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Part 1 Resource 1: Video Resource 2: Please read the following post from the Ian Jenkins of the British Museum: The Shock of the Nude Resource 3: Please read the excerpt from the Iliad (attached) Homer's epic The Iliad offers incredible insights into many aspects of ancient Greek culture, from their understanding of deities, to virtuous behavior, to attitudes towards the afterlife. 1). Carefully read the excerpt from Book 16 of The Iliad. What surprises you most about Homer's writing? Did you find the text interesting? Dramatic? Violent? Select a line that you found compelling and discuss why you chose it! 2) Focus on the Death of Sarpedon Krater. Using your best skills at "ekphrasis", describe what you see in this image. 3) How is the text by Homer reflected in the imagery of the Death of Sarpedon Krater? How does the imagery represent the narrative as told by Homer? How does the image differ from the textual account (if at all)? YOU MUST CITE DIRECTLY FROM THE ILLIAD TO RECEIVE CREDIT. 4) Read the blog post from the British Museum. According to the author, Ian Jenkins, what is the cultural significance of nudity (particularly male nudity) in Ancient Greece? Finally, using the example of the Riace Warrior from your textbook (image 2), describe some features of the sculpture that are "idealized" and some that are "naturalistic". For full credit, use the term contrapposto!! Part 2 Resource 1: Video Resource 2: Reading - The Parthenon (attached) Resource 3: Reading - Wait, Why Are the Parthenon Marbles in London? First watch the video on the Parthenon. Be attentive to the section around 4:00. (1) What was the Pan Athenaic Procession and what is its relationship to the decorative program of the Parthenon? BE SPECIFIC Next let's address the actual architecture of the building (starts around 7:30). (2) What are some of the innovations the architects of the Parthenon introduced? What were the Athenians trying to express with this architecture? Turn to your outside reading "The Parthenon". (3) Select one of the works of art from the essay and describe how it relates to the building. (4) Finally, turn your attention to the second reading "Wait, Why Are the Parthenon Marbles in London?" Who was Lord Elgin? How was he able to acquire the Parthenon marbles? What did the acquisition of the sculpture's represent to England in the early 1800's?

Many contemporary Latinx/Chicanx artists take inspiration from Ancient Mesoamerican Art. In Exam #3, you will select two artists from the list below and analyze at least one artwork that each has created, specifically commenting on their use of Ancient Latin American imagery/symbols and influences. You may select more than one artwork to discuss if you want to talk about themes that are present in multiple examples of their work. You can search the web for information about the artist and their works but please include the citation at the end of the analysis. Wikipedia is ok. It is important to consider the questions; What aspects of Ancient Latin American art have influenced this artist? Or how and why has this artist incorporated or responded to Ancient Latin American imagery in their work? In other words, what is the artist trying to say? How does the artist relate their own cultural identity to Ancient Latin American cultural practices, images, symbols, materials, shapes, etc? The essay discussing both artists should be minimum 500 words (can go over word limit). So 500 words total to discuss both artists, not 500 words for each artist. List of Artists: - Beatrice Cortez - rafa esparza - Yreina Cervantez - Judith Baca - Manuel Cruz - Charles Felix - Jesus Barraza - Judithe Hernández - Alma Lopez - Chaz Bojórquez - Ricardo Duardo - Sonia Romero - Linda Vallejo - Dora De Larios - Sandy Rodriguez - Yolanda López - Melanie Cervantes - Ester Hernández - Julio Salgado - Favianna Rodriguez

Part 1 Reference Video Lecture Reading: Ara Pacis Augustae (attached) Question The Augustus of Primaporta is one of the best known examples of early Roman Imperial imagery. What are some of the important symbolic messages in the statue? USE SPECIFIC EXAMPLES AND DISCUSS THE MESSAGE THESE WERE INTENDED TO COMMUNICATE TO VIEWERS. How do these symbols support the leadership and power of Augustus? In your opinion what image does Augustus create in this portrait? Next, turn to the article on the Ara Pacis Augustae. There are several intersections between the Ara Pacis and the Augustus of Prima Porta. What exactly is the Ara Pacis Augustae and how was it used? Do you think the two monuments communicate similar messages? Specifically where do you see overlapping messages? Finally, what are the differences between the intended uses for each monument? In the case of the Ara Pacis, please select a direct quote and explain its meaning in your answer. Part 2 Reference VIDEO: The Arch of Titus READING: Josephus Josephus, “An Imperial Triumph” from The Jewish Wars, (71 CE) Now it is impossible to describe the multitude of the shows as they deserve, and the magnificence of them all; such indeed as a man could not easily think of as performed, either by the labor of workmen, or the variety of riches, or the rarities of nature; for almost all such curiosities as the most happy men ever get by piece-meal were here one heaped on another, and those both admirable and costly in their nature; and all brought together on that day demonstrated the vastness of the dominions of the Romans; for there was here to be seen a mighty quantity of silver, and gold, and ivory, contrived into all sorts of things, and did not appear as carried along in pompous show only, but, as a man may say, running along like a river. Some parts were composed of the rarest purple hangings, and so carried along; and others accurately represented to the life what was embroidered by the arts of the Babylonians. There were also precious stones that were transparent, some set in crowns of gold, and some in other ouches, as the workmen pleased; and of these such a vast number were brought, that we could not but thence learn how vainly we imagined any of them to be rarities. The images of the gods were also carried, being as well wonderful for their largeness, as made very artificially, and with great skill of the workmen; nor were any of these images of any other than very costly materials; and many species of animals were brought, every one in their own natural ornaments. The men also who brought every one of these shows were great multitudes, and adorned with purple garments, all over interwoven with gold; those that were chosen for carrying these pompous shows having also about them such magnificent ornaments as were both extraordinary and surprising. Now the workmanship of these representations was so magnificent and lively in the construction of the things, that it exhibited what had been done to such as did not see it, as if they had been there really present. On the top of every one of these pageants was placed the commander of the city that was taken, and the manner wherein he was taken. Moreover, there followed those pageants a great number of ships; and for the other spoils, they were carried in great plenty. But for those that were taken in the temple of Jerusalem, they made the greatest figure of them all; that is, the golden table, of the weight of many talents; the candlestick also, that was made of gold, though its construction were now changed from that which we made use of; for its middle shaft was fixed upon a basis, and the small branches were produced out of it to a great length, having the likeness of a trident in their position, and had every one a socket made of brass for a lamp at the tops of them. VIDEO: The Pantheon Question The "outside content" for this week includes a description from the historian Josephus of the triumphal procession of the Roman armies following the conquest of Jerusalem (discussed in external video lecture). 1) What is the relationship between the procession Josephus describes and the actual Arch of Titus? What function did the Arch serve? How does it relate to what you have learned about Imperial power during the time of the Roman Empire? 2) Compare the expression of power in the Arch of Titus to the Augustus of Primaporta (lecture and textbook). How are the two similar? How are they different? The Pantheon, Rome, c. 125. Iktinos and Kallikrates, The Parthenon, Athens, 447–432 B.C.E. 3) Let's focus in on the second video. On the left is the Pantheon, which we learned about in this week's module. On the right is the Parthenon, which we learned about previously in our module on Ancient Greece. How are the two structures similar both in terms of their function and appearance? What technologies and materials did the Romans have access to that the Greek's did not? Finally, how did the Pantheon represent the "movement of the heavens"?

Instructions For each of the 9 Terms of Principles of Design presented in Chapter 5, you will need to: Identify one artwork included in the textbook, Living with Art, but not mentioned in either Chapter 4 or Chapter 5, that illustrates the principle in question. Include complete data on each work based on information from the caption. Include the textbook edition and page number. Define the relevant Principle of Design term in your own words. Explain why you chose each particular artwork in your own words. Explain how each choice exemplifies the principle of design in 2–4 sentences. Your initial post should be 100–250 words Cite sources you reference in-text in MLA or APA format. DO NOT USE ANY TYPE OF AI SUCH AS CHATGPT (IT WILL BE DETECTED) ----------------------------------------------------------------------------------------------------------------------- Preparation To prepare:. Review all Module 1 readings and resources Elements of Art (KQED Arts) Why is this Painting so Captivating? (TED) How to Look at Art How to Write a Comparison in Art History Lecture 3: Art, Artists, and Themes Read all Module 1 chapters from the textbook Lesson 1: Chapters 1–3 Lesson 2: Chapters 4 & 5 Review the 9 Terms of Principles of Design Unity Variety Symmetrical balance Asymmetrical balance Emphasis Subordination Scale Proportion Rhythm If you feel like your research skills could use some help, the ART225 Research Help page offers both self-service and librarian assistance options. ---------------------------------------------------------------------------------------------------------------------------- After you are done with this assignment I will send you 2 of my classmates posts and you need to respond to them. Here are the requirements: Write at least two thoughtful responses to your peers, about 75–100 words each. Be sure to move the discussion ahead. Ask questions and provide constructive feedback.

An annotated bibliography is a bibliography that consists of a summary and evaluation of each listed source. This annotated bibliography should include at least six sources, which, when pulled together, gives the reader a sense of the scholarship on your topic. Sources Your sources should represent a range of literature: scholarly books, journal articles, exhibition catalogues, artist’s monographs, interviews, etc. These can be focused on the specific artworks and/or exhibitions addressed, the artist(s), time period, theme, and/or subject matter of the artworks Organization Your annotated bibliography should open with a paragraph that presents your revised research questions and then provides an overview of the literature on your selected topic; is it vast or limited? What types of sources did you encounter? What are the primary languages? Was the literature mostly published at a certain time, or have there been different moments when the topic has received attention? Next, you are to list a bibliographic entry for each of your six sources (alphabetized by the author’s last name). Each source must be annotated. The annotations should address the following information: the author’s main argument(s), the topics covered, its relevance to your topic, its relationship to your other sources, and any critiques you may have. Each annotation should be one to two paragraphs (roughly 150 words). They must be written in your own words. You do not need a concluding paragraph. Format You must format your annotated bibliography following The Chicago Manual of Style Notes and Bibliography style. Sample Annotated Bibliographies Cornell University Library, The Annotated BibliographyLinks to an external site. Purdue Online Writing Lab, Annotated Bibliography SamplesLinks to an external site.

I'm having some difficult time with the essay Question "Ethical Response Paper: Should museums, in the present, be accountable for partnerships with bad actors in the past?" The guiliness, rubrics, and all the sources are below. Please use only the sources below...Thank you for helping me

Part 1 Reference lecture video reading: CONSTANTINE AND THE EARLY CHRISTIAN BASILICA (pp. 27-39) From James Snyder (attached) reading: Introduction to Classical Christian Doctrine (optional reading but highly recommended) outside reading: On Relics Question (1) According to your outside reading, what is a relic? How do relics relate to the purpose of an early Christian Church? USE A DIRECT QUOTE. Using the example of St. Peter's Basilica, explain how relics were integrated into the building's architectural plan. (2) How did relics help early Christians to make their sacred spaces "holy"? (3) Turn your attention to the reading from Professor James Snyder. Select one quote (you might use the one I read out loud during the lecture...just saying...) that describes the structure of the early Christian church during the era of the emperor Constantine. INCLUDE YOUR CHOSEN QUOTE IN THE BODY OF YOUR LEARNING LOG. How (according to Snyder) does this quote describe the way that either the early Christian Church (you can use either an example of a basilica format or centrally-planned style church) continues and/or changes the tradition of Roman building that came before? Note: If you want to choose a different quote on a topic you find interesting, go crazy. Part 2 Reference LECTURE: Justinian the Builder READING: Hagia Sophia and San Vitale in Ravenna (From Jame's Snyder's Medieval Art. These pages are selections, there is supposed to be a chunk missing between the two excerpts.) (Attached) Question (1) Hagia Sophia is the architectural marvel of Byzantium. Using specific architectural terms, describe some of the techniques the builder's used to create it (hint: use the term pendentives). (2) Next turn your attention to the rituals performed inside it. Using specific terminology, describe how Jusitinian involved himself in the performance of the mass. How did the choreography of the mass reinforce Justinian's concept of the "caesaropapism"? USE A DIRECT QUOTE to support your answer. (3) Finally, turn your attention to the spectacular mosaics in San Vitale in Ravenna. Carefully read Snyder's description of these mosaics. What similarities do you see between the mosaics and the ivory image of Justinian that began the lecture? What is the relationship between the images in San Vitale and the rituals performed in Hagia Sophia? How do they relate to "caesaropapism"?

Instructions Select two artworks (from the textbook, Google Arts & Culture, museum websites, etc.), one from the Medieval Era and one from the Renaissance. Include a link and label correctly (refer to examples in the textbook). Please see Purdue OWL for formatting guidance and how to cite correctly. Begin with a simple thesis statement. Include the following elements in your Cultural Comparison: Identify the two artworks you will be comparing, including artists’ names if available, names or titles of the works, country and sub-region of origins, dates, sizes and the media used. State which format you are using for your comparison: "Block by Block" or "Point by Point." Describe each of the works as you did in your formal analysis of art, using at least 5 terms of design (line, perspective, composition, etc.) from the Art Vocabulary List and/or terms used in “How To Look at Art” and/or in Chapters 4 and 5. Discuss relevant social, political, cultural, religious, and historical factors that may have influenced the production of the art you have chosen. Include developments in humanism and changes in economic wealth. Explain why you chose these two particular artworks. Consider how they support your thesis statement. Explain what primarily distinguishes Renaissance art and culture in general from the prior Medieval period. Describe and explain the various connections between, similarities and/or differences you find in the cultures of these two artworks. Discuss ways in which cultural differences or connections impacted these artworks. Articulate an informed conclusion from what you observe or interpret about the cultures and artworks, based on comparing and contrasting them, to support your thesis statement. ------------------------------------------------------------------------------------------- Purpose In this assignment, you will apply the skills of comparative analysis you practiced in the Comparison of Artworks assignment in Module 2, but now applied specifically to cultural observations you can imply from the artwork. Practicing this type of cultural analysis will also prepare you to do the same in the Art Curator Project. Course Learning Outcomes: 1, 2, 3, 4 Preparation Review Chapter 15: Christianity and the Formation of Europe. Read Chapter 16: The Renaissance. Review How to Write a Comparison in Art History. Review the art vocabulary you will need to apply from Module 1: Review How to Look at Art. Review Chapters 4 & 5. Review Lecture 7: Just What is a Thesis (in Art History) Anyway? If you feel like your research skills could use some help, the ART225 Research Help page offers both self-service and librarian assistance options. ----------------------------------------------------------- I attached the textbook with the chapter listed above * IF IT SOUNDS LIKE AI GENERATED ANSWER I WILL ASK YOU TO REDO IT. Do not use chatgpt or anything similar. Give me original work that is easy to read at high school level.

Robert you helped me with this assignment, but the teacher did not approve. Some changes need to be made--I am posting a new question so you can help me with it. It needs to be done regarding the 2 artworks I attached, the paper need to be a little more critique (but enough so it is justifiable, and brings up the positive as well) and the introduction they said was too vague. They wanted it to be more detailed and include the 2 works in the introduction. One of the references you used wasn't tin the exhibition, that is why they asked for a new one. See attached pictures of it below--and the names. https://hammer.ucla.edu/exhibitions/2024/breathe-toward-climate-and-social-justice https://viaartfund.org/grants/cannupa-hanska-luger-sovereign/ "Apisculpture" by Garnett Puett (Bees) Cannupa Hanska Luger: Sovereign

ARC 303 INVESTIGATING THE EXHIBITION PROFESSOR ASHLEY SIMONE ESSAY #1 PROMPT Requirements: Provide Citations per Chicago Standards. Check the resource section for a guide to citing sources and tips on successful writing. Please use at least 2 sources, beyond the course texts, from JSTOR. You can find the JSTOR database here: https://libguides.library.arizona.edu/az.php?q=jst... *There is a tutorial on how to use JSTOR accessible using the link above. Provide at least 3 illustrations with captions. Please review this Image caption guide: https://libguides.csusb.edu/chicago/captions 750-1000 written words + illustrations using the written assignment template Preamble to the essay question On the first page of her book Seven Days in the Art World, Sarah Thorton writes: “The contemporary art world is a loose network of overlapping subcultures held together by a belief in art.” I would argue that the field of architecture operates in a similar manner. The quote could easily be recast: The contemporary ARCHITECTURE world is a loose network of overlapping subcultures held together by a belief in ARCHITECTURE. Over the course of the last five weeks, we did readings about the shifting nature of curatorial practice. Jean- Louis Cohen introduced his observation that curatorial practice has shifted from one that was preoccupied with traditional documentation strategies to one that commingles with artistic practice in the sense that the curator has his or her own original messages to construct using the medium of the art, and production of others. The definition of a curator overlaps with the definition of an artist. We also took a cross-section through the art world using Thorton’s book and through the weekly lectures where we examined “architecture’s corollaries” to the elements and entities that comprise the art world. In doing so, we came across an art venue, the Guggenheim Bilbao Museum designed by the contemporary architect Frank Gehry, which is a building that formally (physically) and culturally, resides at the intersection of art, architecture, and technology. When the museum opened in 1997, it quickly developed into a “symbol” and had a drastic effect on the worlds of art and architecture, and as an economic and sociological model. It jolted a Spanish city back to life. Architecture has often taken on symbolic meaning in the past, especially through civic, cultural, and religious institutions. In Bilbao, Gehry’s architecture established a symbol that transcends traditional typologies; his museum brought the discipline of architecture closer to the discipline of art. Formally, the sculptural museum appears as a large-scale artwork. ARC 303 INVESTIGATING THE EXHIBITION PROFESSOR ASHLEY SIMONE ESSAY #1 PROMPT For ESSAY #1: Read The Bilbao Effect: Ethical Symbolic Representation (PDF included in the Content section and is cited below). Taking into consideration the readings and discussions we have done so far in this course, comment on the Guggenheim Bilbao as a symbol and make an argument for whether you think the architecture is good. The prompt is intentionally open-ended. Explore the “overlaps” and effects of Gehry’s museum. You may approach it based on your individual backgrounds. For example, it can be discussed in terms of its economics; you may choose to take a position on whether architecture can (or should) be art; you may want to discuss the building formally and explore its relationship to the context. You are the critic, the curator, make an argument. I have offered one outside article to help with the generation of your ideas and positions. Please use at least two other sources from JSTOR**. Required Reference (see content section): MacCannell, Dean. "The Bilbao Effect: Ethical Symbolic Representation." In The Ethics of Sightseeing, 158-66. Berkeley; Los Angeles; London: University of California Press, 2011. http://www.jstor.org.ezproxy.pratt.edu:2048/stable/10.1525/j.ctt1ppn0n.17.