1. Cornerstone 1: Close Study
Students will engage in Close Viewing of an artwork that relies on perspective as a conceptual element of understanding.

2. Close Study Artwork The Burghers of Calais, 1884-1889, cast 1953-1959
Auguste Rodin, French, b. Paris, 1840–1917
Bronze, 79 3/8 X 80 7/8 X 77 1/8 IN.
Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, Gift of Joseph H. Hirshhorn, 1966
What is your initial sense of what this work is about? What role does your physical point-of-view play in your encounter with Burghers of Calais?
2. What do you think happens prior, during and after this scene? Whose perspective is this image showing?
3. How do you think this artwork was made? What do you think is the purpose of this design?
4. Where is the art in this piece? How does the way viewer encounters this artwork differ from the ways of viewing other types of artworks?
5. How does this work make you think about the role of art and design in society? How do artist have to work together to create works of art? What makes a work of art valuable?

3. Contextual Image 1
Vaquero, modeled 1980/cast 1990, Luis Jiménez,
b. El Paso, Texas , acrylic urethane, fiberglass,
steel armature 199 x 114 x 67 in. Smithsonian American Art Museum, Gift of Judith and Wilbur L. Ross, Jr., Anne and Ronald Abramson, and Thelma and Melvin Lenkin
Possible Questions:
Compare the finish of The Burghers of Calais to that of Luis Jiménez’s Vaquero. Do these technical choices help you understand the artist’s intent? convey cultural meaning? Do you consider this a successful piece? Why?

4. Contextual Image 2
Infinity Burial Suit, 2011, Jae Rhim Lee, b. 1975, Gwangju, South Korea,
prototype embroidered with mushroom-spore-infused thread resembling mushroom mycelium growth patterns.
Possible Questions:
How much does it matter whether your encounter with this piece is through photography, or facing it in person? Why?
What is your initial sense of what this work is about?
Do you consider this a successful piece? Why?

5. Close Study Artwork (option 2)
Vaquero, modeled 1980/cast 1990, Luis Jiménez,
b. El Paso, Texas , acrylic urethane, fiberglass,
steel armature 199 x 114 x 67 in. Smithsonian American Art Museum, Gift of Judith and Wilbur L. Ross, Jr., Anne and Ronald Abramson, and Thelma and Melvin Lenkin
Possible Questions:
How does this art work relate to your ideas about what sculpture is ‘supposed’ to look like, or what material it is supposed to be made from? How does a sculpture’s media relate to an artist’s culture?

6. Contextual Image 1 Blue Mustang, 2008, Luis Jiménez,
b. El Paso, Texas , acrylic urethane, fiberglass,
steel armature 132’h. Denver International Airport.
Possible Questions:
What is the artist trying to communicate in this image?
What evidence do you see of the artist’s ‘hand’? How does that affect your understanding of Vaquero?

7. Contextual Image 2
Progress II, 1974, Luis Jiménez (American, ) Fiberglass, resin and acrylic paints 120 in. x 252 in.Crocker Art Museum, gift of Marvin L. "Buzz" Oates, and the families of Philip and Jana Oates, Larry and Laura Allbaugh, Kipp and Deirdre Blewett, Daniel and Alison Corfee, Kevin and Kathleen Ramos, Jack and Maryann Spiegelman, Michael and JoAnn Stodden, Peter and Colleen Thompson, and Craig and Kimberly Zarro
Possible Questions:
How does the scale of this work relate to the scale of the other two works by Jiménez? How are these works compositionally similar?

8. Contextual Image 3
Sodbuster, , Luis Jiménez, molded fiberglass, epoxy resin, acrylic urethane paint, 60 x 257 x 47″ © 2012 Estate of Luis A. Jimenez, Jr. / Artists Rights Society (ARS), New York
Possible Questions:
Which of Jiménez’s works is the most successful and why? With whom was Jiménez’s intending on communicating through his work?

9. Close Study Artwork (option 3)
Infinity Burial Suit, 2011, Jae Rhim Lee, b. 1975, Gwangju, South Korea, prototype embroidered with mushroom-spore-infused thread resembling
mushroom mycelium growth patterns.
Possible Questions:
What is Lee’s message to her audience? What specific evidence supports your theory?

10. Contextual Image 1
Performance with Furniture Set, 2005, Jae Rhim Lee, b. 1975, Gwangju, South Korea, artist performance with
hand carved pine bed.
Possible Questions:
How does this ‘furniture’ by Jae Rhim Lee relate to her Infinity Burial Suit? How does the scale of this work relate to her Infinity Burial Suit? How does the physical presence of the artist with her work affect your understanding of the work?

11. Contextual Image 2
N=1=NPK=KIMCHI=N, 2006, Jae Rhim Lee, b. 1975, Gwangju, South Korea, various materials: mobile, expandable living unit which consists of a urinal, urine processing system, hydroponic napa cabbage garden, seedling growing area, customized bed, and kitchen table.
“I tested my urine, modified my diet to produce a urine ideal for growing napa cabbage, grew napa cabbage hydroponically with the optimized urine, made kimchi from the napa cabbage, and fed the kimchi to the public from the living unit.” Jae Rhim Lee
Possible Questions:
How does this work reveal the artist’s ‘hand’? With whom does Lee intend to communicate in her works?
How do Lee’s choices about material relate to the cultural context in which her work is made and presented?