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Read these functions and purposes to get higher grades for this criteria Dec 2024

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Read these functions and purposes to get higher grades for this criteria Dec 2024

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LibGuides: IBDP Visual Arts Comparative Study: Function and Purpose

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Here is an example of image analysis of a students photograph...

In this picture I really like how the top part of the girls head has been cropped so that her face and arm frame the picture. I also
like the lighting and how the light is very bright on the right side of her face and the arm but it's just a bit darker on the left hand side which creates a bigger definition in the face.

The girl's facial emotion fits in with the black and white effect really well because it looks very intense and serious. The black
and white effect also helps the picture stand out because it helps the lighting and the features more visible.

In photo-shop I increased the contrast a little bit so that the detail in the hair and face was more defined. I didn't want to increase
it to much because I like the grey and white colours against the black background and if I increased it to much the colours would be black and white. I also I duplicated the layer twice and changed the opacity to 20% on the third
layer, then I used the Gaussian blur on the second layer and put the opacity up
to 100% again on the third layer. Afterwards I used the eraser on the skin and because the second layer was still in Gaussian blur the skin became smooth andthe eyes started to stand out more from the rest of the face. Then I flattened the image.

This picture is my favourite out of all the pictures in this project because I love how it's an unusual angle but its still simple but
effective composition because the fact that she has her hands up against her on face and not much emotion on her face makes the picture look quiet and undisturbed.
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When analysing photographs you should use as many key words as possible. You do not need to write about everything included below as some aspects are not relevant. Basic facts What is the title of...

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Example of how a sculpture has been analysed

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Example of how a sculpture has been analysed

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Medium/Technique
The sculpture is carved from a block of marble. Michelangelo carves away ( subtractive technique) to "reveal" the figure within. The texture is varied, some parts of the body, like the thighs, are rendered to a smooth finish, and in other areas he leaves the rough texture of the chiseled marble intact, as if the figure is literally emerging from the solid stone.

Shape/movement the contrapposto pose shifts the weight to one side of the narrow slab and figure is twisting in a graceful upward spiral, which imparts a sense of implied movement and energy, but the form is also closed upon itself, bound rather than open. His face is buried in his arm, almost hidden, emphasizing the inward struggle.

Light plays across the monochrome surface of the stone, creating deep shadows under the arm and knee and evidencing the rough texture of the chisel marks.

Scale/ placement The figure is larger than life ( 256 cm) and this imparts a sense of power and strength. The sculpture can be viewed form all sides but there is definitely a "front view". It was originally intended for a niche in the tomb of Julius II, part of a series of bound figures " i prigioni" ( prisoners). In the Accademia the figure is placed in a corridor with three of these other "prigioni", which came to be known as "slaves", also in various stages of emerging from their marble slabs.

Purpose/ Interpretation It is claimed that the artist deliberately left these figures incomplete to represent the struggle of man to free the spirit from matter.

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sculpture

Medium/ technique:Is it done in an additive or subtractive technique ( “ built up,” as with clay and plaster, or carved it away, as with wood and stone)? Texture/surface Is there intentional evidence of the process and materials, can you see chisel marks in the stone or wood, or feel the texture of modeled clay in the bronze? Or does the artist wish you to “see” the material as something else (i.e.marble as having the material qualities of drapery: soft, flowing, etc.).?

Scale/Placement consider the scale of the sculpture relative to the viewer and the space it is in. Is there a relationshop to the architectural context or the landscape if it is outdoors? Do we know where the sculpture was originally located? From what vantage point was the image to be viewed – from below? from the front? Is there a main view? Could the viewer walk entirely around the object? Did the sculptor plan for it to be viewed from all sides?

Shape/ Space/ Movement How does the sculpture occupy the physical space it inhabits? Does it reach out into it, look or gesture outwards? Does it have holes or voids? (open form) Or is it self-contained and turning inwards (closed form). What is the shape of the space, and does it progress or have implied movement (does it spiral upwards or outwards, does a group seem to move from left to right, etc.)? Does the sculpture actually move? (kinetic), is it interactive ( requires viewer participation)?

Color and Lighting. What colors or tones are present? Was the sculpture originally painted? Has the sculptor created effects through contrasting shadows and highlights? Are there deeply cut areas that create deep shadows? Are the figures modeled vigorously, creating a play of darks and lights, or modeled very smoothly? If we know the original location, did the sculptor take into consideration the lighting of that space?

Function and purpose What was it made for? How has the style and subject of the image been affected by its original function?

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Full marks Comparative Study HL 42/42-not from our school.

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Full marks Comparative Study HL 42/42-not from our school.

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Create a new document and edit with others at the same time -- from your computer, phone or tablet. Get stuff done with or without an internet connection. Use Docs to edit Word files. Free from Google.

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Visually analyzing Paintings. Some prompts for you to consider

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Visually analyzing Paintings. Some prompts for you to consider

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Go behind-the-scenes with Patricia Piccinini in her Melbourne studio

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Youtube vid from the Art Science Museum exhibition we went to

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Youtube vid from the Art Science Museum exhibition we went to

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Patricia Piccinini : We are connected - exhibition at ArtScience Museum in Singapore

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by Patricia Piccinini (2021)

We Travel Together is a work that talks about the kinds of relationships that humans might be able to have with a post-natural world.

The film follows a young woman as she moves through the kinds of diverse landscapes that makes up the nature in the contemporary world. Along the way she encounters and connects with a strange little creature, and they travel together for a time.

Nothing in the film tells you where the strange little creature comes from. But, to be honest, that doesn't really matter. What matters is the relationship they build together. There is no possibility of a return to original nature, we must build new relationships with the world and the organisms that currently surround us.

Filming this work was a great experience. Peter and I worked with director Rhys Graham and cinematographer Alex Cardy to shoot it. My son Hector came along as the camera assistant and Dennis did the computer graphics. We shot it after lockdown and it was amazing being on the salt lake at 5am after so many months in our house. I'll never forget being in the bush when five emus walked by us. We asked Jillian, the actor, to just follow them and Alex grabbed the camera and followed her. I can't help smiling when I see those emus in the film, they were a total gift from nature.

The song in the middle is a favourite of mine by Cloud Control, who were kind enough to let us use it. To me it's just how falling in love feels: It's great but it's not simple.

My idea for the work was to show the story of a relationship between a human and a more than human, artificial animal that is tender. I wanted to show a real connection between the two, depicting a kind of love. It's also about finding a kind of beauty in the post-natural landscapes, and the way that even in the most devastated places, life will begin to return, if we let it.

This film depicts a kind of love story. And with love, one of the hardest things you sometimes have to do is let someone go. That's what the woman does, she realises that even this creature, that is human-made, needs it's own space. I think this is a really important moment, because it depicts a person doing something for the sake of another animal rather than themselves. The woman's life is better with her strange little companion, but it doesn't need her. It needs something else. That is what humans find so hard: doing something to make the world better for others when it makes things harder for us. The woman cares enough about the creature to put its interests above her own. That does make her special.

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by Patricia Piccinini (2021) We Travel Together is a work that talks about the kinds of relationships that humans might be able to have with a post-natural world. The film follows a young woman as she moves through the kinds of diverse landscapes that makes up the nature in the contemporary world.

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What is art for? Alain de Botton's animated guide | Art and design

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Why do artists make art?! The purpose of making art

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Why do artists make art?! The purpose of making art

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The Role of Arts & Culture in an Open Society

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Biographies, Life, and Legacy of the Great Masters to the Up-and-Comers of today.

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Sofi HL ISPP 35/42 (one mark off getting a 7) =6

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Sofi HL ISPP 35/42 (one mark off getting a 7) =6

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Smarthistory.org has some good references to look at for themes

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Smarthistory.org has some good references to look at for themes

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At Smarthistory, the Center for Public Art History, we believe art has the power to transform lives and to build understanding across cultures. We believe that the brilliant histories of art belong to everyone, no matter their background.

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When concluding/comparing Discuss these points separately.

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When concluding/comparing Discuss these points separately.

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Visuals-Which one was most accomplished visually/technically in your opinion. Why? Which one contributed the most in a new and different way to the art world? What are the most obvious similarities and differences in the work? Were there any particular pieces that did new things with a material that hadn't been attempted before?

Cultural significance-based on where and when they lived in history, which artwork is most profound in terms of its representation of your theme in your opinion? Were there any works that were risk-taking, taboo, or controversial based on their culture? What similarities and differences are there in the lives and circumstances that the artists lived?

F+P and symbolism-which artwork do you you think are the most significant in terms of viewer impact? How were they more effective in their communication of meaning over the other two? How did they contribute the most to the art world in terms of their approach to this subject matter, in your opinion or through your research? What are the most obvious similarities and differences in the use of symbolism and function and purpose of the work?

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Branksome Hall examples of comparing artworks

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Branksome Hall examples of comparing artworks

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Skip to Main Content

It looks like you're using Internet Explorer 11 or older. This website works best with modern browsers such as the latest versions of Chrome, Firefox, Safari, and Edge. If you continue with this browser, you may see unexpected results.

What is the assessment criteria looking for?

an effective identification and critical analysis of the connections, similarities and differences between the selected artworks, objects and artifacts.

At the highest level of achievement, the work critically analyses the connections, similarities and differences between the selected pieces. These connections are logical and coherent, showing a thorough understanding of how the pieces compare .

How can I do that?

Look beyond the canvas and look at each layer of the piece. Tell me how they fit together and find the less obvious, more important connections.

What could that look like?

This clearly compares the three artworks and it is broken down into subsections using subheadings

another example: clear layout, but only compares 2 images- must be all 3

another example: this is less clear that there are elements that are being compared.

another example : this table is a good layout, but it is very superficial and limited.

another example: could try to find more connections.

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LibGuides: IBDP Visual Arts Comparative Study: Connections

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Skip to Main Content It looks like you're using Internet Explorer 11 or older. This website works best with modern browsers such as the latest versions of Chrome, Firefox, Safari, and Edge. If you continue with this browser, you may see unexpected results.

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Skip to Main Content

It looks like you're using Internet Explorer 11 or older. This website works best with modern browsers such as the latest versions of Chrome, Firefox, Safari, and Edge. If you continue with this browser, you may see unexpected results.

What is the assessment criteria looking for?

an analysis and reflection on the outcomes of the comparative study investigation and on how this has influenced your own development as an artist, identifying connections between one or more of the selected works and your own art-making processes and practices .

At the highest level of achievement, the work analyses and reflects upon the outcomes of the investigation consistently and appropriately. You effectively consider your own development , making informed and meaningful connections to your own art-making practice .

What does that mean?

This could be a single piece, a way of working or a way of looking at a subject. Your task is to take all of your learning and process it in your own way, for yourself as an artist. You need to show a depth of connection that

What could that look like?

This page below is a good example of how she has compared her work to the other artists and made connection to the artists. She has been able to divide the information in a way that makes it really easy for the examiner to see where to assign those 12 marks.

I really like how this piece has made connections that are beyond the canvas. It is more than a superficial copy or appropriation of the work, instead it is a piece that is showing the ideas that were presented by the artist and how they connected to the ideas. She has moved the idea of African American history adn their hair (presented as a concept in the work) and produces a piece using her own ideas and vocabulary.

I really like how the artist created this page as it shows her own connection to these pieces. it shows a connection to an experience that she had and how she wants to create a piece that informs the viewer of it, or incites them to think in a certain way.

This is page shows connections to the art work that she has produced and expands on the ideas that she has taken from the artists.

Development of practices and artwork to show how the work on the comparative study has influenced her work. You can include sketchbook pages too. Make sure that they are relevant and expand on the ideas or meet the assessment criteria.

I really like this page- she has divided the page into her 3 artists and shown how she has made connections with her own work and theirs.

There is a good compare and contrast of how the work has informed what this student has decided to create.

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LibGuides: IBDP Visual Arts Comparative Study: HL Connect to your own work

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Function and Purpose explained by Branksome Hall Int School 

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Function and Purpose explained by Branksome Hall Int School 

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According to Ben Dutton "What Makes Art Art?"

Here is a brief summary of Dutton's annotated cluster-criteria definition of art.

Intellectual challenge - Art "tends to be designed to utilize the combined variety of human perceptual and intellectual capacities to the full extent."
Art traditions and institutions - Works of art "gain their identity by the ways they are found in historical traditions, in lines of historical precedents."
Imaginative experience - The chief defining characteristic of art may be that its objects "provide an imaginative experience for both producers and audiences." Criticism:"Wherever artistic forms are found, they exist alongside some kind of critical judgment and appreciation, simple or, more likely, elaborate."
Representation - "Art objects . . . represent or imitate real and imagined experiences of the world."
Special focus - All art is "bracketed off from ordinary life, made a separate and dramatic focus of experience"
Expressive individuality - A work of art possesses this trait (but so does "[a]ny ordinary activity with a creative component--everyday speech, lecturing, home hospitality" and so on)
Emotional saturation - Art is "shot through with emotion" Skill and virtuosity - The making of art requires and demonstrates "specialized" skill
Style. Objects and performances in all art forms are made in recognizable styles, according to rules of form, composition, or expression."
Novelty and creativity - These qualities, as well as "the capacity to surprise," are integral to art in Dutton's view. Direct pleasure - Art is "a source of immediate experiential pleasure in itself."

(remember, a single artwork can have more than one!)
According to Concerning the Nature of Art
Keifer-Boyd, K. & Maitland-Gholson, J. (forthcoming) "Expose, Explode, Empower: Visual Culture Explorations in Art Education." Davis Publication.

INSTRUMENTALISM: One very important idea about art is that it should serve a purpose.

IMITATIONALISM: There is a strong belief among many viewers of art that the purpose of art is to imitate life in a way that recreates the experience we would have if encountering the real-life experience being interpreted by the art work.

EXPRESSIONISM: Another BIG idea about art is that it must express emotion.

FORMALISM: Viewers, often off-handedly, refer to art as "modern art" or "abstract art."

CONTEXTUALISM: There are many other factors beside design that influence our response to visual art and visual experience in general.

According to Alain De Botton and John Armstrong " Art As Therapy" Phadion Press

Video. Notes.

1. Remembering: As a tool to refresh our memory on what has been observed.

2. Hope: As a tool to re-direct out energies and provide hope through beautiful depictions of reality.

3. Sorrow: As a tool to re-assure ourselves, helping us realise that we are not alone in out experiences

4. Rebalancing: As a tool to rebalance us by showing us depictions of personal experiences

5. Self Understanding: As a tool to re-new self understadning by guiding our attention to aspects of ourselves.

6. Growth: As a tool to redevelop and grow by presenting imagery that triggers off putting associations.

7. Appreciation: As a tool to revisit the know and familiar images to develop awareness and gratitude for the everyday.

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LibGuides: IBDP Visual Arts Comparative Study: Function and Purpose

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According to Ben Dutton "What Makes Art Art?" Here is a brief summary of Dutton's annotated cluster-criteria definition of art. Intellectual challenge - Art "tends to be designed to utilize the combined variety of human perceptual and intellectual capacities to the full extent."

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Suggested Layout Google Slide Presentation

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Suggested Layout Google Slide Presentation

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160 Comparative Study Ideas | artist, art, art history

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Aug 13, 2018 - Explore Ms Jess Murphy’s board “Comparative Study Ideas”, followed by 101 people on Pinterest. See more ideas about artist, art, art history.

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PURPOSE

According to Ben Dutton "What Makes Art Art?"

Here is a brief summary of Dutton's annotated cluster-criteria definition of art.
Direct pleasure - Art is "a source of immediate experiential pleasure in itself."
Skill and virtuosity - The making of art requires and demonstrates "specialized" skill
Style. Objects and performances in all art forms are made in recognizable styles, according to rules of form, composition, or expression."
Novelty and creativity -  These qualities, as well as "the capacity to surprise," are integral to art in Dutton's view.
Criticism:"Wherever artistic forms are found, they exist alongside some kind of critical judgment and appreciation, simple or, more likely, elaborate."
Representation - "Art objects . . . represent or imitate real and imagined experiences of the world."
Special focus -  All art is "bracketed off from ordinary life, made a separate and dramatic focus of experience"
Expressive individuality -  A work of art possesses this trait (but so does "[a]ny ordinary activity with a creative component--everyday speech, lecturing, home hospitality" and so on)
Emotional saturation - Art is "shot through with emotion"
Intellectual challenge -  Art "tends to be designed to utilize the combined variety of human perceptual and intellectual capacities to the full extent."
Art traditions and institutions - Works of art "gain their identity by the ways they are found in historical traditions, in lines of historical precedents."
Imaginative experience - The chief defining characteristic of art may be that its objects "provide an imaginative experience for both producers and audiences."

FUNCTION

Some different functions that art can have

(remember, a single artwork can have more than one!)

Expressive function – expresses the artists’ feelings

Descriptive function – records the likeness of a place or person or other subject.

Conceptual function –the idea or concept behind the work is more important than the object

Practical function-has a practical use, such as clothing, vessels, furniture, a building

Religious function – tells a religious story or is an object of devotion.

Historical narrative function- tells a story of an event in history

Commemorative function – made to honour someone (like a statue of a famous person)

Political function- serves a political purpose, such as propaganda.

Symbolic function – symbolizes certain beliefs or ideas without representing them.

Decorative Function- used to adorn the body, a room, a building etc.

Ritual function – used as part of a ritual or ceremony, or has magical powers.

Shock function – intended to shock or upset the viewer

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Wadhana ISPP CS HL 36/42=7

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Depth and perspective. How to analyze using these terms

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Depth and perspective. How to analyze using these terms

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A huge list of artists categorized by theme. More than 60 themes include landscape, portrait, death, STEAM, death, collage and more.

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Making Comparisons and Connections. Student examples from CS samples.

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Making Comparisons and Connections. Student examples from CS samples.

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Takashi Murakami's gallery and the cool artist's he represents

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Takashi Murakami's gallery and the cool artist's he represents

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Discover Perrotin artists including Takashi Murakami, Maurizio Cattelan, Sophie Calle, Xavier Veilhan, Jean-Michel Othoniel, JR, Daniel Arsham or Leslie Hewitt.

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A great list of interesting artists and examples of their work

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A great list of interesting artists and examples of their work

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Find out more about artists represented and exhibited by Gagosian. Artwork, biographies, exhibitions, editorial coverage, news, and more.

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Art 21 Artists list and info on them

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Discover the artists of the latest season of Art in the Twenty-First Century

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Some brief examples of comparative studies to inspire some examples for you. 

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Some brief examples of comparative studies to inspire some examples for you. 

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Visual arts Module 2 - Activity 4: Comparative study padlet wall

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1. Read through the comparative study information in the guide. 
2. Select two artworks from different times and cultures. 
3. Either visually or in writing (or both) identify some similarities and some differences. 
4. If possible indicate on the artworks (annotate) the points you are making. 
5. This could take the form of a flow chart, a diagram, an illustration or a mind map.
6. If it is not an electronic file (that is, if it has been written by hand on a piece of paper) either scan it or photograph it to turn it into a digital file. 
7. Upload to the Comparative study Padlet Wall.

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Emerging Artists of 2017 that could inspire your work

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Emerging Artists of 2017 that could inspire your work

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2016 was a decisive year for Bašić. In the past four months alone, the Serbian, New York-based artist has mounted both her first gallery solo show, at London's Annka Kultys, and her first installation at a world-renowned museum, in the Whitney's much-anticipated group exhibition of innovative film and video, "Dreamlands." The Whitney presentation puts Bašić's work alongside the likes of Trisha Baga, Ian Cheng, Joseph Cornell, Pierre Huyghe, and Hito Steyerl. Recently, Bašić's work has caught the art world's eye for its visceral depictions and dissections of the human body. Corporeal sculptures that suspend fleshy wax masses from ribbon or prop them up with steel bars address both the vulnerability and resilience of the human form. Meanwhile, her videos isolate forms that resemble pulsing, regenerating organs. Bašić was raised in Belgrade during a period of violent conflict, and is deeply engaged with the cultural and technological innovation brought about by the internet. She is interested in the body as a malleable vessel-one that can be simultaneously fragile, political, cloned, and digitized. Kicking things off in 2017, she will be included in a group exhibition at New York's Andrea Rosen Gallery.

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2016 was a decisive year for Bašić. In the past four months alone, the Serbian, New York-based artist has mounted both her first gallery solo show, at London's Annka Kultys, and her first installation at a world-renowned museum, in the Whitney's much-anticipated group exhibition of innovative film and video, "Dreamlands."

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Some really inspiring artists and articles on interesting themes.

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Some really inspiring artists and articles on interesting themes.

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Hyperallergic is a forum for serious, playful, and radical thinking about art in the world today. Founded in 2009, Hyperallergic is headquartered in Brooklyn, New York.

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How to do visual (formal) analysis in art history

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artworks you can zoom into

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Working with museums around the world, Google has used its Art Camera system to capture the finest details of artworks from their collection.

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Artworks focusing on Life of the Normal People

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Artworks focusing on Life of the Normal People

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Every day life is something that we all experience, the little things that happen in the shadows that are often overlooked in life. This exhibit focuses on those little moments, the moments that are not glamorous but instead are the reality that society sees every day. The five pieces of work take moments like this and portray them in a way that is new and gritty but yet are still beautiful. I chose to begin the gallery with a piece by Annibale Carracci that showcases the dark work of a butcher. Carracci seems to emulate the style of Carravaggio's chiaroscuro. He was an Italian Baroque painter and uses strong dramatic light to depict his painting. Caravaggio follows that with his iconic painting of the cardsharps. Georges de La Tour's painting The Cheat with the Ace of Clubs follows and I thought this was an interesting contrast compared to Caravaggio's own Cardsharp painting; two paintings depicting similar things but in completely different ways. De La Tour's figures are softer but the dark contrast between the background and the pale skin of their bodies creates that same dramatic emotion that is depicted in all five paintings. Bartolome Esteban Murillo's Four Figures on a Step is very different from the prior three paintings stylistically but he still focuses on the gritty contrast that can be created with chiaroscuro and tenebrism as the woman on the right fades into the dark background. Manet's painting is the most different from the others but it still fits within this theme of normalcy depicting a couple sitting at the cafe. All of these paintings showcase different aspects of life that we see or encounter in our daily life in a way that is dark and different from the previous Renaissance style of artwork that focused more on formality and the human form.

1. The Butcher's Shop by Annibale Carracci: The Butcher's Shop is a Baroque style painting by Annibale Carracci. He chose to depict two men working in their butcher shop, which showcases the life of a normal working class citizen. Despite the fact that this painting was created before Caravaggio really became known I think the styles is very similar. He uses strong light to create dramatic highlights on the clothes of the men and also the butchered cattle. The poses of the men follow the style of the Baroque period by catching them mid-action. This creates a different emotion than he would have achieved had he painted them straightforward in a standard contrapossta pose. I think beginning with this painting sets the overall tone of this exhibit by beginning with the darkest and least glamorous activity that someone might experience in life.

2. The Cardsharps by Caravaggio: Caravaggio was one of the painters who truly mastered the idea of painting normalcy in a unique way. The Cardsharps painting is one of his most wellknown works and depicts three men playing cards. This painting truly showcases his use of chiaroscuro and tenebrism, though I think the latter became perfected in later works. This painting shows the dark side of a game being played and the two men on the right seem to clearly be conning the man on the left. I chose to use this painting of Caravaggio's specifically because of how it compares to the following painting. Both showcase the same setting but in very different ways. Caravaggio's figures are the most realistic and the way he uses the light to create depth on their faces and clothing helps to create a spacial depth that normally might be lacking with such a simplistic background. Overall this painting does a good job of setting a different tone but still conveying the normalcy that these people experienced in life.

3. The Cheat with the Ace of Clubs by Georges de La Tour: Georges de La Tour painted the Cheat with the Ace of Clubs fifty years after Caravaggio painted a similar painting. He chose to use women wearing expensive clothing in this painting which is an interesting choice because often I do not think women were depicted participating in such a frowned upon game. He used tenebrism to create a strong contrast between the background and the figures themselves and as a result the space surrounding them seems deeper. His choice to cast a shadow across the man cheating's face shows the dark aspect of this lifestyle and I think was an excellent choice in portraying an emotion for the viewer without taking away from the painting. This is the first painting in the exhibit that uses the female figure and I think that only solidifies this theme of "normal life" because women were normally depicted much more formally. De La Tour despite creating a potentially more controversial piece of art work still created a flattering way of life instead of the grittiness that the two prior images held. I do not think that it takes away from the concept but I think he was more careful with how he portrayed the darkness of the game.

4. Four Figures on a Step by Bartolme Esteban Murillo: Bartolome Esteban Murillo painted the Four Figures on a Step twenty-five years after de La Tour but the images are very different. Murillo seems to emulate Da Vinci's fummato style of misty haze surrounding the figures and combing that with the tenebrism of Caravaggio. Murillo chose not to use as dramatic light but I think that the feeling of poverty is still very clear. The figures faces are cast in a strong but subtle light and they seem to fade into the shadows. This fits well into the series because often the people sitting on the steps of homes seem to disappear into the shadows and are overlooked. The boy sleeping on his mothers lap with holes in his pants is a figure that I did not see at first but strengthens the sadness that this image reveals. The people he chose to display are not upper class, they may not even be middle class, but are instead the people that society constantly overlooks. Stylistically I think it works well with the other images and strengthens the theme.

5. At the Cafe by Edourard Manet: I ended with Manet because chronologically it was painted last out of the five and is the most different stylistically. I did not think this took away from the painting at all because despite it being more of an Expressionist style it is still a strong depiction of the normal lifestyle. Two figures sit in a cafe and drink beers together but I think it is the woman in the background that drew me to the image. She looks like she would be a waitress, exhausted from a long day and is sneaking a drink. I think as a result it still creates this idea of a gritty lifestyle despite the man's upperclass style of clothing. The contrast between the darkness of his hat and the light hitting his face also creates that same emotive style that the other paintings have as well.

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The Life of the Normal - Google Arts & Culture

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Every day life is something that we all experience, the little things that happen in the shadows that are often overlooked in life. This exhibit focuses on those little moments, the moments that are not glamorous but instead are the reality that society sees every day.

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All artwork refers to Migration and the idea of "home" 

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All artwork refers to Migration and the idea of "home" 

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In 2009, Camilo Ontiveros, a Mexican-born American artist, had become enamored with the pickup trucks he'd seen driving from Los Angeles to Tijuana, their beds piled high with a jumble of belongings and tied down with rope. A graduate art student at UCLA at the time, he used the inspiration for his final thesis: "Temporary Storage" was a sculpture made up of the contents of his home - an old TV, a smushed mattress, a bicycle - bound with rope and set on two sawhorses.

That was the piece the curators of "HOME-So Different, So Appealing," a Museum of Fine Arts Houston (MFAH) exhibit of 39 Latin American and U.S. Latino artists exploring the theme of home, were expecting when they reached out to Ontiveros to include his work in the show. But what they got instead is a different jumble of possessions, one that's a punch in the gut in light of our political moment.

"Temporary Storage: The Belongings of Juan Manuel Montes" is a re-creation of Ontiveros' earlier work, made with what Montes, the first known DACA recipient to be deported under the Trump administration, left behind in his Southern California bedroom. A twin bed, complete with a blue plaid comforter, is wrapped up with a flat-screen TV, boxing gloves, a basketball. There's a tae kwan do uniform with blue, yellow, orange and white belts. A photo of a young Montes peeks out from behind a full-length mirror. Several dress shirts are still on their hangers. It all balances precariously on the sawhorses, an allusion, says Ontiveros, to the lives of immigrants, "for whom home is a moving target or temporary condition."

The sculpture is one of the first things you see when you enter "HOME," on display through January 21. The exhibit first ran at Los Angeles County Museum of Art, and was jointly curated by the MFAH's Mari Carmen Ramírez (whom the wrote about in March), UCLA Chicano studies expert Chon A. Noriega and Pilar Tompkins Rivas, director of the Vincent Price Art Museum in Los Angeles. The work in the exhibit spans seven decades and includes artists from Argentina, Brazil, Colombia, Cuba, Guatemala, Mexico, Puerto Rico, the United States, Uruguay and Venezuela.

"It was this simple act. It was just inspired by saying, 'I'm here. We exist.'"

The show ties together themes of the physical space of home with the concepts of homelessness, identity and leaving home behind. Much of this is inherently political. A series of photographs by Livia Corona Benjamin from her work "Two Million Homes for Mexico" depicts Mexico's public housing boom, in which millions of homes were built for farmworkers who were pushed into urban centers during Vicente Fox's presidency. The photographs show cookie-cutter homes with little or no access to schools, public transit or stores. "These are not the neighborhoods of a 'Home Sweet Home' dream fulfilled," the artist writes, "but are ubiquitous grids of ecological and social intervention on a scale and of consequences that are difficult to grasp."

As viewers walk beyond the front room, the show's focus shifts to blueprints and architectural elements, which can seem impersonal next to a sculpture like "Temporary Storage." But there are examples of how focusing on form can provide a much deeper sense of what home feels like. In Carmen Argote's "720 ft. Household Mutations, Part B," the artist removed carpeting from her childhood home, painted much of it white and hung it like a canvas. Argote, who talked about her work at a November 16 press preview, mapped the origin of each piece of carpet. "This was the room my sister and I shared," Argote said. "And this was the kitchen - you can see the stains of grease showing through the paint." The overall effect makes for an unexpectedly visceral understanding of the recorded memory of home life.

Abraham Cruzvillegas' "Autoconstrucción" continues the theme of imbuing feeling into the form of home, and serves as one of the show's centerpieces. Modeled after the shantytowns of the artist's youth in Mexico City, the large sculpture incorporates wooden crates and makeshift structures, which mingle with a shopping cart, sweaters tied into something like a clothesline and an old TV showing performance art. Co-curator Ramirez spoke about the widespread shantytowns throughout Mexico and Latin America. "Although it looks chaotic from the outside, it's just the opposite. They have their own organization, their own systems of government," Ramirez said. "And the house, the house is never finished."

Puerto Rican artist Pepón Osorio's installation, "Badge of Honor," explores the feelings between an incarcerated father and his son back at home. Osorio traveled between father and son and filmed their questions and responses to each other. The son's video plays in a re-creation of his room, which feels like a time machine to 1995 - the "athletic baroque" of the son's room includes trophies, playing cards and posters straight out of the '90s. In the adjacent room, the father's video plays in a re-creation of his cell, with an empty pair of shoes, a few packs of cigarettes and a bucket. At one point the father cries; the son says, "I would be willing to give up anything for you to be home."

Finally, on the back wall of the exhibit, are some of the most powerful images in the show. Ramiro Gomez is a former nanny who takes glossy spreads of perfect homes from magazines and paints in the invisible laborers. The women are faceless, often with their backs turned, mopping floors and playing with babies. Gomez that he was inspired by looking at copies of Architectural Digest laying around the house he worked in while the kids he cared for took their naps. "It was looking at these environments minus all the people I was working with. It was an erasure of us. So it became very clear what to add," Gomez said. "It was this simple act. It was just inspired by saying, 'I'm here. We exist.'"

Taken as a whole, the exhibit is a commanding exploration of the ways in which home forms our identity - and how a lack of home ruptures it. "Home can mean many things," said Ramirez. "A chair, a smell, a remembrance. A house, a neighborhood, a city. A homeland."

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Houston Art Exhibit Explores How for Immigrants, Home is 'a Moving Target'

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In 2009, Camilo Ontiveros, a Mexican-born American artist, had become enamored with the pickup trucks he'd seen driving from Los Angeles to Tijuana, their beds piled high with a jumble of belongings and tied down with rope.

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Need contemporary artists, here are some resources:

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Need contemporary artists, here are some resources:

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This is Colossal
Juxtapose Magazine
New American Painter
Art Basel
Pinterest
Art in America
ArtForum
Art News
Dwell (modern architecture)
Blouin
ArtLtd
Aesthetica
Hi-Fructose

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Timeline and lessons dedicated to this project 

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Timeline and lessons dedicated to this project 

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Create a new document and edit with others at the same time -- from your computer, phone or tablet. Get stuff done with or without an internet connection. Use Docs to edit Word files. Free from Google.

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Time line and due dates for this CS project.

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Time line and due dates for this CS project.

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Create a new document and edit with others at the same time -- from your computer, phone or tablet. Get stuff done with or without an internet connection. Use Docs to edit Word files. Free from Google.

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Based on examples of Human Suffering

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Capturing time in an artwork

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Create a new document and edit with others at the same time -- from your computer, phone or tablet. Get stuff done with or without an internet connection. Use Docs to edit Word files. Free from Google.

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Shealyn's example of working out what she might compare

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Shealyn's example of working out what she might compare

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Create a new document and edit with others at the same time -- from your computer, phone or tablet. Get stuff done with or without an internet connection. Use Docs to edit Word files. Free from Google.

# data[].attributes.headline
Shealyn's example of working out what she might compare

# data[].attributes.subject
Shealyn's example of working out what she might compare

# data[].attributes.attachment_link.description
Create a new document and edit with others at the same time -- from your computer, phone or tablet. Get stuff done with or without an internet connection. Use Docs to edit Word files. Free from Google.

# data[].attributes.attachment_link.description
Create a new document and edit with others at the same time -- from your computer, phone or tablet. Get stuff done with or without an internet connection. Use Docs to edit Word files. Free from Google.

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Artists focusing on Migration

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Artists focusing on self and identity

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Environmental Artists

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An instagram account that posts three artworks at a time on the same topic/theme/style

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An instagram account that posts three artworks at a time on the same topic/theme/style

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Good YOUTUBE that discusses art in themes

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Good YOUTUBE that discusses art in themes

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5 Artists in 5 Minutes | Little Art Talks

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Discover new artists by discussing 5 artworks that share a common theme - all in just 5 minutes!

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Gauguin versus contemporary photographer capturing Polynesian women and culture

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Gauguin versus contemporary photographer capturing Polynesian women and culture

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The backdrop to the portraits is Tahiti. The sitters are feminine, sensual, proffering ripe fruits and wearing flower garlands. The colours are bright: tropical yellows, hot pinks, mango orange and cobalt blue.

This description applies to some of the paintings in a new exhibition, Gauguin's Portraits, at the National Gallery. It is, astonishingly, the first major show to focus on Paul Gauguin's portraiture - strikingly odd as it often is, filled with symbolism, narrative, strange juxtapositions, and frankly, unflattering angles.

More like this:
- William Blake: The greatest visionary in 200 years
- The artist in search of the 'essence of life'
- Félix Vallotton: A painter of disquiet and menace

But that description also applies to a series of photographs by Swiss-Guinean photographer Namsa Leuba, part of the inaugural exhibition at Boogie Wall, a new London gallery dedicated to female artists. Entitled Illusions - The Myth of the Vahine Through Gender Dysphoria, Leuba's series of photographic portraits adopt the colour palette of Gauguin's most famous works, but subvert the stereotyped imagery of exoticised, eroticised Polynesian women ( vahine) by using transgender sitters.

"Gauguin's depictions of Tahiti have very much become the default visual legacy of Tahiti in an art-historical sense, which has emphasised the sense of 'otherness'," says Leuba, who divides her time between Europe and French Polynesia. "In Gauguin's colonial depictions, Polynesian women were beautiful and subservient." She wants her work to form an "ideological challenge to the visual codes initiated by Gauguin and his search for the 'primitive'".

Gauguin's portraits from Tahiti, and later the Marquesas Islands in the South Pacific, have certainly long attracted controversy: while there is something heady, lush and swimmily off-kilter in his colour and compositions, the works also embody a crude colonial attitude. The French artist (1848-1903) first went to Tahiti in 1891, abandoning his family, and having sexual relationships with girls he claimed were as young as 13, giving many of them syphilis.

Co-curator at the National Gallery, Christopher Riopelle, says that "Gauguin radically expanded the parameters of portraiture", in part through this mixing of aspects of traditional Western portrait-painting with apparent celebrations of indigenous Polynesian culture. But he has also been accused of merely looting other cultures' traditions for 'exotic' imagery to make his paintings of a fantasy version of Tahiti more floggable to wealthy Parisians. Gauguin played fast and loose with his Primitivist, mystical imagery: the hieroglyphs in the background of The Ancestors of Tehamana are nonsensical, for instance, while various deities in his paintings were copied from photographs of statues of Indonesian and Indian gods.
Separating the art from the artist
And can we - should we - be willing to overlook the predatory sexual behaviour of an artist, when considering their paintings of young women? It is not a good look in 2019, frankly. Art critic Alistair Sooke has used the show as an opportunity to dub Gauguin a "19th-Century Harvey Weinstein" (although he still gave it five stars). But there is perhaps no winning for the gallery here: The Guardian's critic accused the curators of cowardice, for actually showing very few of Gauguin's more overtly sexual nudes - and thereby swerving the discomfort, and the debate. Most of his pictures that depict young Polynesian girls in the exhibition are ones where they're covered up by the brightly coloured, high-necked dresses introduced by Christian missionaries.

Leuba doesn't condemn the show - but she certainly wants to open up the conversation about how Gauguin's oeuvre speaks to us, and how our view of Polynesian culture has been coloured by a Western art tradition.

"For my Illusions series, I picked up Gauguin's colour palette and staging, and used it to reframe the image of Polynesian women in art, pushing past the boundaries of binary gender representations, and creating an empowered portrait of indigenous Polynesian femininity," Leuba tells BBC Culture. But while her photographs might use familiar signifiers - the fruit, the flowers, the colours - the images also have a smooth, glossy, hyper-real quality.

Rather than exoticise the sitters' brown skin (as, arguably, Gauguin did), Leuba takes a more surreal approach: her models are painted with very bright body paint, in hot, tropical colours. Painting literally on the body reminds the viewer of the way Western art has painted such bodies as 'exotic' and 'other', on canvas. By blurring the boundaries between myth and reality in her pictures, she hopes to "question the reality of the primitivist depictions and narratives produced by Western gaze and art history".

And by painting her transgender sitters with eye-poppingly bright purple or pink, Leuba also highlights the similar artificiality of the accepted narrow narratives told about Polynesian women - or, indeed, women in general. What is femininity; how has it traditionally been coded and signified in art - and who is allowed to perform it, to paint themselves that way?
The third gender
Within Tahitian society, there has in fact long been an established place and role for a third gender, the feminine male. Leuba's subjects were biologically male at birth, but now identify as female, or perform femininity, in various ways. Broadly, these come under two terms in Tahiti: Māhū, an effeminate man, and Rae-rae, a transgender woman.

" Māhū all have the manhood of a man and all the sensitivity of a woman. They have existed since the beginning of time and they have always been part of Polynesian society and culture," Leuba elaborates. "When the missionaries came to Tahiti, Māhū were arrested and not accepted by the Christian society. However, luckily things have changed, and in today's society they are accepted as they are." Many Māhū are dancers and performers, and she found working with them "a culturally rich and joyous experience".

"The difference between Rae-rae and Māhū was distinguished around 1960s, when transgender people had opportunities to start transforming and changing themselves," says Lueba. Māhū are regarded as an integral part of the Māori tradition but Rae-rae are generally less accepted in Tahiti. Rae-rae are regarded more of an equivalent to the drag queens of the Western world and they have closer ties to homosexuality, in contrast to Māhū which identify more with femininity and 'sweetness'."

Leuba wanted to work with the sitters in order to "reframe the ideas of sexualised Tahitian women by reclaiming their identity and empowering themselves". But she's not the first artist to be inspired by the Māhū. Gauguin himself depicted androgynous figures in his paintings; it's been suggested that the 'man' in Marquesan Man in the Red Cape, a painting included in the Portraits show, could have been inspired by Māhū, as has the ambiguous figure in Pape Moi. Likewise, the central character in his masterpiece Where Do We Come From? What Are We? Where Are We Going? has been claimed by some art historians as Māhū.

Indeed, it was a sense that Gauguin's possible images of Māhū were also eroticised that prompted another contemporary visual artist to take Māhū as their subject. Just earlier this year, Kehinde Wiley - Obama's official portraitist - exhibited a show in Paris called Tahiti. It featured portraits of Māhū painted against brightly patterned backgrounds, in poses that recall those of Gauguin's works - but with a direct gaze and bags of added attitude.

Wiley has made a career of innovative portraiture that uses the traditions of Western art to celebrate and give status to people of colour, depicting them in the style of Old Masters, with a revisionist lens. But Wiley's aim with Tahiti was to "reference and confront Paul Gauguin's celebrated works... fraught with historical undertones of colonialism and sexual objectification".

He didn't just tear Gauguin down, however: that would be trite, the artist told Artnet at the time, adding that he thought his job was to "somehow imagine a newness within that bankrupt vocabulary". His portraits - like Leuba's - were made in collaboration and conversation with his Māhū sitters, to give them personal agency in their own self-presentation, as they crafted "counter-poses" to the old familiar narratives from Gauguin. Some choose traditional clothing and elaborate feathered headdresses; some preferred red lace minidresses.

Who is allowed to make art about whom - and whether we can still appreciate 'good' work by 'bad' people - are questions that, today, arise with increasing regularity, force, and thorniness. It can be hard to simply revel in the heat and colour of Gauguin's Polynesian portraits today, knowing what we do about him. They are strange and beautiful images, artistically exploratory, but also exploitative. And it's impossible to look at them without feeling discomfort at the work's very male, very colonial gaze.

And unlike Wiley's portraits, we can't look Gauguin's subjects in the eye: there is something deeply troubling in the women's placid, averted, side-eyed expressions, their gaze always sliding away from us. Is this the wish-fulfilment of artist/sexual predator, an image of idealised, languid feminine passivity and cultural serenity? Is it a reflection of their powerlessness? Or could it be defiance - a glazed, protective, you'll-never-really-know-me stare? Well, we'll never know either.

Perhaps one solution to the discomfort around the continuing celebration of work that now feels so problematic is - rather than dismissing it all outright or attempting to hide the awkward bits - to multiply the narratives we tell elsewhere, to make sure we offer new perspectives. A different lens, and a different gaze. Which is why it feels particularly cheering that Leuba's work is being shown at an art gallery dedicated to women. Her photographs, and Wiley's paintings, both invite the viewer to look a little closer, to ask if the stories and stereotypes we've become used to may be nothing more than illusions.
Illusions - The Myth of the Vahine Through Gender Dysphoria is part of the group show Notre Dame / Our Lady at Boogie Wall until 27 October 2019.
Gauguin's Portraits is at the National Gallery until 26 January 2020.
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Gauguin's 'strange, beautiful and exploitative' portraits

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The backdrop to the portraits is Tahiti. The sitters are feminine, sensual, proffering ripe fruits and wearing flower garlands. The colours are bright: tropical yellows, hot pinks, mango orange and cobalt blue. This description applies to some of the paintings in a new exhibition, Gauguin's Portraits, at the National Gallery.

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IBO Teacher Support Material Venn Diagram/Comparing artworks advice

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IBO Teacher Support Material Venn Diagram/Comparing artworks advice

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Visual arts in context

The visual arts in context part of the syllabus provides a lens through which students are encouraged to explore perspectives, theories and cultures that inform and influence visual arts practice. Studying visual arts in context enriches and expands the visual repertoire available to students by compelling them to investigate artists and artworks from a range of cultural contexts.

Understandings about the nature of culture are constantly evolving and changing. Holliday, Hyde and Kullman (2010) suggest that culture is not entirely constrained by the context of time and place, but that culture is a social force, which is evident where it is significant. It can flow, change, intermingle, cut across other cultures regardless of national frontiers and have blurred boundaries. People can belong to and move through a complex multiplicity of cultures both within and across societies and people are influenced by or make use of a multiplicity of cultural forms. To communicate with anyone belonging to a group with whom we are unfamiliar we have to understand the complexity of who they are.

In doing so, the course fosters international-mindedness. Intercultural understanding involves recognizing and reflecting on one's own perspective, as well as the perspectives of others. To increase intercultural understanding, visual arts in context promotes learning how to appreciate critically many beliefs, values, experiences, and ways of knowing. The goal of understanding the world's rich cultural heritage invites students to explore human commonality, diversity and interconnection. Investigating the possible interpretations of any communication and consequent available choices is part of being interculturally aware. With this awareness, students are able to become decentred from any unilateral cultural-based assumptions and continually question their borders of identity. Visual learning helps students to recognize the world and to see how others and otherness inhabit it.

(Holliday, A, Hyde, M and Kullman, J. 2010. Intercultural Communication-An Advanced Resource Book for Students. New York, USA. Routledge. P4.)

Teaching visual arts in context through theoretical practice

Through the visual arts in context area, students will be informed about the wider world of visual arts and they will begin to understand and appreciate the cultural contexts within which they produce their own works. In the formative stages of the course, formal lessons in art history may be appropriate. Different methodologies in constructing art history should be identified and explored. Regardless of how formal an art history lesson might initially be delivered, opportunities for independent, student-directed work should be made.

For example, during or after a formal lesson on the development of abstraction, students might be asked to use a Venn diagram to compare and contrast a colour-field abstract painting to an abstract expressionist painting; or after presenting a lesson on the beginnings of modernism in Western art, students might be asked to critically annotate one of the artworks presented from a Marxist, feminist or Freudian perspective.

Conceptual frameworks, such as the model proposed by June King McFee (1978) can be useful in helping students unpack information about the cultural contexts and the impact that they have on both the way an audience perceives a work of art, and how they influence the artist in their art-making.

When using this model, students ask who are the audiences who view the work, what experiences (historical, political, social, aesthetic and intellectual) of the world they bring to understanding the artwork, who is the artist and what experiences (historical, political, social, aesthetic and intellectual) of the world have they brought to the creation of the work. More recent adaptations of this model are multidirectional, exploring how artworks can shape interpretations of the world, considering relationships between the audience and their perception of the artist, as well as how the experiences of the world is represented in the artwork.

(McFee, JK. 1978. "Cultural influences on aesthetic experience" in Condous, J, Howlett, J and Skull, J, (eds). 1980. Arts in Cultural Diversity. Sydney, Australia. Holt, Rinehart and Winston.)

Teaching visual arts in context through art-making practice

Through the visual arts in context area, students will observe the conventions and techniques of the artworks they investigate, thinking critically and experimenting with techniques, and identifying possible uses within their own art-making practice. When investigating artworks from a range of cultural contexts, it is essential for students to have opportunities to consider how these experiences might inform their own art-making practices. This can be achieved by studying the conventions, methods and techniques of the artists and artworks that are explored. Students need to develop appropriate vocabulary in the visual arts metalanguage. Formalist frameworks for analysing the use of formal qualities are particularly useful. Scaffolded examples of Feldman's model of art criticism provide a structure to written responses, but visual responses are also valid, such as using an annotated diagram, sketch or image. Experiential learning through experimenting with the forms and media of the works explored will provide students with opportunities to reflect on how their explorations might be useful in their own art-making and will further enhance student learning in this area.

(Feldman, E. 1970. Becoming human through art: Aesthetic Experience in the School. Englewood Cliffs, New Jersey, USA. Prentice-Hall.)

Teaching visual arts in context through curatorial practice

Through the visual arts in context area, students will investigate work from a variety of cultural contexts and develop increasingly sophisticated, informed responses to work they have seen and experienced. It is assumed that at the beginning of the course, students will need varying degrees of teacher direction and guidance. However, it is expected that as students become more autonomous in their art-making, they will continue to investigate the works of other artists to inform conceptual and technical considerations in their own art-making and record these processes in their visual arts journal. Their responses to these works will be more authentic in their relation to their own art-making practice.

Linking visual arts in context to the comparative study task

The comparative study is an externally assessed task that is worth 20%.

For this task, students are required to analyse and compare artworks, objects or artifacts by different artists and from differing cultural contexts. While in order to complete this task successfully, students will need to have engaged sufficiently with the visual arts in context, visual arts methods and communicating visual arts components of the course, it is assumed that much of the content used in preparing the comparative study task will have emerged from work undertaken in visual arts in context. Students should use their visual arts journal appropriately to specifically document their investigation and responses to the artworks they investigate over the course, including their detailed interpretations, evaluations and comparisons. That way, they will be able to select, elaborate and extrapolate from material they have recorded in their journal as the basis for the comparative study task.

For each artwork investigated and then selected for inclusion in the comparative study, it will be essential that students at both SL and HL have:

conducted research from a range of different sources

accurately and consistently recorded the sources

analysed the cultural contexts in which the selected pieces were created

identified the formal qualities of the selected pieces

interpreted the possible function and purpose of the selected pieces

evaluated the material, conceptual and cultural significance of the selected pieces against the cultural contexts within which they were created

compared the selected pieces, identifying links in cultural context, formal qualities, function, purpose, material, conceptual and cultural significance.

Additionally, students at HL will need to demonstrate conceptual or technical links between the work investigated and their own art-making.

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The visual arts in context part of the syllabus provides a lens through which students are encouraged to explore perspectives, theories and cultures that inform and influence visual arts practice. Studying visual arts in context enriches and expands the visual repertoire available to students by compelling them to investigate artists and artworks from a range of cultural contexts.

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Example of June King Mc Fee Cultural Framework (Audience and artists cultural context)

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Example of June King Mc Fee Cultural Framework (Audience and artists cultural context)

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Artwork Chile, 1942 chile in 1942 was a very divided country. A presidential election was held on February 1. Juan Antonio Ríos of the Radical Party received 56% of the vote The election was held after both the president and vice president died. The country was divided between

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June King Mc Fee Cultural Framework for audience and artist cultural context

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June King Mc Fee Cultural Framework for audience and artist cultural context

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When you need to compare the artworks