Laura Ruby


Spring 2011

 

Introduction to the Visual Arts

 

Art 101A (DA  &  W)

Course Objectives
Texts
Course Content
Writing/Great Debate Criteria
Visual Art Grading Criteria
Participation--Attendance and Punctuality
Supplies
Visual Perception

The Cultural Image -- Nature and Culture

Setting the Context--The Form

Ways of Communicating

 

Exam
SPACE
Getting to the Roots--Western Euro-centric Space and Visual Display
Rendering Perspective
Our Own Spatial Culture
Pluralism

TIME

Time and Motion--The Movies--The 4th Dimension

Film Time and Movement

Exam

Creating a Mask

 

 

 

This course will explore the nature of the world's visual arts and their influences on the quality of our lives. It will discuss:
 
  • What is visual culture?:
  • Understanding our own ways of seeing and of becoming visually literate;
  • Employing visual thinking and creating through visual communication;
  • Understanding the roots of visual culture and visual production.
 
COURSE OBJECTIVES:
 
1. To discover the purpose of the visual arts;
2. To realize the scope of the visual arts;
3. To develop an awareness of and appreciation for the diversity of human visual responses;
4. To become aware of and involved in the act of creativity; and
5. To become a motivating force for bettering your visual environment.

Student Learning Outcomes for Art

1) To develop fundamental skills and concepts relative to the practice of art.

2) To develop an understanding and appreciation of the tradition which formed our present approach to the visual arts.

3) To develop the ability to analyze the merits of art works and develop informed opinions applicable to the broad range of human cultural production.

4) To develop specific skills and knowledge of a medium(s) to be utilized as a means of visual communication and self expression

5) To encourage the development of new approaches, methodologies and philosophies of art as well as the understanding of traditional modes and paradigms.

 
 
TEXTS:
  • Prebles' Artforms 10th edition--Patrick Frank
  • Selections from: The Humanistic Tradition Volumes 3 & 6 --Gloria Fiero
  • packet of 101 handouts at Campus Center Copy Service
 
COURSE CONTENT:
 
  • 40% -- Written Entries/Great Debates (10 Great Debate assignments)
  • 25% -- Visual Entries/Artworks
    • 10% -- mask
    • 5% box
    • 5% -- realistic drawing,
    • 5% -- abstract drawing,
    • 10% -- Global Art History Archive
  • 10% -- First Exam (Part Take-Home, Part In-Class)
  • 10% -- Second Exam ( " )
  • 5% - -Participation
  • (The class may decide to give more weight to some items at a later time.)
 WRITING/GREAT DEBATE CRITERIA:
 
All debate position papers should be:
1. typed, double-spaced, 3/4 to 1+ pages long, 1.5" margins;
2. state your position and present your evidence--support your statement; and
3. be prepared for the discussions to follow--small groups and individuals will represent differing points of view.
 
VISUAL ART GRADING CRITERIA:
 
All visual artwork will be evaluated in terms of:
l. imagination, enthusiasm, and risk taking;
2. clarity of concept, organization;
3. timely participation (come to class, turn in work on time, and participate in discussions); and
4. quality of execution (craftsmanship and thoroughness) and the ability to be self-correcting.
 
 
PARTICIPATION -- ATTENDANCE AND PUNCTUALITY
 
This course requires full attendance. Visual concepts are often only understood after sharing, comparing, questioning, revising and synthesizing, as well as listening. A tardy or absent student diminishes the overall quality of the class. Three tardies will equal one unexcused absence. Three unexcused absences will lower the final grade.
If you feel that you need reasonable accommodations because of the impact of a disability, please speak with me privately to discuss your needs, and/or contact the KOKUA Program (956-7511 or kokua@hawaii.edu). We will be very happy to work with you and/or the KOKUA Program.
 

PLEASE TURN OFF ALL ELECTRONICS--CELLPHONES, BEEPERS AND PAGERS BEFORE ENTERING THE CLASSROOM.

 
 
SUPPLIES:
  • viewfinder--1 1/2" x 2" interior opening OR digital camera
  • bristol board pad (rough surface--if available), approximately 9" x 11"
  • Prismacolor or Spectracolor colored pencils
  • soft pencil
  • Kohinoor soft white vinyl eraser
  • X-acto knife, # 11 and packet of #11 blades
  • ruler
  • glue stick
  • scissors
  • additional materials to be announced soon (for "mask" see item #1 and for box -- see item #9)
back to top
 

In-Class Discussion Topics
 
 
back to top
Visual Artworks
and
Written Entries/Great Debates
and
Exams

 

 

Readings

 

 

 

 

Week One: Syllabus & the Big Picture
 
 
Visual Perception
  • setting the context: the perceptual experience
  • I, the observer, and the "stuff" out there
  • gestalt
  • visual illusions
 
Representations/depictions/correspondences
  • setting the context: the the "stuff" out there depicted

 

 

 

 

 

 

 

 

 

back to top

great debate

1. Look through your viewfinder and capture images of a day in the life of yourself. Create 10 thumbnails sketches or photos of objects you come in contact with--home, school, work, leisure. Use a variety of framed points of view--worm's or bird's eye points of view and select tipped/tilted framing or parallel-to-the-horizon framing. These should be done quickly.

great debate

All debate position papers should be typed, double-spaced, 3/4 to 1+ pages long. State your position and present your evidence--support your statement. Discussions will follow--small groups and individuals will represent opposing points of view.

We will arbitrarily divide up the class to cover these 4 points of view:

a) worm's eye vs. bird's eye point of view

--how is meaning created from this point of view?

and

b) tipped or tilted framing vs. parallel-to-the-horizon framing

--how is meaning created from this point of view?

 

if you want to get a head start on your readings here are some of them:


Artforms, Chapters 2 and 3 – familiarize yourself with our terminology

Humanistic Tradition 3, pp. 23-26, 28-29, 44-77

 

 

Week Two: The Cultural Image--Nature/Culture
 
  • How do we look at visual culture?
  • Am I a feral child?
  • The Innocent Eye Test
The Innocent Eye Test, 1981 -- Mark Tansey
 
 
Representations/depictions
  • Treason of Images
 
Treason of Images, 1928-9 -- Rene Magritte
 
 
 
Captain Cook and the Visual Depiction of Hawai'i
 
back to top

great debate

2. Innocent eye vs. Sophisticated eye

 

Answer the Innocent Eye Test questions

 

Innocent Eye Test questions in packet

 

 

 

 

 

 

Week Eleven:
 
 
 
 
 
 
back to top

artwork

Creating a Mask

Create a mask or costume based on your depicted animal image. Research another cultural context and use the forms of that culture or transfer these animal attributes into a wearable form in your own personal contemporary context. Please link to Creating a Mask on the website.

Choose an interesting animal form for your mask. Collect photos of that animal.

Research  cultural context other than your own in Artforms (Chapters 14-24). Collect photos from that cultural  context.


Select visual aspects of that culture that you can merge with your animal form to create a mask.

Humanistic Tradition 3, peruse pp. 86-120

 

 

  Week Three: Our Cultural Frame
 
SHIFT--thinking about self and the world as expressed in visual depictions
 
 
The Form--realistic, abstract, non-objective
 
Cow, 1917 -- Theo van Doesburg
 
Cow, 1917 -- Theo van Doesburg
 
Cow, 1917 -- Theo van Doesburg
 
Cow, 1917 -- Theo van Doesburg

 

 
 
Les Demoiselles d'Avignon, 1907 -- Pablo Picasso
 
Nude Descending a Staircase, No. 2, 1912 -- Marcel Duchamp

artwork

 

2. "Thinking Inside the Box"

3 & 4 Using colored pencils, draw your object 2 times:

3. as realistically as possible

4. in an abstract way

EC. as a study in light and value--aim for chiaroscuro (highlight and shadow) using black pencil only--do not use lines;

EC. establishing a sense of scale--place your object in relationship to another object or in a particular setting. Give some sense of size relationships.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Artforms -- Chapter 2 -- pp 47-57

 

see handout in packet

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Thinking Inside the Box

 


Realistic and Abstract Drawings





 

 

Representations/depictions
 
Ways of Communicating--icon, index, symbol
 
 
Flag, 1954-55 -- Jasper Johns
  • a national icon: the American flag
  • the First Amendment
 
back to top
great debate
3. Flag by Jasper Johns
 
a) this is a flag vs. this is an artwork
or
b) the flag or flag imagery can be used in artworks vs. prohibition of the flag's use in artworks

 

read handouts in your packet on the American flag exhibitions and American iconic depictions

Artforms -- Chapter 13 -- Evaluating Art

 

 LIGHT

Week Four: Light and Optical Correspondences
 
Light and Film and the Flicks--The Magic Lantern Show
 
  • light an illuminating notion
  • light logic
  •  
  • influences from:
  • The European Baroque Frame
  • German Expressionist Theater and Cinema
  • Edward Hopper
  • film noir
 
back to top

 

read pp. -----in your packet

 

Chapters 7 & 8--Photography & Moving Images: Film and Digital Arts

 light logic

Light logic
1 highlight--the lightest, brightest spot on the object
2 lowlight/midtone--maximum color intensity--this is the local value that an object would have under ambient/indirect light
3 reflected light--the light that hits other things and bounces back on the object
4 core shadow--the shadow on on and created by the object itself
5 cast shadow--the shadow that cuts out the shining light source--its always the darkest part

Chiaroscuro--light to dark
value notation--the illusion of volume

A 20th Century Foray 

1.
 
Gas, 1940 -- Edward Hopper
 
 
New York Movie, 1939 -- Edward Hopper
 
Drug Store, 1927 -- Edward Hopper

2.

3.

back to top

Global Art History Archive 1
Gas, 1940 -- Hopper
New York Movie, 1939 -- Hopper
Drug Store, 1927 -- Hopper

 

Global Art History Archive 2

Rue Transonian

Global Art History Archive 3

High Noon

The Third Man

 

Artforms -- Chapter 2 -- pp 39-47

Humanistic Tradition 6, p. 82-83

 

 

Week Five: Cinematography & Film
 
 
  • Casablanca and "Play it again, Sam."
 
Casablanca, 1943 -- Michael Curtiz
 
Casablanca, 1943 -- Michael Curtiz

 

back to top

great debate

4 & 5.

A. Reflect on the Casablanca questions and write on 1 question.

B. Create a value drawing of 1 shot related to your question--do not copy from the xerox images. (Please see separate handout.) This is a study in light and value--aim for chiaroscuro (highlight and shadow) using black pencil only--do not use lines.

C. Sketch a plan view, diagramming the lighting, set and actors.

refer to the questions in your packet

 

 

Week Six:
 
  • Casablanca discussion
  • Carrotblanca
  • film genres
 
back to top

EC--light in film

Select 1 of the 100 classic films. Write a 1 paragraph synopsis and create a value drawing of a crucial shot.

list located in your packet

 

 

Week Six:
 
 
Ulysses by James Joyce, 1986 -- Carin Goldberg

Pelikan Ad, 1920s -- El Lissitsky

 
back to top

 artwork

EC. On the computer, create a title page using basic design principles.

 

 

 

4.

SPACE

 
Week Seven: Getting to the Roots -- Western Euro-centric Space and Visual Display

SHIFT -- thinking about self and the world as expressed in visual depictions

 

Rendering Perspective -- The Illusion of 3-Dimensional Space on a 2-Dimensional Picture Plane

 

  • space a 2-D perspective
  • our visual spatial cultural legacy -- 500 years of European Renaissance
  • video: The Day the Universe Changed -- "Point of View"
5.

The Holy Trinity, 1425 -- Masaccio

Global Art History Archive 4 American Gothic

 

 

 

 

 

 

 

 

 

Global Art History Archive 5 The Holy Trinity

 

EC create a perspective drawing

Artforms -- Chapter 16 -- Renaissance and Baroque Europe

 

WebCT/Laulima: Humanistic Tradition 3: The Renaissance 

 

 

 

Humanistic Tradition 3, 23-26

-pp. 28-29

-pp. 44-77

-another culture but same time frame

 

 

Week Eight: Our Own Spatial Culture

A Nineteenth Century Foray

Japanese ukioye landscape prints and compositinal organization -- in contrast

6.

Wave at Kanagawa c. 1830 -- Hokusai

Naito Shinjuku, Yotsuya, 1857 -- Hiroshige

Global Art History Archive 6 Wave at Kanagawa

handouts

 

 

7.





Week Eight: Real/Actual Space --Space a 3-D Perspective

  • art in public places
  • Claes Oldenberg -- "Object into Monument"

Clothespin, 1976 -- Claes Oldenburg

Global Art History Archive 7 The Unswept Floor

Global Art History Archive 8 Monk Sewing

Artforms -- Chapter 10 -- Sculpture

Dream Window--A Japanese Sense of Space and Place

 

 

Week Nine: Our Own Spatial Campus Culture

Great Debate

 

6. UH Campus Art -- visit the UH campus and locate at least 9 artworks.

A. Please identify the artworks' and their locations and draw small thumbnail sketches of each work. Please number and identify each of the artworks and answer:

B. Compare and contrast 2 artworks:

a) List each's visual characteristics.

b) How does each artwork relate to its environment?

c) How do viewers/participants interact with these 2 artworks?

d) What is particularly striking about these artworks?

 

EC Create a colored pencil drawing of 1 campus artwork.

please see 2-page handout in packet

 

Week Nine: Our Own Spatial Culture

  • the built environment
  • inventing our own myths: inventions and vernacular architecture
  • the balloon frame house
  • international style/modern architecture: the Seagram building imperialism, skyscrapers
  • Learning from Las Vegas

 

Artforms 

Chapter 12 -- Architecture

Chapter 25 -- Postmodernity and Global Art

Humanistic Tradition 6, pp. 18-22, 85-87

 

 

Week Ten: The Postmodern Frame--Art in Our Own Times
 
SHIFT--thinking about self and the world as expressed in visual depictions
 
Postmodern Architecture
  • Charles Moore, Frank Gehry, etc. and the pomo Piazza d'Italia
Piazza d'Italia, 1978-79 -- Charles Moore, et. al.

 

back to top

Humanistic Tradition 6, pp. 160-164

 

 

Week Ten:
 
Exam--Thinking on Your Feet
 
back to top

exam

on Visual Culture, Light and Space

 

 

 

Week Eleven:
 
  • museum visits
 
back to top

great debate

7. Reflect on an exhibition at the HAA--Visit two different galleries (see handout).

 

great debate

8. Cyber Museum Field Trip

Investigate museum websites, choose one museum, and answer the questions on the handout and collect at least 2 art historical images from 2 different art historical contexts that have some similarities.

 

see questions in packet

 

 

 

see questions in packet

 

Week Eleven:
 
 
 
back to top

EC Select an historical or contemporary artwork from Artforms and place it in its cultural context.

 

Week Twelve: Preserving Cultural Artifacts

great debate

 

9. To preserve or not to preserve

 

read handouts from Puzzles and Artforms

 

 

 

Week Twelve:
  
 
The Postmodern Frame--Art in Our Own Times--Pluralism

 

Race, Ethnicity, Gender, Economic Class
  • contemporary visual culture
  • Jacob Lawrence and Robert Colescott
  • Barbara Kruger and the Guerrilla Girls
  • high culture & low culture
  • our own contemporary context and pop art
  • Nancy Drew
 
back to top

 

 

 

 

 

Artforms -- 

Chapter 23 -- Postwar Modern Movements in the West

Chapter 24 -- Modern Art Beyond the West

Chapter 25 -- Postmodernity and Global Art

Humanistic Tradition 6, pp. 93-119

 

 

 

Week Twelve:
 
 
Forward Retreat, 1986 -- Mark Tansey
 
back to top

EC Answer the Forward Retreat questions

see questions in packet

 

 

 

Week Thirteen: Aesthetics--How Might We Judge Beauty?
 
  • "Beauty, Ugliness, and Aesthetic Experience"
back to top

great debate

EC Beauty and Ugliness--Select 1 "Beauty..." case study--state the different positions and support your preferred position and why.

Puzzles handouts

 

 

 TIME

Week Thirteen: Time and Motion--The Movies--The 4th Dimension
 
  • the dynamic image
  • implied movement
    • Mark Tansey, Saul Steinberg, etc.
    • comics, storyboarding and continuity
  • apparent movement
    • the framed and filmed and edited image
    • "What's up Doc?"--animation
  • actual movement
9.





back to top
Global Art History Archive 9
Take One

 

 
Global Art History Archive 10
How Green Was My Valley

Artforms Chapter 8 -- Moving Images: Film and Digital Arts

Humanistic Tradition 6, pp. 12, 55, 62-63, 79, 105, 140, 142, 151, 160

 

 

 

Week Fourteen: Film Time and Movement
 
 
 
 
 
 
back to top

great debate

10. Film Editing--Select another classic film and create a 20 shot storyboard. (Please see separate handout.)

 

Humanistic Tradition 6, pp. 5-12, 80-81, 144, 153-157

Week Fourteen:
 
 
back to top

EC time and motion in film editing

Select another of the 100 classics and create a short storyboard.

 

Week Fifteen: Film Time and Movement
 
 
back to top

Week Sixteen:
 
Guernica, 1937 -- Pablo Picasso
  • review &
  • Exam--Thinking on Your Feet
back to top

exam

pp. 84, 365, 383-384 (Guernica) and Space and Time

 

 
Laura Ruby
Office 348
Phone 956-5250
lruby@hawaii.edu
December 2010