Art Question

Please help me with this discussion and reply.

For this discussion, be sure to read all of chapter 5 in Cadge Moore, and examine all of the online sources. In your discussion, focus on the art and mention the name of one specific artist and discuss how the art created reflected the artist’s political beliefs. Go into detail about the art and its representation of political beliefs.

FOR THE DISCUSSION: Focus on the art and use the art vocabulary from ch. 5, and other parts of the book by Cadge Moore. Use the art vocabulary. Write a comment on the art of ONE (just one) artist who is mentioned in our readings and online sources, and how a specific work of art by that person shows the political beliefs of the artist’s cultural community. Use the art vocabulary. Your comment needs to be 6 to 10 complete sentences long. Once you submit that on Canvas, continue by replying to two other people’s comments. Engage with the ideas of two people; do not simply add to your comment. Be sure to reply, in 3 to 5 complete sentences or more, to fellow students’ comments, not to their replies. Write between 12 and 20 sentences. Use the art vocabulary from Cadge Moore and our online sources, and avoid writing only your agreement with what someone else has written. Do not copy; do not quote! Do not use outside sources. Focus on the one artist you have chosen and dig deeply into the assigned sources to discuss how the art shows the artist’s political beliefs.

reading:

This week, we read all of ch. 5 in Cadge Moore. The password is spiral. Here is all of chapter 5. 05chapter.pdf

Download 05chapter.pdf You’ll notice that Cadge Moore returns to the Native American style called the Studio School. That is part of what we passed over last week in chapter 4. If you did not read the last part of chapter 4 about Native American pottery, be sure to return to that reading. There are distinct styles of making pottery, including black-on-black, and Tiwa high polish. Be sure you know the styles and can separate one type from another.

We have four online sources. One is an article by the lead art critic for the New York Times, Holland Cotter, on an exhibit that started at The Tate in London, and traveled to museums around the U.S., including in San Francisco. The exhibit was entitled ‘Soul of a Nation: Art in the Age of Black Power.’ The title of the review by Cotter is ‘Radiant and Radical: 20 Years of Defining the Soul of Black Art,’ dated 13 Sept. 2018. There are annoying online ads, but ignore them and look at the art. Cadge Moore mentions Romare Bearden and Faith Ringgold, and one piece for each artist is shown in this article. The video of Kehinde Wiley discussing his work from week #1, mentions Barkley Hendricks, whose work is also represented in this exhibit. Link.

Our second online source shows the National Memorial for Peace & Justice, located outside of Montgomery, Alabama. It is also known as the National Lynching Museum. The organization led by Bryan Stevenson, the Equal Justice Initiative, raised the funds to be able to build a monument to the cruelty and inhumanity of slavery, and also a museum to document both slavery and continuing inequality, not the least of which is mass incarceration. There is a short video that shows you sculpture, landscaping, and architecture of the memorial. Read the article, first; then, click on the video. Once you start with the video, it takes you out of the website and off to YouTube. It’s easier to do the reading, first, and then, just exit via YouTube. Please look carefully at the building with the hanging columns of rusty metal. People can walk through that, underneath those hanging columns, which makes this a form of interactive art. They are made to rust; when it is humid, the rust drips off of the columns like blood. Each column memorializes the deaths of African Americans at the hands of vigilantes, in other words, other citizens, like you and me. Link (Links to an external site.) If the link doesn’t open, and you get an error message, just wait. The link will open even after the error message; it’s just slow.

To update the communities of color whose artists now contribute to art in the U.S., we consider a Palestinian American artist, Jordan Nassar, and an Indigenous artist, Sky Hopinka. Jordan Nassar specializes in using a form of embroidery called ‘tatreez.’ He makes patterns with the tatreez, and also incorporates tatreez in landscapes. If your eyes are very sensitive to wavy lines, you may have trouble looking at this art. If you look at it, and it bothers your eyes, you may skip it. Tatreez (Links to an external site.)

Sky Hopinka’s work was seen in an exhibit at a small college, Bard College, outside of New York City, in an area that used to be the tribal lands of his people before it became the New York metropolitan area. The Ho-Chunk people originated in the eastern part of the U.S., but were forced out to the midwest, and even to areas farther west. Hopinka showed paintings, textile art, and video. We have not included videos as part of visual art, but the current art market is full of pieces that incorporate videos and other electronic images. Look at the stills of Hopinka’s art from the exhibit entitled ‘Centers of Somewhere’, and watch the shortest (7 minutes) of his videos. Hopinka incorporates poetry with his art, and uses narrative (voice over) with his video. Hopinka