Assignment Topic 1

Choose a contemporary painting, sculpture, or piece of art that captures your interest. This should be a piece created between the end of World War II (about 1945) and today. You may choose one of the illustrations or color inserts in the textbook, or try a virtual museum (check the links in this week’s My Humanities Kit).

Before you begin writing your post, view the “Closer Look” art critiques from the unit My Humanities Kit resources. Consider what features are discussed in the piece you select. Aim for an evaluation that notes small details in a work, considers the purpose of various elements, and perhaps investigates the artist’s life.

In the post, begin by introducing the piece of contemporary art created between 1945 and present. What is the title? Who created it and when? What is the style? How would you describe it to someone who had not seen it? Finally, explain why viewing this work is a valuable experience. Connect the Unit 5 reading material in your response; include APA formatting.

Student 1

Hello Class and Professor,

For my piece of Art I have chosen Andy Warhol’s painting “Diamond Dust Shoes 1980”.  I not only love the colors that are presented in the piece but the meaning to me signifies how many shoes women fill in our daily lives such as a mother, a friend, a lover, a daughter and etc.  I fell a since of gratitude when I look at this colorful piece.

Andy Warhol was born in 1928; he left a huge legacy behind when he passed away in 1987 (Janaro & Altshuler, 2012, p. 142).  From drawings, paintings and prints to videography, publishing and performance, he produced more than art — he was essentially his own brand.  From haunting black and white self-portraits to Polaroid snapshots of celebrities, many of the photos in the collection later became the inspiration for Warhol’s most well-known Pop Art pieces (Janaro & Altshuler, 2012, p. 142).

Warhol’s focus on consumer goods and pop-culture icons, as well as his own taste for money and fame, suggest a life in celebration of the very aspects of American culture that his work criticized (A & E Television Networks, 1996-2013). When looking at this piece of work you have a sense of what life is everyday!

Please look at the link provided below to take a look at this peice of Art. (The last reference below)

Margaret

A & E Television Networks, L. (1996-2013). bio.true story. Retrieved from Andy Warhol Biography: http://www.biography.com/people/andy-warhol-9523875?page=2

Student 2

Hello Class and Professor,

For some reason many of the illustrations in our text I cannot view. So I decided to search for contemporary art photos. There were quite a few interesting images but I found a sculpture or performance piece by Rook Floro that really caught my eye. Oddly, there is no title; at least I have not been able to locate one. Parts of this three-dimensional art look like it has some kind of wiry texture. The piece seems to be an imitation of human emotion. Our text describes imitation as the transference of what is experienced by the artists to a medium or art (Janaro & Altshuler, 2012).

I would describe it as a man and his shadow. However, it’s difficult to tell which side the shadow is. On one end there is a man in a chair, at the other he’s standing but his body is not “solid”, thus the wiry texture I was describing above. When I look at it, I see a man who is tired or maybe even sad or depressed. I believe his standing pose is him doing all he can to face the world or something. I could be wrong; art is NOT my strong suit. However, viewing this piece was valuable to me because it seems as though it’s a visual depiction of how I’ve felt on some days. I recently suffered the loss of my mom and I think if I had to provide a visual manifestation of my emotions this would be it.

JJ

I am going to attempt to attach the image…

Reference

Janaro, R. & Altshuler, T. (2012). The Art of Being Human: The Humanities as a

            Technique for Living. (10^th Ed). New York City: Pearson Longman

Assignment Topic 2

Art can often mean different things to different people. Is this a strength or a weakness? Janaro and Altshuler (2012) argue, “The treasure of art, however, is that its reality lives on after its subjects die. The final product is an addition to reality, not simply a way of reproducing it” (108). Assess this argument. What do you think? Include the Unit 5 reading material in your response; include APA formatting.

Student 1

Hello Class and Professor,

I definitely think art means something different to everyone.  Everyone looks at things in a different light and certain things may pop out to one person but may not stand out to another.  I agree with the statement above.  I do think that art lives on after the subject dies.  Art stays around forever and it never depreciates in value.  I think it takes a creative person to truly appreciate art, though.  I am not one who can really appreciate art.  I’m not very creative and I don’t have an eye for art, at all.  I wish it was something I was more passionate about.

Student 2

Hello Class and Professor,   Perception is everything with art, what may have beauty to one is repulsed by others. The legacy of the art work that still lives today that was done by a famous artist in history, I am certain did not know how loved his work would become and the teachings it would bring.  You must have a passion for your work and by that inspiration others can see their interpretation through it.  I agree with the textbook when it states that when we see art that is unfamiliar to us that we should not be judgmental and try to behold all we can (Janaro & Altshuler, 2012, p. 108).  I would say that a person still lives through their art the question is if anyone appreciates it?  I believe the differences we see are strengths not weaknesses it is what makes humans different and why the word is not boring! Margaret Janaro, R., & Altshuler, T. (2012). The Art of Being Human: The Humanities as a Technique for Living. New York: Pearson Longman.

 

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Part 1

In this unit’s reading, you will watch a video of an 18 month old child in preparation for this project. From this video, you will fill out two assessment instruments: an anecdotal record and developmental checklists. Since the child is 18 months old, you need to fill out both the one year old developmental checklist and the 2 year old developmental checklist as the child may have skills found at both one and two years of development. These forms can be found in this unit. Carefully watch the video and fill out these assessment tools. Be sure to use objective, measurable language in your observations. Be sure to include your completed assessment forms in your submission for this project. You can expect to watch the video multiple times in order to be able to observe everything you need to do a thorough assessment. Remember, you need to address each of the developmental domains: cognition, social-emotional, physical and language. Observation and assessment are learned skills and take practice.

Part 2

You will write an essay discussing the results of the video observation data collection including additional assessment needs and possible instructional strategies. Please note: early childhood professionals can always use additional assessments and you must discuss additional assessment needs for this child. You should use the template provided for your project.

While you are encouraged to integrate material from the course readings and discussions, make sure to paraphrase (don’t copy word-for-word!) and provide the sources for your content.

Your paper should be 3-5 pages long, typed, double-spaced and in a 12-point font size (Arial or Times New Roman) with one-inch margins. You must include a title page and a reference page (but these do not count in the 3-5 page guideline

 

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1.      How did the Paramount decision of 1948 change the U.S. film industry?  To what degree did the decision alter the way the industry did business?

2.      How did changes in postwar American lifestyles affect the domestic film market?  Amidst a climate of more selective moviegoers, what type of film was judged to be capable of attracting audiences?  How did the Hollywood Majors exploit technological advances to produce this type of film?

3.      Identify the major segments of the U.S. filmgoing audience targeted by producers in the 1950s.  What kinds of films were produced for each of these segments?

4.      What factors lay behind the “upscaling” of Hollywood film genres during the 1950s?  Identify the significant genres of the postwar period, and explain how each was affected by enhanced production values and increased thematic complexity.

5.      Pick two of the following directors: Max Ophüls, Jean Renoir, Jean Cocteau.  What were the particularly important or influential qualities of these directors’ postwar French films?  In what ways did each director use visual style to complement his characteristic thematic or narrative concerns?

6.      Why did the United States, as represented by SCAP (Supreme Commander of the Armed Powers), take a keen interest in the postwar Japanese film industry?  What steps did SCAP take to help rebuild the Japanese studio system?  In what ways did SCAP both assist and hinder the efforts of the major postwar Japanese directors?

7.      In what ways did film production in the Soviet bloc nations adhere to and depart from the Soviet industry structure and the Socialist Realist aesthetic?  Specifically, how did “de-Stalinization” affect film practice?

8.      What were the essential traits of the postwar Hindi film?  Identify its conventions using the films discussed in the text as examples.

 

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1. Compare and contrast the “revolutionary” cinemas of Cuba and Argentina.
2. What factors influenced the development of militant black African cinema in the 1960s and 1970s?
3. How did eastern European filmmakers react to the conditions imposed by Socialist Realist doctrine—that is, to the idea that Soviet bloc artists were obliged to serve the objectives of the Communist Party?
4. How do the films of Rainer Werner Fassbinder exemplify, as suggested in the text, a general trend within contemporary European political cinema? Describe the two phases of his career.
5. How did Direct Cinema develop from the late 1960s onward?
6. In what ways have documentary films since the 1960s turned a critical eye on the documentary tradition itself? Identify and explain the formal strategies commonly pursued by filmmakers who have questioned the authority of documentary film’s truth claims.
7. What are the basic differences between “underground” film and Structural film? Which kinds of formal principles are explored in the most representative works of the Structuralist tendency?
8. What were the ideas and influences behind the emergence of the New Narrative and the punk (and punk-influenced) experimental film trends of the 1970s and 1980s?

 

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