Art Appreciation DB 6

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Chapter 4.1 Art and Community

PART 4

THEMES

Introduction

Community art pursues community objectives

May be made by, for, and about the community

May reflect shared beliefs or experiences

May be found in public places

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Chapter 4.1 Art and Community

PART 4

THEMES

A community—whether a small rural town, an apartment complex, a neighborhood, a college campus, or an Internet discussion group—shares a common interest, if not a physical space

Community art may require numerous people to become involved in its construction

Community artworks may also play important roles for performers in ceremonies and group events

Places to Gather

Communities come together to build, visit, or acknowledge important locations

Structures house ceremonies, civic events, and entertainment

Often become iconic destinations

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Chapter 4.1 Art and Community

PART 4

THEMES

Artwork: Notre Dame Cathedral

4.1.1 Notre Dame Cathedral, interior, 1163–1250, Île de la Cité, Paris, France

Notre Dame Cathedral

Gothic cathedrals inspired worship and were a source of civic pride

Notre Dame was an important pilgrimage site; held sacred relics

Gothic features include pointed arches and stained-glass windows

Soaring height and spiritual light

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Chapter 4.1 Art and Community

PART 4

THEMES

Gothic cathedrals were built in many European countries between the twelfth and sixteenth centuries, using the resources of the entire community

Notre Dame held relics from Christ’s Passion, such as a piece of the True Cross on which Jesus Christ was crucified, a fragment of the Holy Lance used to pierce his side, and the Crown of Thorns that the Romans made to mock Christ as King of the Jews

The vaulted ceiling is 102 ft. above the floor and the nave is more than 39 ft. wide

The Gothic Cathedral of Chartres

To explore the construction and spiritual beauty of another French cathedral from the Gothic period, watch:

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Chapter 4.1 Art and Community

PART 4

THEMES

Video:

Artwork: Colosseum

4.1.2 Colosseum, 72–80 CE, Rome, Italy

Colosseum, Rome

Feat of architecture and engineering

Built to entertain between 45,000 and 55,000 people

Arena for mock sea battles and gladiatorial combat

Fully exploited use of concrete

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Chapter 4.1 Art and Community

PART 4

THEMES

Measures 615 ft. long by 510 ft. across and stands at 159 ft. tall

Concrete was used to construct the massive foundations and parts of its vaulted ceiling

The exterior was covered with marble and travertine limestone, and decorated with columns and pilasters made of another type of local limestone

There were 76 entrance doors, called vomitoria

Ancient Rome: Capital of an Empire

To explore the significance of Rome as a capital of an Empire, watch:

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Chapter 4.1 Art and Community

PART 4

THEMES

Video:

Artwork: AT&T Stadium

4.1.3 AT&T Stadium, Arlington, Texas, 2009

AT&T Stadium, Arlington, Texas

Home of the Dallas Cowboys

World’s largest domed structure and column-free interior

21st-century engineering: retractable roof, LCD screens throughout

Houses an art museum

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Chapter 4.1 Art and Community

PART 4

THEMES

It has the fourth-largest seating capacity in the NFL, 80,000, with a maximum capacity of 105,000 including standing room

This stadium is city-owned and supported by taxpayers

Cowboys owner Jerry Jones funded much of the $1.15 billion construction cost and the NFL loaned a considerable amount toward the project

3-million-square-foot interior

The art museum contains site-specific works commissioned from eighteen contemporary artists

Artwork: Solomon R. Guggenheim Museum

4.1.4 Frank Lloyd Wright, Solomon R. Guggenheim Museum, 1956–59, New York

Frank Lloyd Wright, Guggenheim Museum

Design features:

Large white circular building

Spiraling interior ramp

Domed skylight

Wright was asked to create a “temple of spirit, a monument”

Building itself is a visitor attraction

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Chapter 4.1 Art and Community

PART 4

THEMES

Many art museums have broadened their own appeal by hosting community programming, including festivals, concerts, and film screenings

The design of the Guggenheim Museum employs strong geometric shapes, which is characteristic of many modern buildings

Frank Lloyd Wright and the Guggenheim Museum

To find out more about Frank Lloyd Wright and the construction of the Guggenheim museum, watch:

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Chapter 4.1 Art and Community

PART 4

THEMES

Video:

Artwork: Patrick Dougherty, Homegrown

4.1.5 Patrick Dougherty,

Homegrown, 2014. North

Carolina Botanical Garden,

Chapel Hill, North Carolina

Patrick Dougherty, Homegrown

“Stickworks”

Artwork made not only for the community but by the community

Hundreds of community members

Visitors encouraged to enter and explore

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Chapter 4.1 Art and Community

PART 4

THEMES

Patrick Dougherty (b. 1945) has made his “stickwork” sculptures across the US and around the world.

Similar to a giant weaving

Materials collected from the region where the sculpture will be installed (saplings, such as sweet gum and maple).

Take up to two weeks to make and last only for about 2 years.

Man-Made Mountains

Intended to shape and dominate the environment

Earthen mounds and pyramids

Made since ancient times

Mysteries now surround their creation, function, and symbolic significance

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Chapter 4.1 Art and Community

PART 4

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Artwork: Ziggurat, Ur

4.1.6 Ziggurat, Ur (near Nasiriyah, Iraq), originally built c. 2100 BCE and heavily restored

Ziggurat, Ur, Iraq

Mud-brick structures built by the Sumerians for ceremonial and civic use

Three stepped levels, connected by stairs and ramps

Topmost platform reserved for the priest

Dedicated to the moon god Nanna

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Chapter 4.1 Art and Community

PART 4

THEMES

The priest served both as the principal human intermediary to the god who protected the city, and the chief administrator of the ziggurat

Festivals were organized around the phases of the moon, especially when it appeared as a crescent, and offerings were left on the high platform to please Nanna and ensure the abundance of such sacred liquids as water, milk, and blood

Artwork: Monks Mound

4.1.7 Monks Mound, Cahokia, Illinois, c. 1150 (reconstruction drawing)

Monks Mound, Cahokia, Illinois

Largest earthen mound in N. America

Possibly an elite residence, a temple, and/or a burial structure

Aligned with the sun at the equinoxes

Abandoned 600 years ago

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Chapter 4.1 Art and Community

PART 4

THEMES

Located in what is now southern Illinois, near St. Louis, Cahokia covered six square miles and had an estimated population of 10,000–20,000

Highly organized society

Monks Mound was surrounded by 120 smaller mounds

The base of Monks Mound measures 1,080 by 710 ft. and is topped by two smaller platforms

Artwork: Stonehenge

4.1.8 Stonehenge, c. 3200–1500 BCE, Salisbury Plain, Wiltshire, England

Art, Super-Sized

Stonehenge

Techniques and intentions shrouded in mystery

Believed to be a giant calendar or observatory

Marks the summer solstice when the sun rises precisely over the Heelstone

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

PART 4

THEMES

Chapter 4.1 Art and Community

On Salisbury Plain in England

Site was used for hundreds of years before the stones were imported from as far as 23 miles away

106 ft. in diameter

Stones up to 20 ft. tall

Each stone weighs as much as 50 tons

The summer solstice signaled the time to prepare for the fall harvest.

Artwork: Christo and Jeanne-Claude, The Gates

4.1.9 Christo and Jeanne-Claude, The Gates, Central Park, New York City, 1979–2005. Steel, vinyl tubing, and nylon fabric, height c.16’

Art, Super-Sized (contd.)

The Gates

23 miles through New York’s Central Park; installed for 16 days

Required community support

Artist employed engineers, fabricators, security guards, and 600 installation workers

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

PART 4

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Chapter 4.1 Art and Community

The artists began working on the installation in 1979 and it was finally approved in 2003

A total of 60 miles of saffron-colored nylon fabric hung from 7,503 gates

Each gate was 16 ft. tall, with fabric coming down to approximately 7 ft. above the ground

The gates ranged from about 5 ft. to 18 ft. across, depending on the width of the walkway

After The Gates was taken down, the materials were recycled

Art, Super-Sized (further contd.)

Differences:

Time and location; creators?

How long did each work last?

Similarities:

Scale of the materials used and impact on viewers?

Involvement of the community?

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

PART 4

THEMES

Chapter 4.1 Art and Community

Despite their differences, both works have in common the fact that their construction required the efforts of significant numbers of people and that they were used or viewed by an entire community

Rituals of Art of Healing and Community Solidarity

Artworks made for rituals

Symbolic meanings beyond appearance and visual impact

Importance of original context

Suggest sights, sounds, and even smells to which we no longer have access

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Chapter 4.1 Art and Community

PART 4

THEMES

Photograph of Gèlèdé masqueraders

4.1.10 Pair of Gèlèdé masqueraders wearing appliquéd cloth panels, Ketu area, town of Idahin, Benin. Photo by Henry John Drewal, 1971

Gèlèdé masqueraders

Masquerades mediate between the human and spiritual realms

Masks, costumes, music, and dance

Gèlèdé rituals of the Yoruba celebrate female strength, motherhood, and the role of women in the community

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Chapter 4.1 Art and Community

PART 4

THEMES

The masker’s personality is temporarily replaced with that of the spirit being evoked

The ritual performance of masquerades is often designed to reinforce the cultural beliefs of a community

These ceremonies also acknowledge the important part played by female ancestors in Yoruba society and promote general spiritual well-being and social harmony

Artwork: Wenda Gu, “China Monument: Temple of Heaven”

4.1.11 Wenda Gu, “China Monument: Temple of Heaven” (United Nations series), 1998. Mixed media, 52’ × 20 × 13’. Hong Kong Museum of Art, China

Wenda Gu, “China Monument: Temple of Heaven”

Series of “hair monuments” unite people from all over the world

Donated hair woven into screens

Painted symbols imitate Arabic, Hindi, Chinese, and the Latin alphabet

Reminiscent of a Buddhist temple

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Chapter 4.1 Art and Community

PART 4

THEMES

The brush used by Chinese artist Wenda Gu (b. 1956) is also made from human strands of hair

Gu’s United Nations series of hair monuments has been made in more than twenty countries on five continents

More than a million people have contributed their hair to it

Art in the Public Sphere

Outside of galleries and museums

Public art

Plazas, parks, exterior walls of buildings

Accessible to a wide audience

Can provoke strong reactions and spark controversies

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Chapter 4.1 Art and Community

PART 4

THEMES

Artwork: Richard Serra, Tilted Arc

4.1.12 Richard Serra, Tilted Arc, 1981 (destroyed March 15, 1989). Weatherproof steel, 12’ × 120’ × 2½”. Collection General Services Administration, Washington, D.C. Installed at Federal Plaza, New York

Richard Serra, A Sculptor Defends His Work

“Site-specific” Tilted Arc commissioned by the GSA and installed on Federal Plaza, NYC

Controversy; complaints resulted in a public hearing and eventual removal

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Perspectives on Art:

Chapter 4.1 Art and Community

PART 4

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American Minimalist sculptor Richard Serra (b. 1939)

Some of the people who worked in the GSA building complained that it interfered with their use of the plaza and caused a safety hazard as well, attracting graffiti artists, rats, criminals, and potentially even terrorists

The majority of testimonies at a public hearing to decide whether or not to leave the in place were in favor of keeping the work

Serra: Relocating it would be the same as destroying it

The artist’s lawsuit against the GSA failed to reverse the decision and the sculpture was dismantled in 1989

Even though the sculpture was demolished, the artist’s hope of making people aware of their environment, pay attention to the path they follow on the way to work, and think about their surroundings was in some ways achieved thanks to the attention generated by the controversy

Memorial and Controversy: Maya Lin’s Vietnam Veterans Memorial

To find out about another public artwork that generated controversy, watch:

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Chapter 4.1 Art and Community

PART 4

THEMES

Video:

Artwork: Diego Rivera, Man, Controller of the Universe

4.1.13 Diego Rivera, Man, Controller of the Universe, or Man in the Time Machine, 1934. Fresco, 15’ × 37’6⅞”. Full composite view of the fresco. Palacio de Bellas Artes, Mexico City, Mexico

Rivera, Man, Controller of the Universe

Mural commissioned by millionaire Nelson Rockefeller

While painting, Rivera made some changes inspired by Communism: Lenin leading a demonstration

Rockefeller rejected this idea: mural was ultimately destroyed

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Chapter 4.1 Art and Community

PART 4

THEMES

Mexican artist Diego Rivera (1886–1957) was inspired by Mexico’s tradition of adorning walls with paintings and sculptures, which originated long before European contact

The mural included depictions of forces of nature as well as technology, and looked forward to “the liquidation of Tyranny”

Rivera refused to remove his image of Lenin and offered instead to balance it with a depiction of Abraham Lincoln

Rockefeller rejected this proposal, paid Rivera his full fee, and banned him from the building

Rivera: “[The artist] must try to raise the level of taste of the masses, not debase himself to the level of unformed and impoverished taste”

Rivera re-created the mural in Mexico City

Artwork: Krzysztof Wodiczko, Tijuana Projection

4.1.14 Krzysztof Wodiczko, Tijuana Projection, 2001. Public video projection at the Centro Cultural Tijuana, Mexico. Organized as part of the event InSite 2000

Krzysztof Wodiczko, Tijuana Projection

Artist gives voice to mistreated individuals, such as women working in abusive and substandard conditions

Testimonies were projected onto a public building to an audience of 1,500

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields

Chapter 4.1 Art and Community

PART 4

THEMES

Polish-born artist Krzysztof Wodiczko (b. 1943) has created more than eighty video projection pieces intended to draw attention to situations of social injustice around the world

Tijuana Projection gave voice to women in the maquiladora industry, which consists of assembly plants and factories close to the border between Mexico and the United States

They told of terrible home and working conditions including rape, incest, poisoning in the factories due to exposure to toxic chemicals, and police abuse

Wodiczko hopes that this project will be a catalyst to move these women toward a better life

Chapter 4.1 Copyright Information

This concludes the PowerPoint slide set for Chapter 4.1

Gateways to Art: Understanding the Visual Arts

Third Edition

By Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields

PowerPoints developed by CreativeMyndz Multimedia Studios

Chapter 4.1 Art and Community

PART 4

THEMES

Picture Credits for Chapter 4.1

4.1.2 iStockphoto.com

4.1.4 Photo David Heald. The Solomon R. Guggenheim Foundation, New York. FLWW-10

4.1.5 Photo John Randall. Courtesy the artist

4.1.6 Silvio Fiore/ photolibrary.com

4.1.7 Cahokia Mounds State Historic Site, painting by William R. Iseminger

4.1.8 Martin Gray/National Geographic Stock

4.1.9 Keith Bedford/ epa/Corbis

4.1.10 Henry John Drewal and Margaret Thompson Drewal Collection, EEPA D00639. Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution, Washington, D.C., courtesy Henry John Drewal

4.1.11 Courtesy the artist

4.1.12 Photo Anne Chauvet

4.1.13 Photo Art Resource/Bob Schalkwijk/Scala, Florence. © Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F./ DACS 2018

PowerPoints developed by CreativeMyndz Multimedia Studios

Chapter 4.1 Art and Community

PART 4

THEMES