ART 2
UC Approved (F)
Scholars will demonstrate more advanced skills in 2D design, Fiber Arts, Printmaking, Drawing, Painting & 3D design (sculpture) using the fundamentals of the elements and principles of fine art and design. Scholars will design individual artworks based on design elements and principles as well as responses to historical, philosophical and cultural prompts.
UNIT 1: LAYERING
Overlapping and overlaying a multiplicity of images, devaluing the sacredness of any one picture.
UNIT 2: JUXTAPOSITION
Placing or combining contrasting imagery in such a way as to create new meaning from the interplay of clawing concepts.
The term juxtaposition is useful in helping viewers to discuss the familiar shocks of contemporary life in which images and objects from various realms and sensibilities come together in intentional clashes or in random happenings. The results may be shocking, political, they may destroy, but always make the viewer think about the subject in a way that goes beyond the original objects or images.
UNIT 3: REPRESENTIN'
Creating imagery that proclaim one's identity and affiliations; locating an artistic voice within a particular history and culture of origin. Questions of race, class, cultural identity and national identity are addressed in these types of work.
UNIT 4: INTERACTION OF TEXT & IMAGE
Creating meaning through the combined interplay of text and imagery. Artists working in this style often combine images and text that don't obviously go together. This results in a piece of work that build meaning that is beyond the text and image alone. Combined they create a stronger meaning.
UNIT 5: HYBRID
Using a multiplicity of media and/or a blending of cultural sources in order to investigate a subject.
UNIT 6: RECONTEXTUALIZE
Positioning familiar imagery in relation to pictures, symbols, or texts that it is not usually associate with. A process that extracts text, signs or meaning from its original context in order to introduce it into another context. Since the meaning of texts and signs depend on their context, recontextualization implies a change in the communicative purpose to. The artist, Fred Wilson, described as a contemporary master of Recontextualization applies this concept as he forges through museum collections and rearranges objects to give them power through unusual arrangements.
UNIT 7: APPROPRIATION
To appropriate is to borrow. Borrowing imagery from historical and mass media sources, such as found photos and advertising. Through the act of borrowing, the artist manipulates or adds to the concept. Appropriation is the practice of creating a new work by taking a pre-existing image from another context—art history, advertising, the media—and combining that appropriated image with new ones. Or, a well-known artwork by someone else may be represented as the appropriator’s own. Such borrowings can be regarded as the two-dimensional equivalent of the found object. But instead of, say, incorporating that “found” image into a new collage, the postmodern appropriator redraws, repaints, or rephotographs it. This provocative act of taking possession flouts the modernist reverence for originality.
UNIT 8: GAZING
Controlling or drawing attention to how and why familiar imagery is seen and used, especially by questioning or playing upon contradictions between what is being looked at and who is doing the looking.
Think about the following:
Is the viewer gazing at the figure in the painting?
Is the figure in the painting gazing at you?Is the figure gazing beyond you?
Are there different figures gazing at each other in the painting?