Order 1140741: Read Instructions

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Prebles’ Artforms Twelfth Edition

Chapter 2

The Purposes and Functions of Art

Learning Objectives (1 of 2)

2.1 Explain the ways in which artists transform objects for daily use.

2.2 Describe how design and embellishment create visual delight in art.

2.3 Compare the different ways in which art can function as a means of communicating information.

Learning Objectives (2 of 2)

2.4 Discuss the use of art for both public and personal expression.

2.5 Demonstrate how art can be used to meet religious and spiritual needs.

2.6 Explain how art can be used for political purposes.

Introduction

• Art forms as a result of meeting deep and subtle needs as a society. – Public purposes, not personal goals of the artist

• Art in its social and cultural context – Six functions

▪ May address more than one need

Art for Daily Use (1 of 3) 2.1 Explain the ways in which artists transform objects for daily use.

• Designing for Everyday – Eva Zeisel, Sauce Boat with Ladle

▪ “A playful search for beauty” – George Nakashima, Conoid Chair

▪ Radical shape to a common seat

Eva Zeisel. Sauce Boat with Ladle. c.1949–50. Glazed earthenware. Sauce boat: 6-1/4” × 6-1/2” × 5-1/4”. Ladle: 4” × 4-1/2” × 1-7/8”.

New York/Scala, Florence. © courtesy of the Eva Zeisel Estate. [Fig. 2-1]

George Nakashima. Conoid Chair. 1971. Black walnut and hickory. Height 35-3/8”. © George Nakashima Woodworker. [Fig. 2-2]

Art for Daily Use (2 of 3) 2.1 Explain the ways in which artists transform objects for daily use.

• Embellishment – Society values artistic embellishment of everyday things

▪ Cell-phone case – Urge to embellish motivates creativity

▪ Yoruba people, resist-dyed cloth

Resist-dyed cloth (adire eleko). Mid-twentieth century. Indigo dye on cotton. X66.1149AB. Fowler Museum at UCLA. Photograph by Don Cole. [Fig. 2-3]

Art for Daily Use (3 of 3) 2.1 Explain the ways in which artists transform objects for daily use.

• Embellishment – Shelter a basic need

▪ Architects and designers can make surroundings distinctive – Frank Lloyd Wright, Hollyhock (Barnsdall) House in Hollywood

▪ Design scheme based on repeated hollyhock flowers

Frank Lloyd Wright. Barnsdall House, Los Angeles. 1919–1921. Exterior view.

Citizen of the Planet/Alamy Stock Photo. [Fig. 2-4]

Art for Visual Delight (1 of 4) 2.2 Describe how design and embellishment create visual delight in art.

• Delight often seen as principal goal of art

• Happens when we are captivated by a work of art – Enjoy it aside from practical or moral or political considerations

• Aesthetics – Branch of philosophy that studies how and why artworks are considered beautiful

• “Beautiful” – Something pleasing to the eye and agreeable to the mind

▪ Varies across cultures

Art for Visual Delight (2 of 4) 2.2 Describe how design and embellishment create visual delight in art.

• Idealism – Beauty found in something that is ideal or close to perfection

▪ Behind much of art created in ancient Greece

• Charioteer sculpture – Balance and quiet dignity

Charioteer. c.470 BCE. Bronze. Height 5’ 11”.

Archaeological Museum, Delphi. © Craig & Marie Mauzy, Athens. [Fig. 2-5]

Art for Visual Delight (3 of 4) 2.2 Describe how design and embellishment create visual delight in art.

• Harmony – A pleasing balance or harmonious proportions

• Claude Lorrain, Ascanius Shooting the Stag of Silvia – Harmonious colors – Buildings balances by trees and cliffs – Light evenly diffused throughout – Term picturesque means resembling his pictures

Claude Lorrain. Ascanius Shooting the Stag of Silvia. 1682. Oil on canvas, 48” × 60”.

Ashmolean Museum, University of Oxford, UK/Bridgeman Images. [Fig. 2-6]

Art for Visual Delight (4 of 4) 2.2 Describe how design and embellishment create visual delight in art.

• Harmony – Highly valued in calligraphy – Peter Behrens, porcelain plate

Emperor Lizong. Couplet from a poem by Han Hong. 1261. Song Dynasty. Fan mounted as an album leaf. Ink on silk. 8-3/16” × 8-11/16”

Metropolitan Museum of Art, New York. Bequest of John M. Crawford Jr., 1988 (1989.363.23a). [Fig. 2-7]

Peter Behrens. Porcelain plate. British Museum, London. Photograph: © The Trustees of the British Museum.

Art for Communicating Information (1 of 4) 2.3 Compare the different ways in which art can function as a means of communicating information. • Art often used to impart information and ideas

• Before photography, artists and illustrators only source of information about visual appearance

• Artists have shaped the way people understand their world – And the way their culture is viewed by others

Art for Communicating Information (2 of 4) 2.3 Compare the different ways in which art can function as a means of communicating information. • Storytelling

– Great deal of art tells stories ▪ Personal ▪ Moral ▪ Historical

• Titian, Bacchus and Ariadne – Recounting of a mythological story

Titan. Bacchus and Ariadne. 1520–3. Oil on canvas. 5’9” × 6’3”.

National Gallery, London/akg. [Fig. 2-9]

Art for Communicating Information (3 of 4) 2.3 Compare the different ways in which art can function as a means of communicating information. • Storytelling

– Some art tells stories of everyday life ▪ Help broaden perspective ▪ Show how others live

• Abraham Cruzvillegas, Autoconstrucción Suites – Seeming disorder represents artist’s family home

• Carrie Mae Weems, The Kitchen Table Series – Photos reveal lives of other people to us

Abraham Cruzvillegas. Autoconstrucción Suites. 2013. Installation view at Walker Art Center, Minneapolis.

Courtesy of the artist, Walker Art Center, Minneapolis and kurimanzutto, Mexico City. Photo © Walker Art Center. [Fig. 2-10]

Carrie Mae Weems. Man Reading Newspaper from The Kitchen Table Series. 1990. Photograph.

Courtesy of the artist and Jack Shainman Gallery, New York. [Fig. 2-11]

Art for Communicating Information (4 of 4) 2.3 Compare the different ways in which art can function as a means of communicating information. • Commentary

– Artists often speak in a language that is easy to understand ▪ View art’s primary purpose as communication

• William Hogarth, Gin Lane – Exposes the horrors of excess

• Chris Jordan, Midway: Message from the Gyre series – Uses art to inform viewers about human impact on the landscape

William Hogarth. Gin Lane. 1751. Etching and engraving. Plate: 14-1/4” × 12”.

National Gallery of Art, Washington D.C. Rosenwald Collection. [Fig. 2-12]

Chris Jordan. CF000668, from the series “Midway: Message from the Gyre.” 2009. Photo by Chris Jordan. [Fig. 2-13]

Art for Public and Personal Expression (1 of 3) 2.4 Discuss the use of art for both public and personal expression.

• Commemoration – Many monuments in ancient world had a commemorative function

• Taj Mahal – Commemorates ruler’s favorite wife

• Royal Portrait Figure – Represents Shyaam the Great

• Vietnam Veterans Memorial – Bears names of 60,000 servicemen and women who died or are missing from war

Taj Mahal. Agra, India. 1632–48. Mazzzur. Shutterstock. [Fig. 2-14]

Royal Portrait Figure. Kuba peoples, Congo. 18th century. Wood. Height 22”.

The British Museum, London. © The Trustees of the British Museum. [Fig. 2-15]

Maya Lin. Vietnam Veterans Memorial. The Mall, Washington D.C. 1980–82. Black granite. Each wall 10’1” × 246’9”. Photograph: Duane Preble. [Fig. 2-16]

Art for Public and Personal Expression (2 of 3) 2.4 Discuss the use of art for both public and personal expression.

• Self-Expression – Has increasingly become one of art’s most common functions

• Expressive function when artist conveys information – Personality – Feelings – Worldview

Art for Public and Personal Expression (3 of 3) 2.4 Discuss the use of art for both public and personal expression.

• Self-Expression

• Frida Kahlo, The Broken Column – Kahlo created some of the most self-expressive work of the twentieth century

• Wassily Kandinsky, Composition VI – Sought to reach out to viewers by beginning with his inner feelings

• Totem poles of Pacific Northwest native peoples – Illustrate crests or legends associated with a family’s history

Frida Kahlo. The Broken Column. 1944. Oil on canvas. 15-11/16” × 12-1/16”.

(ARS), New York. [Fig. 2-17]

Wassily Kandinsky. Composition VI. 1913. Oil on canvas. 76-3/4” × 118”.

Bill Reid. House Frontal Totem Pole. 1959. Museum of Anthropology. Werner Forman Archive/University of British Columbia, Vancouver,

Canada. [Fig. 2-19]

Art for the Spirit (1 of 3) 2.5 Demonstrate how art can be used to meet religious and spiritual needs.

• Worship and Ritual – Buildings intended for gathering also visually striking

• Sainte-Chapelle in Paris – Resembles a giant jewel-box

▪ Original function as a storehouse for precious relics

Sainte-Chapelle, Paris. Upper chapel, interior view.

Photograph: akg-images/A.F. Kersting. [Fig. 2-20]

Art for the Spirit (2 of 3) 2.5 Demonstrate how art can be used to meet religious and spiritual needs.

• Worship and Ritual

• Other traditions focus creativity on ritual tools – Eskimo peoples of the Arctic region

▪ Moon Mask

Moon Mask. Eskimo, village of Andreofsky. Collected 1893. Height 13-1/2”, width 13”.

Werner Forman Archive/ Sheldon Jackson Museum, Sitka, Alaska. [Fig. 2-21]

Art for the Spirit (3 of 3) 2.5 Demonstrate how art can be used to meet religious and spiritual needs.

• Spirituality – Contemporary spirituality takes many forms

▪ Art assists some of them

• Shirazeh Houshiary, Ancient Light – “This work is about presence.”

• Nancy Holt, Sun Tunnels – Expresses and represents the vastness of the landscape

Shirazeh Houshiary, Ancient Light. 2009. Pencil, aquacryl, and pigment on canvas. 74-3/4” × 106-1/4”.

Courtesy of the artist. [Fig. 2-22]

Nancy Holt. Sun Tunnels. 1973–76. Concrete, steel, and earth. Great Basic Desert, Utah. Overall dimensions: 9’3” × 68’6” ×53’; diagonal

length: 86’; each tunnel: 18’1” × 9’3” diameter. Utah Museum of Fine Arts. © Holt-Smithson Foundation/Licensed by VAGA, New York, NY. [Fig.

2-23]

Art for Political Purposes (1 of 4) 2.6 Explain how art can be used for political purposes.

• Express political goals or ideals – Some to persuade us to submit to authority – Others expressed protest or encouraged revolt

• Persuasion – Invite and urge us to do or think things we may not have otherwise

• Rulers of West African region of Benin – Plaques to decorate their palaces

▪ Original function as a storehouse for precious relics

Art for Political Purposes (2 of 4) 2.6 Explain how art can be used for political purposes.

• Rulers of West African region of Benin – Plaques to decorate their palaces

• United States Supreme Court Building – Uses art to express their authority

Plaque Showing the Oba Holding Leopards. c.1700. Benin. Brass. 19-1/2” × 13-1/2” × 2-1/2”.

Carol Highsmith. U.S. Supreme Court Building. Photograph. 1980. Library of Congress, Carol Highsmith Archive, 2011632073. [Fig. 2-25]

Art for Political Purposes (3 of 4) 2.6 Explain how art can be used for political purposes.

• Protest – Artists involving themselves in the politics of the day

• Rodney McMillian, Untitled (The Supreme Court Painting) – Protests against court decisions on voting rights and election districting

Rodney McMillian. Untitled (The Supreme Court Painting). 2004–2006. Poured acrylic on cut canvas, 216” × 216”.

Inventory #MCR130. Courtesy of the artist and Susanne Vielmetter Los Angeles Projects. Photo credit: Gene Ogami. [Fig. 2-26]

Art for Political Purposes (4 of 4) 2.6 Explain how art can be used for political purposes.

• Protest

• Käthe Kollwitz: Art of Human Concern – Devoted career to art that took political positions – Series of prints encouraged workers and peasants to protest and struggle – Controversial but reputation grew among artists – Nazis forbid her from exhibiting in public

▪ Kollwitz continued to make prints

Käthe Kollwitz. Self-Portrait. 1904. Color lithograph. 16-1/4” × 12-1/2”.

Käthe Kollwitz. The Outbreak. From the series The Peasants’ War. 1903. Etching, engraving, and aquatint on paper. 19-1/2” × 23”. Sheet 5 of the series: Bauernkrieg.