AP Timeline: Realism to Dada

You are to construct an original timeline.  The timeline must do the following things:

  • The timeline must include the required artworks, artistic periods, and historic dates listed below.
  • The timeline must demonstrate the sequential nature of some of these events.
  • The timeline must also demonstrate the overlapping nature of some of these events.  How you choose to do this is up to you.
  • The timeline must include dates/centuries/time markers that place each period and each artwork in the correct time frame.  How you choose to do this is up to you.

Your timeline should be clear, concise, and regardless of how it is constructed, submitted electronically through an email or link.  PowerPoint, Word document, jpeg file, Prezi, or even an online timeline creator is fine.  No hard copies. Your textbook does have a timeline at the end of each chapter, which may be helpful.

This is a formative grade and is due by Monday, 4/29, at 11:00 p.m.  Your product will be evaluated not only for its thoroughness and correctness, but also for its clarity and originality.  Your submission should be sent to my school email:  james.elam@killeenisd.org.

Required Artworks

Carson, Pirie, and Scott Building

Fountain

Impression: Sunrise

Les Demoiselles D’Avignon

Olympia

Improvisation #28

The Persistence of Memory

The Scream

Starry Night

Required Art Periods

Cubism

Dadaism

German Expressionism

Impressionism

Post-Impressionism

Realism

Surrealism

Required Historic Dates

1913 The Armory Show
1914-1918 World War I
1930’s The Great Depression
1939-1945 World War II

 

Posted in Art History

IB Comparative Essay Part 2

For this week’s assignment, we are starting the first parts of the comparative essay.  By Monday, you should accomplish the following goals:

  1. Write the background material for work 3.  Give us information about the artist’s history, art movement, personal style, etc.  Try to focus on material that will matter when you begin discussing the artwork itself.  If there was a major life event that impacted the artist and then shows up in the work, that is what you should be discussing.  (Recommended 1 page per background.  If both works come from the same artist, it might be a single page.  Don’t forget to include some kind of visual.)
  2. Fully critique works 3.  Just follow the critique method we have used in the past.  (It is recommended to do one critique per page.  If you need two pages, it’s not a problem, but try not to go longer than that.  The image should be on the page, you could use a detail/crop of the image on a second page.  It is ok to use arrows, create pullouts, or organize the critique into text boxes linked to the image.)
  3. Compare all the works.  You should have at least 1 page to compare work 1 to work 2, 1 page to compare work 2 to work 3, and 1 page to compare work 3 to work 1.  (diagrams, charts, pullouts, and arrows are all fine to help make these comparisons.  Be sure to use images, you may use details).
  4. A List of Resources.  Include (as a separate word document) a list of all the resources (books, videos, interviews, web pages) that you used as research for this document.  Use whatever format you already are using in your English classes (MLA, Chicago, whatever).
  5. Add the component where you make connections between your work and the work you selected to write about.  This is for HL only, and should be between 3-5 slides.  Make sure to use visuals (both your work and the selected work), and continue to provide citations and credit lines.

If you need reminders about the Comparative Essay, or want to see examples, go here.

This will be due Monday, 4/22, by 11 pm.  This is a formative grade and a final draft… what you have is what will be submitted.

Posted in IB Art

IB Finalizing the Exhibition Portfolio

We need to add the finishing touches to your Exhibition Portfolio.

  • Add the final pages, including any artwork that was not already included in this document.  For each artwork, you need to create a page that should have the following things:

A clear image of the artwork, as large as we can make it on the page

The credit line, to include:  Title, medium, and size in centimeters

A short (one to five sentences) commentary about the artwork.  You may use this to talk about how it fits in your theme, how your ideas have been developing, or personal meaning/iconography that may not be immediately visible to the viewer.

You can create an additional page for some of your artworks to provide a 2nd view, or a detail view of the work you are discussing.

  • Review your Curatorial Rationale one last time.  This has already been created as a separate word document Do one last check for spelling and grammar, and check your word count.

                                For SL students, the max number of words is 400

                               For HL students, the max number of words is 700

                              Unlike other pages for IB, a graphic is not required on the page

Complete the Curatorial Rationale and  Exhibition pages for all artworks by Monday, 4/15, 11 pm.  This is a final deadline, with no chance to submit late. Your work will be submitted directly to IB without any further edits.  Formative grade.

Below are several examples of Exhibition Portfolios:

Exhibition Portfolio, O

Exhibition Portfolio, J

Exhibition Portfolio, E

Exhibition, A

Exhibition Sample D HL

Exhibition Sample C HL (1)

Exhibition Sample A SL (1)

Exhibition Sample B SL (1)

Posted in IB Art

AP Mega Super Extreme Tableaux Vivant

There are really two reasons we do Tableaux Vivant. The first is to make you truly consider what the important details of an artwork are – if someone could only show you a select detail or two, what would those details need to be so that you would recognize your artwork. The second reason is to help create a lasting impression of that artwork in your mind. Something you have role-played and strategized out is highly likely to stick with you.

OK, there is a third reason; it is way goofy and it makes me laugh.

The Rules:

  • You are to create a tableaux vivant of an artwork of your choice, with two caveats:  it must come from your textbook, and it can be from any chapter from the Paleolithic up to Gothic.
  • Remember that a tableaux vivant is about creating a “living picture” using real people, appropriate props, and appropriate settings.
  • You are to NOT tell Mr. Elam what you have selected, nor in any way reveal your decision until the actual viewing of your tableaux vivant. Avoid giving clues, asking obvious questions, etc.
  • Your selection and performance must be PG and school appropriate.
  • You may work with anyone you wish but only you will receive a grade for your tableaux vivant. For example Jackie may decide to recruit 3 people from class to help her do her tableaux vivant, but only Jackie will get a grade; the other 3 people are each responsible for submitting their own idea.
  • You will need to secure your own props. They need to be school appropriate.

Guidelines:
More difficult works to reproduce are given more leeway, corresponding with the difficulty. More simple works are held to greater scrutiny, as there is less to work with.

The background matters just as much as any other component of the artwork.

This is about reproducing an artwork using what is at hand. It is not about sticking your head through a photo of an artwork. It is not about taking a picture of a flower and calling it an O’keefe. These methods do not allow for the demonstration of the student’s understanding of the artwork and goes against the spirit of the assignment.

The Performance:
Your tableaux vivant is due Monday, 4/15, by 11 pm. This is a formative grade.

You are to submit your tableaux vivant digitally. Be sure to include your name in the file name for easy identification. You may turn in your work via dropbox, portable external drive, or email.

If your performance needs special considerations, the let me know in advance (but always trying to not let me know what you are doing).

The Tableaux Vivant Evaluation:
Each tableaux vivant will be graded regarding the following criteria:

  • Recognizable. I do not want to know in advance what you are performing because I want your performance to be so dead-on that I can easily recognize it.
  • Verisimilitude. Beyond just recognition, how correct and accurate is your performance.
  • Appropriateness of props and background.
  • Attention to detail (important details; iconography, etc.).
Posted in Art History

IB Creating the Exhibition Portfolio

We need to start creating the Exhibition Portfolio.

In the Exhibition Portfolio Folder, create a new PowerPoint (or equivalent) labeled Exhibition Draft.  If you already have one from last year, you are just adding to this.

  • The first step is to create your title page.  Include the following info:

Exhibition (or exhibition title if you have one)

Candidate Number

Personal Code

      Under no circumstances should you include your actual name

  • The next step is to create the individual pages for each work that will be in your Exhibition Portfolio.  For each artwork, you need to create a page that should have the following things:

A clear image of the artwork, as large as we can make it on the page

The credit line, to include:  Title, medium, and size in centimeters

A short (one to five sentences) commentary about the artwork.  You may use this to talk about how it fits in your theme, how your ideas have been developing, or personal meaning/iconography that may not be immediately visible to the viewer.

You can create an additional page for some of your artworks to provide a 2nd view, or a detail view of the work you are discussing.

  • Next, you are to write your Curatorial Rationale.  This is a 1 to 2 page entry created as a separate word document With it you explain what your theme/style is, and why you chose it.  You should mention any personal connections or beliefs that were a part of your theme/style.  You should also mention any development or growth you experienced artistically as you worked on the exhibition.  We have worked on your artist statement/theme in previous assignments, so I highly recommend you start there, and just modify or add as needed.

                                For SL students, the max number of words is 400

                               For HL students, the max number of words is 700

                              Unlike other pages for IB, a graphic is not required on the page

  • The final part is two photos of your exhibition.  We cannot do that until the actual exhibition so…. we will wait for that part.

But you can start the Curatorial Rationale and the individual pages for your work now.

Complete the Curatorial Rationale and  Exhibition pages for all completed work by Monday, 4/8, 11 pm.

Below are several examples of Exhibition Portfolios:

Exhibition Portfolio, O

Exhibition Portfolio, J

Exhibition Portfolio, E

Exhibition, A

Exhibition Sample D HL

Exhibition Sample C HL (1)

Exhibition Sample A SL (1)

Exhibition Sample B SL (1)

Posted in IB Art

IB Comparative Essay Part 1

For this week’s assignment, we are starting the first parts of the comparative essay.  By Monday, you should accomplish the following goals:

  1. Create your title page.  Include the following info:  Comparative Essay, Candidate Number, and Personal Code.  Under no circumstances should you include your actual name.
  2. Write the background material for works 1 and 2.  By background material, think biography, but keep it focused on their career and personal style as an artist.  Give us information about the artist’s history, art movement, personal style, etc.  Try to focus on material that will matter when you begin discussing the artwork itself.  If there was a major life event that impacted the artist and then shows up in the work, that is what you should be discussing.  (Recommended 1 page per background.  If both works come from the same artist, it might be a single page.  Don’t forget to include some kind of visual.)
  3. Fully critique works 1 and 2.  Just follow the critique method we have used in the past.  (It is recommended to do one critique per page.  If you need two pages, it’s not a problem, but try not to go longer than that.  The image should be on the page, you could use a detail/crop of the image on a second page.  It is ok to use arrows, create pullouts, or organize the critique into text boxes linked to the image.)

If you need reminders about the Comparative Essay, or want to see examples, go here.

This will be due Monday, 4/1, by 11 pm.  This is a formative grade.

Posted in IB Art

Critique: Bar at the Follies Bergere

Write a critique of the attached artwork.  For your convenience, the title of the work and the artist’s name are included in the name of the file.  Feel free to do a little research if you need to.

We need to begin to hone your writing skills in preparation for the AP test.  As such only well written critiques following the critique method will be graded.  Anything less will be mocked and then deleted.  Your critique may be posted to this thread later, so write well.  Remember that a critique is answered in a paragraph format, and to cite examples from the work to back up your points.

The critique is due to me by Monday, 4/1, at 11:00 pm. This is a formative grade.  Your response should be submitted to me via email:  james.elam@killeenisd.org.  The subject line should read:  Bar at the Follies Bergere.

Manet, Bar at the Follies Bergere 1882

Manet, Bar at the Follies Bergere, 1880s

Posted in Art History

AP Bonus Tutoring Review

We will have 3 Saturday sessions where we will review older content, in preparation for the AP Exam.  These sessions will be a mixture of traditional review as well as review games.  Food will be provided (more on this later), but bring something to drink.

The projected times and days are as follows:

Saturday March 30th, 11 am – 1:30 pm

Saturday April 13th, 11 am – 1:30 pm

Friday April 26th, CRAM & JAM, 5:30 pm till ? (special topic:  Oceanic Art)

Saturday May 11th, 11 am – 1:30 pm

You are welcome to arrive late or leave early if you need to.  If you don’t think you can show at all, please let me know in advance by a day or two, so I can plan to feed the right number of people.

 

Posted in Art History

IB Final Draft of the Process Portfolio

So it is here at last, time to wrap up this part of your IB submission.  Please note, even if you are not submitting this year, I still want you to go through the checklist and participate in this assignment.

  1. Check that every page has a graphic of some kind, and is appropriately sized.
  2. Check that every page has a title.
  3. Check that every image that is yours has a title, medium, and size (in centimeters).
  4. Check that every image that is not yours has been properly identified and cited.
  5. Check that text is laid out on the page in an attractive and effective manner.
  6. Check all spelling and grammar.
  7. Check that your fonts are consistent in type and size throughout the document.
  8. Check that your slides are using the same, simple background on every page.
  9. Check that you are within the range of slides you need to submit (use your personalized Submission Checklist to do this).
  10. Check that you have some drawings, some paintings, and some photographs in your submission.

Once you have done all of this, leave the document in our shared folder.  I will review it, help edit photo sizes if needed, and will then upload it within a week of your submission.

This last set of revisions and checks are due Monday, 3/25, by 11 pm.  This is a formative grade.

Please note that you are the final editor of this document.  What you give me is what I submit.  Make sure you are happy with the document and that you feel it best represents your growth and exploration as an artist.

 

 

Posted in Uncategorized

AP Sacred Spaces

The following is a released question which appeared on an AP test a few years ago.  Your assignment is to fully answer the question being asked of you, as if you were taking an AP test.  You are allowed (and encouraged) to do any and all research needed to answer this question.  Like with all good AP writing, you need to cite specific artworks as examples for the points you are trying to make.

This is due Monday 3/25, by 11:00 p.m.  This is a formative grade.  You are to submit your responses to me via email:  james.elam@killeenisd.org

The Question:
Cultures designate sacred space in a variety of ways to accommodate both religious beliefs and practices.

Select and fully identify two examples of sacred spaces from different cultures, one of which must be from beyond the European tradition.  Discuss how each space accommodates both religious beliefs and practices within its culture.

Posted in Art History