1. Chapter 3 Recap – Seeing the Value in Art Thinking Back 1. How does the public tend to receive innovative artwork? 2.What was the purpose of the Arts in Public Places Program? 3. What constitutes the activist direction in public art? Homework for Chapter 4 due Journal Entry #2 due

2. Chapter 3 Recap – Seeing the Value in Art Thinking Back 1.How does the public tend to receive innovative artwork? with difficulty; it is not easy to value that which is not understood 2.What was the purpose of the Arts in Public Places Program? It was created by the NEA so that 1% of the cost of new public buildings was dedicated to art for their public spaces It broadened the audience of art and brought artists into the role od educating the public about the value of art. 3. What constitutes the activist direction in public art? Artists use the public context for activist goals, addressing social and political issues.

3. Part 2: The Formal Elements and Their Design Chapter 4 – Line Thinking Ahead: 1.What is a contour line? 2.What are some of the functions and qualities of line? 3.How do arrangements that stress horizontal and vertical lines tend to differ from those defined by expressive lines?

4. Line: 1.A point in motion. 2.A series of adjacent points. 3.A connection between points. 4.An implied connection between points. 5.One of the most fundamental elements of art and design.

5. Directions in Line To draw a line, you move the point of your pencil across paper. To look at and visually follow a line, your eyes move as well. Lines can have direction; they can rise or fall, shoot off to the right or left, and fade away into the distance. Lines can also reflect movement in nature.

7. Richard Long, A Line Made by Walking, 1967

8. Andy Goldsworthy. Hazel Leaves (each stitched to next with grass stalks/gently pulled by the river/out of a rock pool/floating downstream/low water). 6/5/1991. Scaur Water, Dumfriesshire. https://www.youtube.com/watch?v=xQiHfgFn Y_A

9. Francis Alÿs. The Green Line (Sometimes doing something poetic can become political and sometimes doing something political can become poetic). Video documentation of an action, 2005 http://francisalys.com/greenline/jean.html

10. Varieties of Line Some of the fundamental types of lines are: Outlines Contour lines Cross-contour lines Hatch lines Cross-hatch lines Implied lines

11. Outlines delineate shape

12. When a shape appears to be a flat, two-dimensional shape, then the line that defines its borders or edges is called an outline.

13. Jaune Quick-to-See Smith. House, 1995. Acrylic and mixed media on canvas. 6 ft. 8 in. × 5 ft.

14. Contour Lines delineate form

15. The lines that show us the perceived edge of a 3-D form are called contour lines. These lines suggest that this shoe has mass -- a solid form that occupies a 3-D volume.

16. Henri Gaudier-Brzeska. Female Nude, Back View. c. 1912. Drawing, pen and blue ink on paper. 14 5/8 × 10 in.

17. Implied Lines create a sense of enclosure and connection as well as movement and direction

19. Alberto Giacometti, Man Pointing, 1947. Bronze, 70 ½ x 40 ¾ x 16 3/8 in. at base, 12 x 13 ¼ in.

20. Titian. Assumption and Consecration of the Virgin. c. 1516–18. Oil on wood, 22 ½ × 11 4/5 ft. One of the most powerful kinds of implied line is a function of line of sight, the direction the figures in a given composition are looking.

21. Titian. Assumption and Consecration of the Virgin. c. 1516–18. Oil on wood, 22 ½ × 11 4/5 ft.

22. Chéri Samba. Calvary (Le Calvaire), 1992. Acrylic on canvas, 35 × 45 5/8 in.

23. Qualities of Line: emotional expressive intellectual

24. Pat Steir. Drawing Lesson, Part I, Line #1. 1978. Drypoint with aquatint, from a portfolio of seven etchings. each 16 × 16 in., edition of 25

25. Rembrandt van Rijn. The Three Crosses, 1653. Etching, 15 ¼ × 17 ¾ in.

26. Pat Steir. Drawing Lesson, Part I, Line #5, 1978. Drypoint with aquatint, from a portfolio of seven etchings. each 16 × 16 in., edition of 25.

27. Vincent van Gogh, The Starry Night, 1889. Oil on canvas, 29 x 36 ¼ in. Van Gogh’s expressive lines give the image a whimsical feel, reminiscent of a dream. Closer Look: Vincent van Gogh, The Starry Night

28. Vincent Van Gogh, Self Portrait, 1889. Oil on canvas Van Gogh’s style is highly unique and recognizable. His visible brushstrokes create strong lines in his paintings, which are autographic in style.

29. Vincent Van Gogh, Starry Night Over the Rhone, 1888. Oil on canvas.

30. Vincent Van Gogh, Bedroom in Arles (first version), 1888. Oil on canvas.

31. Vincent van Gogh. Letter to John Peter Russell. June 17, 1888. Ink on laid paper. 8 × 10 ¼ in.

32. Vincent van Gogh. The Sower, 1888. Oil on canvas, 25 ¼ × 31 ¾ in.

33. Vincent van Gogh. The Sower, 1888. Pencil, reed pen, and brown and black ink on wove paper, 9 5/8 × 12 ½ in.

34. Sol LeWitt. Wall Drawing No. 681 C, A wall divided vertically into four equal squares separated and bordered by black bands. Within each square, bands in one of four directions, each with color ink washes superimposed, 1993. Colored ink washes, 120 × 444 in. https://www.youtube.com/watch?v=Gc-c- pYGCrw

35. Watch the Video: Sol LeWitt

36. Jasper Johns. Numbers in Color, 1958–59. Encaustic and collage on canvas, 67 × 49 ½ in. Grid - the pattern of vertical and horizontal lines crossing one another to make squares

37. Matthew Ritchie. No Sign of the World, 2004. Oil and marker on canvas, 99 × 154 in. Watch the Video: Matthew Ritchie Discusses Abstraction and Figuration in His Work

38. Hung Liu. Relic 12. 2005. Oil on canvas and lacquered wood. 66 × 66 in.

39. Hung Liu. Virgin/Vessel. 1990. Oil on canvas, broom 72 × 48 in. Hung Liu. Three Fujins, 1995. Oil on canvas, bird cages 96 × 126 × 12 in.

40. Line Orientation

41. Jacques-Louis David, The Death of Socrates, 1787. Oil on canvas, 51 x 77 ¼ in. The line quality used here suggests an orderly, logical scene.

42. Jacques-Louis David, Study for The Death of Socrates, 1787. Charcoal heightened in white on gray-brown paper, 20 ½ x 17 in.

43. Eugѐne Delacroix, The Death of Sardanapalus, 1827. Oil on canvas, 12 ft. x 1 ½ in. x 16 ft. 2 7/8 in.

44. Eugѐne Delacroix, The Death of Sardanapalus, 1827-28. Pen, watercolor, and pencil, 10 ¼ x 12 ½ in.

45. NeoclassicalRomantic

46. Zeus, or Poseidon, c. 460 BCE. Bronze, height 82 inches. The emphasis on horizontal and vertical lines gives this sculpture a sense of strength and rational logic.

47. Robert Mapplethorpe, Lisa Lyon, 1982. Silver gelatin print. Mapplethorpe challenges traditionally accepted roles of female and male bodies in this photograph. The pose that Lyon assumes seems to imitate that of the Greek bronze.

48. Robert Mapplethorpe Ken and Tyler, 1985 Platinum print. Mapplethorpe often blurred the distinction between the “male” and the “female” in his works. In Ken and Tyler, the poses use curved and fluid lines that typically are associated with female bodies, but here they are seen with male bodies.

49. Homework: Read Chapter 5 Space, and answer multiple choice questions Due: Next class, Wednesday, February 4 Typed Journal #3 Due: Monday, February 23 Next class: Guest speaker, Lauren Rosenblum from the Museum of Fine Arts, Houston