HU300: Art and Humanities: 20th Century and Beyond

Unit 2Kaplan University

Stuart Collins

Unit # and Topic Learning Activities Assessments

Unit 1: Thinking about the Human Experience

ReadingDiscussionSeminarFinal Project Information

Discussion

Unit 2: Art and Architecture  ReadingDiscussionSeminarUnit project

Discussion

Unit project

CLA HU 300.1: Analyze selected examples of human expression

 

Unit 3: Myth and the Origin of the Humanities

ReadingDiscussionSeminar 

Discussion

 

Unit 4: Music ReadingDiscussionSeminarUnit project

Discussion

Unit project

CLA HU 300-3: Relate forms of human expression to our lives today

 

Unit 5: Literature ReadingDiscussionSeminar

Discussion

 

Unit 6: Morality ReadingDiscussionSeminar

Discussion

 

Unit 7: Happiness ReadingDiscussionSeminarUnit project

Discussion

Unit project

CLA HU 300-2: Examine the impact of human expressions on contemporary culture

 

Unit 8: Cinema ReadingDiscussionSeminar

Discussion

CLA GEL 1.1: Demonstrate college-level communication through the composition of original materials

Unit 9: Popular Culture and the Humanities

ReadingDiscussionSeminarFinal Project

Discussion

Final Project

Unit 10: Humanities Investigation Discussion  

Any Questions

Discussion Sections

Paper?

Discussion Board Participation Rubric

Grade: Grading Criteria

A: 45-50 points ·         Responses are on topic, original, and contribute to the quality of the discussion.·         Responses make frequent, informed references to unit material.   ·         Responses are clearly written.            ·         Responses meet posted length requirements.·         Two or more responses per thread to classmates that are thoughtful and advance the discussion.

B:40-44 points ·         Responses are on topic, largely original, and contribute to the quality of the discussion.·         Responses make some informed references to unit material. ·         Responses are generally clearly written.·         Responses meet posted length requirements.·         One response to a classmate per thread that is thoughtful and advances the discussion.

C: 35-39 points ·         Responses are on topic, but lack originality, and lack a significant contribution to the quality of the discussion.·         Responses make vague or summary references to unit material. ·         Responses have several mechanical or stylistic errors.·         Responses do not meet posted length requirements.·         Response(s) to others does not advance the discussion.

D: 30-34 points ·         Responses are only partially on topic, lack originality, and lack a significant contribution to the quality of the discussion.·         Responses make little or no references to unit material. ·         Responses have several mechanical or stylistic errors.·         Responses do not meet posted length requirements.·         No responses to classmates.·         If there are two questions, student didn’t respond to one.

F: 0 – 29 points ·         Responses are off topic, lack originality, and lack any contribution to the quality of the discussion.·         Responses make little or no references to unit material. ·         Responses have several mechanical or stylistic errors.·         Response is abusive or inappropriate (will result in 0 points automatically).·         Response is plagiarized (will result in 0 points automatically).·         Responses are missing.·         No responses to classmates.

Unit 2 Project

For this project, we will give a detailed analysis to both a piece of architecture and a work of art. However, we will examine art in your community and life. The objective of the assignment is to apply the concepts from the chapter to art and architecture in daily life. Choose a piece of art and architecture that are from the 20th Century or Beyond!

Part I:

Take a field trip around your neighborhood, city, or region. Find one example of architecture that catches your attention. Explain what you see in detail. Discuss the elements of form and function. Which concepts from the chapter reading are applied in this work? Researching the style may help you to add credibility to your analysis. Cite the chapter, and make it clear how you see the architectural terms in use.

Part II:

Next, find a piece of art. Consider civic art, sculpture, an image you have in your home, graffiti, street performance, or an art experience that you find engaging.

Start by describing the work of art. Use terminology from the text. You may consider the following questions: What is the medium? When was the work made? Is the work abstract or representational? You may find the flashcards in this week's My Humanities Kit to be helpful.

Also, discuss the purpose of this work of art, and what it means to you? Which terms from the chapter reading are applied in this work? Cite the chapter, and make it clear how you see the art concepts in this practice.

The essay should contain both Part I and II. It should be at least 750 words and must employ terms from the text and unit materials. The project may be completed in Microsoft Word or in Powerpoint. Even in Powerpoint notes and slides, the word count must be met. You are welcome to attach or include photos of the works of art and architecture that you have chosen. Cite any sources in APA style. Check the APA Quick Reference under Course Home for tips, or check the Writing Center for proper citation.

Submitting Your Assignment

Put your project in a location and with a name that you will remember.

When you are ready to submit it, click on the Dropbox and complete the steps below:

· Click the link that says Submit an Assignment. · In the "Submit to Basket" menu, select Unit 2: Project. · In the "Comments" field, include at least the title of your paper. · Click the Add Attachments button. · Follow the steps listed to attach your Word document. · To view your graded work, come back to the Dropbox or go to the Gradebook after your instructor has evaluated it. Click the Dropbox to access it. · Make sure that you save a copy of your submitted assignment.

Project Rubric: Unit 2 Grade:

Grading Criteria

A: 108-120 points

ñ Essay demonstrates ability to express and evaluate values and terms of art or architecture. ñ Project explains the purpose of art to the individual and its universal appeal.ñ Project uses vocabulary terms from the unit. ñ Project is clearly written. ñ Project meets posted length requirements.

B: 96-107 points ñ Essay demonstrates ability to express and evaluate values and terms of art or architecture.ñ Project explains the purpose of art to the individual and its universal appeal.ñ Project uses vocabulary terms from the unit ñ Project is clearly written.ñ Project meets posted length requirements.

C: 84-95 points ñ Essay demonstrates some ability to express and evaluate values and terms of art or architectureñ Project makes vague points about the purpose of art to the individual and its universal appeal and lacks use of vocabulary terms.ñ Project has several mechanical or stylistic errors.ñ Project does not meet posted length requirements.

D: 72-83 points ñ Essay is only partially on topic, lacks originality, and lacks a significant contribution to the discussion of art and architecture.ñ Project makes little or no references to key project questions and terms.ñ Project has several mechanical or stylistic errors.ñ Project does not meet posted length requirements.

F: 0 – 71 points ñ Essay is off topic and lacks originality.ñ Essay makes little or no references to unit material and key project questions. ñ Project has several mechanical or stylistic errors.ñ Project does not meet posted length requirements.

Unit 2 Seminar

In this week’s seminar, we’ll discuss terms related to art and the meaning of art.

1.What are some of the key terms in art and architecture? Who are some of the key figures of 20th and 21st century art movements? What is the purpose of art?

2.Look at the painting in the text by Wassily Kandinsky (Plate 8). What is your reaction to this work? What do you think it means?

3.Art can often mean different things to different people. Is this a strength or a weakness?

Art History Time Periods Prehistoric

Ancient

Mesopotamian

Egyptian

Greek

Middle Ages

Romanesque

Gothic

Renaissance

Baroque

Romantism

Neo Classical

Impressionism

Post Impressionism

Modernism

Postmodernism

Cubism

Surrealism

Art History – A Review in Minutes http://www.youtube.

com/watch?v=1cZFIp8cAHs&feature=related

http://www.youtube.com/watch?v=kgYcZp00ZwI

Sir Kenneth Clarke – Civilisation: http://www.youtube.com/watch?v=1ZZNrqUv3Hk&feature=related

Kandinsky

http://www.youtube.com/watch?v=u0vHzCdSSGg&feature=fvst

http://en.wikipedia.org/wiki/Wassily_Kandinsky

http://www.artchive.com/artchive/K/kandinsky.html

http://www.glyphs.com/art/kandinsky/

Pablo Picasso (1881-1973)

“Picasso was recognized as an artistic prodigy at an early age. These works illustrate his technical capability at that stage of his career. However, he was not satisfied with the limited possibilities in such a traditional mode of representation. His constant, incessant striving for new means of expression is the primary lesson of Picasso's art.”

Mark Harden’s Artchive: http://www.artchive.com/ftp_site.htm

Pedro Mañach, 1901

The Blue Period

“Shortly after moving to Paris from Barcelona, Picasso began to produce works that were suffused in blue. This particular pigment is effective in conveying a sombre tone. The psychological trigger for these depressing paintings was the suicide of Picasso's friend Casagemas. The Blue Period work is quite sentimental, but we must keep in mind that Picasso was still in his late teens, away from home for the first time, and living in very poor conditions.”

Mark Harden’s Artchive: http://www.artchive.com/ftp_site.htm

The Old Guitarist (1903)

The Rose Period

“In 1905-6, Picasso's palette began to lighten considerably, bringing in a distinctive beige or "rose" tone. The subject matter also is less depressing. Here are the first appearances by the circus performers and clowns that will populate Picasso's paintings at various stages through the rest of his long career.”

Mark Harden’s Artchive: http://www.artchive.com/ftp_site.htm

The Beginnings of Cubism

“In late 1906, Picasso started to paint in a truly revolutionary manner. Inspired by Cézanne's flattened depiction of space, and working alongside his friend Georges Braque, he began to express space in strongly geometrical terms. These initial efforts at developing this almost sculptural sense of space in painting are the beginnings of Cubism.

The famous "Demoiselles d'Avignon" is often represented as the seminal Cubist work. Although its impact on later Modernism cannot be denied, William Rubin has proven that it was actually a false start of sorts that did not lead directly into the Cubist work. You can tell this from the 1907 date of the Demoiselles, while the truly proto-Cubist works begin to appear later, in 1908-09.”

Les Demoiselles d'Avignon (1907)

Analytical Cubism

By 1910, Picasso and Braque had developed Cubism into an entirely new means of pictorial expression. In the initial stage, known as Analytical Cubism, objects were deconstructed into their components. In some cases, this was a means to depict different viewpoints simultaneously; in other works, it was used more as a method of visually laying out the FACTS of the object, rather than providing a limited mimetic representation. The aim of Analytical Cubism was to produce a conceptual image of an object, as opposed to a perceptual one.

At its height, Analytical Cubism reached levels of expression that threatened to pass beyond the comprehension of the viewer. Staring into the abyss of abstraction, Picasso blinked...and began to start putting the pieces of the object back together.

The Guitar Player (1910)

Champs de Mars – Robert Delaunay (1911)

Synthetic Cubism

In 1912, Picasso took the conceptual representation of Cubism to its logical conclusion by pasting an actual piece of oilcloth onto the canvas. This was a key watershed in Modern Art. By incorporating the real world into the canvas, Picasso and Braque opened up a century's worth of exploration in the meaning of Art.

Some of the finest Synthetic Cubist work, both visually and conceptually, are the collages. I highly recommend the stimulating Picasso and Braque: A Symposium, published in association with the "Picasso and Braque: Pioneering Cubism" exhibition of 1992. The world's leading art scholars offer incisive essays and round table discussions of Cubism. This book changed my entire conception of what art really is.

Three Musicians (1921)

Cubist Sculpture

Futurism

“On February 20, 1909, the energetic bilingual poet and editor, F. T. Marinetti, publisher of the controversial literary magazine Poesia (Milan), announced the movement of Futurism in a belligerent manifesto published on the front page of the Paris newspaper Le Figaro. The term Futurism caught the imagination of writers and artists throughout the world, as did Marmetti's insistence that the artist turn his back on past art and conventional procedures to concern himself with the vital, noisy life of the burgeoning industrial city. In Italy a group of painters gathered with the poets around Marinetti in 1909 to work out the implications of his manifesto for the visual arts. They published first a general manifesto, "The Manifestos of Futurist Painters," in February 1910, then, in March, the more specific "Futurist Painting: Technical Manifesto.“”

Mark Harden’s Artchive: http://www.artchive.com/ftp_site.htm

Dynamism of a Dog on a Leash – Giacomo Balla (1912)

Unique Forms of Continuity in Space -

Umberto Boccioni (1913)

Dada and Surrealism

The Dada Surrealist Movement is now part of art history more in spite of, than because of, its initial aims. Dada began as an anti-art movement or, at least, a movement against the way art was appreciated by what considered itself the civilized world; Surrealism was much more than an art movement and it thrust home Dada's subversive attack on rational and 'civilized' standards. Whether people are aware of it or not, the Dada and Surrealist revolt has helped to change modern consciousness.

The Persistence of Memory – Salvador Dali (1931)