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Excellent job! This all worked out beautifully. And you included some VERY interesting bibliography.

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5th Principle Bibliography and Annotation Part 2

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5th Principle Bibliography and Annotation Part 2

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Guffey, Elizabeth E. 2006. "INTRODUCTION: Remembering When We Were Modern." Retro 7-28.

This chapter focuses on how modernity is defined by society years after the fact. It discusses the connotations of the word retro as it pertains to past meaning modern. It's interesting to learn about art history through the lens of closer to present day

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5th Principle Bibliography and Annotation Part 1 

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5th Principle Bibliography and Annotation Part 1 

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"Modern Art." In If the Paintings Could Talk, by Michael Wilson. The National Gallery, 2008.

A brief excerpt from the book "If Paintings Could Talk". Talking about Renoir's painting, "The Skiff". This was interesting to read because I like learning about what the painter's thought about when they painted. I want to go back and read more of the book in the future.

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"Portrait of a German Officer" Oil on canvas, 1914, Marsden Hartley (American, Lewiston, Maine 1877-1943 Ellsworth, Maine)

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"Gala Éluard" Oil on canvas, 1924 Max Ernst (French (born Germany), Brühl 1891-1976 Paris)

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"Woman Grinding Coffee" Plaster, Oil and tar with sand on canvas, 1945, Jean Dubuffet (French, Le Havre 1901-1985 Paris)

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4th Principle Bibliography and Annotation Part 2

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4th Principle Bibliography and Annotation Part 2

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Barr, Alfred H. "Modern and "Modern"" The Bulletin of the Museum of Modern Art 1, no. 9 (1934): 2-4.

I wish this journal was more specific when discussing modernity. It identified some issues with the term "modern" but it didn't offer an possible solutions. While it was helpful to some degree, I would have benefited from it more if it was longer and had more to say.

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4th Principle Bibliography and Annotation Part 1 

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Rowell, Margit. "Objects of Desire: The Modern Still Life." MoMA, no. 25 (1997): 2-7.

A journal about a genre of art the author refers to "the modern still life" It uses examples from Andy Warhol, Frida Kahlo, and Alberto Magnelli. I liked reading a journal that directly references the images it used and explores how each piece was a result of the artist was experimenting with.

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"Fish" Metal, Paint, Wire, Plastic, wood, glass and ceramic, 1944, Alexander Calder (American Lawton, Pennsylvania 1898-1976)

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"A Sunday on La Grande Jatte" Oil on canvas, 1884, Georges Seurat (French, Paris 1859-1891 Paris)

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"No. 13 (White, Red on Yellow)" Oil and acrylic with powdered pigments on canvas, 1958, Mark Rothko (American (Born Russian), Dvisnk 1903-1970 New York)

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5th Principle of Modernism: A Way of Life

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5th Principle of Modernism: A Way of Life

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The idea of modernity extends beyond art. Modern artists did not just make art that was modern but they had modern interests. Through art they expressed their new ideas and feelings in ways that make their work modern. Modern artists often made work that was not socially acceptable to address. Art that is considered modern is a result of the modern thinker that created it.

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4th Principle of Modernism: Experimental

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4th Principle of Modernism: Experimental

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Modern artists experimented with new and unique uses of materials. They pushed mediums and explored ways art can communicate to the audience. Artists especially pushed constraints of what a painting, drawing or a sculpture really is or isn't. Painters often experimented with specific colors, brushstrokes and surfaces. Sculptors often experimented with materials, movement, and scale. Yet, the most common idea modern artist experimented with was representation and meaning.

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Dynamism! I like that!

Your have a fine start on bibliography. Remember though that Grove Art/OAO is a single source with many articles.

You need eight (8) items on your bibliography and some of them must be books or articles in Decker Library.

If you have used one website, whether it is MoMA or the Met or Grove Art for something, then don’t use it again. You can point out, for instance, that different pages and/or articles on that site are useful, but each site is a single source.

I recommend half an hour in Decker. Librarians are there to help you. Look for a general book on Modernism, for instance. If there are movements you think of as particularly modern, you could find books on those. If you are a person who likes reading criticism, there are many anthologies of criticism on modern art.

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3rd Principle Bibliography and Annotation Part 2 

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Roberts, David. 2011. The total work of art in European modernism. Ithaca, N.Y.: Cornell University Press.

A book that discusses modern art movements and how they connect to one and other. This book focused less on specific artists and works. Instead it emphasized the intent behind the movements. A very interesting book about the society that modern art emerges from.

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3rd Principle Bibliography and Annotation Part 1 

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Foster, Hal, Rosalind E. Krauss, Yve-Alain Bois, B. H. D. Buchloh, and David Joselit. 2016. Art since 1900: modernism, antimodernism, postmodernism.

An extensive time line of modern art starting in 1900s. It divides history into decades and ends in 2003. The first majority of the book introduces the art movements in pairs. each chapter was well organized and easy to follow. Reading through it gave me the idea for the 3rd principle because it made it clear how modern art evolved with world.

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"From the Black Window" Platinum Print, 1915, Alfred Stieglitz (American, Hoboken, New Jersey 1864-1946, New York)

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"The Accommodation of Desire" Oil and Cut and Pasted Printed Paper on Cardboard, 1929, Salvador DalÍ (Spanish, Figueres 1904 - 1989, Figueres)

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"Moulin Rouge: La Goulue" Lithograph printed in four colors. Three sheets of woven paper, Henri de Toulouse-Lautrec (French, Albi 1864 - 1901 Saint-André-du-Bois)

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Modernism is hard to define because it is in a constant state of change. Each new art movement expanded upon the previous movements. What was modern in the 1870s is very different from modern art created in the 1900s. Even within a single movement artists have their own interpretations of these new ideas. Modernism is dynamic because it continues to evolve with time.

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Nice work! Make sure you look for a wide variety of images to support your principles. The more different in style the works are the more they provide support for the idea about modernism.

Also, make sure you look for books and articles. Don't confine yourself to Oxford Art Online. A librarian can help you.

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2nd Principle Bibliography and Annotation Part 2

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2nd Principle Bibliography and Annotation Part 2

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Roskill, Mark. "Cubism." Encyclopedia of Aesthetics. Oxford Art Online. Oxford University Press, accessed March 4, 2017, http://www.oxfordartonline.com/subscriber/article/opr/t234/e0141.

This article discusses Cubism in its many phases. The author also discussed how Cubism is still a challenge in today's world because it isn't easy to understand or define. I chose this particular source for a majority of research I do because it always links multiple topics together making it fun to explore the site and all it has to offer.

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2nd Principle Bibliography and Annotation Part 1

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Dawn Ades and Matthew Gale. "Dada." Grove Art Online. Oxford Art Online. Oxford University Press, accessed March 4, 2017, http://www.oxfordartonline.com/subscriber/article/grove/art/T021094.

A sort of timeline of Dada. Starting from its roots in various places in Germany to its later influence in the United States and France. When I chose challenging as a principle I was specifically thinking of Dada artists. This article gave plenty of examples of the challenges dada brought to the world.

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"The Kiss" Stone, 1907-10, Constantin Brancusi (French (Born Romania), Hobita 1876- 1957)

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"ABCD" Photomontage, 1920s, Raoul Hausmann (Austrian, Vienna 1886-1971 Limoges)

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"Candlestick and Playing Cards on a Table" Oil on canvas, Spring 1910, Georges Braque (French, Argenteuil 1882 - 1963 Paris)

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A large part of what makes art modern is the context that the artist made it in. Most modern art is made in a similar context. That is, the modern artists were creating work that went against the values of the previous generations of artists. Art became modern because it challenged and questioned  the work that came before it. Modernity is challenging because it demands people to step outside their comfort zones.

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Excellent job, Rio. Excellent presentation, too.

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1st Principle Bibliography and Annotation Part 1 

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Murrell, Dennis . "African Influences in Modern Art ." The Metropolitan Museum of Art . April 2008. Accessed February 12, 2017. http://www.metmuseum.org/toah/hd/aima/hd_aima.htm.

This was part of the reading for week 4 giving an overview of African influences on modern Artists. It was mostly used as a jumping off point for research and helped me to cite the works I used.

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1st Principle Bibliography and Annotation Part 2

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Melissa McQuillan. "Picasso, Pablo." Grove Art Online. Oxford Art Online. Oxford University Press, accessed February 12, 2017, http://www.oxfordartonline.com/subscriber/article/grove/art/T067316.

A much more in depth resource on Pablo Picasso and his work. It was helpful to look over the history of one of the artist's whose work I chose because it further supports my first principle.

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"Woman's Head" Limestone, 1912 Amedeo Modigliani (Italian, Livorno 1884 - 1920 Paris)

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"Young Sailor II" Oil on Canvas, 1906 Henri Matisse (French Le Cateau- Cambrésis 1869–1954 Nice)

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"Bust of a Man" Oil on Canvas, 1908 Pablo Picasso (Spanish, Malaga 1881 - 1973 Mougins, France)

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Modernity is Global because it involved a growing sense of awareness of other cultures and many modern artists were directly inspired by the things they encountered all over the world.

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Always good to test! All is as it should be. Looking forward to the next steps!

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just testing out padlet