Chapter 3 a World of Art Henry M Sayre 8th Edition Pdf

WORLD OF ART

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EIGHTH EDITION

Globe of Fine art, Eighth Edition Henry Chiliad. Sayre

Copyright © 2016, 2013, 2010 by Pearson Education, Inc. or its affiliates. All rights reserved.

Discovering a Earth of Fine art

i

Learning Objectives

Differentiate between passive and active seeing.

Define the artistic process and draw the roles that artists almost oftentimes assume when they engage in that process.

Discuss the different ways in which people value, or exercise not value, works of fine art.

Introduction
1 of 3

• Cai Guo-Ziang utilized gunpowder as an creative medium in his Projection to Extend the Keen Wall of Communist china by x,000 Meters…, which created an explosion that formed an ephemeral red line.
• Gunpowder was an essential Chinese medium; instead of using it for devastation, the artist wished to bring people together through the beauty of the pyrotechnic display.

Cai Guo-Qiang, Project to Extend the Bully Wall of China by ten,000 Meters: Project for Extraterrestrials No. 10.
Realized in the Gobi desert, Feb 27, 1993, 7:35 pm.
Photo by Masanobu Moriyama, courtesy of Cai Studio. [Fig. 1-1]

Introduction
2 of iii

• For the Olympic Games in 2008, Cai was chosen to direct the visual and special effects for both opening and closing ceremonies.
• A trail of 29 "footprints of history" made in fireworks was fired across the sky between Tianenmen Foursquare and the Olympic Stadium, the Bird'south Nest.

Cai Guo-Qiang, Footprints of History: Fireworks Project for the Opening Anniversary of the 2008 Beijing Olympic Games.
2008.
Photo by Hiro Ihara, courtesy of Cai Studio. [Fig. one-2]

Herzog & de Meuron, The Bird'due south Nest—Beijing National Stadium.
2004–08.
© Xiaoyang Liu/Corbis. [Fig. one-three]

Introduction
three of three

• For the Olympic Games in 2008, Cai was chosen to direct the visual and special effects for both opening and closing ceremonies.
• However, the work was aired equally a video rather than alive due to the conditions of smog in Beijing.
• Cai believed the video was necessary, and considered information technology a second work of fine art.

The World as We Perceive It

• Objections to Cai's Footprints of History mainly centered around the violation of trust regarding a digital film being broadcast instead of the "real thing."
• Many of u.s.a. assume that nosotros can trust our eyes to requite us authentic information and an understanding of the world.

The Process of Seeing
ane of 2

• Visual processing tin be divided into reception, extraction, and inference.
• The man retina "edits" information perceived from external sources.
• Seeing is inherently artistic, every bit you decide what details are important.

The Process of Seeing
2 of 2

• Trompe-fifty'oeil is a technique literally meaning "trick the eye."
• Richard Haas is a painter known for such architectural murals, such as the one on the due west facade of the Oregon Historical Guild.
• Stored visual data can also trick a viewer, even for images seen on a regular basis, such as the American Flag.

Richard Haas, Oregon Historical Social club. Portland, OR.
1989.
Keim silicate pigment, 14,000 sq. ft. Builder: Zimmer Gunsel Frasca Partnership. Executed by American Illusion, New York.
Photo courtesy of Richard Haas. © Richard Haas/Licensed past VAGA, New York. [Fig. 1-4]

Active Seeing

• Jasper Johns's Flag takes a familiar image and examines it more closely.
• It was painted during the Cold State of war era, a time when America obsessed over patriotism through McCarthyism and the Infinite Race.
• Audiences were disturbed by paper scraps visible below the surface.

Jasper Johns, Flag.
1954–55. Encaustic, oil, and collage on fabric mounted on plywood (iii panels),
42-1/2″ × 5′-v/8″. Museum of Modern Art, New York.
Gift of Ms. David M. Levy, 28.1942.30. © 2015. Digital paradigm, Museum of Modern Art, New York/Scala, Florence. © Jasper Johns/Licensed by VAGA, New York. [Fig. 1-five]

Agile Seeing

• Organized religion Ringgold's God Anoint America was created during the Civil Rights motion.
• Here, the stripes accept been turned into prison bars and the star becomes a sheriff'south badge.
• The white woman is portrayed as both patriotic and racist, a prisoner of discrimination.

Faith Ringgold, God Anoint America, No. thirteen from the series American People.
1964. Oil on sheet, 31 × xix″. ACA galleries.
© Faith Ringgold, Inc. 1964. [Fig. 1-6]

The World as Artists See It
ane of two

• Cai did not choose to get to Dunhuang just to extend the terminate of the Bully Wall of China; the area was the place where Due east and West first intersected.
• A terra-cotta figure from the Tang dynasty shows a Bactrian camel that would have transported goods.
• The region likewise has the greatest collection of early Chinese art.

Caravaneer on a camel, Prc.
Tang dynasty, (618–907). Polychrome terra-cotta figure. 17-i⁄8″ × xiv-1⁄8″.
Musée des Arts Asiatiques-Guimet, Paris.
Inv. MA6721.Photograph © RMN-Grand Palais (musée Guimet, Paris)/Thierry Ollivier. [Fig. i-7]

The World equally Artists See Information technology
2 of ii

• Legend has information technology that a cave-temple was dug by a Buddhist monk named LeSun, over the years becoming more decorated until it was recognized in the fourteenth century as the Mogao Caves.
• 492 of these caves are decorated with murals, together about 40 times longer than the walls in the Sistine Chapel.

Mogao Caves (Caves of a Grand Buddhas) Dunhuang, China.
© Joan Swinnerton/Alamy. [Fig. i-viii]

Reclining Buddha, Mogao Caves, Cave 148, Dunhuang, China.
Heart Tang dynasty, (781–847). Length: 51′.
Photo: Tony Law. © Dunhuang Research University. [Fig. one-9]

The Creative Procedure

• Artists engage in disquisitional thinking.
• They respond to the unexpected, chance occurrences and are open to new means of thinking.
• The artist manages the process from seeing to imagining to making, becoming self-critical and exploring the possibilities of their piece of work.

Art and the Thought of Beauty
1 of ii

• Aesthetics refer to our sense of what is beautiful and vary across cultures over time.
• Western culture values order, regularity, proportion, and pattern, which are hallmarks seen through Classical art and architecture.
• Mountain ranges were dismissed until the nineteenth century in the U.S.

Fine art and the Idea of Beauty
ii of 2

• The human body is also a widely contested source of beauty.
• Imagine tall, slender manner models compared to Peter Paul Rubens's fleshy nudes.
• Pablo Picasso's representations of women are virtually demonic, segmented and abstracted in a battle between attraction and repulsion.

Pablo Picasso, Seated Bather (La Baigneuse).
1930. Oil on sheet, 5′ 4-i/4″ × four′ 3″. Museum of Modern Art, New York.
Mrs. Simon Guggenheim Fund. (82.1950). © 2015. Digital prototype, Museum of Modernistic Art, New York/Scala, Florence. © 2015 Estate of Pablo Picasso/Artists Rights Club (ARS), New York. [Fig. 1-10]

Roles of the Artist
1 of 12

Artists make a visual record of the people, places, and events of their time and place.

• The art of portraiture reflects a desire to record what the artist sees visually.
• Mickalene Thomas paints portraits of contemporary African-American women in poses evoking odalisques, like to Manet's Olympia.

Mickalene Thomas, Portrait of Mnonja.
2010. Rhinestones, acrylic, and enamel on wood panel, 8 × 10′. Smithsonian American Art Museum, Washington, D.C.
Museum purchase through the Luisita L. and Franz H. Denghausen Endowment, 2011.xvi. © 2015. Digital paradigm, Smithsonian American Art Museum, Washington, D.C./Scala, Florence. Courtesy of Mickalene Thomas and Lehmann Maupin, New York and Hong Kong. © 2015 Mickalene Thomas/Artists Rights Guild (ARS), New York. [Fig. ane-14]

Édouard Manet, Olympia.
1863. Oil on canvas, four′ 3″ × six′ ii-iii/iv″. Musée d'Orsay, Paris.
Inv. RF644. Photo © RMN-Yard Palais (musée d'Orsay)/Hervé Lewandowski. [Fig. 1-15]

Roles of the Artist
two of 12

Artists make a visual record of the people, places, and events of their time and identify.

• Portrait of Mnonja was sold to the Akron Art Museum and featured hundreds of rhinestones.
• The anamorphic cat directly references the black cat opposite Olympia's feet in Manet'due south work.

Roles of the Artist
3 of 12

Artists make a visual record of the people, places, and events of their fourth dimension and place.

• Olympia was also cogitating of its time, though Manet'southward audience did non wish to acknowledge it as anything only appalling.

The Creative Procedure
1 of 2

• From Sketch to Final Vision:
  Pablo Picasso's Les Demoiselles d'Avignon
• An early sketch conceived v prostitutes and two men in the work.
• By removing the male person figures, he more fully engages the audience in the scene.
• Picasso rejects whatever traditional notion of beauty in the women's forms.

Pablo Picasso, Medical Student, Sailor, and Five Nudes in a Bordello (Compositional written report for Les Demoiselles d'Avignon), Paris.
Early on 1907. Black chalk and pastel over pencil on Ingres newspaper, eighteen-1/2 × 25″. Kupferstichkabinett, Kunstmuseum Basel, Switzerland.
Deposited at the Kupferstichkabinett of the Kunstmuseum Basel by the residents of the City of Basel, 1967.106. Photo: Kunstmuseum Basel/Martin Bühler. © 2015 Estate of Pablo Picasso/Artists Rights Club (ARS), New York. [Fig. one-11]

The Artistic Procedure
2 of 2

• From Sketch to Terminal Vision:
  Pablo Picasso'southward Les Demoiselles d'Avignon
• Originally, all figures looked like the middle two.
• African masks inspired the new wait of the emotionally-charged figures.
• The incommunicable multiple points of view nowadays the painting every bit an ambivalence of experience.

Pablo Picasso, Written report for Les Demoiselles d'Avignon: Caput of the Squatting Demoiselle. 1907. Gouache and Indian ink on paper, 24-3/4 × eighteen-7/8″. Musée Picasso, Paris.
Inv. MP 539. Photograph © RMN-Thou Palais/Thierry Le Mage. © 2015 Estate of Pablo Picasso/Artists Rights Lodge (ARS), New York. [Fig. 1-12]

Pablo Picasso, Les Demoiselles d'Avignon.
1907. Oil on canvas. 8′ × 7′. Museum of Modern Art, New York.
Acquired through the Lillie P. Bliss Heritance, 333.1939. © 2015 Digital image, Museum of Modern Art, New York, New York/Scala, Florence. © 2015 Estate of Pablo Picasso/Artists Rights Society (ARS), New York. [Fig. 1-13]

Roles of the Creative person
4 of 12

Artists help us run across the world in new or innovative ways.

• Cai Guo-Qiang'south work was designed to transform viewers' experience of the earth.
• Prior to his work, Ken Gonzalez-Day researched the history of lynching in California, finding Native Americans, Chinese immigrants, and Latinos were lynched more other groups.

Ken Gonzales-Day, "At daylight the miserable human being was carried to an oak…," from the series Searching for California Hang Trees.
2007. Chromogenic print, 35 × 45″. Smithsonian American Art Museum, Washington, D.C.
Museum purchase through the Luisita Fifty. and Franz H. Denghausen Endowment, 2012.12.1. © 2015. Digital image, Smithsonian American Fine art Museum, Washington, D.C./Scala, Florence. © 2015 Ken Gonzales-Day. [Fig. one-sixteen]

Roles of the Artist
5 of 12

Artists help us run across the world in new or innovative ways.

• The photograph "At daylight…" transforms our view of an oak tree that is at once mossy, tangled, and majestic and the site of vehement deaths.

Roles of the Artist
six of 12

Artists make functional objects and structures (buildings) more pleasurable and elevate them or imbue them with meaning.

• The sculpture of a flick projector by Kane Kwei and his workshop functions equally a bury.
• In Ghana, coffins celebrate a successful life with ritual significance.

Workshop of Kane Kwei, Bury in the shape of a film projector, Teshi expanse, Ghana, Africa.
2013.
© LUC GNAGO/Reuters/Corbis. [Fig. ane-17]

Roles of the Artist
seven of 12

Artists brand functional objects and structures (buildings) more pleasurable and elevate them or imbue them with meaning.

• Public infinite features standards of aesthetic dazzler.
• Cocky-sufficiency, sustainable building materials, and suitability to climate and civilisation exemplify "green architecture."

Roles of the Artist
eight of 12

Artists make functional objects and structures (buildings) more than pleasurable and elevate them or imbue them with meaning.

• The Jean-Marie Tjibaou Cultural Centre, named for a leader of the Kanak people, features buildings of forest and bamboo.
• Architect Renzo Piano utilized the nearby ocean breeze in a pattern that cooled the inner rooms of the pavilions.

Renzo Piano, Jean-Marie Tjibaou Cultural Centre, Nouméa, New Caledonia.
1991–98.
© Giraud-Langevin/Sygma/Corbis. [Fig. 1-18]

Roles of the Artist
9 of 12

Artists requite class to the immaterial—subconscious or universal truths, spiritual forces, personal feelings.

• Western approach to works from African, Oceanic, Asian, or Native American cultures oft relegates everyday objects to "works of art."
• These objects may serve a commonsensical or sacred function, a context far removed from the Western lens.

Roles of the Artist
10 of 12

Artists requite form to the immaterial—hidden or universal truths, spiritual forces, personal feelings.

• The Nkisi nkonde from Kongo was used to pursue witches, thieves, and wrongdoers and activated by a communicator driving pieces of iron into the torso of the figure.
• These figures represented animism, simply Europeans saw them as a threat.

Nkisi nkonde, Kongo (Muserongo), Zaire.
Late 19th century. Wood, iron nails, glass, resin, 20-1/4 × 11 × viii″. The University of Iowa Museum of Art.
Stanley Collection, X1986.573. Image courtesy of the University of Iowa Museum of Art [Fig. 1-19]

Roles of the Artist
11 of 12

Artists give course to the immaterial—hidden or universal truths, spiritual forces, personal feelings.

• Figures of minkonde are all the same fabricated today.
• Tania Brugeuera dressed as an nkonde in a performance enacted in Havana and the Neuberger Museum of Fine art in NY.

Tania Bruguera, Displacement.
1998–99. Cuban earth, mucilage, woods, nails, fabric, dimensions variable. Still from film of the original performance in Havana, Cuba, 1988, exhibited at the Neuberger Museum of Art, New York, January–Apr 2010.
Courtesy of Tania Bruguera studio. [Fig. i-20]

Roles of the Artist
12 of 12

Artists give form to the immaterial—hidden or universal truths, spiritual forces, personal feelings.

• Images of God were protested through Western history.
• January van Eyck depicted a frail, young, merciful, and richly adorned God in his Ghent Altarpiece.

January van Eyck, The Ghent Altarpiece.
ca. 1432. Oil on panel, xi′ 5″ × 15′ 1″. Church of St. Bavo, Ghent, Belgium.
© 2015 Photo Scala, Florence. [Fig. 1-21]

Jan van Eyck, God, console from The Ghent Altarpiece.
ca. 1432.
© 2015 Photograph Scala, Florence. [Fig. 1-22]

Seeing the Value in Art
1 of ii

• Francis Bacon'due south Three Studies of Lucian Freud was the virtually expensive artwork ever sold in 2013.
• This triptych was analogous to shooting the same scene from three different angles.
• While interesting as a written report, many people find it hard to similar and are incredulous at its market place value.

Francis Bacon, Iii Studies of Lucian Freud.
1969. Oil on canvass, each sail half-dozen′ 6″. × 4′ 10″. Private collection.
Photo © Christie's Images/Bridgeman Images. © 2015 Estate of Francis Salary. All rights reserved./DACS, London/Artists Rights Society (ARS), New York. [Fig. 1-23]

Seeing the Value in Art
2 of ii

• The art market depends on the participation of wealthy clients.
• Major financial centers support the almost prestigious art galleries, auction houses, and museums.
• Collectors are motivated mostly by the pleasure of owning prestigious art.

Artistic Value and the "Culture Wars"
1 of four

• The value of art is non solely most money, but intrinsic value.
• Robert Mapplethorpe
• Mapplethorpe died a few months earlier the slated exhibition of his piece of work in the Corcoran Gallery in Washington, D.C. in 1989.
• His homoerotic, sadomasochistic, and underage subjects evoked ire.

Artistic Value and the "Civilisation Wars"
2 of 4

• Robert Mapplethorpe
• Because of its subject matter, the prove was moved to a smaller gallery.
• Later shows ran without incident until police seized photographs at a Cincinnati gallery, claiming criminal obscenity.
• Testimony in the following trial focused on formal qualities of each piece of work.

Creative Value and the "Culture Wars"
3 of 4

• Robert Mapplethorpe
• Ajitto, for example, shows the human torso with the geometry of a pentagon.
• The jury eventually ruled that Mapplethorpe'due south piece of work possessed "serious artistic value" in the context of the tradition of arts confronting parts of our lives that give united states of america pain also every bit pleasure.

Robert Mapplethorpe, Ajitto.
1981. Gelatin silvery print, 30 × 40″.
Used by permission of Fine art + Commerce. © Robert Mapplethorpe Foundation. [Fig. 1-24]

Artistic Value and the "Culture Wars"
iv of 4

• Chris Ofili
• The Holy Virgin Mary became a target for outrage especially for its inclusion of elephant dung in the delineation of a religious figure.
• The Catholic League for Religious and Civil Rights encouraged people to picket the museum and mayor Rudolph Giuliani threatened to cut off the museum'south city subsidy.

The press surround Chris Ofili'due south The Holy Virgin Mary at the Brooklyn Museum.
© Ruby Washington/New York Times/Redux/eyevine. [Fig. ane-25a]

Demonstration Against the 'Sensation' Art Exhibition outside the Brooklyn Museum, New York, America – 1999.
Sipa Press/Rex. [Fig. one-25b]

The Advanced and Public Opinion
1 of 3

• The public tends to receive innovative artwork with reservation because it has little context to be appreciated.
• Marcel Duchamp's Nude Descending a Staircase succeeded in scandalizing, and received parody and ridicule following its exhibition at the Armory Show in 1913.

Marcel Duchamp, Nude Descending a Staircase, No. 2.
1912. Oil on canvas, 4′ 10″ × 35″. Philadelphia Museum of Fine art.
Louise and Walter Arensberg Collection, 1950. © 2015. Photo: Graydon Wood, 1994, Philadelphia Museum of Art/Art Resource/Scala, Florence. © 2015 Succession Marcel Duchamp/ADAGP, Paris/Artists Rights Society (ARS), New York. [Fig. 1-26]

The Avant-Garde and Public Stance
2 of iii

• Duchamp studied and represented Marey's Motion as well every bit studies of animals and humans in movement by Eadweard Muybridge.
• The National Endowment for the Arts (NEA) endeavored to teach the public how to run across and appreciate "advanced art."

The Avant-Garde and Public Opinion
3 of 3

• Richard Serra'south Tilted Arc was installed with minimal negative reaction in 1981, but faced removal in March 1985.
• In March of 1989, it was stolen in the center of the night, dismantled and afterward destroyed.
• The site-specific work lost its meaning when it was removed

Richard Serra, Tilted Arc.
Cor-Ten steel, 12′ × 120′ × 2-ane/2″. Installed, Federal Plaza, New York Urban center. Destroyed by the U.S. government March xv, 1989.
© 2015 Richard Serra/Artists Rights Gild (ARS), New York. [Fig. 1-27]

Political Visions

• If art appears to promote a specific political or social agenda, it is spring to face public disagreement.
• Michelangelo's David was designed to be displayed atop the Piazza della Signoria, signifying Florence'southward freedom from strange, papal, and Medici domination.
• Citizens also objected to its nudity.

Michelangelo, David.
1501–04. Re-create of the original equally it stands in the Piazza della Signoria, Florence. Original in the Galleria dell'Accademia, Florence. Marble, Elevation 13′ v″.
© Bill Ross/CORBIS. [Fig. 1-28]

The Disquisitional Process
Thinking virtually Making and Seeing
Works of Art

• Andy Warhol'due south Race Riot depicts events of May 1963 when Balderdash Connor employed set on dogs and burn down hoses to disperse civil rights demonstrators led by Rev. Martin Luther King, Jr.
• Which of the artist'southward roles was the most important for creating this piece of work?

Andy Warhol, Race Riot.
1963. Acrylic and silkscreen on canvas. 4 panels, each 20 × 33″.
© 2015 Andy Warhol Foundation for the Visual Arts/Artists Rights Club (ARS), New York. [Fig. 1-29]

Thinking Back

Differentiate between passive and agile seeing.

Define the creative procedure and describe the roles that artists most often assume when they engage in that process.

Discuss the different ways in which people value, or exercise not value, works of art.

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