MoMA and MAD Permission form
moma_and_mad_permission_form.docx | |
File Size: | 317 kb |
File Type: | docx |
April 13- 17
Monday- Install new work in Panther Hall Gallery
Tuesday- Start the Totem project
wednesay- Totem
Thursday- Totem
Friday- Totem
Substractive Abstract Plaster Sculpture
After pouring plaster in a bucket, the sculpture needs to be carved using a variety of tools into an abstract form that looks interesting from every angle.
1. The piece should not resemble the outside shape of the bucket but should have an entirely new form.
2. There needs to be a minimum of one hole that penetrates the sculpture through the form.
3. There needs to be both very smooth and highly textured surfaces.
4. There needs to be something coming out of the hole.
RUBRIC
90-100
Have a well-researched and well-articulated notion of what you are communicating. This is evident in the work.
Create a DYNAMIC arrangement that engages the space it occupies.
Create accurately from observation but are also able to exaggerate or manipulate the image to support your ideas.
The negative and positive spaces are equally important.
Have control and use the medium to its full advantage.
Have mastery of technique applied consistently.
80-89
Have researched the idea but do not communicate anything significant about your subject. The piece lacks the personal element.
Have control over technique but it lacks consistency.
Create from observation but does not manipulate the image to support your ideas.
The composition has many parts to it but it does not hold together as a cohesive composition.
Have control of the medium but do not use it to its full advantage.
70-79
Have done only cursory research into your subject.
There is little sense of a personal style.
The work is not created from observation. The work has only a few elements that do not hold the composition together.
Have an uneven and inconsistent mastery of the medium.
60-69
Have done no research that is evident in the work. There is no sense of a connection to you.
The piece is created with no personal style, either in the forms or in the overall appearance.
There is no mastery of the medium.
90-100
Have a well-researched and well-articulated notion of what you are communicating. This is evident in the work.
Create a DYNAMIC arrangement that engages the space it occupies.
Create accurately from observation but are also able to exaggerate or manipulate the image to support your ideas.
The negative and positive spaces are equally important.
Have control and use the medium to its full advantage.
Have mastery of technique applied consistently.
80-89
Have researched the idea but do not communicate anything significant about your subject. The piece lacks the personal element.
Have control over technique but it lacks consistency.
Create from observation but does not manipulate the image to support your ideas.
The composition has many parts to it but it does not hold together as a cohesive composition.
Have control of the medium but do not use it to its full advantage.
70-79
Have done only cursory research into your subject.
There is little sense of a personal style.
The work is not created from observation. The work has only a few elements that do not hold the composition together.
Have an uneven and inconsistent mastery of the medium.
60-69
Have done no research that is evident in the work. There is no sense of a connection to you.
The piece is created with no personal style, either in the forms or in the overall appearance.
There is no mastery of the medium.
Monday : Continue to work on the totem piece
Tuesday: Continue to work on the totem piece
Wednesday: Continue to work on the totem piece
Thursday: Continue to work on the totem piece
Friday Critique
Next Critique date: October 3
Tuesday: Continue to work on the totem piece
Wednesday: Continue to work on the totem piece
Thursday: Continue to work on the totem piece
Friday Critique
Next Critique date: October 3
identity_choose_3_mediums.docx | |
File Size: | 1329 kb |
File Type: | docx |
Artwork Critique Guidelines
QUESTIONS
Write your ideas here. Give first impressions. Make guesses. Say what you see, do not say what you like, or don't like. Do not judge. Describe, analyze, and interpret.
l. What stands out the most when you first see it? .
2. Explain the reason you notice the thing you mention in number 1..
3. As you keep looking, what else seems important? .
4. Why does the thing you mention in number 3 seem important. .
5. How has contrast been used.
6. What leads your eye around from place to place?
7. What tells you about the style used by this artist?
8. What seems to be hiding in this composition?
9. Why do you think this was partially hidden?
10. Imagine the feelings and meanings this artwork represents?
11. What titles could you give this artwork?
12. What other things interest you about this artwork?.form
Produced by: © Marvin Bartel, 2002 http://www.goshen.edu/art/ed/critiqueform.html
May be printed and copied for non profit classroom use.
QUESTIONS
Write your ideas here. Give first impressions. Make guesses. Say what you see, do not say what you like, or don't like. Do not judge. Describe, analyze, and interpret.
l. What stands out the most when you first see it? .
2. Explain the reason you notice the thing you mention in number 1..
3. As you keep looking, what else seems important? .
4. Why does the thing you mention in number 3 seem important. .
5. How has contrast been used.
6. What leads your eye around from place to place?
7. What tells you about the style used by this artist?
8. What seems to be hiding in this composition?
9. Why do you think this was partially hidden?
10. Imagine the feelings and meanings this artwork represents?
11. What titles could you give this artwork?
12. What other things interest you about this artwork?.form
Produced by: © Marvin Bartel, 2002 http://www.goshen.edu/art/ed/critiqueform.html
May be printed and copied for non profit classroom use.