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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.

this is a two assignment post I will be paying double 20 questions/ 10 questions each two attempts each no time limit The first assignment is This assignment 10-question assignment This assignment follows the Online Art History boundless text: Chapter 18: Gothic Art 18.1: Introduction to Gothic Art 18.2: Gothic Architecture 18.3: Gothic Sculpture The second assignment is This assignment 10-question assignment. This assignment follows the Online Art History boundless text: Chapter 18: Gothic Art 18.4: Gothic Painting 18.5: Gothic Metalwork 18.6: Italy in the Gothic Period

For this assignment, I chose the eighth week. After reading the assignment information, you can see the articles related to the eighth week. Please pay attention to the YouTube links. Unit 3 Assessment: Create an Infographic (Fall 2024) LEARNING GOALS / OBJECTIVES FOR THIS ASSESSMENT This assessment is an opportunity for you to check your understanding of the Baroque Art in Italy and Spain (Week 8), Baroque Art in Northern Europe (Week 9), Rococo, Enlightenment, and Industrial Revolution (Week 10), and Neoclassicism, Revolution, and Napoleon (Week 11). You will: Effectively synthesize a lesson by creating an engaging infographic that clearly demonstrates your understanding of the information as well as the themes of the lesson. INSTRUCTIONS This assignment has TWO parts: your personal post (infographic) as well as feedback to twopeers. Both components are due by the deadlines noted. PART ONE: Your Personal Response REVIEW: Review the instructional content (notes, videos, articles) of the following four lessons in Unit 3: (a) Baroque Art in Italy and Spain (Week 8), (b) Baroque Art in Northern Europe (Week 9), (c) Rococo, Enlightenment, and Industrial Revolution (Week 10), and (d) Neoclassicism, Revolution, and Napoleon (Week 11). Highlight key points, underline vocabulary words, and outline concepts. Ensure you have gone through the full content of the modules and have a thorough understanding of these moments in history. SELECT and PLAN: Select ONE of the four lessons (see the list in #1) and plan your notes for an effective infographic. Click here quickly to get an idea of what you're going to be creating before you move on: art infographic - Google SearchLinks to an external site.. You're basically creating a summary of the lesson. Identify important historical contexts, artistic styles, key themes, main artists and their artworks. You clearly cannot include all the details, but your selection and how you design your information needs to clearly indicate you have learned and understood that full lesson. Please be sure to provide information that lets me know you have learned the historical content as well; in other words, simply giving artist names and the titles of their works is not enough. Consider questions such as: What historical context is important to know in understanding the works of art and why they were created? What key details are important? What was innovative about each artist and his style? CREATE the INFOGRAPHIC: Bring your notes together and create the actual digital infographic (it's basically a single page that includes the necessary information) that demonstrates your understanding of the lesson. Your infographic should be a single plage, visually engaging, easy to follow, and include the right amount of information. [NOTE: If you have never created an infographic before, there are some detailed instructions below in the "Creating Infographics" heading. There are also a number of new free apps/programs that you can search for and use. It's up to you which one you use as long as you are able to meet the requirements of the assignment]. Here are the requirements: Include history/context, artists and their artworks, key points, etc. Repeat: historical context MUST be part of it. As you have learned by now, we are learning to understand and interpret the works of art by considering the historical period. Label images of artworks (artist, title, date). Do not include artworks not in the Info Sheet. Ensure the text is clear, easy to read (consider font style, size, and color). Long paragraphs are not ideal for an infographic, so you will need to condense the information into focused points. (Avoid bright or neon colors). Use your own words; do not copy anything. SAMPLES: I've attached a couple of examples of past infographics (from another lesson) for you to review. It does not have to look like this, but you can see examples to inspire yours! :) These aren't perfect (for example, the artworks need to be labeled), but they are here to give you an idea. EMBED: Upload the infographic here for your peers to see and offer feedback. Embed it into the post, NOT attached. Here are the samples: PART TWO: Peer Feedback Review: Review the infographics of your peers and write thoughtful and meaningful responses to TWO peers. Choose peers who have selected DIFFERENT LESSONS from the one you chose. Respond: In a specific and meaningful paragraph (5-7 sentences), address the following: What was effective about the infographic? (Be specific) How did the infographic help you learn the material better? How could the infographic be improved ? (Consider number of images, layout of the page, size/color/type of font, information included.) (Don't be afraid to respectfully offer your peer some suggestions, we are here to learn and grow together!) Point out inaccuracies gently. Support: Like the infographic if you found it helpful or well-done. Let’s support one another! REMINDER: You must reply to two peers who have created infographics on two DIFFERENT lessons from the one you selected. CREATING INFOGRAPHICS Infographics help reinforce and retain new information, think critically, and use creativity. Read the brief article "Why Infographics Work & Why You Can't Resist ThemLinks to an external site." to understand Infographics more and to see some examples throughout the article. A simple Google search for art infographicsLinks to an external site. reveals the following array of examples. This is just for you to see how diverse they can be and to realize that however you create yours is fine. It will be uniquely yours! You can use YouTube for a wide range of tutorials about how to create infographics. Canva might be helpful as well: How to make an infographic - ultimate guide (canva.com)Links to an external site. You can use any app/program you want (or even, no app at all, if you want to be creative on your own). You are free to use whichever app/program you want. It's up to you! In the past, some students have used easel.ly.Links to an external site. If you decide to use easel.ly, you can create a free account and get started either by creating your own template or using a pre-existing one. If you find a good resource, please share with your peers in the "Class Lounge." SUBMISSION GUIDELINES Upload: First, upload the image into your User Files in your "Account" in the main Navigation bar. Click here to learn how to locate your user file and know where to upload. Links to an external site.See below in "Student Services" for more help. Reply: Click "Reply" and embed your image. Click here for instructionsLinks to an external site.. Tutorials: Check the "Student Services and Technology Support" for detailed instructions. STUDENT SERVICES AND TECHNOLOGY SUPPORT Helpful tutorials: How do I upload a file to my user or group files?Links to an external site. How do I embed an image in a discussion reply as a student?Links to an external site. Links to an external site.How do I subscribe to a discussion as a student?Links to an external site. How do I reply to a discussion as a student?Links to an external site. GRADING RUBRIC To view the grading rubric for this discussion board, click on the Options icon (3 vertical dots; above right), then select "Show Rubric." Mobile users: Discussion rubrics will display on mobile browsers but not on the Canvas App. FINAL REMINDERS Do your own work. Your first submission MUST be your final and complete infographic and not a space, symbol, error, period mark, etc. (In other words, you need to submit your own work before you are able to view and then reply to others). The assignment will not be graded if your submission isn't complete. Week8 Baroque Art in Italy and Spain: Introduction, Objectives, Assessment Baroque Art is an exciting moment in art history! You're going to have so much fun learning about it. Objectives: Recognize the distinctive characteristics of the Baroque style in Italy and Spain Identify representative Baroque artists (in Italy and Spain) and their works Identify representative Baroque architects (in Italy and Spain) and their works Info Sheet: Baroque Art in Italy and Spain TOPICS & THEMES OF THIS LESSON Counter-Reformation Council of Trent Art of Persuasion Characteristics of Baroque Art Emphasis on Climactic Moment Theatricality of Baroque Art Revision (Reinterpretation) of Traditional Iconographies RELEVANT TERMS FOR THIS LESSON “baroque” Counter-Reformation Council of Trent Caravaggisti Tenebrism Martyrdom Conversion Baldacchino Characteristics of Baroque Art Grandiose and spending celebration of the Church Southern Baroque Art as a form of theater (teatro) Mixed media is now employed, emphasizing the unity of the arts (bel composto -a beautiful whole) A different relationship between spectator and works of art (fusion of real + artistic space) Council of Trent Guidelines for Religious Art Painting should be clear, simple, and intelligible Interpretation should be realistic Painting should be an emotional stimulus to one’s piety All the truth of an incident should be shown, even if it is ugly An image should not be worshipped in itself (it does not have magical power) An image should have decorum (what is proper for the subject and the religious image) Anything that is pagan must be eliminated RELEVANT WORKS OF ART FROM THIS LESSON Baroque Art in Italy Sculptures Gianlorenzo Bernini: David (1623) Ecstasy of St. Theresa (1645-1652) Baldacchino in St. Peter’s, Vatican City (1624-1633) Paintings Caravaggio Conversion of Saint Paul (ca. 1601) Calling of Saint Matthew (ca. 1597-1601) Artemisia Gentileschi Judith Slaying Holofernes (ca. 1614-1620) Judith and the Maidservant Architecture Gianlorenzo Bernini: St. Peter’s Piazza (1656-1667) Borromini: San Carlo alle Quattro Fontane (St. Charles of the Four Fountains) Baroque Art in Spain Zubaran Saint Serapion (1628) Velázquez The Waterseller of Seville (1618-1622) The Surrender of Breda (1634-1635) Las Meninas (The Maids of Honor) (1656) Jusepe de Ribera The Martyrdom of Saint Philip (1639) Antonio de Pereda Still Life with Ebony Chest (c. 1652) Introduction to Baroque Art (Reading and Video) 1) Read this article, "Baroque art, an introductionLinks to an external site." by Dr. Camara. Pay attention to the following: how art could be used for persuasion the renewed vigor and clarity of the Catholic Church the variety of works created by artists how the term "Baroque" was applied and what it came to mean 2) Watch this video (9-minutes) about Baroque Art. https://youtu.be/EFHPAbHaoqk https://youtu.be/EFHPAbHaoqk While watching, pay careful attention to the following: characteristics of Baroque art how figures move into our space how Baroque art is different from Renaissance art ATTRIBUTION: Dr. Esperança Camara, "Baroque art, an introduction," in Smarthistory, June 9, 2015, accessed April 1, 2019, https://smarthistory.org/a-beginners-guide-to-baroque-art/Links to an external site.. Beth Harris and Steven Zucker, "How to recognize Baroque art," in Smarthistory, May 10, 2016, accessed April 1, 2019, https://smarthistor https://youtu.be/EFHPAbHaoqk https://youtu.be/EFHPAbHaoqk Bernini Watch this video (4:27) about the Piazza of St. Peter's. Now step into the glorious St. Peter's and look at this stunning work inside. Watch this video (4:14) to learn about the Baldacchino. Get to know another one of Bernini's significant works and watch this video (7:33) Ecstasy of Saint Teresa. Let's turn to another depiction of David (from the story of David and Goliath, as you have already studied). Watch this video (5:00) and then click this link to read the material below the video on that page. Gian Lorenzo Bernini, DavidLinks to an external site. https://youtu.be/9UT43MHdTIg https://youtu.be/EFsaaK1w2Ao https://youtu.be/RKcJvjP9zgY This is Saint Teresa's description of the event that Bernini depicts. Read it and then see how Bernini depicted this moment. Beside me, on the left, appeared an angel in bodily form…. He was not tall but short, and very beautiful; and his face was so aflame that he appeared to be one of the highest rank of angels, who seem to be all on fire…. In his hands I saw a great golden spear, and at the iron tip there appeared to be a point of fire. This he plunged into my heart several times so that it penetrated to my entrails. When he pulled it out I felt that he took them with it, and left me utterly consumed by the great love of God. The pain was so severe that it made me utter several moans. The sweetness caused by this intense pain is so extreme that one cannot possibly wish it to cease, nor is one’s soul content with anything but God. This is not a physical but a spiritual pain, though the body has some share in it—even a considerable share. https://youtu.be/0uEtvaUsI_w Caravaggio 1) Caravaggio is a key player during the Baroque period. Read this first to gain an understanding of his importance: Caravaggio and Caravaggisti in 17th century EuropeLinks to an external site.. 2) Here is another brief article about Caravaggio: Caravaggio (Michelangelo Merisi) (1571-1610) and His FollowersLinks to an external site.. 3) Watch this video (4:55) about Calling St. Matthew. https://youtu.be/-yxSjUvh0g8 4) Watch this video (5:09) about The Conversion of St. Paul (or The Conversion of Saul). ATTRIBUTION: Oxford University Press and Dr. Erin Benay, "Caravaggio and Caravaggisti in 17th-century Europe," in Smarthistory, July 12, 2015, accessed April 1, 2019, https://smarthistory.org/caravaggio-and-caravaggisti-in-17th-century-europe/Links to an external site.. Christiansen, Keith. “Caravaggio (Michelangelo Merisi) (1571–1610) and His Followers.” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/crvg/hd_crvg.htm (October 2003) Dr. Beth Harris and Dr. Steven Zucker, "Caravaggio, Calling of St. Matthew," in Smarthistory, November 18, 2015, accessed April 1, 2019, https://smarthistory.org/caravaggio-calling-of-st-matthew/Links to an external site.. Dr. Beth Harris and Dr. Steven Zucker, "Caravaggio, The Conversion of St. Paul (or The Conversion of Saul)," in Smarthistory, April 24, 2017, accessed April 1, 2019, https://smarthistory.org/caravaggio-saul/Links to an external site.. Artemisia Gentileschi 1)Watch this video (4:01) about Judith Slaying Holofernes. (Pay attention to the other painting that shows the next moment in the story) https://youtu.be/BHFuLS9NW6s 2)Read the article on the following page below the video. Artemisia Gentileschi, Links to an external site.Judith Slaying HolofernesLinks to an external site. Borromini Ready to see some Baroque architecture? Borromini's San Carlo alle Quattro Fontane is the perfect example!! It was commissioned by Cardinal Francesco Barberini in 1634 for the Holy Order of the Trinity. Construction began in 1638 and the church was consecrated in 1646. Watch this video (6:52) to "meet" this small church. https://youtu.be/Wm-akMcsHEc 2) Then go to this linkLinks to an external site. and scroll to the 2nd screen to play around with the 3D view: San Carlo by Matthew Brennan on Sketchfab.Links to an external site. ATTRIBUTION: Frank Dabell, Dr. Beth Harris and Dr. Steven Zucker, "Francesco Borromini, San Carlo alle Quattro Fontane, Rome," in Smarthistory, November 18, 2015, accessed April 9, 2019, https://smarthistory.org/borromini-san-carlo-alle-quattro-fontane/Links to an external site.. San Carlo alle Quattro Fontane. Mattehw Brennan. Sketchfab. Francisco de Zurbaran Read this article about Francisco de Zurbaran's The Martyrdom of Saint Serapion.Links to an external site. Velazquez Read this article about Diego Velazquez' The Waterseller of SevilleLinks to an external site.. (1618-1622). Read this article about Velazquez' The Surrender of Breda (1634-35): Smarthistory.org article Links to an external site. Now it's time for what is probably his most famous work Las Meninas (c. 1656). Watch this video (5:59). https://youtu.be/IiTtGENiVOA ATTRIBUTION: Olivia Nicole Miller, "Diego Velázquez, The Waterseller of Seville," in Smarthistory, August 8, 2015, accessed April 2, 2019, https://smarthistory.org/velazquez-the-waterseller-of-seville/Links to an external site.. Dr. Javier Berzal de Dios, "Diego Velázquez, The Surrender of Breda," in Smarthistory, August 8, 2015, accessed April 2, 2019, https://smarthistory.org/velazquez-the-surrender-of-breda/Links to an external site.. Dr. Beth Harris and Dr. Steven Zucker, "Diego Velázquez, Las Meninas," in Smarthistory, November 23, 2015, accessed April 2, 2019, https://smarthistory.org/diego-velazquez-las-meninas/Links to an external site.. Jusepe de Ribera Watch this video (3:35) about Jusepe de Ribera's The Martyrdom of Saint PhilipLinks to an external site. https://youtu.be/xz5DhwMsS1A ATTRIBUTION: Dr. Beth Harris and Dr. Steven Zucker, "Jusepe de Ribera, The Martyrdom of Saint Philip," in Smarthistory, November 25, 2015, accessed April 2, 2019, https://smarthistory.org/jusepe-de-ribera-the-martyrdom-of-saint-philip/Links to an external site. Antonio de Pereda Read this article to learn about the significance of this still life painting: Still Life with Ebony ChestLinks to an external site.. ATTRIBUTION: Dr. Carmen Ripollés, "A Still Life of Global Dimensions: Antonio de Pereda’s Still Life with Ebony Chest," in Smarthistory, September 26, 2018, accessed April 2, 2019, https://smarthistory.org/pereda-still-life-w-ebony-chest/Links to an external site.. Links to an external site. https://youtu.be/EFsaaK1w2Ao https://youtu.be/9UT43MHdTIg

FINAL ESSAY PROJECT In this course we have studied many art historical periods and styles, spanning the years 1300 to the present day. This assignment asks you to create a virtual gallery of the periods we have studies from three specific museums: The Metropolitan Museum of Art, The Louvre, and the Getty Center. Your virtual gallery will have a theme, and each work will represent some aspect of the theme you have chosen, across the History of Western Art II. WEBSITES FOR THE SOURCE MUSUEMS: 1. The Metropolitan Museum of Art (metmuseum.org)Links to an external site. 2. The palace (louvre.fr)Links to an external site. 3. Home (Getty Museum)Links to an external site. DIRECTIONS: 1. Choose a theme for your exhibition. You may choose whatever theme you would like, but remember that it should be broad enough so that you can find an art object related to it in a variety of historical periods. Some themes that you might choose are: power, love, death, time, battle, spirituality/religion, wealth, struggle, labor, etc.. You might also decide to pick a theme exemplifying a type of art: landscapes, portraits, genre paintings, still life, altarpieces, etc. 2. Choose a work of art representing the following periods we have studied from either the Metropolitan Musuem of Art, The Louvre, or the Getty Center (websites above). Make sure the work of art represents your theme, and is within the range of dates (provided below) for each period: a. The Late Medieval Period (1300-1400 ACE) b. The Early Renaissance in Italy (1400-1480 ACE) c. The Northern European Renaissance (1400-1550 ACE) d. The High Renaissance in Italy (1480-1520 ACE) e. The Italian and Spanish Baroque (1600-1700 ACE) f. The Dutch Baroque (1600-1700 ACE) g. The French Rococo (1720-1775 ACE) h. The Neoclassical Period in France and The United States (1775-1870 ACE) i. The Romantic Period (1790-1870 ACE) j. Realism in France (1848-1880 ACE) 3. Write a 600-1000+ word essay providing some visual analysis of some objects in your collection, and describing hallmarks of the style of each period as they relate to your chosen works of art.

The museum assignment requires that you visit a local museum or gallery and select one work of art from the collection that especially moves or intrigues you. Write a narrative (tell a story) of your “hero’s journey” to your museum and that ultimately led to your selected artwork. Narrate how during your tour you were “struck” by, and especially impressed by a single work more than any other. Narrate and illustrate what attracted you to and/or impressed you most about this artwork over all others? (This is the most important part of the assignment.) Include an image of the work selected and a photo of the museum entrance receipt. Note: Your selected work may be from any genre or period. Do some research on the work you selected, the artist and the time period. Try to be creative and dramatic in your storytelling; it need not be solely academic, or intellectual—allow for personal feeling! Cite the Artist and give a brief description of the Medium, the Content, and the Historical Context of the work. Plan to take a photo of the artwork (selfie?), if permitted, or Entrance Receipt during your visit to the museum. Consider: What personal meaning do you find in the work you have chosen? What do you feel are its universal messages? In a comparison to a 2nd choice, why did you select this one as your 1st choice? Present thoughtful discussions that do not repeat information that you have already covered. **Some suggestion points for discussion: Discuss the design elements and compositional elements most relevant to this artwork - Line / Shape / Color / Value / Texture / Spatial Illusion/ Focal Point(s)/Eye Lines/Balance. How are the color and tone used? How is the composition arranged? What part or aspect of the work captures your attention first? How does the artist lead your eye around the work? How does the artist use light? Where is the light source? How is line used? Are there horizontal, vertical, diagonal lines? What mood or feeling do you get from the work? Is it expressive in style? How is space arranged? Does the artist convey depth (a recession into space)? Is the work abstract, representational or non-representational? Does the title of the work give any clues into the meaning of the work? **Please keep in mind that these are only a sampling of questions you could choose to discuss in your paper. You may not find you need to address all of them. Also, please organize your paper. You need not cover all these points, and do not simply answer each of these questions in the order you see them above. You need to organize your paper by theme and convincingly defend your thesis throughout. Document any sources used although I prefer mainly your own views. Approx. 750 words

Lecture READING: Icons and Iconoclasm READING: Christian Iconography (Optional but helpful) - Please only read the sections subtitled "Art and Iconography" and "Theology of Icons" -- don't continue into the section titled "Eschatology," unless you really want to. OUTSIDE VIDEO: Icons from Sinai Question: Byzantine icons represent one of the most enduring artistic styles in the history of art, and yet their early history of shrouded in controversy. First of all, what is your understanding of the term "icon"? Listen carefully to Brother Justin's remarks in the outside video if you need help. Describe the typical style of Byzantine icons. What are their common characteristics? Although it is hard to imagine these objects as controversial, in fact they were! What is the source of the iconoclastic controversy? What were the iconoclasts' concerns with the way images were being used? What did the defenders of images think was valuable about icons? Finally, who do you personally think was right? Please use at least one of the primary sources from lecture below in your answer: Saint Basil (c.320–379): “Just as painters in working from models constantly gaze at their exemplar and thus strive to transfer the expression of the original to their artistry, so too he who is anxious to make himself perfect in all the kinds of virtue must gaze upon the lives of saints as upon statues, so to speak, that move and act, and must make their excellence his own by imitation.” An anonymous account of the Virgin Hodegetria in Constantinople: “Every Tuesday twenty men come to the church of the Hodegetria; they wear long red linen garments, covering up their heads … there is a great procession and the men clad in red go one by one up to the icon; the one with whom the icon is pleased is able to take it up as if it weighed almost nothing. He places it on his shoulders and they go chanting out of the church to a great square, where the bearer of the icon walks with it from one side to the other, going fifty times around the square. When he sets it down then others take it up in turn.” Pope Gregory III (c. 736) to Serenus, Bishop of Marseilles: "It has come to our ears that your Fraternity, seeing certain adorers of images, broke and threw down these same images in Churches. And we commend you indeed for your zeal against anything made with hands being an object of adoration; but we signify to you that you ought not to have broken these images. For pictorial representation is made use of in Churches for this reason; that such as are ignorant of letters may at least read by looking at the walls what they cannot read in books. Your Fraternity therefore should have both preserved the images and prohibited the people from adoration of them, to the end that both those who are ignorant of letters might have wherewith to gather a knowledge of the history, and that the people might by no means sin by adoration of a pictorial representation." Imperial Edict from Synod convened by the Emperor Leo (756): "Supported by the Holy Scriptures and the Fathers, we declare unanimously, in the name of the Holy Trinity, that we shall reject and remove and curse every likeness which is made out of any material and color whatever by the evil art of painters.... If anyone ventures to represent the divine image with material colors, let him be expelled! .... If anyone shall endeavor to represent the forms of the Saints in lifeless pictures with material colors, and does not rather represent their virtues as living images in himself, let him be expelled!"

FIRST : By drawing inspiration from Daniel Burnham’s work in the book “The Devil in the White City”, the “Networks of Pathway” concept highlights the collaborative process behind the Chicago World’s Fair. This idea embodies Burnham’s belief, as expressed in his quote, that “great things are not done by impulse but by a series of small things brought together,” illustrating that one small idea can create an entire grid and pathway.“The line of thought” reflects Burnham’s initial vision, allowing for personal creativity. “The intersection” fosters connections, mirroring the collaborations among architects and engineers during the fair. Finally, “The path of progress” represents teamwork that brings ideas to fruition, echoing the collective efforts that made the fair a reality. This framework not only honors Burnham’s legacy but aligns with the advertising company’s process of generating ideas and encouraging collaboration. SECOND: - The concept of "Line" symbolizes the starting point of ideas, representing clarity and direction essential for creativity. In the floor plan, this is embodied through the emphasis on linear design using orthogonal and non-orthogonal lines. - Connectivity underscores the importance of teamwork in generating creative solutions. The grid design, especially visible in the ceiling, emphasizes how interconnected lines form a cohesive network, fostering collaboration and synergy. - The idea of “Progression” captures the journey of growth and aspiration, highlighting the dynamic evolution of ideas leading to successful outcomes. The floor plan features a prominent staircase as a central symbol of this journey. THIRD: - The staircase serves as a focal point of the office, symbolizing the journey to success built step by step. It invites visitors to embrace greater challenges, echoing Burnham's quote, “Make no little plans; they have no magic to stir men’s blood.” The design features a traditional staircase leading to a bleacher-style seating area, promoting collaboration and idea-sharing. Paired with the West Elm lounge system, this space fosters comfort and inspiration, encouraging innovation and connection. - The reception features a custom-made wall with our logo, creating a welcoming first impression. Behind it, the client presentation room enhances accessibility, ensuring visitors feel valued and ready for collaboration. Complementing this, a digital screen near the exit highlights that leaving is just as important as entering. The screen displays captivating promotional videos for the companies we collaborate with, reinforcing our partnerships and leaving guests with a memorable farewell. - The work cafe is an open, inviting space designed for collaboration and relaxation. Featuring custom bench seating at the forefront, with stool seating positioned behind it, the design encourages casual interactions and idea-sharing among colleagues. Additionally, the cafe offers an overlooking view of the office, creating a sense of connection to the wider workspace. This setup fosters a sense of community, making it a perfect spot for brainstorming or taking a break. - The collaborative area is a versatile space designed for various purposes, from team meetings to events. Utilizing specific easily movable and stackable furniture, the layout can be quickly adapted to suit different needs. A screen projector with an accompanying screen is also included, enhancing presentations and discussions. This flexibility fosters creativity and teamwork, making it an essential hub for collaboration. -The first layout presents a classroom-style setup, complete with a screen projector for presentations. The second layout fosters a more informal atmosphere, with smaller tables facing each other to encourage discussion and teamwork. The third layout maximizes the area’s potential by stacking all furniture to create an open space, allowing for a variety of uses based on the team’s needs. - The seventh-floor hallway offers an open perspective of the staircase, private offices, and the reception area below. To the left, a custom-made wall features built-in tablets that showcase dynamic images and advertisements, switching throughout the day to highlight our marketing efforts. This design showcases the transparency and connectivity of the office space, reinforcing a collaborative environment where communication flows freely across levels. - Each private office offers ample desk space and storage, creating an organized work environment filled with natural light from large glass windows. Equipped with a whiteboard and a TV for meetings, these offices provide functionality. Three layouts cater to different work styles: the first has minimal storage but focuses on pin-up space with a view of the collaborative area; the second prioritizes privacy with more storage, a desk oriented toward the wall, and additional leg room to circulate; the third layout combines open space with similar storage, promoting communication while fostering a cozy atmosphere. - Each employee workstation is designed for focus and accessibility, featuring individual desks with height-adjustable options and whiteboards for informal team meetings. The conveniently located product and resource center below ensures easy access to printing and storage. A well-connected hallway links both sides, providing access to meeting and huddle rooms, and fostering collaboration and communication. - The library serves as a cozy retreat within the office, providing a tranquil space for reading, music, or relaxation. A custom-built wall with integrated shelves holds a diverse collection of books, encouraging literary exploration. In the center, a built-in grid offers flexible seating with easily movable poufs that can be rearranged as desired. Additionally, bench and stool seating outside the library allows for a perfect view, creating an inviting environment for a brief escape from the bustling workspace.

Share your favorite artist or movement for in-class quiz points! We have discussed dozens of art movements and hundreds of artists over the past few months - who is your favorite? What movement do you enjoy the most? Or maybe it is a time and place, something specific about a culture, or a specific artwork that sticks in your head? Share it here and tell why you like it for 20 points on your in-class quiz grade! ------------------------------------------------------------------------------------------------------------------------------------------------------------------- Directions - pick something specific from the world of art. Not "I really like sculpture" - there are so many different kinds of sculpture, what style are you interested in? What is a specific example? Put that into the first question and be specific. If you don't know what to choose, we will discuss all kinds of different works and artists during this last week of class - there is bound to be something that you find interesting! Find a picture or two that reflect this idea. No copying things that are not downloadable - no screenshots, no thumbnails, no Instagram. Use a museum site like the ones listed below, then use the download button on the image to download to your computer. You may not use an image that is not downloadable - find another example! Files limited to jpeg and png files. Save image(s) to your computer and upload to question 2. Copy the link to where you found the image and save it to paste in to # 3 The Walters Art Museum in Baltimore Links to an external site. Maryland The Chicago Art Institute Links to an external site. The Metropolitan Museum of Art in New York Links to an external site. New York Museum of Fine Arts Links to an external site. Boston The British Museum Links to an external site. The Rijksmuseum Links to an external site. ArtstorLinks to an external site. This is a shared shelf site that began as a repository for teaching images – it has millions of things in it. You access it through JStor, so you will have to sign in. This is an academic site so it will not take strings of words for search terms. Start simple with one or two words, go from there! Tell us why you like it for question 3! Be specific - not just "It's cool" but why specifically does it speak to you? Don't forget to paste the link to where you found the image/information in this part as well. Note : book used for this class is( The History of Art: A Global View ) Prehistory to the Present First Edition by Jean Robertson, Deborah Hutton et al.

Your Exhibition Review/Final Paper applies your knowledge of visual analysis to an art exhibition design and is a culmination of all that you have learned this semester about the language and context of visual experience. See the rubric to make sure you have met all of the requirements before turning in your paper. Please submit your review through TurnItIn by Friday of the last week of class at 5:00pm CST. Introduction (10 points) Student clearly introduced the exhibition, including the name, place and dates Student introduced basic background information, relevant context, and themes First person "I" not used Exhibition Review Section (30 points) Student described the visual design of the exhibition including but not limited to: wall color, lighting, display of artworks, path of exhibition for visitors, wall text, printed materials, size and scale Student avoided generic words like “interesting” or “good” and gave specific descriptions of the exhibition design Student connected these design decisions to the themes of the show Visual Analysis Section (30 points) Student did a visual analysis of TWO artworks Avoided generic words like “interesting” or “good” and gave specific descriptions Connected these artworks to the larger meaning of the show Connected these artworks to vocabulary, ideas, and historical periods learned in class Evaluation of Exhibition (15 points) Student gave their opinion of the exhibition and backed it up with specific examples Student kept a formal tone, even when judging the exhibition Grammar and Style (10 points) Student wrote a 4-5 page paper in a 12 point font, double-spaced with normal margins Paper organized in a logical way Wrote clearly and formally Did not use ‘I’ until the evaluation paragraph If necessary, cited with footnotes, in Chicago Style and provided a bibliography Images (5 points) Images included and captioned Student appropriately referred to images within the paper, using the artist's first and last name, the title Student located all of the images at the end of the paper, not throughout the paper Student properly captioned the images located at the end of the paper with: Figure #, Artist or culture, Name of artwork, Date, Material