jueves, 10 de octubre de 2013

WEBQUEST SOBRE ARTE CONCEPTUAL

- La actividad consistirá en buscar en la web al menos 3 definiciones distintas sobre arte conceptual, también biografías y obras de tres artistas que representen el arte conceptual. Para concluir tendrán que buscar un video que se relacione con la información que recopilaron.

OBJETIVOS
- Que los alumnos logren realizar una selección adecuada dentro del amplio abanico que ofrece la web.
- Que conozcan no sólo un estilo de arte, sino también los artistas que lo practicaron y sus obras.
- Que sean originales al momento de presentar sus actividades.

ACTIVIDAD
- Busca en la web al menos tres definiciones distintas sobre arte conceptual.
- También investiga sobre tres artistas que pertenezcan a ese estilo, has una selección de su biografía y presenta 2 obras de cada uno. La biografía debe aparecer de forma sintetizada, y las obras deben tener los datos correspondientes, al menos el título, la fecha y el lugar donde se encuentran expuestas.
- Busca un video en Internet que ilustre en cierta medida toda la información recabada.
- Todo esto deberá presentarse en un Power Point.

Se recomienda visitar estas páginas:

http://www.youtube.com/watch?v=oWrH3GSNwjY

http://www.theartstory.org/movement-conceptual-art.htm

http://www.youtube.com/watch?v=GSm9gOd4Scs

http://www.ecured.cu/index.php/Arte_conceptual

CRITERIO DE EVALUACIÓN
- Al hacerse las presentaciones en Power Point se mostrarán frente al resto de la clase por lo que se hará una coevaluación entre los grupos que pasen. Se les dará una rubrica para que sepan qué aspectos tener en cuenta. Aspectos como:
- Que la actividad cumpla con todas las condiciones.
- La coherencia de la información recabada.
- La originalidad del video seleccionado.
- El diseño de la presentación.

CONCLUSIÓN

Esta permitirá hacer nuevos análisis sobre las imágenes ya no tan convencionales, con el fin de que el alumno pueda fundamentar sus interpretaciones desde la teoría.


WEBQUEST

"I hear and I forget. I see and I remember.
I do and I understand."
                                     
"A WebQuest," according to Bernie Dodge, the originator of the WebQuest concept, "is an inquiry-oriented activity in which most or all of the information used by learners is drawn from the Web. WebQuests are designed to use learners' time well, to focus on using information rather than on looking for it, and to support learners' thinking at the levels of analysis, synthesis, and evaluation."

HELP! WHERE DO I BEGIN?

Before designing a WebQuest, you'll want to have an outline handy to guide you through the process. A number of excellent WebQuest outlines, including Tom March's Prewriting Your WebQuest, will help. Templates such as Dodge's WebQuest Templates are also available online.


THE DESIGN PROCESS

Once you have your outline or template in hand, here are some main points to include:

The Topic. You may have already decided on a topic related to current events or to an area of the curriculum that's inadequately covered in available texts. If you're still searching for a topic, however, Tom March, who developed the first WebQuests with Bernie Dodge, suggests starting "where you're at." "If you have an area that's your specialty, something that thrills you to teach, that you know inside and out, up and down, begin there," March says. You can also explore March's Idea Machine, which provides 50 prompts designed to help begin the brainstorming process.
The Task. "The task," says Dodge, "is the single most important part of a WebQuest." His WebQuest Taskonomy: A Taxonomy of Tasks provides eleven different types of tasks, including journalistic, mystery, persuasion, and judgement tasks. If you can't find it here, you can't find it anywhere!
The Process. In this section, you'll include the roles students will assume and the steps they'll follow to complete the activity. March's Designing for Success provides not only a Designer's Checklist, but also some clickable "friendly advice" for the creatively challenged!
The Resources. Identify the online resources available on your topic by brainstorming a list of related words and using the list to search for relevant sites. As you search, create a hotlist of current, accurate, and age-appropriate sites that will engage your students' interest.
The Evaluation. As Kenton Letkeman points out, "Traditional evaluation techniques are not the best means for evaluating the results of WebQuests, since all students may not learn the same content. Individual evaluation rubrics should be developed that follow curriculum objectives and are easy for students to understand." Dodge's Rubric for Evaluating WebQuests also provides a number of criteria for evaluating students' WebQuest success.


http://www.educationworld.com/a_tech/tech/tech011.shtml

CONCEPTUAL ART

"Ideas alone can be works of art; they are in a chain of development that may eventually find some form. All ideas need not be made physical."


Synopsis
Conceptual art is a movement that prizes ideas over the formal or visual components of art works. An amalgam of various tendencies rather than a tightly cohesive movement, Conceptualism took myriad forms, such as performances, happenings, and ephemera. From the mid-1960s through the mid-1970s Conceptual artists produced works and writings that completely rejected standard ideas of art. Their chief claim - that the articulation of an artistic idea suffices as a work of art - implied that concerns such as aesthetics, expression, skill and marketability were all irrelevant standards by which art was usually judged. So drastically simplified, it might seem to many people that what passes for Conceptual art is not in fact "art" at all, much as Jackson Pollock's "drip" paintings, or Andy Warhol's Brillo Boxes (1964), seemed to contradict what previously had passed for art. But it is important to understand Conceptual art in a succession of avant-garde movements (Cubism, Dada, Abstract Expressionism, Pop, etc.) that succeeded in self-consciously expanding the boundaries of art. Conceptualists put themselves at the extreme end of this avant-garde tradition. In truth, it is irrelevant whether this extremely intellectual kind of art matches one's personal views of what art should be, because the fact remains that Conceptual artists successfully redefine the concept of a work of art to the extent that their efforts are widely accepted as art by collectors, gallerists, and museum curators.
KEY IDEAS
Conceptual artists link their work to a tradition of Marcel Duchamp, whose Readymades had rattled the very definition of the work of art. Like Duchamp before them, they abandoned beauty, rarity, and skill as measures of art.
Conceptual artists recognize that all art is essentially conceptual. In order to emphasize this, many Conceptual artists reduced the material presence of the work to an absolute minimum - a tendency that some have referred to as the "dematerialization" of art.
Conceptual artists were influenced by the brut simplicity of Minimalism, but they rejected Minimalism's embrace of the conventions of sculpture and painting as mainstays of artistic production. For Conceptual artists, art need not look like a traditional work of art, or even take any physical form at all.
The analysis of art that was pursued by many Conceptual artists encouraged them to believe that if the artist began the artwork, the museum or gallery and the audience in some way completed it. This category of Conceptual art is known as 'institutional critique,' which can be understood as part of an even greater shift away from emphasizing the object-based work of art to pointedly expressing cultural values of society at large.
Much Conceptual art is self-conscious or self-referential. Like Duchamp and other modernists, they created art that is about art, and pushed its limits by using minimal materials and even text.
comment to editor
Beginnings
One of the most important precedents for Conceptual art was the work of Dada artist Marcel Duchamp, who in the early twentieth century established the idea of the "Readymade" - the found object that is simply nominated or chosen by the artist to be a work of art, without adaptations to the object beyond a signature. The first and most famous true Readymade was Fountain (1917), which was nothing more than a porcelain urinal, reoriented ninety degrees, placed on a stand and signed and dated under the alias "R. Mutt." Duchamp described his Readymades as "anti-retinal," and dismissed the popular conception that works of art need demonstrate artistic skill. In the 1950s, long after several of his original Readymades had been lost, Duchamp re-issued Fountain and other Readymades for the Sidney Janis Gallery in New York. These acts sparked a resurgence of interest in his work, which not only brought the emergence of Neo-Dada led by John Cage, Robert Rauschenberg, and Jasper Johns, but also rekindled a widespread interest in idea-based art throughout the contemporary art world

QUOTES
"People, buying my stuff, can take it wherever they go and can rebuild it if they choose. If they keep it in their heads, that's fine too. They don't have to buy it to have it - they can just have it by knowing it."
- Lawrence Weiner
"In order to gain some insight into the forces that elevate certain products to the level of 'works of art' it is helpful - among other investigations - to look into the economic and political underpinnings of the institutions, individuals and groups who share in the control of power."
- Hans Haacke
"When objects are presented within the context of art (and until recently objects always have been used) they are as eligible for aesthetic consideration as are any objects in the world, and an aesthetic consideration of an object existing in the realm of art means that the object's existence or functioning in an art context is irrelevant to the aesthetic judgment."
- Joseph Kosuth



Duchamp y los ready-mades
Época: XX
Inicio: Año 1915
Fin: Año 1925
Antecedente:
Dada en Nueva York

http://www.theartstory.org/movement-conceptual-art.htm

miércoles, 9 de octubre de 2013

ACTIVIDAD

ACTIVIDAD  CON SCANNING

1-      ¿Cuál fue la fecha del movimiento?
1840
2-      ¿Cuál fue el surgimiento del realismo?
Revolución 1848
3-      ¿Qué imperio estaba?
Napoleón III
4-      ¿Qué artista hizo una declaración?
Gustave Courbet
5-      ¿Cuándo fueron las primeras fechas de exposición en los Salones de Paris?
1849 y de 1850 al 1851
6-      ¿Dónde se expuso la muestra privada de Courbet?
Pavillon du Réalisme
7-      ¿Cuál fue la fecha de la exposición de Millet en el Salon?
1857
8-      ¿Cuáles son los herederos del legado realista?
Eduoard Manet y los Impresionistas

ACTIVIDAD CON SKIMMING

1-      ¿De qué se trata el movimiento realista?
Tratan de dar una visión real y objetiva de la vida contemporánea, realizan representaciones de la vida cotidiana de la clase obrera, registrando la realidad de la vida en especial de la gente humilde, valorándolos de esta forma.
2-      ¿Quién fue Courbet?
Fue el principal defensor del realismo, retrataba la gente común de su lugar natal, en escalas monumentales, lo cual fue interpretado como amenaza política, ya que su obra se consideraba anti-autoritaria
3-      ¿Qué técnica utilizo Courbet en su obra?
Evito lo academicista para desarrollar un estilo deliberadamente simple, basada en el imaginario popular. Para lo cual así irrumpe las reglas convencionales de la escale y la perspectiva
4-      ¿Cuál fue el otro artista que realizó este tipo de representaciones?

Jean Francois Millet, ejecuta también escenas de la vida rural, monumentaliza a los campesinos trabajando haciendo hincapié en la dificultad física de la tarea. Lo cual produjo escándalos por su honesta representación de la pobreza.

REALISM - http://www.metmuseum.org/toah/hd/rlsm/hd_rlsm.htm


The Realist movement in French art flourished from about 1840 until the late nineteenth century, and sought to convey a truthful and objective vision of contemporary life. Realism emerged in the aftermath of the Revolution of 1848 that overturned the monarchy of Louis-Philippe and developed during the period of the Second Empire under Napoleon III. As French society fought for democratic reform, the Realists democratized art by depicting modern subjects drawn from the everyday lives of the working class. Rejecting the idealized classicism of academic art and the exotic themes of Romanticism, Realism was based on direct observation of the modern world. In keeping with Gustave Courbet's statement in 1861 that "painting is an essentially concrete art and can only consist in the representation of real and existing things," Realists recorded in often gritty detail the present-day existence of humble people, paralleling related trends in the naturalist literature of Émile Zola, Honoré de Balzac, and Gustave Flaubert. The elevation of the working class into the realms of high art and literature coincided with Pierre Proudhon's socialist philosophies and Karl Marx's Communist Manifesto, published in 1848, which urged a proletarian uprising.

Courbet (1819–1877) established himself as the leading proponent of Realism by challenging the primacy of history painting, long favored at the official Salons and the École des Beaux-Arts, the state-sponsored art academy. The groundbreaking works that Courbet exhibited at the Paris Salons of 1849 and 1850–51—notably A Burial at Ornans (Musée d'Orsay, Paris) and The Stonebreakers (destroyed)—portrayed ordinary people from the artist's native region on the monumental scale formerly reserved for the elevating themes of history painting. At the time, Courbet's choice of contemporary subject matter and his flouting of artistic convention was interpreted by some as an anti-authoritarian political threat. Proudhon, in fact, read The Stonebreakers as an "irony directed against our industrialized civilization ... which is incapable of freeing man from the heaviest, most difficult, most unpleasant tasks, the eternal lot of the poor." To achieve an honest and straightforward depiction of rural life, Courbet eschewed the idealized academic technique and employed a deliberately simple style, rooted in popular imagery, which seemed crude to many critics of the day. His Young Women from the Village (40.175), exhibited at the Salon of 1852, violates conventional rules of scale and perspective and challenges traditional class distinctions by underlining the close connections between the young women (the artist's sisters), who represent the emerging rural middle class, and the poor cowherd who accepts their charity.

When two of Courbet's major works (A Burial at Ornans and The Painter's Studio) were rejected by the jury of the 1855 Exposition Universelle in Paris, he withdrew his eleven accepted submissions and displayed his paintings privately in his Pavillon du Réalisme, not far from the official international exhibition. For the introduction to the catalogue of this independent, one-man show, Courbet wrote a Realist manifesto, echoing the tone of the period's political manifestos, in which he asserts his goal as an artist "to translate the customs, the ideas, the appearance of my epoch according to my own estimation." In his autobiographical The Painter's Studio (Musée d'Orsay, Paris), Courbet is surrounded by groups of his friends, patrons, and even his models, documenting his artistic and political experiences since the Revolution of 1848.

During the same period, Jean-François Millet (1814–1875) executed scenes of rural life that monumentalize peasants at work, such as Sheep Shearing Beneath a Tree (40.12.3). While a large portion of the French population was migrating from rural areas to the industrialized cities, Millet left Paris in 1849 and settled in Barbizon, where he lived the rest of his life, close to the rustic subjects he painted throughout his career. The Gleaners (Musée d'Orsay, Paris), exhibited at the Salon of 1857, created scandal because of its honest depiction of rural poverty. The bent postures of Millet's gleaners, as well as his heavy application of paint, emphasize the physical hardship of their task. Like Courbet's portrayal of stonebreakers, Millet's choice of subject was considered politically subversive, even though his style was more conservative than that of Courbet, reflecting his academic training. Millet endows his subjects with a sculptural presence that recalls the art of Michelangelo and Nicolas Poussin, as seen in his Woman with a Rake(38.75). His tendency to generalize his figures gives many of his works a sentimental quality that distinguishes them from Courbet's unidealized paintings. Vincent van Gogh greatly admired Millet and made copies of his compositions, including First Steps, after Millet (64.165.2).

The socially conscious art of Honoré Daumier (1808–1879) offers an urban counterpart to that of Millet. Daumier highlighted socioeconomic distinctions in the newly modernized urban environment in a group of paintings executed around 1864 that illustrate the experience of modern rail travel in first-, second-, and third-class train compartments. InThe First-Class Carriage (Walters Art Museum, Baltimore), there is almost no physical or psychological contact among the four well-dressed figures, whereas The Third-Class Carriage (29.100.129) is tightly packed with an anonymous crowd of working-class men and women. In the foreground, Daumier isolates three generations of an apparently fatherless family, conveying the hardship of their daily existence through the weary poses of the young mother and sleeping boy. Though clearly of humble means, their postures, clothing, and facial features are rendered in as much detail as those of the first-class travelers.

Best known as a lithographer, Daumier produced thousands of graphic works for journals such as La Caricature andLe Charivari, satirizing government officials and the manners of the bourgeoisie. As early as 1832, Daumier was imprisoned for an image of Louis-Philippe as Rabelais' Gargantua, seated on a commode and expelling public honors to his supporters. Daumier parodied the king again in 1834 with his caricature Past, Present, Future (41.16.1), in which the increasingly sour expressions on the three faces of Louis-Philippe suggest the failures of his regime. In the same year, Daumier published Rue Transnonain, April 15, 1834, in the journal Association Mensuelle (20.23). Though Daumier did not witness the event portrayed—the violent suppression of a workers' demonstration—the work is unsparing in its grim depiction of death and government brutality; Louis-Philippe ordered the destruction of all circulating prints immediately after its publication.

As a result of Courbet's political activism during the Paris Commune of 1871, he too was jailed. Incarcerated at Versailles before serving a six-month prison sentence for participation in the destruction of the Vendôme Column, Courbet documented his observations of the conditions under which children were held in his drawing Young Communards in Prison (1999.251), published in the magazine L'Autograph, one of a small number of works inspired by his experiences following the fall of the Commune.

Like Millet, Rosa Bonheur (1822–1899) favored rural imagery and developed an idealizing style derived from the art of the past. Similar in scale to Courbet's works of the same period, Bonheur's imposing Horse Fair (87.25), shown at the Salon of 1853, is the product of extensive preparatory drawings and the artist's scientific study of animal anatomy; her style also reflects the influence of such Romantic painters as Delacroix and Gericault and the classical equine sculpture from the Parthenon. Édouard Manet and the Impressionists were the immediate heirs to the Realist legacy, as they too embraced the imagery of modern life. By the 1870s and 1880s, however, their art no longer carried the political charge of Realism.



GLOSARIO

Cubism: Cubismo.
The cubist painters: Los pintores cubistas.
Geometric forms: Formas geométricas.
Analytic cubism: Cubismo analítico.
Synthetic cubism: Cubismo sintético.

IDEAS PRINCIPALES DEL CUBISMO

- El Cubismo fue un estilo muy influyente dentro de las artes visuales del siglo XX.

- Algunas influencias en el cubismo temprano se han vinculado al primitivismo, al arte africano, como sucede con la obra Les Demoiselles d' Avignon (Museo de Arte Moderno , Nueva York) , 1907, de Picasso.

- Los cubistas rechazaron el concepto heredado de que el arte debe copiar la naturaleza.- Los cubistas abstrajeron los objetos generando figuras geométricas.

- Utilizaron múltiples y contrastantes puntos de vista.- Cubismo analítico o "hermético" (1910-1912). Obras reducidas a una serie de planos superpuestos y facetas sobre todo en marrones, casi monocromática, grises o negros.

- Cubismo sintético (1912-1913). Iniciado por el "papier collé", que es una nueva técnica de pegado de piezas, de colores o estampadas, de papel, que conforman una composición.

- La creación de este nuevo lenguaje visual fue adoptada por otros artistas como Fernando Léger, Robert y Sonia Delaunay, Juan Gris, Roger de La Fresnaye, Marcel Duchamp, Albert Gleizes, entre otros.  - El Cubismo también ejerció una profunda influencia en la escultura y la arquitectura del siglo XX.