2. Aesthetics: The study of the ‘nature’ and ‘value’ of art that guides us toward intelligent opinions about art.

3. Art critics Art critics Art Historians Art Historians Art journalists Art journalists Museum directors/ curators Museum directors/ curators Art Patrons Art Patrons Popular culture/ media Popular culture/ media

4. Personal response Personal response Public reaction Public reaction Controversy Controversy Historical Relevance Historical Relevance Innovative Innovative Cross-cultural Cross-cultural

5. Robert Rauchenburg, Paragraph #2, 2000 Pop Art

6. Imitationalism Imitationalism Formalism Formalism Emotionalism Emotionalism Instrumentalism Instrumentalism Institutionalism Institutionalism

8. Andy Warhol, Sixteen Jackies, acrylic on canvas, 1964 Pop Art What makes this artwork relevant?

9. Imitationalism refers to art that focuses on things being realistically represented. Duane Hanson, Young Shopper, 1973 Pop Art How can the viewer relate to this image? What makes the title of this artwork ironic? What was the artist trying to communicate?

10. Imitationalism refers to art that focuses on things being realistically represented. Richard Estes, Central Savings, oil on canvas, 1975 Hyper-realism

12. Louise Nevleson, Sky Cathedral, 1957-1960, Abstract Expressionism What elements of art are represented in the artwork? What principles of design are represented in the artwork?

13. Elizabeth Murray, The Low Down, 2001, Neo-Expressionism What elements of art are represented in the artwork? What principles of design are represented in the artwork?

14. Frank Gehry, Guggenheim- Bilbao, 1993-1997 Deconstructivism

16. Emotionalism requires that a work of art must get a response in terms of awakening feelings, moods, and emotions in the viewer. Pablo Picasso, Guernica, 1937 Cubism What is your immediate response to this image?

17. 1.Value/emphasis: The background is a darker value emphasizing the lighter shades in the foreground. 2.Shape/variety: There are a variety of geometric and free-form shapes throughout the painting. 3.Line/movement: The diagonal and curved lines create movement within the artwork. 4.Balance/space: The composition is balanced between the foreground and background. The painting is also symmetrically balanced.

18. Emotionalism requires that a work of art must get a response in terms of awakening feelings, moods, and emotions in the viewer. Kathe Kollwitz, The Volunteers, 1920 German Expressionism What descriptive words communicate the way the artist has created this image?

20. Instrumentalism requires that art move people to act for the betterment of society; art that serves as an ‘instrument’ for furthering a point of view that might be moral, social, religious, or political. Keith Haring, Untitled ( Subway Drawing ), c. 1984 Graffiti Art

21. The OBEY sticker campaign can be explained as an experiment in Phenomenology. Heidegger describes Phenomenology as “the process of letting things manifest themselves.” Phenomenology attempts to enable people to see clearly something that is right before their eyes but obscured; things that are so taken for granted that they are muted by abstract observation. The FIRST AIM OF PHENOMENOLOGY is to reawaken a sense of wonder about one’s environment. The OBEY sticker attempts to stimulate curiosity and bring people to question both the sticker and their relationship with their surroundings. Because people are not used to seeing advertisements or propaganda for which the product or motive is not obvious, frequent and novel encounters with the sticker provoke thought and possible frustration, nevertheless revitalizing the viewer’s perception and attention to detail. The sticker has no meaning but exists only to cause people to react, to contemplate and search for meaning in the sticker. Because OBEY has no actual meaning, the various reactions and interpretations of those who view it reflect their personality and the nature of their sensibilities. Many people who are familiar with the sticker find the image itself amusing, recognizing it as nonsensical, and are able to derive straightforward visual pleasure without burdening themselves with an explanation. The PARANOID OR CONSERVATIVE VIEWER however may be confused by the sticker’s persistent presence and condemn it as an underground cult with subversive intentions. Many stickers have been peeled down by people who were annoyed by them, considering them an eye sore and an act of petty vandalism, which is ironic considering the number of commercial graphic images everyone in American society is assaulted with daily. Another phenomenon the sticker has brought to light is the trendy and CONSPICUOUSLY CONSUMPTIVE nature of many members of society. For those who have been surrounded by the sticker, its familiarity and cultural resonance is comforting and owning a sticker provides a souvenir or keepsake, a memento. People have often demanded the sticker merely because they have seen it everywhere and possessing a sticker provides a sense of belonging. The Giant sticker seems mostly to be embraced by those who are (or at least want to seem to be) rebellious. Even though these people may not know the meaning of the sticker, they enjoy its slightly disruptive underground quality and wish to contribute to the furthering of its humorous and absurd presence which seems to somehow be antiestablishment/societal convention. Giant stickers are both embraced and rejected, the reason behind which, upon examination reflects the psyche of the viewer. Whether the reaction be positive or negative, the stickers existence is worthy as long as it causes people to consider the details and meanings of their surroundings. In the name of fun and observation. Shepard Fairey, 1990

22. Instrumentalism requires that art move people to act for the betterment of society; art that serves as an ‘instrument’ for furthering a point of view that might be moral, social, religious, or political. Barbara Krueger, We Don’t Need Another Hero, 1987 Neo-Expressionism

24. Institutionalism focuses on unconventional works of art that can only be identified as works of art because they are placed in a museum or gallery. Naum June Paik, In Flux House, 1993, Fluxus

25. 1.Form/emphasis: The individual forms of the t.v. combined, create emphasis or a focal point in the space. 2.Space/proportion: The installation is out of proportion in relation to the space. 3.Color/variety: The colors on the individual t.v. sets vary in color as each screen contains a different image. 4.Shape/balance: The cube-like forms of the t.v. sets are balanced by the oval and round shapes within the cubes. The entire installation is asymmetrically balance. Analyze

26. http://www.artnotart.com/fluxus/gmaciu nas--.html

27. Institutionalism focuses on unconventional works of art that can only be identified as works of art because they are placed in a museum or gallery. Janine Antoni, Chocolate Gnaw. 1992. 600 lbs. of chocolate. Lard Gnaw, 1992. 600 lbs. of lard.

28. Eva Hesse, Rope Piece, 1970, Post Minimalism