In this assignment, you will construct a timeline using the timeline template, placing the cultures covered in this week’s reading in the appropriate place o

In this assignment, you will construct a timeline using the timeline template, placing the cultures covered in this week’s reading in the appropriate place on a chronological timeline and global map.

ART102 – Art History II

Timeline Activity

Due Date: Points: 100 Overview: In this assignment, you will construct a timeline, placing the cultures covered in this week’s reading in the appropriate place on a chronological timeline and global map. Instructions: You will use the Timeline template throughout the course. You will submit your progress at the end of each unit. There are several steps to completing this assignment:

• Select an appropriate piece of art to represent each of this week’s civilizations. • Place images representing Modernism and Postmodernism in Europe and

America and Contemporary Art Worldwide art in the appropriate places on the timeline and add corresponding dates for each culture.

• On the slide devoted to each culture: o Drag the star to the corresponding part of the world map. o Provide three sentences in your own words describing three ‘big-picture’

ideas, or significant traits of Modernism and Postmodernism in Europe and America and Contemporary Art Worldwide art.

Note: The work from this week’s reading is from two different continents. Place the star on your map on the place of origin of the particular piece(s) you’ve selected. Requirements:

• Use the Timeline template. • Choose an appropriate picture that represents Modernism and Postmodernism in

Europe and America and Contemporary Art Worldwide art. • Write three complete sentences in your own words describing three ‘big-picture’

ideas of Modernism and Postmodernism in Europe and America and Contemporary Art Worldwide art.

Be sure to read the criteria below by which your work will be evaluated before you write and again after you write.

ART102–Art History II TimelineActivity

Evaluation Rubric for Timeline Assignment

CRITERIA Deficient Needs Improvement

Proficient Exemplary

0 points 1 – 9 points 10 points Picture Depicting Cultures

No pictures were provided.

Inaccurate or inappropriate choice of pictures to represent cultures.

Accurate and appropriate choice of pictures to represent cultures.

Dates for the Cultures

Doesn’t move the stars or has the incorrect locations and has many errors for the dates on the timeline and slides specific for cultures.

Moves the stars to locations on the map and may have an error for the dates on the timeline and slides specific for cultures.

Moves the stars to the correct locations on the map and has accurate dates on the timeline and slides specific for cultures.

0 – 19 points 20 – 35 points 36 – 53 points 54 – 60 points Big-Picture Ideas/Traits

Doesn’t provide any big-picture ideas or provides inaccurate big- picture ideas/traits of the cultures.

Provides some accurate big- picture idea/trait that represents the cultures. May be missing key ideas/traits of the cultures.

Provides almost all accurate big- picture ideas/traits that represent the cultures. May be missing key ideas/traits of the cultures.

Provides all necessary accurate and well-written big-picture ideas/traits that represent the cultures.

0 points 5 points 10 points Written Length

Doesn’t have any writing on the slides.

More or less than three sentences or incomplete sentences per culture.

Writes three sentences per culture.

0 – 5 points 6 – 7 points 8 – 9 points 10 points Clear and Professional Writing

Errors impede professional presentation.

Significant errors that do not impede professional presentation.

Few errors that do not impede professional presentation.

Writing and format are clear, professional, and error-free.

Overview:
Instructions:
Requirements:

Chapter 31

MODERNISM AND POSTMODERNISM IN EUROPE AND AMERICA, 1945 TO 1980

Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.

Learning Objectives

Compare gestural abstraction and chromatic abstraction in American art.

Describe the reaction represented by Post-Painterly Abstraction.

Explain how Pop Art was a response the idea of abstract art.

Analyze the marriage of social concerns and certain forms or forces in modern art.

Explain the differences between modernist architecture (including the International School) and postmodern architecture.

Demonstrate why some critics explain Conceptual Art as an attack on the economics of art.

Discuss the significance of Performance Art in the evolution of 20th-century art.

Describe the role of “new media” in the evolution of modern art.

List the main features of modern sculpture.

Figure 31.1

31.1 Charles Moore, Piazza d’Italia (looking northeast), New Orleans, 1976–1980.

Figure 31.1b

31.1b Postmodernist architects frequently incorporate references to historical styles in their designs. In addition to motifs based on Roman buildings, Moore included modern versions of medieval flying buttresses.

Figure 31.1c

31.1c Many of Moore’s historical motifs are rendered in high-tech materials unavailable to earlier architects—for example, stainless-steel columns and capitals and neon lighting for multicolored nighttime illumination.

Figure 31.2

31.2 Alberto Giacometti, Man Pointing No. 5, 1947. Bronze, 5' 10" high. Des Moines Art Center, Des Moines (Nathan Emory Coffin Collection).

Figure 31.3

31.3 Francis Bacon, Painting, 1946. Oil and pastel on linen, 6' 5 7/8"  4' 4". Museum of Modern Art, New York.

Figure 31.3A

31.3A Francis Bacon, Figure with Meat, 1954. Oil on canvas, 4' 3 1/8"  4'. Art Institute of Chicago, Chicago (Harriott A. Fox Fund).

Figure 31.4

31.4 Jean Dubuffet, Vie Inquiète (Uneasy Life), 1953. Oil on canvas, 4' 3"  6' 4". Tate Modern, London (gift of the artist, 1966).

Figure 31.4A

31.4A Gerhard Richter, Townscape Paris, 1968. Oil on canvas, 6' 6 5/8"  6' 6 5/8". Froehlich Collection, Stuttgart.

Figure 31.5

31.5 Arshile Gorky, Garden in Sochi, ca. 1943. Oil on canvas, 2' 7"  3' 3". Museum of Modern Art, New York (acquired through the Lillie P. Bliss Bequest).

Figure 31.6

31.6 Jackson Pollock, Number 1, 1950 (Lavender Mist), 1950. Oil, enamel, and aluminum paint on canvas, 7' 3"  9' 10". National Gallery of Art, Washington, D.C. (Ailsa Mellon Bruce Fund).

Figure 31.7

31.7 Hans Namuth, Jackson Pollock painting in his studio in Springs, Long Island, New York, 1950. Gelatin silver print, 8"  10". Center for Creative Photography, University of Arizona, Tucson.

Figure 31.7A

31.7A Lee Krasner, The Seasons, 1957. Oil on canvas, 7' 8 3/4"  16' 11 3/4". Whitney Museum of American Art, New York (purchase, with funds from Frances and Sydney Lewis [by exchange], the Mrs. Percy Uris Purchase Fund, and the Painting and Sculpture Committee).

Figure 31.8

31.8 Willem de Kooning, Woman I, 1950–1952. Oil on canvas, 6' 3 7/8"  4' 10". Museum of Modern Art, New York.

Figure 31.9

31.9 Joan Mitchell, Untitled, ca. 1955. Oil on canvas, 1' 5"  1' 4". Butler Institute of American Art, Youngstown (gift of Marilynn Meeker, 1986).

Figure 31.9A

31.9A Franz Kline, Mahoning, 1956. Oil and paper collage on canvas, 6' 8"  8' 4". Whitney Museum of American Art, New York.

Figure 31.9B

31.9B Robert Motherwell, Elegy to the Spanish Republic, No. 34, 1953–1954. Oil on canvas, 6' 8"  8' 4". Albright-Knox Art Gallery, Buffalo (gift of Seymour H. Knox Jr., 1957).

Figure 31.10

31.10 Barnett Newman, Vir Heroicus Sublimis (Sublime Heroic Man), 1950–1951. Oil on canvas, 7' 11 3/8"  17' 9 1/4". Museum of Modern Art, New York (gift of Mr. and Mrs. Ben Heller).

Figure 31.11

31.11 Mark Rothko, No. 10, 1950. Oil on canvas, 7' 6 3/8"  4' 9 1/8". Museum of Modern Art, New York (gift of Philip Johnson).

Figure 31.12

31.12 Ellsworth Kelly, Red Blue Green, 1963. Oil on canvas, 6' 11 5/8"  11' 3 7/8". Museum of Contemporary Art San Diego (gift of Dr. and Mrs. Jack M. Farris) ©Ellsworth Kelly Foundation.

Figure 31.13

31.13 Frank Stella, Mas o Menos (More or Less), 1964. Metallic powder in acrylic emulsion on canvas, 9' 10"  13' 8 1/2". Musée national d’art moderne, Centre Georges Pompidou, Paris (purchase 1983 with participation of Scaler Foundation).

Figure 31.14

31.14 Helen Frankenthaler, The Bay, 1963. Acrylic on canvas, 6' 8 7/8"  6' 9 7/8". Detroit Institute of Arts, Detroit.

Figure 31.15

31.15 Morris Louis, Saraband, 1959. Acrylic resin on canvas, 8' 5 1/8"  12' 5". Solomon R. Guggenheim Museum, New York.

Figure 31.16

31.16 Bridget Riley, Fission, 1962. Tempera on composition board, 2' 11"  2' 10". Museum of Modern Art, New York (gift of Philip Johnson).

Figure 31.17

31.17 David Smith, Cubi XII, 1963. Stainless steel, 9' 1 5/8" high. Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C. (gift of the Joseph H. Hirshhorn Foundation, 1972). © Estate of David Smith/Licensed by VAGA, New York, NY.

Figure 31.18

31.18 Tony Smith, Die, 1962. Steel, 6'  6'  6'. Museum of Modern Art, New York (gift of Jane Smith in honor of Agnes Gund).

Figure 31.19

31.19 Donald Judd, Untitled, 1969. Brass and colored fluorescent Plexiglas on steel brackets, 10 units 6 1/8"  2'  2' 3" each, with 6" intervals. Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C. (gift of Joseph H. Hirshhorn, 1972). © Donald Judd Estate/Licensed by VAGA, New York, NY.

Figure 31.19A

31.19A Eva Hesse, Hang-Up, 1965–1966. Acrylic on cloth over wood and steel, 6'  7'  6' 6". Art Institute of Chicago, Chicago (gift of Arthur Keating and Mr. and Mrs. Edward Morris by exchange).

Figure 31.20

31.20 Louise Nevelson, Sky Cathedral, 1958. Wood painted black, 8' 6 1/2"  11' 1 1/2"  1' 8". Albright-Knox Art Gallery, Buffalo.

Figure 31.21

31.21 Louise Bourgeois, Cumul I, 1969. Marble, 1' 10 3/8"  4' 2"  4'. Musée national d’art moderne, Centre Georges Pompidou, Paris. © Louise Bourgeois/ Licensed by VAGA, New York, NY.

Figure 31.22

31.22 Isamu Noguchi, Shodo Shima Stone Study, 1978. Granite, 5' 6"  5' 9". Walker Art Center, Minneapolis (gift of the artist, 1978).

Figure 31.23

31.23 Richard Hamilton, Just What Is It That Makes Today’s Homes So Different, So Appealing? 1956. Collage, 10 1/4"  9 3/4". Kunsthalle Tübingen, Tübingen.

Figure 31.24

31.24 Jasper Johns, Three Flags, 1958. Encaustic on canvas, 2' 6 7/8"  3' 9 1/2". Whitney Museum of American Art, New York. © Jasper Johns/Licensed by VAGA, New York, NY.

Figure 31.25

31.25 Robert Rauschenberg, Canyon, 1959. Oil, pencil, paper, fabric, metal, cardboard box, printed paper, printed reproductions, photograph, wood, paint tube, and mirror on canvas, with oil on bald eagle, string, and pillow, 6' 9 3/4"  5' 10"  2'. Sonnabend Collection, New York. © Robert Rauschenberg/Licensed by VAGA, New York, NY.

Figure 31.26

31.26 Roy Lichtenstein, Hopeless, 1963. Oil and synthetic polymer paint on canvas, 3' 8"  3' 8". Kunstmuseum Basel, Basel. © Estate of Roy Lichtenstein.

Figure 31.27

31.27 Andy Warhol, Green Coca-Cola Bottles, 1962. Oil on canvas, 6' 10 1/2"  4' 9". Whitney Museum of American Art, New York.

Figure 31.27A

31.27A Andy Warhol, Marilyn Diptych, 1962. Oil, acrylic, and silk-screen enamel on canvas, each panel 6' 8"  4' 9". Tate Modern, London.

Figure 31.27B

31.27B George Segal, The Gas Station, 1963. Plaster figures, Coca-Cola machine, bottles, crates, rubber tires, oil cans, and electric clock, 8' 6"  24'  4'. National Gallery of Canada, Ottawa.

Figure 31.28

31.28 James Rosenquist, F-111, 1965. Oil on canvas and aluminum, detail of the entire 10'  86' exhibit. Museum of Modern Art, New York (gift, by exchange, of Mr. and Mrs. Alex L. Hillman and Lillie P. Bliss Bequest). © 2011 James Rosenquist/ Licensed by VAGA, New York, NY.

Figure 31.29

31.29 Claes Oldenburg, Lipstick (Ascending) on Caterpillar Tracks, 1969; reworked, 1974. Painted steel, aluminum, and fiberglass, 21' high. Morse College, Yale University, New Haven (gift of Colossal Keepsake Corporation).

Figure 31.29A

31.29A Niki de Saint-Phalle, Black Venus, 1965–1967. Painted polyester, 9&a

In this assignment, you will construct a timeline using the timeline template, placing the cultures covered in this week’s reading in the appropriate place o

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