Where a book is given as the recommended text, you should choose the most relevant chapter(s). The review will take the form of an essay .
Hayward, Stephen. “‘Good design is largely a matter of common sense’: Questioning the Meaning and Ownership of a Twentieth-Century Orthodoxy.” journal of Design History 11, no. 3 (1998): 217-233.
Woodham, Jonathan M. “Managing British design reform I: fresh perspectives on the early years of the Council of Industrial Design.” Journal of Design History (1996): 55-65.
Woodham, Jonathan M. “Managing British Design Reform II: The Film Deadly Lampshade—An Ill-Fated Episode in the Politics of ‘Good Taste’.” Journal of Design History 9, no. 2 (1996): 101-115.
Woodham, Jonathan. “Design and everyday life at the Britain can make it exhibition, 1946:‘stripes, spots, white wood and homespun versus chintzy armchairs and iron bedsteads with brass knobs’.” The Journal of Architecture 9, no. 4 (2004): 463-476.
McDonald, Gay. “The “Advance” of American Postwar Design in Europe: MoMA and the Design for Use, USA Exhibition 1951–1953.” Design Issues 24, no. 2 (2008): 15-27.

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Presentation Development


Presentation Development
Be sure to read the presentation rubric to see how your presentation will be graded.

After you have chosen your form of motorsport, you need to create a power point presentation regarding your chosen form of motorsports.

The power point presentation MUST have a voice over so that we may hear your presentation.
The Lecture presentations can be used as a guide as they are done by previous students.
Note that adding your talking points or speech to the notes section of PowerPoint will help both you and the audience as you present.
Your PowerPoint should open and begin with one click.
Your PowerPoint slides should advance automatically as you discuss the slide.
Remember, a PowerPoint slide is a visual aid and is NOT the place to display every word you say.
Your presentation and audio should be enthusiastic and interesting.
You should include:

the beginning of the sport
major highlights to date
some of the rules
the type of participants
the current state of the sport
the type of people that watch the sport
important social and economic impact factors (why is the sport important to the local economy and or what social impact is there)
other pertinent factors that make the presentation interesting
The presentation should be LESS THAN 20 minutes in length. Target 15 minutes… Less than 10 minutes is not good… More than 20 minutes is NOT an “overachiever.”

Posting a presentation topic will get you up to 10 points. The presentation itself is worth 100 points.

POST YOUR PRESENTATION IN THE APPROPRIATE DISCUSSION FORUM STARTING A NEW THREAD.

Art


Art

Choose ONE of the following questions:

1. YOU, THE ARTIST

Write a poem or a brief essay, draw or paint a picture, make a carving, compose a song, take a series of photographs. Consider doing a self-portrait in any artistic medium or literary form, representational or abstract. To get started, you might look at “Project Art-a-Day” at http://projectartaday.blogspot.com/2013/03/lesson-value-self-portraits.html

Include images or audio files of your creative efforts in your response. Then reflect on your experience.

2. CROSS-FERTILIZATION

Present and discuss an example of cross-fertilization between two or more art forms. For example, you might compare a theater presentation with a film adapation of the same play, or discover and describe how a poem can be illustrated as a drawing or painting.

For this discussion, you might also compare art forms between two different cultures. For example, you might compare how religious images or music differ between religious or cultural groups.

Be sure to include images and links so everyone can see or hear what you’re discussing.

3. REVIEW A TED TALK

TED stands for Technology, Entertainment, and Design. The TED organization sponsors global presentations on “Ideas Worth Spreading.”

Go to the website https://www.ted.com/ . Find a TED talk that addresses the value of one of the humanities fields covered in this course or a controversy in one of the humanities disciplines.

Write a review of the presentation. First, identify the name of the speaker and the presentation, indicate when it was presented, and give a link to the talk. Second, describe the main points of the TED talk. Finally, offer a critique —your assessment of the speaker’s ideas and the presentation overall.

4. DISCUSS FUNDING FOR THE ARTS

Although most people appreciate the arts as part of their everyday lives (perhaps, especially, music and film), the arts often are first to go when public school funding is tight. Use the educational resources for this week as a starting place to explore the pros and cons of public funding for the arts and funding for art and music in public schools.

Order# DP4088; The Death of the Moth, Virginia Woolf


The Death of the Moth
Virginia Woolf
Moths that fly by day are not properly to be called moths; they do not excite that
pleasant sense of dark autumn nights
and ivy
blossom which the commonest
yellow
underwing asleep in the shadow of the curtain never fails to rouse in us.
They are hybrid creatures, neither gay like butterflies nor sombre like their own
species. Nevertheless the present specimen, with his narr
ow hay
coloured wings,
fringed with a tassel of the same colour, seemed to be content with life. It was a
pleasant morning, mid
September, mild, benignant, yet with a keener breath than
that of the summer months. The plough was already scoring the field op
posite the
window, and where the share had been, the earth was pressed flat and gleamed with
moisture. Such vigour came rolling in from the fields and the down beyond that it
was difficult to keep the eyes strictly turned upon the book. The rooks too were
keeping one of their annual festivities; soaring round the tree tops until it looked as
if a vast net with thousands of black knots in it had been cast up into the air; which,
after a few moments sank slowly down upon the trees until every twig seemed to
h
ave a knot at the end of it. Then, suddenly, the net would be thrown into the air
again in a wider circle this time, with the utmost clamour and vociferation, as
though to be thrown into the air and settle slowly down upon the tree tops were a
tremendously
exciting experience.
The same energy which inspired the rooks, the ploughmen, the horses, and even, it
seemed, the lean bare
backed downs, sent the moth fluttering from side to side of
his square of the window
pane. One could not help watching him. One wa
s, indeed,
conscious of a queer feeling of pity for him. The possibilities of pleasure seemed that
morning so enormous and so various that to have only a moth’s part in life, and a
day moth’s at that, appeared a hard fate, and his zest in enjoying his meag
re
opportunities to the full, pathetic. He flew vigorously to one corner of his
compartment, and, after waiting there a second, flew across to the other. What
remained for him but to fly to a third corner and then to a fourth? That was all he
could do, in
spite of the size of the downs, the width of the sky, the far
off smoke of
houses, and the romantic voice, now and then, of a steamer out at sea. What he could
do he did. Watching him, it seemed as if a fibre, very thin but pure, of the enormous
energy of
the world had been thrust into his frail and diminutive body. As often as
he crossed the pane, I could fancy that a thread of vital light became visible. He was
little or nothing but life.
Yet, because he was so small, and so simple a form of the energy th
at was rolling in
at the open window and driving its way through so many narrow and intricate
corridors in my own brain and in those of other human beings, there was something
marvellous as well as pathetic about him. It was as if someone had taken a tiny
bead
of pure life and decking it as lightly as possible with down and feathers, had set it
dancing and zig
zagging to show us the true nature of life. Thus displayed one could
not get over the strangeness of it. One is apt to forget all about life, seeing
it humped
and bossed and garnished and cumbered so that it has to move with the greatest
circumspection and dignity. Again, the thought of all that life might have been had
he been born in any other shape caused one to view his simple activities with a kin
d
of pity.
After a time, tired by his dancing apparently, he settled on the window ledge in the
sun, and, the queer spectacle being at an end, I forgot about him. Then, looking up,
my eye was caught by him. He was trying to resume his dancing, but seemed e
ither
so stiff or so awkward that he could only flutter to the bottom of the window
pane;
and when he tried to fly across it he failed. Being intent on other matters I watched
these futile attempts for a time without thinking, unconsciously waiting for him
to
resume his flight, as one waits for a machine, that has stopped momentarily, to start
again without considering the reason of its failure. After perhaps a seventh attempt
he slipped from the wooden ledge and fell, fluttering his wings, on to his back o
n the
window sill. The helplessness of his attitude roused me. It flashed upon me that he
was in difficulties; he could no longer raise himself; his legs struggled vainly. But, as
I stretched out a pencil, meaning to help him to right himself, it came over
me that
the failure and awkwardness were the approach of death. I laid the pencil down
again.
The legs agitated themselves once more. I looked as if for the enemy against which
he struggled. I looked out of doors. What had happened there? Presumably it wa
s
midday, and work in the fields had stopped. Stillness and quiet had replaced the
previous animation. The birds had taken themselves off to feed in the brooks. The
horses stood still. Yet the power was there all the same, massed outside indifferent,
imper
sonal, not attending to anything in particular. Somehow it was opposed to the
little hay
coloured moth. It was useless to try to do anything. One could only watch
the extraordinary efforts made by those tiny legs against an oncoming doom which
could, had i
t chosen, have submerged an entire city, not merely a city, but masses of
human beings; nothing, I knew, had any chance against death. Nevertheless after a
pause of exhaustion the legs fluttered again. It was superb this last protest, and so
frantic that h
e succeeded at last in righting himself. One’s sympathies, of course,
were all on the side of life. Also, when there was nobody to care or to know, this
gigantic effort on the part of an insignificant little moth, against a power of such
magnitude, to reta
in what no one else valued or desired to keep, moved one
strangely. Again, somehow, one saw life, a pure bead. I lifted the pencil again, useless
though I knew it to be. But even as I did so, the unmistakable tokens of death
showed themselves. The body rel
axed, and instantly grew stiff. The struggle was
over. The insignificant little creature now knew death. As I looked at the dead moth,
this minute wayside triumph of so great a force over so mean an antagonist filled me
with wonder. Just as life had been s
trange a few minutes before, so death was now
as strange. The moth having righted himself now lay most decently and
uncomplainingly composed. O yes, he seemed to say, death is stronger than I am.
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