News and information from St. George's British International School Art Department, Rome, Italy
Tuesday, December 19, 2006
Thursday, December 14, 2006
Tuesday, December 12, 2006
Year 12 IB Art Project 2
Remaining 5 sides for this month::
Observational drawing work - wrap 7 different objects in newspaper, string and selotape. Arrange them into a still life and draw them in a range of different media (biro, pastel, charcoal, pencil, paint etc)
Studio Work (Jan 9th onwards)
Parts 4 & 5: (simultaneous): Using the final image to develop a block print that will be taken to at least 3 colour stages.
4 A1 sheets + multiple A3 & A4 experiments. You will also make a relief sculpture centred around a 3-dimensional realisation based upon your image. The ‘portrait’ sculptures will expand/be framed/explode outwards so as to continue the idea of the character at the centre (look at previous year 12s’ project for a clearer understanding of this)
Monday, December 11, 2006
Tuesday, December 05, 2006
Monday, December 04, 2006
Friday, November 24, 2006
CLICK ON THE LINK AND WORK THROUGH THE SITE
THIS WILL HELP YOUR CRITICAL WRITING ABOUT ART A LOT!
Wednesday, October 25, 2006
Completed by November 13th
Choose ONE of the following:
Group Identities, Boundaries and Borders in Art
How and why do groups of people (nationalities, religions, armies, tribes, gangs, football clubs, companies etc) display their group identities through art and visual imagery? How might groups of people be identified by ‘outsiders’? (think of how you chose to represent countries by food – what other symbols or clichés might work in the same way)
Some Ideas:
Look at propaganda paintings (American ‘Uncle Sam’, British ‘Your Country Needs You’, German, Russian, Italian & Japanese posters from the 2nd world war for example) Soviet Socialist Realism etc
Masks, Uniforms and Costumes from various tribes, groups and societies (from the Masaai and the Spanish navy to the Iroquois and the Ku Klux Klan)
Badges, Logos and Icons – from paintings of crucifixions in an Italian Church to the ‘Lupetto’ of AS. Roma
Modern Graffiti on trains, walls etc.
History paintings – battles, conquests and maps. Look at Albrecht Altdorfer, Paolo Uccello , Simone Martini, Ambrogio Lorenzetti. The Bayeux Tapestry etc.
When does Art become garment and garment become Art? How does fashion influence Art and vice versa?
Ritual and performance. For example: masks of the Fang people of West Africa, Japanese Noh theatre masks, North American traditional headdresses, Australian Aboriginal body painting. The costumes and contraptions of modern artist Rebecca Horn. (etc etc etc)
Where does the basic function (covering, protection, warmth etc) become less importance than the aesthetic appearance?
Fashion as a visual statement of politics and ideologies: Flapper girls in the 20s, Punks in the 70s, Hippies in the 60s etc
Influences in both directions – Pop Art, Op Art, Conceptual Art.
How does fashion in post War Britain (for example) reflect social and artistic change?
‘Talking about Art is like dancing about Architecture’ (Frank Zappa)
Can one art form explain another?
How have visual artists tried to depict performance and music in their work?
Japanese prints of theatrical performance (Hiroshige, Hokusai etc)
European painting and sculpture: Degas, Caravaggio, Fiorentino, Watteau, Italian futurist paintings (and music), Breughel, Lautrec, Max Beckmann, Picasso’s Circus performers etc.
Masks and costumes that express the role of the wearer – from various African nations and tribes, theatrical masks from China, Japan, Greece etc.
How has music been influenced by visual artists and vice versa?
Many visual artistic movements/styles had a musical equivalent (Baroque, Impressionist, Modernist, Dadaist)
Schoenberg (painter and composer), Matisse (La Danse, La Musique etc), Mondrian (Broadway Boogie Woogie)
Symbiosis: Humans and Nature in Art.
Investigating art that suggests the strength of the relationship between humankind and the environment around it.
Possible artists:
Pre 20th Century European: Metamorphosis – plants and animals into humans - Bosch, Bernini, Arcimboldo etc
Modern European: Andy Goldsworthy (abstract forms from natural materials), Anthony Gormley, Sophie Ryder (animal human creatures), Land Art – Robert Smithson. Picasso’s Centaurs etc.
Non European: Ritualistic animal masks, fetishes and totems from a variety of cultures: North and South American, African etc. Hindu animal human hybrid gods etc.
What do these metamorphic or hybrid beings suggest about human origins, relationships with nature and each other?
Romantic Art – the idea of humans at the mercy of the immense power of nature Caspar David Freidrich, JWM Turner, Albert Bierstadt etc
Artistic reference to stage, performance and theatre in a number of cultures. How does the social and cultural context of the performance influence its visual representation in another art form? Degas, Lautrec, Schiele, Hogarth, Japanese artists such as Hiroshige, Hokusai and Kunisada, Traditional African /art itself interwoven with the performance). Japan
How has the image of women (as a subject) in painting changed through the 20th century? Liberation? Emancipation? Political change including the vast increase in the number of women artists. Feminism. Look at Picasso, Klimt, Modigliani, Giacometti, Warhol, Gwen John, Frida Khalo, Dali, Freud, Jenny Saville, Paula Modersohn-Becker (amongst others!) Read Germaine Greer on the subject for a feminist perspective "The Obstacle Race: The fortunes of women painters and their work", (book in the library)
The changing roles of the human figure in Art in the 19th & 20th centuries – from portraiture to symbolic presence. Cezanne (figure as motif rather than specific portrait) through Expressionism/Cubism’s distortions and simplifications, then body art and performance of 60s & 70s. Move on into the recent work of artists like Gormley in which the body is represented as a volume in space, a symbol or a vessel.
The changing impact of Art when removed from its intended location. Comparing the potentially diminished impact of religious art when transplanted from church/temple to gallery/museum and graffiti when taken from walls, trains, subways to the ‘safe’ middleclass gallery environment. Giotto, Michelangelo, Haring, Basquiat, Kenny Scharf etc.
The continuing presence of the painted portrait in the age of photography. What can painted portraiture offer to the artist/viewer that photography can not? How has photography freed the painter from the need to reproduce only the ‘straight forward’ likeness of the sitter? How has photography fed the painters’ imaginations and furthered the development of painting? Bacon, Nash, Hockney, Degas, Sickert, Jenny Saville, Richard Billingham etc. Read some Susan Sontag on this subject Review of her book ‘On Photography’ with a few quotes: http://www.photo.net/books/on-photography or this Sontag
.
Monday, October 09, 2006
Year 12 & 13 RWB task
Go to this GALLERY
(online!)
Write and illustrate a 4 page critique of the work of 2 artists whose work interests you. They don't have to be obviously relevant to your own current project.
I want drawings, paintings and your own ideas - not print outs!
Wednesday, October 04, 2006
Tuesday, October 03, 2006
Thursday, September 28, 2006
Have a look at the following films on YouTube
They are all possible in school - they just take a lot of time...
The Shell's Secret
Self Portrait
Painter Sketch
Wednesday, September 27, 2006
Monday, September 25, 2006
Monday, September 11, 2006
Sunday, September 10, 2006
Thursday, September 07, 2006
Tuesday, August 29, 2006
Wednesday, August 23, 2006
Friday, August 11, 2006
Friday, June 16, 2006
Tuesday, June 13, 2006
Summer Holiday Task for Pupils Beginning I.B. Art in September 2006
Your summer holiday task forms the beginning of your I.B. Art practical work and research studies coursework upon which your entire final grade is based. It should therefore be completed to a very high standard of presentation and content.
· First get yourself a Research Workbook ! They Must be A4 size (30cm x 20cm approx.) hard bound (usually in black ) with 140 pages (280 sides). They normally cost around €15. I know it seems a bit mean expecting you to buy your own, but if I bought everyone a book then we’d have less money for paint, paper, clay etc. etc…. Also I feel students are less likely to leave their book on the bus, or drop it in the river if is their own.
The Research tasks:
· Scale - how does a work of art’s size affect the viewer (and how is seeing an actual work of art different from seeing a reproduction in a book or on the internet for example?)
· Materials - what is it created from ?- why? - what effect does the material give?
· Content - what does the work represent ? Narrative - does it tell a story ? Does the time and place in which the piece was made affect the style and intended meaning of the work? give your personal interpretation.
· The Artist - Who ? When ?
· Even basic descriptions of colour, shapes etc. are useful - how is the mood or atmosphere of a piece affected by the artists use of colour, texture, line, pattern etc. ?
· Value judgement - is the piece successful ? Why ?
· Why was this piece of Art created? Who paid for it? Why? What task does this piece of Art hope to perform? Instruction etc?
· Part Two : Research for IB Coursework Project
Native American headgear, gas masks, gimp masks, Japanese theatrical masks, motorcycle helmets, Venetian carnival masks, traditional tribal masks from various African nations, cricket masks, hockey masks, armour, skulls of animals, fish and birds, diving masks and helmets, welding masks, Egyptian burial masks, etc etc etc….
The theme of the poster is ‘Investing in Agriculture for Food Security’. This must be written clearly on your poster (in any language) Your poster can be between 30 x 40 cm and 50 x 70 cm (see me for paper). Aim to illustrate the idea of self help rather than hand outs to the poor. Have a look at www.fao.org/wfd/ and also www.feedingminds.org for more ideas. Do a couple of pages of research and studies in your book before making the final poster. Be bold – which posters do you remember most clearly? which were most effective in communicating their message to you?
Year 12 IB Art Holiday Task
The Research Workbook tasks:
· Scale - how does a work of art’s size affect the viewer (and how is seeing an actual work of art different from seeing a reproduction in a book ?)
· Materials - what is it created from ?- why? - what effect does the material give?
· Content - what does the work represent ? does it tell a story ? give your personal interpretation.
· The Artist - Who ? When ?
· Even basic descriptions of colour, shapes etc. are useful - how is the mood or atmosphere of a piece affected by the artists use of colour, texture, line, pattern etc. ?
· Value judgement - is the piece successful ? Why ?
· Scale - how does the building, monument or built environment relate on a “human scale” - does it “dwarf” people - why? (to impress, to accommodate a specific use, to inspire fear, devotion etc.)
· Inspiration/style - can you see any connections with art or design movements (Art Nouveau, Neo Classical, Art Deco, Modernism? Etc.)
· Decoration - is it decorated ? Why? - Why would you decorate a building? In what style ? Describe - organic (plant forms etc.), geometrical simplicity etc .
· How well does the space, monument or building fulfil its intended role ?
· How does it relate to the location in which it is placed (natural environment, other buildings etc.?)
At least 10 sides relating to images, artefacts, techniques, experimentation observations and artists’ work connected with your chosen theme for you first personally directed project. Good preparation is essential for a successful project. Take loads of photographs, make loads of drawings – even stuff which is too large to fit in your book. Go nuts – develop an obsession!
Tuesday, June 06, 2006
Sunday, April 09, 2006
Year 12 I.B Art
Easter task (included in RWB work from 10th April – 10th may)
Critical & Contextual Research
For example: Italian Futurist Art was inspired by the technology of the heavily mechanized era in which it was created. Electricity, aircraft, racing cars etc were all exciting new phenomena at the start of the 20th Century. Artists such as Balla and Severini made works that expressed the energy and movement of the new world around them. This mood of optimism was killed (along with many of the artists that made up the Futurist movement) by the horrors of modern warfare that began with the First World War in Europe. Could you imagine artists working in the polluted 21st Century making painting that praised the motorcar?
Part One: You are to produce 8 or more new pages of writing, diagrams and illustrations in which you answer the following critical and contextual question:
Links (to start you off...)
BUT DON'T COPY AND PASTE DIRECTLY FROM THIS STUFF!
Part Two:
(5 sides or more)
Part Three:
Continue to develop your current project – write & illustrate a record of how it is proceeding and how it might develop in other ways. Make sure that you have done adequate additional research for your next project. The research and development work is graded along with the studio work itself – you have to show where your work came from and how and why it evolved.
(Total 20 sides or more) Use the links at http://saintgeorgesart.blogspot.com/ for extra help
Tuesday, March 21, 2006
a) fairies
b) mechanisms
c) interesting sculptures
click on this link
????????????
Wednesday, February 15, 2006
Year 12 IB Art Half Term Checklist
By Monday 6th March you should have completed:
Title | Completed? | Grade? |
WORLD FOOD DAY POSTER | | |
GRAPHITE A1 MASKS STUDIES | | |
A1 DESIGN SHEET FOR MASK | | |
SCULPTURE (MASK, HEADGEAR ETC) | | |
CHARCOAL A1 PORTRAIT SHEET | | |
PAINTING WITH MASK ON HARDBOARD | | |
PRINTING WORK: MIN. 4 A1 SHEETS TO 3 STAGES + 7 A3 SHEETS | | |
SCULPTURE WITH CLAY HEAD | | |
RWBS UP TO DATE (INC | | |
Planning your next projects.
After the holiday you will complete 3 A1 studies based on imagery from
Then you will start your own projects developed from your
Brief
Plan, research and create 2 or more major studio pieces inspired and developed from your
Available media:
Clay, Batik, Cardboard. Wood, Oil Paint, Acrylic Paint, Lino Printing, Digital Media, Wire, Chicken Wire, Latex, Stucco, Plaster, Ink, Graphite, Fabric, Paper, Adhesives, Found Objects, Watercolour, Collage Materials, Dyes.
You can sculpt, sew, print, paint, assemble and draw in any combination of the above media in both 2 and 3 dimensions.
Your work might explore:
Colour, texture, line, form, surface, light, pattern, movement, and structure in relation to the imagery, artefacts and environments that you explored
You will need to adopt a developmental and experimental approach in order to achieve the best result. Don’t just think of one idea and stick to that. Be wild, develop an obsession – push your ideas to the limit! Devote 10 sides minimum to the planning of your own ideas for this project – explain your ideas and decisions in detail.