1. Chapter 2 Recap – Developing Visual Literacy
Thinking Back
How does subject matter differ from content?
What is representational art?
What constitutes an artwork’s form?
4. What is iconography?
Homework for Chapter 3 due

2. Chapter 2 Recap – Developing Visual Literacy
Thinking Back
How does subject matter differ from content?
Subject matter– what the artwork literally represents
Content– what the artwork means
What is representational art?
Representational art portrays recognizable forms.
What constitutes an artwork’s form?
Form– the structure of an artwork, includes its materials and the organization of its parts into a composition
4. What is iconography?
Iconography– images whose meaning is understood by a certain cultural group.

3. Chapter 3 – Seeing the Value in Art
Thinking Ahead:
How does the public tend to receive innovative artwork?
What was the purpose of the Arts in Public Places Program?
3. What constitutes the activist direction in public art?

4. Key Focus Concepts Seeing the Value in Art Art and Its Reception
Art, Politics, and Public Space
Art in “public” vs. “private” spaces
What role does politics play in the making and reception of art?

5. What Determines the Value of Art?
Monetary Value vs. Intrinsic Value
Monetary value can be determined through a wide range of factors.
Intrinsic value is more subjective and frequently under intense debate.

6. Monetary Value
The art market depends on wealthy clients’ investment, ownership, and patronage
Collectors may purchase art as an investment
What motivates most collectors is the pleasure of owning art and the prestige it confers upon them

8. Jean-Michel Basquiat, Dustheads, 1982.
Estimated to sell for $25-35 million
Sold at auction in May 2013 for $48.8 million!

9. Sylvie Fleury. Serie ELA 75/K (Plumpity. Plump). 2000
Sylvie Fleury. Serie ELA 75/K (Plumpity ...Plump) Gold-plated shopping cart, plexiglas handle with vinyl text, rotating pedestal (mirror, aluminum, motor).
32 ¾ x 37 ¾ x 21 5/8 in.

10. Robert Mapplethorpe. Ajitto. 1981. Gelatin silver print. 30 x 40 in.

11. Intrinsic value is often debated
Value, like beauty, is a relative term.
What some people value, others do not and cannot.

12. Chris Ofili.
The Holy Virgin Mary, Paper collage, oil paint, glitter, polyester, resin, map pins, and elephant dung on linen. 8 × 6 ft.

13. Mosaic of the Virgin Mary holding the Christ child 11th century
Mosaic of the Virgin Mary holding the Christ child 11th century. Hagia Sophia, Istanbul.

15. William-Adolphe Bouguereau, Return of Spring, 1886. Oil on canvas.
Bartolomé Esteban Murillo,
The Immaculate Conception of the Venerable Ones, 1678.
Oil on canvas.

16. Chris Ofili.
The Holy Virgin Mary, Paper collage, oil paint, glitter, polyester, resin, map pins, and elephant dung on linen. 8 × 6 ft.

17. Art and Its Reception How does the public view innovative art?
Remember, art that is accepted and revered today was once innovative and controversial.
What are the motivations of the artist to make new and innovative work?

18. Edouard Manet. Luncheon on the Grass (Le Déjeuner sur l’herbe). 1863
Edouard Manet. Luncheon on the Grass (Le Déjeuner sur l’herbe) Oil on canvas. 7 ft. x 8 ft. 10 in.

19. Macantonio Raimondi, The Judgement of Paris, c. 1510-1520
Macantonio Raimondi, The Judgement of Paris, c Oil engraving, after Raphael. Clipped impression, Plate line. 11 5/8 x 17 ¼ in.

21. Nude Descending a Staircase, No. 2. 1912 Oil on canvas 58 x 35 in.
Marcel Duchamp.
Nude Descending a Staircase, No
Oil on canvas
58 x 35 in.
closerlook.pearsoncmg.com/view.php?type=closerlook&id=678

25. Etienne-Jules Marey. Man Walking in Black Suit with White Stripe Down Sides. 1883.

27. Maya Lin. Vietnam Memorial, Washington, D. C. 1982
Maya Lin. Vietnam Memorial, Washington, D.C Polished black granite. length 492 ft.

28. Maya Lin. Vietnam Memorial, Washington, D. C. 1982
Maya Lin. Vietnam Memorial, Washington, D.C Polished black granite. length 492 ft.

29. The Washington Monument

30. Felix de Weldon, Marine Corps War Memorial, 1954.

31. Maya Lin. Vietnam Memorial, Washington, D. C. 1982
Maya Lin. Vietnam Memorial, Washington, D.C Polished black granite. length 492 ft.

32. Art, Politics, and Public Space
What role does politics play in the making and reception of art?
How are the considerations of artworks created for public spaces different than those created for private spaces?
What responsibilities fall on the artist who creates work for public spaces? What responsibilities fall on the public who receives it?

33. Alexander Calder. La Grand Vitesse. 1969. Painted steel plate
Alexander Calder. La Grand Vitesse Painted steel plate. 43 x 55 ft.

34. Alexander Calder. The Crab, 1962. Painted steel, 120 x 240 x 120 in
Alexander Calder. The Crab, Painted steel, 120 x 240 x 120 in. The Museum of Fine Arts, Houston

35. Art, Politics, and Public Space
1967 – Congress first funded the National Endowment for the Arts (NEA)
NEA initiates an Arts in Public Places Program
Art for art’s sake – to value art as an aesthetic object, to value the beauty of its forms rather than its functional practicality or its impact on social life

36. Richard Serra. Tilted Arc. 1981. Cor-Ten steel.
12 ft. x 120 ft. x 2 ½ in.

37. Richard Serra. Tilted Arc. 1981. Cor-Ten steel.
12 ft. x 120 ft. x 2 ½ in.

38. Michelangelo. David
(copy of original). 1501–1504. Marble, height 13 ft. 5 in.
Copy of the original as it stands in the Piazza della Signoria, Florence.

39. Michelangelo. David
(copy of original). 1501–1504. Marble, height 13 ft. 5 in.
Original in the Galleria dell’Accademia, Florence.

40. Guillermo Gómez-Peña and Roberto Sifuentes.
The Cruci-fiction Project Site-specific performance, Marin headlands, California

41. Guillermo Gómez-Peña and Coco Fusco.
Two Undiscovered Amerindians Visit London. May Site-specific performance, London, England.

42. Guillermo Gómez-Peña and Roberto Sifuentes.
The Temple of Confessions, Site-specific performance, Detroit Institute of the Arts.

43. Krzysztof Wodiczko. Homeless Vehicle. 1988
Krzysztof Wodiczko. Homeless Vehicle Preliminary drawing showing vehicle in washing, sleeping, and resting position (day).

44. Krzysztof Wodiczko. Homeless Vehicle in New York City. 1988-89
Krzysztof Wodiczko. Homeless Vehicle in New York City Color photograph.

45. Sylvie Fleury. Serie ELA 75/K (Plumpity. Plump). 2000
Sylvie Fleury. Serie ELA 75/K (Plumpity ...Plump) Gold-plated shopping cart, plexiglas handle with vinyl text, rotating pedestal (mirror, aluminum, motor).
32 ¾ x 37 ¾ x 21 5/8 in.

46. Suzanne Lacy and Leslie Labowitz. In Mourning and in Rage. 1978.

47. Suzanne Lacy. Whisper, the Waves, the Wind. 1993-94.

48. Homework: Register for MyArtsLab
Read Chapter 4 Line, and answer multiple choice questions
Respond to Typed Journal #2
Homework and Journal Entry are due next class– Monday, February 2