For my final project, you will need to complete a virtual art museum visit and thoroughly discuss two to four works. Please pay close attention to the following assignment criteria. Go to this “gallery” website for referencing your Final Project: http://smarthistory.khanacademy.org/ The site is broken down by dates. Cruise the dates and artworks located in those eras of art influence and address the following final project guidelines: Be no less than three pages, but no more than four pages in length.Compare and contrast a minimum of two artworks (no more than four) in which you will relate specific terminology and facts from glossary readings.Discuss the relevance and/or influence of each work to history/ art history (via historical context, i.e What was going on in the world at that time that influenced the works and/or vise, versa?).Include a minimum of three resources per work of art from the book and/or internet to support your claims.Include a citation for each source used.Incorporate correct art history vocabulary in your examination.Here is some glossary terms that some must be used:Abstract Expressionism Also known as the New York School. The first major American avant-garde movement, Abstract Expressionism emerged in New York City in the 1940s. The artists produced abstract paintings that expressed their state of mind and that they hoped would strike emotional chords in viewers. The movement developed along two lines: gestural abstraction and chromatic abstraction. Action painting Also called gestural abstraction. The kind of Abstract Expressionism practiced by Jackson Pollock, in which the emphasis was on the creation process, the artist's gesture in making art. Pollock poured liquid paint in linear webs on his canvases, which he laid out on the floor, thereby physically surrounding himself in the painting during its creation. Assemblage An artwork constructed from already existing objects. Chromatic abstraction A kind of Abstract Expressionism that focused on the emotional resonance of color, as exemplified by the work of Barnett Newman and Mark Rothko. Color field painting A variant of Post-Painterly Abstraction in which artists sought to reduce painting to its physical essence by pouring diluted paint onto unprimed canvas, allowing these pigments to soak into the fabric, as exemplified by the work of Helen Frankenthaler and Morris Louis. Conceptual art An American avant-garde art movement of the 1960s that asserted that the "artfulness" of art lay in the artist's idea rather than its final expression. Deconstruction An analytical strategy developed in the late 20th century according to which all cultural "constructs" (art, architecture, and literature) are "texts." People can read these texts in a variety of ways, but they cannot arrive at fixed or uniform meanings. Any interpretation can be valid, and readings differ from time to time, place to place, and person to person. For those employing this approach, deconstruction means destabilizing established meanings and interpretations while encouraging subjectivity and individual differences. Earthworks An American art form that emerged in the 1960s. Often using the land itself as their material, Environmental artists construct monuments of great scale and minimal form. Permanent or impermanent, these works transform some section of the environment, calling attention both to the land itself and to the hand of the artist. Sometimes referred to as earthworks. Environmental art An American art form that emerged in the 1960s. Often using the land itself as their material, Environmental artists construct monuments of great scale and minimal form. Permanent or impermanent, these works transform some section of the environment, calling attention both to the land itself and to the hand of the artist. Sometimes referred to as earthworks. Gestural abstraction Also known as action painting. A kind of abstract painting in which the gesture, or act of painting, is seen as the subject of art. Its most renowned proponent was Jackson Pollock. See also Abstract Expressionism. Hard-edge painting A variant of Post-Painterly Abstraction that rigidly excluded all reference to gesture, and incorporated smooth knife-edge geometric forms to express the notion that painting should be reduced to its visual components. Impasto A layer of thickly applied pigment. Installation An artwork that creates an artistic environment in a room or gallery. Minimalism A predominantly sculptural American trend of the 1960s characterized by works featuring a severe reduction of form, often to single, homogeneous units. Neo-Expressionism An art movement that emerged in the 1970s and that reflects the artists' interest in the expressive capability of art, seen earlier in German Expressionism and Abstract Expressionism. Performance art An American avant-garde art trend of the 1960s that made time an integral element of art. It produced works in which movements, gestures, and sounds of persons communicating with an audience replace physical objects. Documentary photographs are generally the only evidence remaining after these events. See also Happenings. Photorealism A school of painting and sculpture of the 1960s and 1970s that emphasized producing artworks based on scrupulous fidelity to optical fact. The Superrealist painters were also called Photorealists because many used photographs as sources for their imagery. Photorealism See Superrealism. Pixels Shortened form of "picture elements." The tiny boxes that make up digital images displayed on a computer monitor. Pop art A term coined by British art critic Lawrence Alloway to refer to art, first appearing in the 1950s, that incorporated elements from consumer culture, the mass media, and popular culture, such as images from motion pictures and advertising. Post-Painterly Abstraction An American art movement that emerged in the 1960s and was characterized by a cool, detached rationality emphasizing tighter pictorial control. See also color field painting and hard-edge painting. Postmodernism A reaction against modernist formalism, seen as elitist. Far more encompassing and accepting than the more rigid confines of modernist practice, postmodernism offers something for everyone by accommodating a wide range of styles, subjects, and formats, from traditional easel painting to installation and from abstraction to illusionistic scenes. Postmodern art often includes irony or reveals a self-conscious awareness on the part of the artist of the processes of art making or the workings of the art world. Site-specific art Art created for a specific location. See also Environmental art. Superrealism A school of painting and sculpture of the 1960s and 1970s that emphasized producing artworks based on scrupulous fidelity to optical fact. The Superrealist painters were also called Photorealists because many used photographs as sources for their imagery. Art Nouveau French, "new art." A late-19th- and early-20th-century art movement whose proponents tried to synthesize all the arts in an effort to create art based on natural forms that could be mass produced by technologies of the industrial age. The movement had other names in other countries: Jugendstil in Austria and Germany, Modernism in Spain, and Floreale in Italy. Color The value or tonality of a color is the degree of its lightness or darkness. The intensity or saturation of a color is its purity, its brightness or dullness. See also primary, secondary, and complementary colors. Complementary colors Those pairs of colors, such as red and green that together embrace the entire spectrum. The complement of one of the three primary colors is a mixture of the other two. Divisionism A system of painting devised by the 19th-century French painter Georges Seurat. The artist separates color into its component parts and then applies the component colors to the canvas in tiny dots (points). The image becomes comprehensible only from a distance, when the viewer's eyes optically blend the pigment dots. Sometimes referred to as divisionism. Impressionism A late-19th-century art movement that sought to capture a fleeting moment, thereby conveying the illusiveness and impermanence of images and conditions. Japonisme The French fascination with all things Japanese. Japonisme emerged in the second half of the 19th century. Modernism A movement in Western art that developed in the second half of the 19th century and sought to capture the images and sensibilities of the age. Modernist art goes beyond simply dealing with the present and involves the artist's critical examination of the premises of art itself. Optical mixture The visual effect of juxtaposed complementary colors. Plein air An approach to painting much popular among the Impressionists, in which an artist sketches outdoors to achieve a quick impression of light, air, and color. The artist then takes the sketches to the studio for reworking into more finished works of art. Pointillism A system of painting devised by the 19th-century French painter Georges Seurat. The artist separates color into its component parts and then applies the component colors to the canvas in tiny dots (points). The image becomes comprehensible only from a distance, when the viewer's eyes optically blend the pigment dots. Sometimes referred to as divisionism. Post-Impressionism The term used to describe the stylistically heterogeneous work of the group of late-19th-century painters in France, including van Gogh, Gauguin, Seurat, and Cézanne, who more systematically examined the properties and expressive qualities of line, pattern, form, and color than the Impressionists did. Primary colors Red, yellow, and blue the colors from which all other colors may be derived. Simultaneous contrasts The phenomenon that juxtaposed colors affect the eye's reception of each, as when a painter places dark green next to light green, making the former appear even darker and the latter even lighter. See also successive contrasts. Successive contrasts The phenomenon of colored afterimages. When a person looks intently at a color (green, for example) and then shifts to a white area, the fatigued eye momentarily perceives the complementary color (red). See also simultaneous contrasts. Symbolism A late-19th-century movement based on the idea that the artist was not an imitator of nature but a creator who transformed the facts of nature into a symbol of the inner experience of that fact. Value The value or tonality of a color is the degree of its lightness or darkness. The intensity or saturation of a color is its purity, its brightness or dullness. See also primary, secondary, and complementary colors. Additive light Natural light, or sunlight, the sum of all the wavelengths of the visible spectrum. See also subtractive light. Additive sculpture A kind of sculpture technique in which materials (for example, clay) are built up or “added” to create form. Attribute (n.) The distinctive identifying aspect of a person, for example, an object held, an associated animal, or a mark on the body. (v.) To make an attribution. Carving A technique of sculpture in which the artist cuts away material (for example, from a stone block) in order to create a statue or a relief. Casting A technique of sculpture in which the artist places a fluid substance, such as bronze or plaster in a mold. Chronology In art history, the dating of art objects and buildings. Collage A composition made by combining on a flat surface various materials, such as newspaper, wallpaper, printed text and illustrations, photographs, and cloth. Color The value or tonality of a color is the degree of its lightness or darkness. The intensity or saturation of a color is its purity, its brightness or dullness. See also primary, econdary, and complementary colors. Composition The way in which an artist organizes forms in an artwork, either by placing shapes on a flat surface or arranging forms in space. Evidence In art history, the examination of written sources in order to determine the date of an artwork, the circumstances of its creation, or the identity of the artist(s) who made it. Foreshortening The use of perspective to represent in art the apparent visual contraction of an object that extends back in space at an angle to the perpendicular plane of sight. Form In art, an object’s shape and structure, either in two dimensions (for example, a figure painted on a surface) or in three dimensions (such as a statue). Formal analysis The visual anaylsis of artistic form. Genre A style or category of art; also, a kind of painting that realistically depicts scenes from everyday life. Hierarchy of scale An artistic convention in which greater size indicates greater importance. Iconography Greek, the “writing of images.” The term refers both to the content, or subject, of an artwork and to the study of content in art. It also includes the study of the symbolic, often religious, meaning of objects, persons, or events depicted in works of art. Illusionism (adj. illusionistic) The representation of the three-dimensional world on a two-dimensional surface in a manner that creates the illusion that the person, object, or place represented is three-dimensional. See also perspective. Intensity The value or tonality of a color is the degree of its lightness or darkness. The intensity or saturation of a color is its purity, its brightness or dullness. See also primary, secondary, and complementary colors. Landscape A picture showing natural scenery, without narrative content. Line The extension of a point along a path, made concrete in art by drawing on or chiseling into a plane. Medium (pl. media) The material (for example, marble, bronze, clay, fresco) in which an artist works; also, in painting, the vehicle (usually liquid) that carries the pigment. Mural A wall painting. Period style A distinctive artistic manner. Period style is the characteristic style of a specific time. Regional style is the style of a particular geographical area. Personal style is an individual artist’s unique manner. Personal style A distinctive artistic manner. Period style is the characteristic style of a specific time. Regional style is the style of a particular geographical area. Personal style is an individual artist’s unique manner. Perspective A method of presenting an illusion of the three-dimensional world on a two-dimensional surface. In linear perspective, the most common type, all parallel lines or surface edges converge on one, two, or three vanishing points located with reference to the eye level of the viewer (the horizon line of the picture), and associated objects are rendered smaller the farther from the viewer they are intended to seem. Atmospheric, or aerial, perspective creates the illusion of distance by the greater diminution of color intensity, the shift in color toward an almost neutral blue, and the blurring of contours as the intended distance between eye and object increases. Physical evidence In art history, the examination of the materials used to produce an artwork in order to determine its date. Proportion The relationship in size of the parts of persons, buildings, or objects, often based on a module. Regional style A distinctive artistic manner. Period style is the characteristic style of a specific time. Regional style is the style of a particular geographical area. Personal style is an individual artist’s unique manner. School A chronological and stylistic classification of works of art with a stipulation of place. Space In art history, both the actual area which an object occupies or a building encloses, and the illusionistic representation of space in painting and sculpture. Spectrum The range or band of visible colors in natural light. Statue A three-dimensional sculpture. Still life A picture depicting an arrangement of objects. Style A distinctive artistic manner. Period style is the characteristic style of a specific time. Regional style is the style of a particular geographical area. Personal style is an individual artist’s unique manner. Stylistic evidence In art history, the examination of the style of an artwork in order to determine its date or the identity of the artist. Symbol An image that stands for another image or encapsulates an idea. Technique The processes that artists employ to create form, as well as the distinctive, personal ways in which they handle their materials and tools. Texture The quality of a surface, such as rough or shiny. Tonality The value or tonality of a color is the degree of its lightness or darkness. The intensity or saturation of a color is its purity, its brightness or dullness. See also primary, secondary, and complementary colors. Tone The lightness or darkness of a color. Value The value or tonality of a color is the degree of its lightness or darkness. The intensity or saturation of a color is its purity, its brightness or dullness. See also primary, secondary, and complementary colors. Volume The space that mass organizes, divides, or encloses. Weld To join metal parts by heating, as in assembling the separate parts of a statue made by casting.

Purpose:The purpose of this assignment is to: identify stakeholder audiences that will be impacted by your project in some way a stakeholder is any person or group who would be impacted by your project and the decisions made as part of the project planning and implementation, including private citizens, nonprofit organizations, small businesses, etc.assess how you will communicate with each of these stakeholders, and how differences between audiences will dictate differences in communicative approachescontribute specific information to your team projectOverview:In addition to identifying and analyzing project costs and benefits, project planning also includes identifying stakeholders who may be positively or negatively impacted by or interested in your project. This identification step may take place repeatedly throughout a project as you find that new stakeholder groups become impacted or interested in some way, but the sooner you can identify stakeholders, the sooner you can consider their perspectives and begin planning communications with them. Stakeholders can often be identified through the assessment of project costs, which is why this step is positioned second in this assignment.Required Content and Structure1. Problem Statement and SolutionAt the top of your submission, include a revised problem statement (~1-2 paragraphs) followed by your revised solution (~1 paragraph). The revised problem statement and solution must be clearly and directly connected, with the proposed solution clearly and directly alleviating the stated problem in some way.Remember: The solution may not be your originally proposed solution -- your group agreed on a proposed solution as part of your last meeting, and all assignments are now focused on THAT agreed upon solution.2. Identifying StakeholdersProvide citations throughout.Identify 2 specific potential stakeholders associated with your projectStakeholders must be specific."Farmers" is not specific enough"Dairy farms" is acceptably narrowbut "independently owned dairy farms," or "M&B Products" is even betterAlthough "Tampa Bay Area citizens" sounds extremely broad, they are a specific subsection of Florida citizenry who may be similarly impacted by your projectHowever, the broader the stakeholder group, the more difficult the analysis.Instead, you might focus on "Tampa Bay Area children," which will allow you to focus your analysis in a specific way. Alternately or additionally, you might focus based on socioeconomic status; the health and life expectancy of those in low socioeconomic brackets is disproportionately diminished by pollution compared to those living in wealthier brackets.Research each stakeholder. Some general resources have been provided for you that may be helpful.For each stakeholder, identify the following (use full sentences):A. Stakeholder background and cultural considerations (~2 paragraphs)Provide an overview of your stakeholder's background (the resources linked in 2 above may be helpful here). Offer clear, specific information that provides a holistic sketch of your stakeholder. For example:Example:Founded in 1930 by George Jenkins, Publix is currently owned by X and has a net worth of y, with ___ of their ___ stores located in Florida. Publix is the x-ranked/sized food retailer in Tampa, with x-number of stores in the city serving approximately y-number of people. Publix’s values and philanthropy includes x, y, and z. Publix was recognized by the state of Florida for their outstanding commitment to ___ in 2008, and were nationally recognized in ____, _____, and _____ by the non-profit organization Feeding America for their local and statewide contributions and continued dedication to ending hunger in their communities.Concerning culture, Publix's corporate culture can be summed up by this sentence from the "About" page on their website: "Taking care of our customers, communities and each other is still what Publix is all about." Publix's community outreach, focus on sustainability, and belief in people and their potential strongly shapes Publix's business practices and decision making. Publix believes that their employees make the business, and that the communities shape the people, so Publix not only trains, supports, and promotes from within, they also invest time and money into employees and their communities. As a result, Publix tackles global issues at a local level through civic engagement and sustainable practices.Remember that "culture" includes multiculturalism and co-cultures, and that you cannot simply assume that a person, group, company, region, etc. will think, act, or value the things that you believe are most important to the dominant culture. The perspectives of your stakeholders may be very different from your own.B. Stakeholder interestProblem: Why does this stakeholder care about the problem as articulated in your problem statement? How are they impacted by the problem as articulated in your problem statement? (~2-4 sentences/~50-100 words)Solution: Will the stakeholder find your solution clear, familiar, and easy to understand? Why? If the solution is outside of this stakeholder's likely realm of understanding, what will you do to make your solution more concrete and easy to understand? (~2-4 sentences/~50-100 words)Cultural Considerations: What cultural considerations discussed in A above might shape this stakeholder's interest, or affect the way they understand the problem or perceive the proposed solution?C. Probable stakeholder attitude toward the project (positive, negative, neutral, adversarial, competitive, etc.) and why (~2-5 sentences/~50-125 words)D. Include one cost that you think may be particularly important to the stakeholder, and why (~1-3 sentences/~25-75 words)E. Include one benefit that you think may be particularly important to the stakeholder, and why (~1-3 sentences/~25-75 words)F. Based on your own values and goals, what common-ground do you and the stakeholder share? Explain. (~3-6 sentences/~75-150 word)consider shared goals, values, desired outcomes, etc.you can find common ground with any stakeholder, even if you believe they will have a negative or competitive attitude toward your projectG. How might this common ground help you positively connect with the stakeholder? How can this common ground help you develop shared meaning with the stakeholder? (3-6 sentences/~75-150 words)Submission:List each stakeholder independently, with all of the required information/analysis included below the stakeholder title. Include citations throughout.See the Stakeholder Analysis Organization Sample for guidance on how to organize your analysis

When providing a clinical assessment for clients, several colleagues may work with the same client and come up with varying perceptions of how the client is functioning. It is essential to work collaboratively with colleagues to provide the best client care. You need to be able to provide a respectful rationale to defend your assessment as well as be open to varying perspectives to come to a consensus on the best way to move forward with the client based on this assessment process. For this Discussion, you will examine a case study of in the Learning Resources and begin to assess the client care needs for this client.To Prepare:Review the week’s Learning Resources.Review the case study of Amy.Post:The primary concern of Amy.Using the Triage Assessment Form (TAF) as a guide, identify Amy’s overall symptom severity on a scale from 1-30.Identify what would be your next step to help Amy.