1. Study Images for Test #1

2. Elements of Design Element Property Significance Point Line Shape
Smallest element
Defines location
Line
Implied and constructed element
Most expressive of the elements.
Defines a limit
Shape
First element to define working area. Broad range of options, and relationships
It is the working surface defining our view.
Separates the in and outside
Volume/Form
The extrusion of shape into the third dimension.
This is the world we live within.
Mass
Visual or physical weight or presence of an object
Directly related to volume and material qualities
Texture
Physical or visual quality of a surface
What is the surface like? How is it defined?
Color
A completely transformative element.
Highly subjective from person to person, place to place, and species to species
Light
Broadest & physically necessary elements
Most needed element
Motion
A transformation over time
The defining element of a fourth dimension, and of time arts/performance

3. Principles of design Unity/Variety
Emphasis, Focal Point & Subordination
Scale, Size, & Proportion
Balance: Symmetric, Asymmetric, Radial,
Rhythm & Pattern

4. Thematic Use of Art Sacred Power, Politics, and Social Order
Stories and History
Social Documentation
Looking out at the world,
Looking at the Social.
Natural World Documentation
Personal Reflection,
Personal,
Human Condition.
Invention and Fantasy
“What if” exploration,
Investigation of Possible
Investigation of Options
Art about Art
Self reflection and with a reflective link to art history as a comment
These themes are broad collective descriptors of the uses art comes to in the world, and through the process of making. Making has to do with changing the world in some way. The changes can be quiet, subtle and gentle or strong, forceful, and overwhelming.
It’s all pretty flexible.

5. Symmetrical Balance Haruka Kojin reflectwo Haruka Kojin reflectwo 2008
installation view "When Lives Become Form : Dialogue with the Future - Brazil, Japan"
Museu de Arte Moderna de São Paulo (MAM), Brasil
Haruka Kojin
reflectwo
2008
installation view "When Lives Become Form : Dialogue with the Future - Brazil, Japan"
Museu de Arte Moderna de São Paulo (MAM), Brasil

6. Cycladic figure,
Standing female figure,
ca. 2600–2400 B.C.; Early Cycladic II
Cycladic; Keros-Syros culture
Marble
H. 24 3/4 in. (62.8 cm)
Gift of Christos G. Bastis, 1968 (68.148)
Metropolitan Museum of Art, New York
Symmetric figure carving, Representing the figure, Presenting a human, Found in burial sites,

7. Francisco Goya The Third of May,
Limited color pallet, High Value contrast to create focal point of light, Strong figure ground separation through value, Asymmetric balance,
Francisco Goya
The third of May,
1814
Oil on canvas
268 cm × 347 cm (106 in × 137 in)
Museo del Prado, Madrid
Francisco Goya
The Third of May,
1814,Oil on canvas, 268 cm × 347 cm (106 in × 137 in) Museo del Prado, Madrid
Smarthistory: Goya's Third of May 1808

8. Wave Field: Storm King, NY
Maya Lyn.
Wave Field: Storm King, NY
2007-8
Earthwork at Storm King, Mountainville, NY
Other wave University of Michigan,
This outdoor sculpture, made of earth and sod, is located on the University of Michigan campus. Unlike many examples of earthworks (or earth art) it is not hidden away at some inaccessible location. This 10,000 square foot work is comprised of a series of 50 grass "waves" in 8 rows. (I don't know if it still exists--works like this being perishable by their very nature.)
Flutter
Wilkie D. Ferguson, Jr. Federal Courthouse, Miami, FL, 2005
The artwork created for the United States Federal Courthouse in Miami, Florida, is based on the artist's interest in landscape and topology and her response to the boat-like imagery of the building. She envisioned creating a series of grassy waves that the building "floats" upon. Measuring approximately 459' x 105' and intersected by a walkway to the front of the building, the front lawn of the courthouse is sculpted to mimic the gentle rolls of water waves or rippling sand. Visitors are able to walk through this rippling grassy landscape. This work typifies the artist's interest in the ambiguity of form by creating a rippling wave that is equally reminiscent of a drifting sand dune.
Maya Lin's Wave Field
Maya Lyn.
Wave Field: Storm King, NY
2007-8
Earthwork at Storm King, Mountainville, NY
Other wave
University of Michigan,
Miami, FL
Visual and physical rhythm and pattern, scale creating viewer experience, Sculpture, Earthwork as sculpture,

9. Saul Steinberg.
View of the World from 9th Avenue, crayon and graphite on paper, 20" x 15" (50.8 cm x 38.1 cm).
Drawing, scale, perspective,

10. Tara Donovan @ Louisiana Channel, Louisiana Museum, Denmark
Repetition and pattern from material selection, Scale and visual viewer experience from material and installation, Material transformation,
Tara Donovan,
Untitled,
2003
Styrofoam Cups, Hot Glue
Dimensions Variable
Ace Gallery Los Angeles, 2005
Tara Louisiana Channel, Louisiana Museum, Denmark

11. Limited color pallet to unify image. Asymmetric balance,
Repetition of form and visual rhythm, narrow value scale to unify image with a few higher contrast points;
Limited color pallet to unify image.
Asymmetric balance,
Balthus (Balthasar Klossowski de Rola)
(France, Europe)
The Living Room
1941–1943
Oil on canvas
44 1/2 x 57 3/4 in. ( x cm) (canvas) 49 1/2 x 63 1/2 x 3 in. ( x x 7.62 cm) (outer frame)
The John R. Van Derlip Fund and the William Hood Dunwoody Fund 66.66
Minneapolis Institute of the Arts,

12. Edward Degas.
Dancers
Asymmetric Balance, Drawing, Proportion,

13. Dado panel, Rhythm, pattern, repetition, Matthias Gaberthüel
Rolling Hills Road © Matthias Gaberthüel
Dado panel, first half of 15th century; Mamluk
Egypt
Polychrome marble mosaic; H. 45 1/4 in. (114.9 cm), W. 23 (58.4 cm)
Gift of the Hagop Kevorkian Fund, 1970 ( )
Dado panel,
first half of 15th century;
Mamluk Egypt Polychrome marble mosaic; H. 45 1/4 in. (114.9 cm), W. 23 (58.4 cm)
Matthias Gaberthüel
Rolling Hills Road

14. Color, texture, sculpture,
Robert Therrien
Under the Table
1994
wood, metal and enamel
117 x 312 x 216 in. (297.2 x x cm)
Robert Therrien
Under the Table
1994
Scale and Proportion,
Color, texture, sculpture,

15. The Buddha popularly called "Solsol" measures 53 meters, 173’, tall,
Sandstone carved into mountain side nitch,
Bamiyan lies on the Silk Road, which runs through the Hindu Kush mountain region, in the Bamiyan Valley, Afghanistan.
ca.
Iconoclasm, Scale, Proportion, Sculpture

16. Time: Nancy Holt’s Sun Tunnels,
Land as art site, Time as art, scale,
Time: Nancy Holt’s Sun Tunnels,
Latitude: N
Longitude: W

17. Repetition Nineteen, Second of 3 versions
Working drawing, drawing as a working out of idea,
Repetition Nineteen, Second of 3 versions
Eva Hesse (American, born Germany. 1936–1970)
1967. Pen and ink on transparentized paper, 8 7/8 x 11 7/8" (22.5 x 30.3 cm). Gift of the Eva Hesse Estate. © 2012 Reproduced with the permission of the Estate of Eva Hesse. Galerie Hauser & Wirth, Zurich. MOMA, NYC

18. Georges Seurat (French, 1859-1891)
Café-concert,
Conté crayon heightened with white chalk,
Sheet - h:31.40 w:23.60 cm (h:12 5/16 w:9 1/4 inches).
Leonard C. Hanna, Jr. Fund
Drawing in a club, Drawing using crayon on paper, Use of paper as a source of texture, Value/tone drawing (vs line drawing), asymmetric balance.
Café-concert,
Georges Seurat (French, )
Conté crayon heightened with white chalk, Sheet - h:31.40 w:23.60 cm (h:12 5/16 w:9 1/4 inches). Leonard C. Hanna, Jr. Fund
Cleveland Art Museum: drawings collection

19. Edgar Degas The Singer in Green
(French, Paris 1834–1917 Paris)
Date: ca. 1884
Medium: Pastel on light blue laid paper
Accession Number:
On view in Gallery 816
Drawing with pastels, asymmetric balance, middle values, complementary colors, contrast in texture to create emphasis.
The Collection Online
The Singer in Green
Edgar Degas
(French, Paris 1834–1917 Paris)
Date: ca. 1884
Medium: Pastel on light blue laid paper
Accession Number:
On view in Gallery 816

20. Julie Mehretu Untitled (Dervish) Julie Mehretu on Art21
Line drawing, textures as values, collage, gestural line,
UNTITLED
2001
JULIE MEHRETU
BORN IN ETHIOPIA, 1970, RESIDES IN U.S.
Julie Mehretu
"Untitled," 2000
Ink, colored pencil, and cut paper on Mylar, 18 x 24 inches
Collection of Nicolas Rohatyn and Jeanne Greenberg Rohatyn
Photo by Erma Estwick
© Julie Mehretu
Courtesy Marian Goodman Gallery
Julie Mehretu
Untitled (Dervish)
BORN IN ETHIOPIA, 1970, RESIDES IN U.S.
"Untitled," 2000
Ink, colored pencil, and cut paper on Mylar, 18 x 24 inches
Collection of Nicolas Rohatyn and Jeanne Greenberg Rohatyn
Julie Mehretu on Art21

21. Tibetian Sand mandala drawing,
Sand, 5.5’ diameter,
Temporary drawing, Sand drawing, radial balance, radial symmetry,

22. Wengechi Mutu
Collage, drawing, non-traditional drawing, alternative drawing, quoted images as commentary,

23. Romare Baerdon Mysteries
1964
Collage, Polymer paint, and pencil on board.
11.25” x 14.25”
Collage, narrow color range, construction as drawing, Paper working, alternative drawing, quoted images as commentary,

24. Hide n’ Seek, Kill or Speak
Collage, broad color range, construction as drawing, Paper working, alternative drawing, quoted images as commentary,
Wangechi Mutu.
Hide n’ Seek, Kill or Speak
2004
paint, ink collage, mixed media on mylar
h: 42 x w: 28 in / h: x w: cm
Wangechi Mutu.
Hide n’ Seek, Kill or Speak
2004
paint, ink collage, mixed media on mylar
h: 42 x w: 28 in / h: x w: cm

25. Cut paper as collage, as drawing, high value contrast,
Gone: An Historical Romance of a Civil War as It Occurred b'tween the Dusky Thighs of One Young Negress and Her Heart
1994
Paper
Overall 13 x 50' (396.2 x 1524 cm
Gift of The Speyer Family Foundation in honor of Marie-Josée Kravis
MoMA Number:
Copyright:© 2014 Kara Walker
Kara Walker
Gone: An Historical Romance of a Civil War as It Occurred b'tween the Dusky Thighs of One Young Negress and Her Heart
1994, Paper, Overall 13 x 50' (396.2 x 1524 cm
Gift of The Speyer Family Foundation in honor of Marie-Josée Kravis, MoMA Number:
Art21 video interview

26. Non-traditional drawing, Drawing as document, drawing as research,
Cai Guo-Qiang (Chinese, born 1957)
Drawing for Transient Rainbow
August 2003
Gunpowder on two sheets of paper
179 x 159 1/2" (454.7 x cm) (overall)
Credit Line:Fractional and promised gift of Clarissa Alcock Bronfman
MoMA Number: a-b
Copyright:© 2014 Cai Guo-Qiang
Cai Guo-Qiang (Chinese, born 1957)
Drawing for Transient Rainbow
August 2003
Gunpowder on two sheets of paper
179 x 159 1/2" (454.7 x cm) (overall)
Credit Line:Fractional and promised gift of Clarissa Alcock Bronfman
MoMA Number: a-b
Copyright:© 2014 Cai Guo-Qiang
Art21 video

27. Unity by isolation, by association, rhythmic form, pattern,
Examples of similarity and contrast due to location, shape, and color.
Unity by isolation, by association, rhythmic form, pattern,