MODULE 5: FORM OF ART

Form

⚫ the language and the criteria of art

⚫ refers to the whole arrangement and

organization of elements used by an artist to
create an artwork

To produce an awe-inspiring artwork, an artist must know first the elements of the specific arts
and different principles of arts he is engaged in. Knowledge of the art principles and the elements
of the visual arts is helpful in the art production.

Elements of arts

⚫ basic components of art-making

⚫ to make a good criticism according to the used of elements

1.Line

⚫ Line Path of a moving point Fall Plowing by Grand Wood

⚫ Define the edges of shapes and forms

2.Shape

⚫ Two-dimensional (2D)

⚫ When a line connects to itself, flat.

Perspective
- with point of view; angle of vision; frame of reference.
3.Form
Volume
⚫ Three-dimensional (3D)
- amount of space occupied by an object in three
⚫ Actual or implied dimensions.
⚫ Having height, depth and width.
4.Color

⚫ Hue of an object when light is reflected off of it.

- Every color has its name and such name HUE.

- The Color described when an object has only one hue is MONOCROMATIC.
- The color describe when it has two or more hues is POLYCHROMATIC.
5.Value

⚫ lightness and darkness of colors used in artwork

6. Texture

⚫ way something feels or the way it looks like to fee

7. Space

⚫ area around a subject in an artwork, shown with size, overlap, and proportion.
8.Contrast

⚫ using of different elements in an artwork; darkness and lightness, roughness and smoothness,
curved lines and straightness.
Principles of arts

⚫ the way the artist use the elements of an art to make an effect and to depict and delivery
clearly the idea or feeling of the artist.

⚫ To come up with attractive artworks, artists must be governed by the five conventions of
artistic compositions.
Rhythm /Patterns

⚫ repetitive patterns of a succession of a similar identical items; repetition of lines, shapes, and
colors used in artwork.

Rhythm/Movement

⚫ a visual element that makes an effect of action or motions.

 Frederick Judd Waugh, Breaking Surf

Isaac Levitan: Oak Grove, Autumn (1880)

Balance
-distribution of visual weight of objects in an artwork. Use of colors, sizes and texture.
Emphasis
-main idea, focus. In short, what caught your eyes first to see.

George Henry, River Landscape by Moonlight (1887)

Harmony
using of similar elements that brings each part of the artwork together; or achieved when all
elements of a thing are put together to come up with a coherent whole.

George Henry, Noon (1885)

INTERPRETATION OF COLORS
Proportion
is the comparative relationship of the different parts in relation to the whole; using of different
sizes of something.

Vincent van
Gogh, Starry
Night over the
Rhone (1888)

Techniques or methods of presenting

a subject of an art
REALISM

⚫ refers to the artistic movement began

in France in the 1850s. The introduction of photography became the reason of the popularity of
realism which refers to producing an “objectively real” visual.

⚫ Depicting what eyes can see, ears can hear, what senses receive.

Zeuxis: Still life four bunches of Grapes Museo Nacional del Prado, Madrid
 

ABSTRACTION

⚫ Total opposite of realism

⚫ Latin word “abstractus” means draw away or to Latin past participle “abstraher; ab(s) “away”
and trahere “draw”.

⚫ It presents the artist ideas or feelings with exaggeration of emotions. It portrays the artist
moods or feelings.

Wassily Kandinsky: Composition VII, 1913

Kandinsky was recognized as the “Father of

Modern Abstract Art” in the 20th Century
 Pablo Picasso: Ma Jolie (1911)

Amadeo Modigliani: Landscape

Forms of Abstraction
Distortion

⚫ the subject is presented with misshapen condition or twisted regular shapes.

Elongation

⚫ the subject is being lengthened, a protraction or extension.

Mangling

⚫ the subject is presented are cut, lacerated, mutilated, torn, hacked, or disfigured.
Cubism
⚫ the subject is presented with combinations of geometric shapes. It was also describe as pieces
of fractured glass looking method.
Abstract Expressionism

⚫ applying paints rapidly with force on their canvasses to show feelings and emotions.
SYMBOLISM

⚫ visible sign of something invisible like ideas or qualities.

⚫ uses symbol to intensify the meaning, and making the artwork more subjective and
conventional.
FAUVISM

⚫ French word “les fauves” means wild beasts.

⚫ uses bright colors and emphasizes spontaneous idea.

⚫ Henri Matisse was first labelled as Fauve because of using this method.

Henri Matisse: The Dessert: Harmony in Red (1908)

DADAISM

⚫ came from the word “dada” which means hobby-horse.

⚫ a technique of presenting an art subject in a non-sensical way.

 Kurt Schwitters: Construction of Noble Women
(1919) 

FUTURISM

⚫ uses a modernist movement with the era of future and technology.

⚫ It was first seen on the manifesto published by Flippo Marinetti, wherein he summed up the
principles of Futurist; the artist who uses Futurism on art.

Gerardo Dottori: The Miracle of Light While Flying (1931)

SURREALISM

⚫ known as super realism

⚫ Focuses on the real things manifesting on imaginations and fantasies of people, real things that
can be found on unconscious minds or dreamlike objects.

Salvador Dali: The Persistence of Memory (193)

Museum of Modern Art, New York City
IMPRESSIONISM

⚫ known as optical realism for its interest in actual viewing experience, using the effect of color,
light and movement on the subject depicted on an artwork.

⚫ It focuses on describing the visual sensations derived from nature.

⚫ Impressionism movement; means human eye is a marvellous instrument.

Claude Monet: Water Lilies (1908)

Akseli Gallen-Kallela :Lake Keitele (1905)

ART CRITICISM

⚫ Involves one’s own interpretation.

⚫ A way to help an individual to understand a particular work of art by using the one’s
knowledge about art theory.

⚫ A way to establish where an artwork belongs to depending on its depicted different artistic
styles and movements base on the art history.

Assessing a Work of Art

1.DESCRIPTION
2.ANALYSIS
3.INTERPRETATION
4.EVALUATION
5.ART CRITICISM

MODULE 6: ART HISTORY/ MOVEMENT

PREHISTORIC ART
• A term that refers to Stone Age, Paleolithic, and Neolithic art and artifacts, literally
referring to the time before recorded history.
• As the first building blocks of art history, prehistoric artifacts provide crucial insights into
the origin of image- and craft-making; they take the form of tools and small objects, as
well as a select few architectural ruins.
• Art from this period was a powerful form of communicating information between tribes
and generations; 
• Cupules- The oldest cultural phenomenon,
found throughout the prehistoric
world, the cupule remains one of the
least understood types of rock art.
• Stone Age lions watching prey
Chauvet Cave Franco-Cantabrian cave
art from the Late Aurignacian.ca.30,000 BCE
• Chauvet Cave, Ardèche Gorge, France
Wall Painting with Horses, Rhinoceroses,
and Aurochs, ca. 30000 BCE -28000 BCE
• Venus of Willendorf
One of the famous Venus Figurines
of the Upper Paleolithic.ca. 25,000 BCE

• Tassili-n-Ajjer, Nigeria Section of

rock-wall painting, ca. 5000-2000 B.C.
• Lascaux Cave Painting,
Lascaux France ca. 15,000-17,000 BCE
 • Salisbury Plain, Wiltshire, England,
United Kingdom Stonehenge,
ca. 2750-1500 B.C.

CLASSICAL PERIOD
• Classical Art encompasses the cultures of Greece and Rome and endures as the
cornerstone of Western civilization.
• Including innovations in painting, sculpture, decorative arts, and architecture,
Classical Art pursued ideals of beauty, harmony, and proportion, even as those
ideals shifted and changed over the centuries.
• While often employed in propagandistic ways, the human figure and the human
experience of space and their relationship with the gods were central to Classical
Art.
PREHISTORIC ART
Greek Laocoön and His Sons (27
BCE - 68 CE)
The Parthenon (447 - 432 BCE) Artist: Agesandro,
Artist: Ictinus and Callicrates Athendoros, and Polydoros

The Hirschfeld Krater, mid-8th

century BC, from the late Geometric period,  
National Archaeological Museum, Athens.

CLASSICAL PERIOD Rome Venus de Milo (130

-100 BCE)
Roman copy 120-50 BCE of original
Artist: Alexandros
by Polycleitus, Doryphoros (Spear-Bearer)
of Antioch
c. 440 BCE (120-50 BCE)

Pantheon (113-125 CE)

MEDIEVAL PERIOD
• Medieval art in Europe grew out of the artistic heritage of the Roman Empire and
the iconographic traditions of the early Christian church.
Icon- The production or study of the religious images, called "icons", in
the Byzantine and Orthodox Christian tradition
• These sources were mixed with the vigorous "barbarian" artistic culture of Northern
Europe to produce a remarkable artistic legacy.
• The history of medieval art can be seen as the history of the interplay between the
elements of classical, early Christian and "barbarian" art. 
Byzantine monumental Church
mosaics are one of the great achievements
of medieval art. These are from Monreale 
in Sicily from the late 12th century.

Scenes of courtly love on a lady's 

ivory mirror-case. Paris, 1300–1330.

The jewelled cover of the Codex Aureus

of St. Emmeram, c. 870, a Carolingian 
Gospel book.

The small private Wilton Diptych for 

Richard II of England, c. 1400, with stamped
gold backgrounds and much ultramarine.

RENAISSANCE PERIOD
• Produced during the 14th, 15th, and 16th centuries in Europe under the combined
influences of an increased awareness of nature, a revival of classical learning, and a more
individualistic view of man.
• Scholars no longer believe that the Renaissance marked an abrupt break
with medieval values, as is suggested by the French word renaissance, literally “rebirth.”
• Historical sources suggest that interest in nature, humanistic learning,
and individualism were already present in the late medieval period and became dominant
in 15th- and 16th-century Italy concurrently with social and economic changes such as
the secularization of daily life, the rise of a rational money-credit economy, and greatly
increased social mobility.
RENAISSANCE PERIOD
The Birth of Venus (1486) The Last Judgement (1541)
Sandro Botticelli Michelangelo Buonarroti

Assumption of the Virgin (1518) The Last Supper (1498)-

Titian - Leonardo Da Vinci

Sistine Madonna (1512) The Creation of Adam (1512)

Raphael – Michelangelo

Mona Lisa (1517) –

Leonardo da Vinci

THE FINE ART PERIOD

• In European academic traditions, fine art is art developed primarily
for aesthetics or beauty, distinguishing it from decorative art or applied art, which also
has to serve some practical function, such as pottery or most metalwork.
• In the aesthetic theories developed in the Italian Renaissance, the highest art allowed the
full expression and display of the artist's imagination, unrestricted by any of the practical
considerations involved in, for instance, making and decorating a teapot.
• It was also considered important that making the artwork did not involve dividing the
work between different individuals with specialized skills, as might be necessary with a
piece of furniture, for example.
• Even within the fine arts, there was a hierarchy of genres based on the amount of creative
imagination required, with history painting placed higher than still life.

Baroque Period (c. 1600 – 1700)

• The Baroque style is described as emotional, realistic, and dynamic.
 • Baroque painters saw a canvas as a stage where they painted dramatically.
• Standing in front of Family Group with its large, dark canvas and stiffly posed figures is
like standing in front of a stage at the opening of a performance.
• Baroque paintings are full of movement, exuberant colors, and dramatic contrast of light
and dark.
• Artists worked hard to manipulate their medium to achieve a realistic effect in their art.
• Subjects were viewed as participants or actors chosen by the artist on a stage that
extended beyond the canvas.

The Calling of St Matthew Las Meninas (1656)

(1599-1600) Diego Velazquez
Caravaggio

Le debarquement de
Marie de Médicis au
port de Marseille le 3
November (c. 1622-1625)
Peter Paul Rubens

THE FINE ART PERIOD Rococo Period (c. 1700 – 1776)

• Rococo was a decorative, elaborate art most often seen in French architecture and
sculpture.
• Painting was often considered frivolous-looking and characterized by fluidity, curving
lines, and lustrous colors.
• Favorite subjects for Rococo artists were the courtly lifestyles and playful love lives of
the aristocracy.

Rococo Period (c. 1700 – 1776)

The Meeting (from the
Triumph of Venus (1740)
“Loves of the Shepherds”)
François Boucher
Charles III Dining Before Marie Antoinette in a Court
(1771–72)
the Court (c. 1775) Dress (1778) Fragonard
Jean-Honoré Élisabeth
Luis Paret y Alcázar Louise Vigée-Le Brun
 THE FINE ART PERIOD Neo-Classicism Period (c. 1750 – 1850)
• Europeans in the 1700s were fascinated with the ancient city of Pompeii frozen in time
by natural disaster.
• Discoveries such as Pompeii revitalized interest in the Classical art of Ancient Greece
and Rome, which could be used to promote universal ideas such as courage and
patriotism.
• By the late 1700s, the Age of Enlightenment spurred discovery, technology, and
scientific thought in a movement toward Classical ideals.
• Neoclassicism changed art techniques as well. Though they continued contrasting light
and dark colors in a way similar to Baroque artists, Neoclassicists stopped using vibrant
color and busy compositions. Instead, they focused on line and symmetry, using formulas
of set proportions and exact perspective.

Cornelia, Mother of the

Oath of the Horatii (1784)
Gracchi, Pointing to her
Jacques Louis David
Children as Her Treasures
(c. 1785)
Angelica Kauffman

Monticello (1772-1809)
Thomas Jefferson

THE FINE ART PERIOD Romanticism Period (c. 1780 – 1830)

• At the end of the 18th century and well into the 19th, Romanticism quickly spread
throughout Europe and the United States to challenge the rational ideal held so tightly
during the Enlightenment.
• The artists emphasized that sense and emotions - not simply reason and order - were
equally important means of understanding and experiencing the world.
• Romanticism celebrated the individual imagination and intuition in the enduring search
for individual rights and liberty.
• Its ideals of the creative, subjective powers of the artist fueled avant-garde movements
well into the 20th century.

Bonaparte Visits the Plague

The Nightmare (1781)
Stricken in Jaffa (1804)
Henry Fuseli
Antoine Jean Gros
The Third of May 1808 (1814)
Francisco Goya

MODERNISM IN THE 19TH CENTURY

• Modernism is a philosophical movement that, along with cultural trends and changes,
arose from enormous transformations in Western society during the late 19th and early
20th centuries.
• Among the factors that shaped modernism were the development of modern industrial
societies and the rapid growth of cities, followed by the horror of World War I.
• Modernism was essentially based on a utopian vision of human life and society and a
belief in progress, or moving forward.
• It assumed that certain ultimate universal principles or truths such as those formulated by
religion or science could be used to understand or explain reality.
• Impressionism can be considered the first distinctly modern movement in painting.
• Developing in Paris in the 1860s, its influence spread throughout Europe and eventually
the United States.
• Its originators were artists who rejected the official, government-sanctioned exhibitions,
or salons, and were consequently shunned by powerful academic art institutions.
• In turning away from the fine finish and detail to which most artists of their day aspired,
the Impressionists aimed to capture the momentary, sensory effect of a scene - the
impression objects made on the eye in a fleeting instant.
• To achieve this effect, many Impressionist artists moved from the studio to the streets and
countryside, painting en plein air.

Paris Street, Rainy Day Vetheuil in the Fog (1879)

(1877) Claude Monet
Gustave Caillebotte

Girl with a Hoop (1885)

Pierre-Auguste Renoir
 MODERNISM IN THE 19TH CENTURY Post-Impressionism (c. 1880-1914)
• Post-Impressionism encompasses a wide range of distinct artistic styles that all share the
common motivation of responding to the opticality of the Impressionist movement.
• The movement ushered in an era during which painting transcended its traditional role as
a window onto the world and instead became a window into the artist's mind and soul.
• The far-reaching aesthetic impact of the Post-Impressionists influenced groups that arose
during the turn of the 20th century, like the Expressionists, as well as more contemporary
movements, like the identity-related Feminist Art.

The Scream (1893)

Vision After the Sermon (1888)
Edvard Munch
Paul Gauguin

Portrait of Doctor Gachet (1890) The Dream (1910)

Vincent van Gogh Henri Rousseau

MODERNISM IN THE 19TH CENTURY Neo-Impressionism (c. 1984-1935)

• In the latter part of the 19th century, Neo-Impressionism foregrounded the science of
optics and color to forge a new and methodical technique of painting that eschewed the
spontaneity and romanticism that many Impressionists celebrated.
• Relying on the viewer's capacity to optically blend the dots of color on the canvas, the
Neo-Impressionists strove to create more luminous paintings that depicted modern life.
• With urban centers growing and technology advancing, the artists sought to capture
people's changing relationship with the city and countryside.
• Many artists in the following years adopted the Neo-Impressionist technique of
Pointillism, the application of tiny dots of pigment, which opened the door to further
explorations of color and eventually abstract art.

Against the Enamel of a

La Dame à la Robe Blanche (Woman in Background Rhythmic with Beats
White) (1886-1887) and Angles, Tones, and Tints,
Albert Dubois-Pillet Portrait of Félix Fénéon (1890)
Paul Signac
La Récolte des Foins, Éragny (1887)
Camille Pissarro

NEW MEDIA, NEW ART FORMS

• Defined as a genre that encompasses artworks created with new media technologies,
including digital art, computer graphics, computer animation, virtual art, Internet art,
interactive art, video games, computer robotics, 3D printing, and art as biotechnology. 
• New Media is a term that is usually been used to any content available on-demand
through the Internet, accessible on any digital device, usually containing interactive user
feedback and creative participation.
• A defining characteristic of new media is a dialogue or interaction.
• Although the new media are not exclusively related to new media art (since it’s much
more important for social and cultural changes in contemporary society), new media
created a space for new contemporary art practices.
Fauvism (c. 1899-1908)
• Fauvism, the first 20th-century movement in modern art, was initially inspired by the
examples of Vincent van Gogh, Paul Gauguin, Georges Seurat, and Paul Cézanne.
• The Fauves ("wild beasts") were a loosely allied group of French painters with shared
interests. Several of them, including Henri Matisse, Albert Marquet, and Georges
Rouault, had been pupils of the Symbolist artist Gustave Moreau and admired the older
artist's emphasis on personal expression.
• Matisse emerged as the leader of the group, whose members shared the use of intense
color as a vehicle for describing light and space, and who redefined pure color and form
as means of communicating the artist's emotional state.
• In these regards, Fauvism proved to be an important precursor
to Cubism and Expressionism as well as a touchstone for future modes of abstraction.

Pinède à Cassis Le Viaduc à L'Estaque

(Landscape) (1907) (1908)
André Derain Georges Braque

La Danse (1910); Paysage à La Ciotat

(1907); Othon Friesz
Henri Matisse
 NEW MEDIA, NEW ART FORMS Expressionism (c. 1905-1933)
• Expressionism emerged simultaneously in various cities across Germany as a response to
a widespread anxiety about humanity's increasingly discordant relationship with the
world and accompanying lost feelings of authenticity and spirituality.
• In part a reaction against Impressionism and academic art, Expressionism was inspired
most heavily by the Symbolist currents in late-19th-century art. Vincent van
Gogh, Edvard Munch, and James Ensor proved particularly influential to the
Expressionists, encouraging the distortion of form and the deployment of strong colors to
convey a variety of anxieties and yearnings.

Der Blaue Reiter (1903) Street, Berlin (1913);

Wassily Kandinsky Ernst Ludwig Kirchner

Large Blue Horses (1911)

Franz Marc

NEW MEDIA, NEW ART FORMS Expressionism (c. 1905-1933)

• Cubism developed in the aftermath of Pablo Picasso's shocking 1907 Les Demoiselles
d'Avignon in a period of rapid experimentation between Pablo Picasso and Georges
Braque.
• Drawing upon Paul Cezanne’s emphasis on the underlying architecture of form, these
artists used multiple vantage points to fracture images into geometric forms.
• Rather than modelled forms in an illusionistic space, figures were depicted as dynamic
arrangements of volumes and planes where background and foreground merged.
• The movement was one of the most groundbreaking of the early-20th century as it
challenged Renaissance depictions of space, leading almost directly to experiments with
non-representation by many different artists.
• Artists working in the Cubist style went on to incorporate elements of collage and
popular culture into their paintings and to experiment with sculpture.
 Les Demoiselles Tea Time (1911)
d'Avignon (1907) Jean Metzinger
Pablo Picasso

Violin and Palette Maquette for

(1909) Georges Guitar (1912)
Braque Pablo Picasso

NEW MEDIA, NEW ART FORMS Dada (c. 1916-1924)

• Dada was an artistic and literary movement that began in Zürich, Switzerland.
• It arose as a reaction to World War I and the nationalism that many thought had led to the
war.
• Influenced by other avant-garde movements - Cubism, Futurism, Constructivism,
and Expressionism - its output was wildly diverse, ranging from performance art to
poetry, photography, sculpture, painting, and collage.
• Dada's aesthetic, marked by its mockery of materialistic and nationalistic attitudes,
proved a powerful influence on artists in many cities, including Berlin, Hanover, Paris,
New York, and Cologne, all of which generated their own groups.
• The movement dissipated with the establishment of Surrealism, but the ideas it gave rise
to have become the cornerstones of various categories of modern and contemporary art.

Ici, C'est Stieglitz

Cut withThis
(Here, a Kitchen
is Fountain (1917)
Knife Dada through
Stieglitz) (1915) Marcel Duchamp
Merzpicture 46A.
the Last Picabia
Francis Weimar
The Skittle Picture
Beer Belly Cultural
(1921)
Epoch of Germany
Kurt Schwitters
(1919)
Hannah Höch

NEW MEDIA, NEW ART FORMS Surrealism (c. 1924-1966)

• The Surrealists sought to channel the unconscious as a means to unlock the power of the
imagination.
 • Disdaining rationalism and literary realism, and powerfully influenced by
psychoanalysis, the Surrealists believed the rational mind repressed the power of the
imagination, weighing it down with taboos.
• Influenced by Karl Marx, they hoped that the psyche had the power to reveal the
contradictions in the everyday world and spur on revolution.
• Their emphasis on the power of personal imagination puts them in the tradition
of Romanticism, but unlike their forebears, they believed that revelations could be found
on the street and in everyday life.
• The Surrealist impulse to tap the unconscious mind, and their interests in myth and
primitivism, went on to shape many later movements, and the style remains influential to
this today.

Carnival of The Human

Harlequin (1924-25) Condition (1933)
Joan Miró René Magritte

Object in Fur (1936) The Persistence of

Meret Oppenheim Memory (1931)
Salvador Dali

NEW MEDIA, NEW ART FORMS Abstract Expressionism (c. 1943-1965)

• It was somehow meant to encompass not only the work of painters who filled their
canvases with fields of color and abstract forms, but also those who attacked their
canvases with a vigorous gestural expressionism.
• Still Abstract Expressionism has become the most accepted term for a group of artists
who held much in common.
• All were committed to art as expressions of the self, born out of profound emotion and
universal themes, and most were shaped by the legacy of Surrealism, a movement that
they translated into a new style fitted to the post-war mood of anxiety and trauma.
• In their success, these New York painters robbed Paris of its mantle as leader of modern
art, and set the stage for America's dominance of the international art world.

1957-D-No. 1 (1957) Vir heroicus

sublimis (1950-51)
Barnett Newman
 Autumn Rhythm
(Number 30) (1950) Chief (1950)
Jackson Pollock Franz Kline

NEW MEDIA, NEW ART FORMS Pop Art (c. Mid 1950s- Late 1970s)
• Pop art started with the New York artists Andy Warhol, Roy Lichtenstein, James
Rosenquist, and Claes Oldenburg, all of whom drew on popular imagery and were
actually part of an international phenomenon.
• Following the popularity of the Abstract Expressionists, Pop's reintroduction of
identifiable imagery (drawn from mass media and popular culture) was a major shift for
the direction of modernism.
• The subject matter became far from traditional "high art" themes of morality, mythology,
and classic history; rather, Pop artists celebrated commonplace objects and people of
everyday life, in this way seeking to elevate popular culture to the level of fine art.
• Perhaps owing to the incorporation of commercial images, Pop art has become one of the
most recognizable styles of modern art.

I Was a Rich Man's President Elect (1960-61)

Plaything (1947) James Rosenquist
Eduardo Paolozzi

Campbell's Soup I (1968)

Drowning Girl (1963) Andy Warhol
Roy Lichtenstein
NEW MEDIA, NEW ART FORMS Optical Art (c. 1964- Present)
• Artists have been intrigued by the nature of perception and by optical effects and illusions
for many centuries. They have often been a central concern of art, just as much as themes
drawn from history or literature.
• In the 1950s these preoccupations, allied to new interests in technology and psychology,
blossomed into a movement. 
 • OpticalArt or Op Art typically employs abstract patterns composed with a stark contrast
of foreground and background - often in black and white for maximum contrast - to
produce effects that confuse and excite the eye.
• To many, it seemed the perfect style for an age defined by the onward march of science,
by advances in computing, aerospace, and television. But art critics were never so
supportive of it, attacking its effects as gimmicks, and today it remains tainted by those
dismissals.

NEW MEDIA, NEW ART FORMS Optical Art (c. 1964- Present)

Structural Blaze (1964)

Constellation (1913) Bridget Riley
Josef Albers

Four Self-Distorting
Grids (1965)
François Morellet

NEW MEDIA, NEW ART FORMS Photorealism (c. Early 1960s- Present)
• The name Photorealism (also known as Hyperrealism or Superrealism) was coined in
reference to those artists whose work depended heavily on photographs, which they often
projected onto canvas allowing images to be replicated with precision and accuracy.
• The exactness was often aided further by the use of an airbrush, which was originally
designed to retouch photographs.
• The movement came about within the same period and context as Conceptual art, Pop art,
and Minimalism and expressed a strong interest in realism in art, over that of idealism
and abstraction.
• Among several male practitioners of Photorealism there is an interest in themes of
machinery and objects of industry such as trucks, motorcycles, cars, and even gumball
machines, whereas Audrey Flack, the sole female practitioner, infuses her works with
greater emotionality and the transience of life.

Self-Portrait (1967-68) The Woman Eating (1971)

Chuck Close Duane Hanson
McDonalds World War II
Pickup (1970) (Vanitas) (1977-78)
Ralph Goings Audrey Flack

NEW MEDIA, NEW ART FORMS Minimalism (c. Early 1960s- Late 1960s)
• Minimalism emerged in New York in the early 1960s among artists who were self-
consciously renouncing recent art they thought had become stale and academic.
• The new art favored the cool over the "dramatic": their sculptures were frequently
fabricated from industrial materials and emphasized anonymity over the expressive
excess of Abstract Expressionism.
• Painters and sculptors avoided overt symbolism and emotional content, but instead called
attention to the materiality of the works.
• By the end of the 1970s, Minimalism had triumphed in America and Europe through a
combination of forces including museum curators, art dealers, and publications, plus new
systems of private and government patronage.

Untitled (mirrored cubes)

(1965/71) Lever (1966)
Robert Morris Carl Andre

White Cubes (1991) The X (1965)

Sol LeWitt Ronald Bladen

MODULE 7: SOUL-MAKING
 It is this practice of working through disintegration that find to be at the core of the
artistic and therapeutic processes.

 It adds up to the totally of the work of art, makes the artwork to have a distinctive quality
that crafts its individuality and identity.

What is Craft Art?

 A type of art that typically refers to the assembly of handmade goods. This type of art has
been around for centuries.
Typically involves making items that are not only attractive but useful as well.
And crafts are generally made from raw natural materials.

Textiles… embroidery; knitting; lace-making; tapestry art; weaving; etc.

Woodcraft… wood carving; cabinet & furniture making, lacquer ware; etc.

Paper craft… paper modelling; collage; origami paper folding; papier-mâché (mosaic)

Pottery & Glass crafts…ceramic (stoneware/porcelain); mosaic art; glass breading, blowing,
etching(stained glass art materials/methods).
Other craft arts…
- Basket weaving
- Tattoo designing
- Book bonding
- Doll making
- Floral design
- Ikebana
- Leather works
- Model making (clay)
- Toy making
- Etc.
Crafting image
Refers to imaging or representing in many form which may be through painting, sculpting,
drawing, storytelling, poetry, dancing, composing or taking notes.
Also, narcissistic approaches many user are taking on social media in order to control the
way others view their life.
…But instead what it is often used for is a way of showing off your life through posed pictures
and glowing status updates
Crafting stories
They describe a practitioner’s story crafting responses as a way of exploring the different
levels of client’s career stories by focusing on ‘recursive process constructs’.

Crafting instruments performance

Transforming any found or use object, into a musical instrument, allows one to discover
harmony and balance to produce a sound that is entertaining, handsome and magical.
Textile Art Soul, Dream and Imagination
“Art is a work of the reflective deeper sense of where a person is, coming from, dreams-
strange, at time psychic visions, born in sleep, and where reality’s grip on.”
 …And soul making, it is form of crafting stories are transforming brief moments
into images are symbol does connecting with people understanding culture and embodying
tolerance and peace, imagination, it is like with inspiration, play a major role in art production.
T’nalak Process
The production is a labour intensive process requiring a knowledge of a range of skills
learned from a young age by the woman of the tribe.
…First, abaca tree, cleaned, dried & separated into strands. These strands are then carefully
selected, hand tied, and rolled into balls.
T’nalak, traditional cloth in Mindanao island made of by a group of people in Lake Sebu,
South Cotabato called T’bolis, T’boli people. This traditional cloth is hand-woven made
by Abaca fibre's which traditionally have three primary colors, red, black, and original
color of the Abaca leaves.
Dagmay
Involves a mud-dyeing technique where in practitioners submerge their tannin-dyed yarns
into iron-rich mud for several days.
First, they pound the bark of a tree boil it with the abaca yarn. Then, add the mud with a
bluish color and let the yarn boil until their desired tone is achieved.
The Pis-syabit is the multi-colored woven cloth of the Tausug. Men as a headdress/clothing
accessory, folded neatly & draped over left shoulder. Worn along with lapi/ upper
garments & sawal/loose trousers.
Seputangan- a hand-woven square cloth (used as a head cover by women/ as a sash).
It is different from any other Yakan weaving. Traditionally it has an off-white background
usually with square pattern which are “stood up on end” as a rhombus.

MODULE 8: IMPROVISATION
What is improvisation?
 Is the activity of making or doing something not planned beforehand, using whatever can
be found. Improvisation in the performing arts is a very spontaneous performance
without specific or scripted preparation.
  … Shortly definition of improvisation is the act of coming up with something on the spot.
And is a set of actors performing without a script.

 Is the activity of making or doing something not planned beforehand, using whatever can
be found. Improvisation in the performing arts is a very spontaneous performance
without specific or scripted preparation. Shortly definition of improvisation is the act of
coming up with something on the spot. And is a set of actors performing without a script.
What is the purpose of improvisation?
 This technique is used for a variety of reason, such as to bypass writer’s block, improve
creativity, strengthen one’s writing instinct and enhance one’s flexibility in writing. Some
improvisational writing is collaborative, focusing on an almost Dadaist form of
collaborative fiction.
Elements of Improvisation:
 In proper order ( with some minor disagreements) are:
 Setting
 Character
 Problem
 Rising Action
 Solution
At the beginning of the game ( or scene, as it is commonly referred as)the improviser begin
to create a setting.
Five basic improvisation rules:
 Don’t deny. Denial is the number one reason most scenes go bad.
 Don’t ask open end questions.
 You don’t have to be fun.
 You can look good if you make your partner look good.

Three parts of improvisation:

The basic story line of a well-constructed improvisation includes…
 beginning
 middle
 end.
These are basic parts you will find in every story, movie, or play.
Improvisation in Various Art Forms
Contact Body
 A form of dance which incorporates elements from sporting movement and gymnastics,
yoga, martial arts, philosophies of socio-sexual equality, and modern theatre practices of
physical ensemble playing.
…Contact improvisation stems from the idea that each body is unique. It in involves the
exploration of one’s body in relationship to others by using the fundamentals of sharing weight,
touch and movement awareness.
Sound Improvisation
 Known as musical extemporization, is the creative activity of immediate (“in a
moment”) musical composition, which combines performance with communication of
emotions instrumental technique as well as spontaneous response to other musicians.
Theatre Improvisation
 A form of live theatre in which the plot, characters and dialogue of a game, scene or
story are made up in the moment. Often improvisers will take a suggestion from the
audience, or draw on some other source of inspiration to get started.