Course Content: Questions Answered

COURSE CONTENT

  
1. Which assignment did you ENJOY working on the BEST? Why?

I really enjoyed the assignments that had us getting 'our hands dirty'. I loved the process of the logo design and the mask making process was also wonderful; in both cases I got to be creative and imaginative, and that always makes me happy. 

 

2. Which assignment did you ENJOY working on the LEAST? Why?

 Although I love to paint, I had a hard time with creating my self-portrait. My life at the moment is all about my young family; I always put myself and my needs on the back burner. To focus a painting that was of ME felt weird, it felt wrong, like I should be focusing on a 'worthier' subject than myself. I don't like to stop and reflect on me or the way I look - inside I feel like a teenager, but I look in the mirror and that's not what I see anymore. I would like to do more self-portraits though, I need to do things that take me out of my comfort zone so that I can grow as a person and and artist.
 

3. How did you like using BLACKBOARD?

BLACKBOARD is amazing! I received my BFA in 1995, so I have that experience to compare to my student experience today. I love the 24 hour access I have in BLACKBOARD, and there is so much information at my fingertips. I feel more efficient with BLACKBOARD, and as an adult who didn't grow up with the internet I don't like to feel 'left behind', I always am eager to learn the latest 'tech'.

  
4. What is your opinion of the Discussion Groups in this course?

I like the idea of the Discussion Groups, but found that the same few people would be participating every time. Personally, I prefer discussing topics when I can look at a person's eyes, hear how they are speaking, what they're passionate about and what doesn't interest them. There were so many interesting videos that we watched, I even sent a few for my parents to watch (they loved them!). I would have enjoyed sitting in a group and talking about the topics. But logistically it would be difficult for an online class to have classroom-type discussions, I understand that. One nice thing is that I met a student in my Arts in Living class who also took AED 200; we became friendly and would often talk or message each other about what we were doing for AED 200.

5. Did you participate in any of the extra credit projects in previous modules? If so, what was your opinion of them? (mandala, elgin marbles, culture, art critics)

I enjoyed the mandala extra-credit, and I think it's fantastic to have the opportunity to raise your grade, especially if there is a module that may have given you more trouble or had to submit late.

6. If you had the opportunity to change this course:

What would you keep? 

Honestly, I feel that each module was a great learning experience. We looked at so many different arts and artists in the book, the videos were all fascinating, and the 'hands-on' art projects were fun. The class is well-rounded, there is something for everyone. I may not like every single style, but I want to understand and appreciate all kinds of art so that I can share it with future students as well as broaden my horizons!

What would you remove?

I really wouldn't remove anything, the class is so diverse, I never would have imagined that I could learn so many new things in a semester-long online class.
 

What would you add?

I would add even more hands-on projects, I loved trying new media, for example I rarely use acrylic and I never would have made a mask unless I had been asked to.

7. Would you recommend this course to your peers?

Definitely; it's super-convenient to take a class online and work at your own pace, and this course is packed full of information and resources.

8. Please list any other comments you would like to share.



I was beyond intimidated when I decide to go back to college. Walking on campus again gave me a weird sense of 'deja-vu' - so much has changed, yet so much felt familiar. I was nervous that I would be out of place with so many young adults. All that has changed; I have a new confidence in myself and my capabilities, I made new friends, in fact I realized that it didn't matter if we had an age difference, when you are passionate about art it brings you to a common ground. I am positive that I am on the right course, it sounds a little strange, but I am more invested in learning new things than I was when I was younger. My mind is thirsty for every new thing that I can learn or create, I am so happy. As I mentioned, I didn't know what to expect with an online college course, but it's been a great experience, and I truly appreciate the time you have spent putting together so many different modules for us.

Reflections of AED200

 

1. What were you expectations for this course and where they met?

I wasn't sure what to expect when I signed up for this online college course; the only other online class I had taken before was an adult ed class on Adobe InDesign. I am in the two year Post Baccalaureate program for Art Education and I'm a busy mom with two young children - I thought that it would be convenient to take one of my courses online so that I could fit it easily in to my busy schedule. My expectations have been met and I've learned even more than I expected to!

2. Now that you've been through this course, What is art? How would you define it now compared to your initial posting? 

While this comes across as a cliché, I have to say that art IS at the heart of just about everything. It's one of the things that elevates us to the top of the evolutionary chain. We react to the world around us, we instinctively react to something that is aesthetically pleasing as well as something that is not. Art is all around us, yet often times it takes the eyes of an artist to see what's around us and give us their interpretation.

3. Who was your favorite artist in your original posting and who is your favorite visual artist now? If there is a difference, why do you think so? If you have the same favorite artist, why do you think so?

I have come to appreciate more visual artists after taking this course, but my favorites haven't changed. My love and inspiration for, and from, the work of Andrew and Jamie Wyeth has changed my life. Yet this course has also rekindled my love for Albrecht Dürer and Duccio di Buoninsegna. I feel that my curiosity about new forms of art and artists has increased also. My eyes are wide open and I love to see, whether it's my 'taste' or not, what is out there in the world of art.

4. Now that you've completed this course, how do you feel about taking an online course? Is your answer the same as it was in your first posting? How is it the same or different?

I think taking an online course is an excellent opportunity, particularly for people like me who are also taking care of a home and a family. I love the flexibility! I am so proud of the things I am now able to do with confidence; I always wanted to create a blog but was intimidated, and I'd never done a PowerPoint presentation either! Know I feel very comfortable with both and plan on using my new skills in future classes and as a future art teacher!

Guernica, 1937, by Pablo Picasso

Viewing the painting Guernica, by Pablo Picasso, answer the following questions to the best of your ability. Be sure the use citations if you are using references in your answers.

 

Pablo Picasso, Guernica. Oil on canvas, 11'6" x 25'6", 1937.

1. Use the vocabulary you have learned in class to describe this artwork or performance in detail.

In the Arts in Living class I took this semester, we spent a lot of time looking at and talking about Picasso's masterpiece, Guernica. We also watched a video about Picasso on YouTube, sited below.

 
The Power of Art - Picasso, by Simon Schama https://www.youtube.com/watch?v=tI4OABAP4Is  

Until the Basque town of Guernica, Spain, Pablo Picasso had been uninterested in the concept of war. But the Nazis bombing of a quiet community in Picasso's home country angered him enough to use his paintbrush to express his outrage.

2. What processes were used to create this work? What social influences might the artist be responding to and why?

Picasso used an enormous canvas to paint Guernica, in the Simon Schama video we watched, we saw that Picasso had to climb on ladders in order to reach different parts of the painting. To increase the drama of this work, Picasso chose to work in black and white, there is no color to distract the viewer from the tragedy represented, and since it is so huge the viewer is practically overwhelmed by what they are seeing. 

3. What is the relationship of this work to the time and society in which it was created? Describe the symbols used to express this relationship.

This work was created in 1937, just a few short years before WWII broke out. Hitler was in power in Germany, and wanted to demonstrate to the the Allies, and intimidate them, with the military weaponry that was in German hands. Many innocent people were killed, and Picasso was enraged by what he read in the newspapers. Throughout the painting, Picasso has represented pages of newspaper with small black lines to represent what was printed in the news.

4. Identify elements in the work that evoke a persuasive or emotional response. Be specific about what those responses are and why.

I have traveled to Europe, but have never seen Guernica in person. I would imagine that the shear size of the painting would provoke an emotional response. It's impossible to look away from the figures screaming in agony, the chaos and destruction that he has captured on canvas is awe-inspiring.

5. Evaluate what you perceive to be the strengths and weaknesses of the work.  Apply discipline specific vocabulary and concepts when describing your point of view.

Although I am not personally a big fan of Picasso's work, I still have an appreciation for the mark he has left in the art world. Guernica, in many peoples opinion, as well as my own, is his most powerful work. It has captured the horror of war, and while it is of a specific conflict, it has a universal quality to it; it captures 'war' and it's raw power. I've wondered what color, even a monochromatic color such as red, would change or improve Guernica. But in the end I feel that the black and white palette Picasso used lends this painting a 'timeless' quality, and nothing should be changed.

Art Gallery Visit #3 & Art Material Exploration: Self-Portraits

Art Gallery Visit #3 and Art Material Exploration: Self-Portraits

Andrea Tasevski

Andrea Tasevski, Self-portrait at 45. Watercolor, 10" x 10", 2017.

 

 

 

 

 

 

 

 

Art Gallery Visit #3 and Art Material Exploration: Self-Portraits

1. Why did you select the inspiration pieces?

I selected the three inspiration because I was drawn to them, and because each one was done using a different medium. The Charles E. Burchfield self-portrait, painted when he was a young man in 1916 and is part of the Burchfield-Penney Art Center's permanent collection. Burchfield used a mixture of watercolor, pencil and conté crayon on paper. My favorite medium is soft pastel, but I also paint in watercolor, and am a signature member of the Niagara Frontier Watercolor Society. 

The self-portrait of Frida Kahlo is part of the Albright Knox Art Gallery's permanent collection, and I have always been intrigued by her work. She painted many self-portraits, and this particular one, done in oil on masonite includes a monkey with his 'hand' resting lovingly on her shoulder.

Jack Edson's huge self-portrait quilt is in the the Art In Craft Media 2017 which is currently on view at the Burchfield-Penney Art Center. I was fascinated by his art-quilt. I love to sew and have created several quilts for family members, and it is so intriguing to see the fabric used to create such an amazing work of art.

2. Why did you select the media to create your self-portrait?

I selected watercolor to create my self-portrait because I also am painting pet portraits for customers for Christmas; watercolor takes time to dry before more layers can be added, and I often find it more efficient to work on more than one at time. When one painting is drying, I rotate to another one, and so on.

3. What challenges did you face in creating your self-portrait and how did you overcome them?

The big challenge for me was the fact that the photo I used is black and white, and I wanted to paint a self-portrait in color. I overcame this by relying on my experience painting portraits. I understand how to create skin tones, and I know what I look like when I check my mirror in the morning! 

4. How does this piece represent you?

I have long curly hair that can get wild, and I love color, so I emphasized my hair by using lots of crazy color and showing it flying all over the place. I am both self-conscious and proud that I am an 'adult' college student, so I stenciled my age and painted it red in the bottom left -it is there for all to see and I am not ashamed to be 45, but the 'inner me' is many years younger!

5. What elements and principles of art did you apply in this work?

I used varying lines to emphasize my hair, and played with complimentary colors to achieve realistic skin-tones. I used a square format for my design and had my head slightly tilted to create a more interesting composition.

6. Did you enjoy working on this project?

I love painting my children and my niece and nephews, but I never want to paint myself. I am self-conscious about the way I look and am not comfortable enough to focus on the way I look.

7. What do you think of your final artwork? 

I am 'ok' with my final artwork; I feel that my pastel portraits are stronger, but I really wanted to push myself out of my comfort zone and do a watercolor self-portrait. I particularly liked the Burchfied self-portrait, and that was done partly in watercolor, so I wanted to see if I could do something similar. 

Charles E. Burchfield, Self-Portrait, January 1916. Watercolor, pencil and conté crayon on paper, 19 13/16" x 16 5/8"

Frida Kahlo, Self-Portrait with Monkey, 1938.
Oil on Masonite, 16" x 12"

Jack Edson, Self-Portrait, 2017. Cotton patchwork quilt,
hand and machine pieced, hand quilted, 72" x 52"

Video Reviews: The Lowdown on Lowbrow: West Coast Pop Art & An Acquiring Mind: Philippe de Montebello and The Metropolitan

Questions and Topics for Your Blog Posting:

1. For each video list/discuss the key concepts you learned.
I found the video The Lowdown on Lowbrow:West Coast Pop Art to be unlike anything I've every seen. 'Lowbrow' refers to a person regarded as uncultivated and lacking in taste. Neanderthals had 'lowbrows', so it is also a referral to someones lack of intelligence. As with an art 'movement', there are many subheadings to Lowbrow art, such as Tiki Art, Psychedelic Rock Paintings, Cowboy Culture Art and Pop Surrealism. After WWII, New York City became the art capitol of the world, prior to WWII Paris, France had been the center. Therefore east coast art was synonymous wit high class art. Lowbrow art began in California, as far west as you could get without going to Hawaii. Much of the Lowbrow art seen in this video reminded me of Mad Magazine. I have always thought that the artist/illustrators who create Mad are quite talented. 

The video An Acquiring Mind: Philippe de Montebello and the Metropolitan Museum of Art featured art that would be considered by Lowbrow artists to be high class. While their were many works that in the Lowbrow video that I find to interesting, my heart belongs to museums like The Met. My BFA is in Art History, so I felt more comfortable and knowledgeable with the work discussed in The Met video. In the east coast art world, Philippe de Montebello was the head of The Metropolitan Museum of Art for 30 years, and had approximately 30 special exhibits per year. While Lowbrow artists feel that their art is more 'accessible' to people, The Met also works very hard to show many different exhibits and artistic styles, sure to please many different patrons.
 
2. Do the videos relate to the creation of your Art Exhibition project? If yes, explain how. If no, explain why not.
 I felt that the second video, An Acquiring Mind: Philippe de Montebello and the Metropolitan Museum of Art, had more relation to the creation of my fictional art exhibit. This video showed much of what goes on behind the scenes to set up a show, and to my surprise their were many curators who were highly specialized in a particular area of art. They would present potential acquisitions to De Montebello, and he would have the final word as to whether or not a work was purchased for the gallery. During his tenure over 84,000 works were acquired for The Met.
 
3. What is your opinion of the films? Do they add depth to understanding of the art concepts you practiced while creating your curation project? 
Both films were interesting, but I do not feel that the Lowbrow video added as much to my depth and understanding of art concepts as The Met video did. Perhaps that is due to my own biases. As Philippe de Montebello said, an art curator is "...never completely neutral". I myself prefer the artwork featured in The Met, and while many feel that this is 'highbrow', I truly believe that all museums wish to invite everyone to see and enjoy what they have to offer.

Reflection on the Creation of Project #4

The theme of my art exhibit is a selection of paintings from Sienese artist of the late 1200's to the early 1300's, Duccio di Buoninsegna. During this time period, Italy was not yet a country but was made up of many city-states, which were often fighting each other. Artists were still considered 'craftsman' and would run a studio with the help of assistants and apprentices. The artist would create the original design, but his assistants would often work on smaller commissions, grind the pigments (Duccio used pure pigment mixed with egg tempera), prep the painting surfaces, and clean the workshop. I have seen many of Duccio's works in person when I was a student in Siena in 1994, and nothing compares to seeing in his work in person, it's a magical experience. The title of my 'exhibit' is Duccio di Buoninsegna: Paintings with Sienese Artist of the Early 14th Century as a subtitle.

At first I wanted to do the theme of portraiture, because my favorite subject to paint is people. But as I researched portraiture I found the subject to be so broad that I would probably need to focus on only one to two artists. I considered then to focus on one artist and time period that I love, so I chose artist Duccio di Buoninsegna, the renowned Sienese painter commonly known by just his first name, Duccio. For the Spring semester in 1994 I was in the Siena Program, through Buffalo State College, and I lived with a family, and went to school, in Siena, Italy. Siena is an incredible city in Tuscany that seems to be frozen in time. The medieval wall that was built to protect the city from other city-states, Florence in particular, is still intact. There are many narrow streets leading to the Piazza del Campo, which is the heart of the city. It is easy to get lost, every street looks the same until you learn your way around. Duccio was one of the greatest and most-influential artists to come out of Siena, and I have seen many of his works in person. I chose my title, Duccio di Buoninsegna: Paintings with Sienese Artist of the Early 14th Century as the subheading because, while it is a long title, it succinctly states what exactly you are going to see in my 'exhibit'.