ART1301 SUNY Art Elements And Principles Essay Analyze the Artwork’s Elements and Principles Record information about the artwork’s physical condition.Writ

ART1301 SUNY Art Elements And Principles Essay Analyze the Artwork’s Elements and Principles Record information about the artwork’s physical condition.Write detailed descriptions of the elements of art and principles of design in the artwork you have chosen. Record information about the artwork’s physical condition.
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Medium
Surface Texture
Condition
Size (see label or guesstimate)
Frame or pedestal
Describe your artwork here:
Analyze the Artwork’s Elements and Principles
Write detailed descriptions of the elements of art and principles of design in the artwork you
have chosen. Consult chapter one of the textbook if necessary.
Color and/or Value
Line
Form and/or Shape
Space and/or Depth
Light (Actual and/or Implied)
Mass and/or Volume
Texture (Actual and/or Implied)
Time and Motion
Balance
Unity
Variety and/or Contrast
Rhythm or Repetition
Proportion
Scale
Emphasis
Focal Point
Pattern
Proportion
Media and Technique
How do the materials and technique affect to meaning or experience and meaning of the
artwork? Is the object two- or three-dimensional? What limitations, if any, might the chosen
medium create for the artist?
Examples:
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Painting: How did the type of paint affect the strokes the artist could make? Was it
fresco, oil, tempera, or watercolor? Was it a fast-drying paint that allowed little time to
make changes? What kind of textures and lines was the artist able to create with this
medium? Does it lend a shiny or flat look? How durable was the medium? Does the
work look the same today as when the artist painted it?
Drawing: Consider the materials utilized: metal point, chalk, charcoal, graphite, crayon,
pastel, ink, and wash. Is the artist able to make controlled strokes with this medium?
Would the tool create a thick or thin, defined or blurred line? Was the drawing intended
to be a work of art in itself, or is it a study for another work, a peek into the artist’s
creative process?
Printmaking: What is the process the artist undertook to create this work? Did he or she
need to carve or etch? Did the medium require a steady hand? Strength, or patience?
Sculpture: Is the sculpture high or low relief, or can we see it in the round? What
challenges did the material present to the artist? Was the work created through a
subtractive process (beginning with a large mass of the medium and taking away from it
to create form), or an additive one?
Modes of Analysis
Consider whether any of the following ways of analyzing an artwork can be applied to the
subject of your assignment:
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Content: Does the work clearly depict objects or people as we would recognize them in
the world around us (is it representational)? Alternatively, is its subject matter
completely unrecognizable (is it non-objective)? To what degree has the artist
simplified, emphasized, or distorted aspects of forms in the work (or abstracted it)?
Iconographic analysis: Are there things in the work that you can interpret as signs or
symbols? For example, is there anything that suggests a religious meaning, or indicates
the social status of somebody depicted in the work? Labels often provide good
information about iconography.
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Biographical analysis: What does the image tell you about the life of the artist? Is it
meant to reveal personal experiences?
Feminist analysis: Is the role of women in the artwork important? Is the artist
commenting on the experience of women in society? Is the artist a woman?
Contextual analysis: What does the image tell you about the history of the era in which
it was created, or about religious, political, economic, and social issues that influenced
its creation?
Brainstorm a list of tones (adjectives) and/or concepts (abstract nouns).
Write an Outline for Your Paper
Paragraph One – Introduction
Identify the artwork (artist is known, title, date) and the museum collection.
Describe the artwork so that your reader can picture it.
Describe the condition, surface texture, display [i.e. frame or pedestal], and gallery setting of
the artwork.
State your thesis in bold.
Paragraph Two – The First Element or Principle
Develop your argument from general to specific observations. Topic sentences should be
general but descriptive, followed by specific examples.
Describe the first visual element or design principle.
Write three to five specific examples to support the topic sentence.
Relate this discussion to your thesis statement in paragraph one: explain how these aspects
convey one of the concepts.
Paragraph Three – Second Element or Principle
Describe the second visual element or design principle
Write three to five specific examples.
Relate this discussion to your thesis statement.
Paragraph Four – Third Element or Principle
Describe the third visual element or design principle
Write three to five specific examples.
Relate this discussion to your thesis statement.
Paragraph Five – Conclusion
Summarize your argument but do not restate it verbatim. Say it in a new way.
Relate your discussion of this artwork to something else?another artwork, contemporary
events, a work of literature, pop culture, or history, for example. This is a crucial step in
demonstrating critical thinking.
Outside Sources: Endnotes, Footnotes, Bibliography
This paper is completely your original thoughts. However, site your work.
Do the Following
1. Write in “academic voice.” This means that you will use third person, singular point of view and
that you will not address the reader directly nor include “I-statements.” Do not use contractions
or slang expressions or clichés.
2. Do not include the exact dimensions of the artwork; rather, describe it in general terms. Spell out
all numbers except for dates.
3. Guard against rookie mistakes: its vs. it’s; there vs. their; verb-subject agreement; possessives;
capitalization.
Format Your Paper: These guidelines conform to the Chicago Manual of Style, aka Turabian
Styles, preferred by many in the art history field.
1. Set margins to one inch on all four sides of the paper.
2. Use the font Courier New 11 point consistently throughout the paper.
3. Double-space the paper. (Select the “no spacing” style if using Word 2010 and select doublespacing.)
4. Indent a new paragraph one tab’s length (5 spaces or 0.50 setting).
5. If your word processing program automatically inserts an additional space after paragraphs,
correct it. There should be no extra space in between paragraphs.
6. Format page numbers to appear centered at the bottom of the page in the footer.
7. Use Arabic numerals (i.e. 1, 2, 3) for page numbers.
8. Do not number the cover page. The first page of the written essay is page one.
9. Start your essay at the top of the page using the one-inch top margin.
10. Type your thesis in bold and place it at the end of the first paragraph. If you do not put your
thesis in bold, I will assume that you: do not have a thesis; do not know what your thesis is; or,
have not read the assignment directions.
11. Italicize titles of artworks (paintings, drawings, sculptures, prints and photographs) but do not
italicize titles of buildings. Italicize the titles artworks consistently throughout the paper.
12. Scan or affix your museum proof to the center of page four. This will be the last page of your
assignment. Title the page “Museum Visit Proof” in all caps, centered, and flush with the top
margin.
13. Staple the cover page to the front of your paper. (not for online of course) Format the cover
page with the following:
a. Two inches down from the top margin (or, three inches down from the tope of the page) center
your title in ALL CAPS.
i. If the title of the paper is longer that one line use single spaces.
b. At the bottom of the paper and so that the last lines conforms to the one inch margin rule, type
the course information in Caps and Lower Case, single spaced, centered in the page. Include all
of the following:
Your Name
Title of the Class
Section 1301, Spring 2015
PAINTING
PINTURA
Chitra Ganesh’s, Troy Michie’s, and Christina Quarles’s paintings,
objects, and installations all reimagine queer bodies and how they
can be (re)presented or encountered. Abstracted, powerful, and
even monstrous, their artworks offer visions of alternative worlds
in which gendered and sexual roles are temporarily questioned,
upended, and released from the constrictions of normative and
oppressive views
Las pinturas, objetos e instalaciones de Chitra Ganesh, Troy Michie,
y Christina Quarles reimaginan los cuerpos extraños y la forma
en que pueden ser (re)presentados o encontrados. Sus obras de
arte, abstractas, potentes e incluso monstruosas, ofrecen visiones
de mundos alternativos en los que los roles de género y sexuales
se cuestionan, se vuelcan y se liberan temporalmente de las
constricciones de los puntos de vista normativos y opresivos.
RIGHT TO LEFT
DERECHA A IZQUIERDA
Christina Quarles
We Gunna Spite Our Noses Right Offa Our Faces, 2017
Acrylic on canvas
Courtesy the artist and Regen Projects, Los Angeles, California
Christina Quarles
We Gunna Spite Our Noses Right Offa Our Faces (Vamos a
arrancarnos las narices de nuestros rostros), 2017
Acrílico sobre lienzo
Cortesía de la artista y Regen Projects, Los Angeles, California
Christina Quarles
We All We Are, 2018
Acrylic on canvas
Courtesy the artist and Regen Projects, Los Angeles, California
Christina Quarles
We All We Are (Somos todo lo que somos), 2018
Acrílico sobre lienzo
Cortesía de la artista y Regen Projects, Los Angeles, California
Christina Quarles
Just Hold On and I’ll Hold ‘Em Off, 2016
Acrylic on canvas
Courtesy the artist and Regen Projects, Los Angeles, California
Christina Quarles
Just Hold On and I’ll Hold ‘Em Off (Solo espera, y los mantendré a
raya), 2016
Acrílico sobre lienzo
Cortesía de la artista y Regen Projects, Los Angeles, California
Chitra Ganesh
Cadre, 2019
Adhesive fabric, beads, mirror, canvas, ink, various textiles, marbles,
hair extensions, wire, rope, vinyl, acrylic, latex paint, spray paint,
graphite powder, pigment, chalk, glitter, brass, foam, T-Pins, thread,
sequins, Easter grass, colored pencil, clay, kitchen scrubber, nylon, gold
leaf, and jewelry
Courtesy the artist
Chitra Ganesh
Cadre (Conjunto), 2019
Tela adhesiva, cuentas, espejo, lienzo, tinta, textiles varios, canicas,
extensiones de cabello, alambre, cuerda, vinilo, acrílico, pintura al látex,
pintura en aerosol, polvo de grafito, pigmento, tiza, purpurina, latón,
espuma, alfileres T, hilo, lentejuelas, pasto sintético de Pascua, lápiz de
color, arcilla, fregadora de cocinas, nylon, hoja de oro, y joyería
Cortesía de la artista
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