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Art 2/Artist Spotlights

You will be introduced to selected works of art and artists as they relate to the curriculum. In your sketchbook:
1. Complete a thumbnail sketch of the work 
2. Document the #, heading, and credit line 
3. Review all provided resources - take notes 
4. Answer the questions completely and with specificity; complete sentences should reveal the question (write legibly or type/print)

​Entries started in class must be completed as homework by the same day/next week

MORE ART HISTORY!

#9 Iona Rozeal Brown (1966 - )

1/16/2019

 
Picture
a3 blackface #59 
2003
acrylic on paper
Unframed: 49 3/4 × 38 in. (126.37 × 96.52 cm)
VMFA, Richmond, VA  
           
REVEW the information below, taking notes to document your process:
  • Born 1966
  • Hometown Washington, DC
  • Lives and Works New York, NY​
  • MFA, Yale University School of Art, New Haven, CT, 2002
  • Skowhegan School of Painting and Sculpture, Skowhegan, ME, 1999
  • BFA, San Francisco Art Institute, San Francisco, CA, 1999
  • Pratt Institute, Brooklyn, NY, 1996                             
From Artspace @ https://www.artspace.com/artist/iona_rozeal_brown

The artist Iona Rozeal Brown uses her large-scale acrylic paintings to wryly comment on the ductile and ever-changing essence of cultural identity, most often by creating visual mash-ups of two disparate but in fact subtly harmonious subcultures: the samurai and geishas depicted in traditional Japanese ukiyo-e printmaking and the contemporary world of hip-hop. Trained in the art of ukiyo-e herself, Brown pursues a transcultural aesthetic in both her imagery and her technique, mixing the racial, gender, and class issues in her subject matter with the deftness of a DJ.

A recurring character in Brown's work is Yoshi, a wise female war hero—sporting an afro and classical Japanese garb—whose enlightened state allows her to exist as a communicant between divinities and mortals, guiding those still on earth. The artist's paintings have been widely exhibited, and she received a solo show at Cleveland's Museum of Contemporary Art in 2010. In 2011 she was commissioned to create a performance for the Performa biennial.   
                     
From VMFA @ https://www.vmfa.museum/piction/6027262-53207104/

Brown—who styles her name in all lowercase letters— uses a3 as an abbreviation for “Afro-Asiatic allegory,” her series of prints and paintings based on the style of the Japanese ganguro (literally “blackface”) girls. These young women reject Japanese conventions of beauty— dark, straight hair and pale skin—by lightening and perming their hair and darkening their skin. a3 blackface #59 borrows stylistically from Japanese woodblock prints of the Edo period (1615–1868). Known as ukiyo-e prints, these popular, middle-class images depicted the shifting fashions and chaotic lives of the Tokyo amusement district. Brown, who is also a disc jockey, found resonances between the transience of the contemporary entertainment industry and the “floating world” of Edo Japan.
AFTER CAREFULLY REVIEWING THE RESOURCES ASSIGNED ABOVE: Answer the following questions completely and with specificity to the provided resources, notes taken, personal reflection, and additional research as needed. Make sure to consider how this information is relevant to your current work and practice.
  1. Define the following terms: a) Wry, b) Disparate, c) Mash-up, d) Allegory
  2. How do Brown's skills as a DJ support her work as a visual artist?
  3. Summarize the SUBJECT, COMPOSITION, and CONTENT in Brown's work.

#7 Katsushika Hokusai (1760 - 1849)

11/16/2018

 
Picture
The Great Wave Off Kanagawa
From "Thirty-six Views of Mount Fuji"
1823-29
Color woodcut
10 x 15 inches
Metropolitan Museum of Art, New York 

Takes notes on the following resources:
  • FIRST, See the 36 views of Mount Fuji (of which the above print is one).
  • THEN, watch a virtual demonstration of woodblock printing as well as etching, lithography, and screen printing (if the page doesn't load, try a different browser).
  • FINALLY, watch the video below:

AFTER CAREFULLY REVIEWING THE RESOURCES ASSIGNED ABOVE: Answer the following questions completely and with specificity to the provided resources, notes taken, personal reflection, and additional research as needed. Make sure to consider how this information is relevant to your current work and practice.

1. What does Ukiyo-e mean? What are some characteristics of Ukiyo-e prints?
2. List and briefly explain the four types of printmaking as described in the virtual demonstration.
3. Give some examples to show how Hokusai's Great Wave and other prints influenced European art and artists.

#7 Two Islamic Tiles

11/20/2017

 
Picture
#1 Tile from a Squinch
Timurid period (1370–1507), 
Present–day Uzbekistan, Samarqand
Stonepaste; carved and glazed approx. 11" x  8"
Metropolitan Museum of Art




​








​From http://www.metmuseum.org/toah/works-of-art/20.120.189: Often called muqarnas, or "stalactite," in Arabic, these architectural elements were used to fill squinches to provide a satisfactory transition between a square room and its domed ceiling. Muqarnas, however, were also employed as simple decorative devices to enrich the appearance of soffits, cornices, capitals of columns, and interiors of domes.

Picture
#2 Tile from a mihrab
1322–23 a.d.
Iran
Fritware, underglaze painted approx. 27" x 26"
Metropolitan Museum of Art











From http://www.metmuseum.org/collection/the-collection-online/search/453211: This tile once formed part of a mihrab, or niche, facing Mecca, toward which prayer is directed in mosques. The inscription at its top includes a Qur'anic reference to the mihrab’s function, and provides the date of the tile’s manufacture in the fourteenth century. This surrounds the modeled vine and tendril motif executed with touches of black and turquoise. We must imagine that the interior walls of the building containing this mihrab were once covered in similar tiles, as was common during the Ilkhanid period in Iran.

Watch this video - take notes!

AFTER CAREFULLY REVIEWING THE RESOURCES ASSIGNED ABOVE: Answer the following questions completely and with specificity to the provided resources, personal reflection, and additional research as needed:
  1. a) What is the purpose of a squinch tile? b) What is a mihrab and why is it important in Islamic culture?
  2. What role do patterns play in the Islamic religion? Where do the patterns come from and how are they intended to make those viewing them feel?
  3. Looking at art has often been compared to a "religious experience." Explain your take on this statement as it relates to abstract art (as in the case of Jackson Pollock) and the principle of PATTERN. 

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