i need someone how can help me

User Generated

Nobbq27k

Humanities

Description

African Aesthetic Analysis I

Assignment:

You are to choose a work of art, preferably a sculpture, which you perceive to be

beautiful, and/or a great work of art, from the text,

Africa: The Art of A Continent,

Paleolithic

to Benin, 77,000 BC to 1600 AD.

African

Aesthetic Analysis I is due Thursday,

September 13, 2018.

It is a minimum of five pages, maximum eight pages, and should include

the use of one documented source

and follow the format below.

African Aesthetic Analysis I Format

1. Title Page, top: African Aesthetic Analysis I

Title of Work

Media

Date

Genre (If it is also a subgenre, include here.)

Culture and Region

Title Page, bottom: Your Name, Title of Course, Due Date

2. Analysis

1. Introduction

. In the first paragraph discuss the reason

or reasons why you perceive this work is beautiful and/or a

great work of art. The reason(s) you give are any that are

genuine to you.

2. Analyze

each aesthetic element, following the African Aesthetic

Elements page. Use one paragraph for each element, and do address

each element in precise detail.

3. Conclusion.

The conclusion is at least one paragraph, but can be two, which

summarizes the learning or importance you received from analyzing

this work. If you have had an aesthetic experience, identify the new

understanding

you received. Or, if you received new insights or

perceptions on African art, aesthetics, culture, the perceptual

process, or yourself, discuss these. Your insights or perceptions

may be personal or aesthetic, i.e., any findings that are genuine and

of value to you.

3.

Addenda.

One source citation. If the work is able to be downloaded from

the internet, and some in the text are, please do, but this is not a

requirement.

Unformatted Attachment Preview

Moravian College Syllabus ART 222 African Art Fall 2018 8/27/2018-12/15/2018, Tues and Thurs 1:10-2:20 pm, HILL310 Professor Kearns kearnsm@moravian.edu marthamkearns@gmail.com (immediate message only) Availability Best time for a conference is immediately before or after class. If this is inconvenient, a meeting can be scheduled in advance in my office, Tuesday or Thursday 12:15-12:45 pm. The office is in the Art Department, South Campus. Course Goals Students will gain an aesthetic and cultural understanding of the art of Africa, from prehistory to the present day. Sculpture is the primary medium studied in the course, but textiles, painting, artisan works and architecture are also included. Students will examine how religion and cultural influences affect the development of regional and national styles. The influence of the African diaspora on art and culture in Europe, Latin America and the United States will also be considered. Students will acquire the critical vocabulary required to analyze and interpret African Art, and apply it in both discussion and writing. (This course meets LinC M5/Cultural Values and Global Issues Requirement) Required Text for purchase or loan from the Moravian Art Department. The loan is free; you sign out the text and return it at course end. The Art Department has only 10 copies of the book available on a first-come, first-served basis. Note that the text, being the best documentation of the History of African Art yet published, is unfortunately also out of print, so it is available to you on our class Canvas site. Note: As an undergraduate, you may also receive the text through student rental services online. Africa: The Art of a Continent. Edited by Tom Phillips, NY: Prestel Publications, 2004. Course Requirements 1. Students must attend all classes and bring the required text as needed. 2. Students must complete two analyses, a midterm, a final project, and a final exam. 3. Students must attend the African Art Museum Field Trip as assigned. 4. Students must complete peer group sessions as assigned. Attendance: The Art Department established this department-wide attendance policy to apply to students in all art classes. For classes that meet twice a week: After the second unexcused absence, final grade will be dropped by one full letter. After the fourth unexcused absence, student will receive a failing final grade. (attendance policy continued next page) ART 222 African Art Fall 2018 Tuesday and Thursday 1:10-2:20 pm Hill 310 Page 2 Attendance Policy, Continued: An excused absence is one confirmed by a note from the Dean’s Office, Student Services, the Learning Center, or verified with a doctor’s note (within 24 hours of illness). Death in family should be confirmed with Student Services. Documentation is required for sports. Students may be excused from class, with advanced notice, for games or matches, but not for practice. Students should provide the instructor with a schedule, if they know you will be missing any classes due to a game or match. Practice is not an excused absence. Students must make arrangements to cover any missed class material and turn in assignments on the appropriate date. Job interviews or doctor’s/dentist’s appointments are not to be scheduled during class. Missing Portions of Class: The following count as unexcused absences • More than 15 minutes late for class • Failure to bring supplies to class • Failure to return from break • Leaving class half an hour or more early • Being tardy more than 3 times. Tardiness: being 5 to 15 minutes late for class Students: If you are late or absent, it is your responsibility (not the professor’s) to find out what you missed and to catch up in a timely manner. Estimated time required outside of class: Reading of texts, 5 hrs per week Writing • Analysis I, 6 hrs • Peer I, 6 hrs • Analysis II, 6 hrs • Peer II, 5 hrs • Peer III, 5 hrs Field Trips New York MET 12 hrs Greatest Works Presentation, 7 hrs Exam Preparation, Midterm and Final, 12 hrs Seat time, 33 hrs Academic Code of Conduct Policy: Please reference the College policy in Student Handbook. Cheating on exams or quizzes will not be tolerated and will result in a 0 or F. Written assignments are designed to engage students with material covered in class through visual participation and personal reaction. Papers must be your own thoughts, impressions and reactions. The Internet can provide valuable source material, but you must participate by visiting the artwork yourself, in person, and offering your own viewpoint. Plagiarism in any form will not be tolerated, it is stealing in the academic field. ART 222 African Art, Tuesday and Thursday, 1:10-2:20 pm Proposed Schedule of Meetings Fall 2018 Page 3 Evaluation Grading: 35% of your grade is determined by written work; 35% by exams, 15% by Peer Seminars and Peer Participation,10% by the Final Project, and 5% by attendance. Papers: there will be Aesthetic Analyses required on two different topics. Criteria for these will be given beforehand. Aesthetic Analysis I is 15%, and Field Analysis II is worth 20%. Peer Seminar I, II and III: each is weighted 5%. Peer Seminar I is an individual critical essay and a group discussion. Peer Seminar II and III are short individual student power point presentations. Criteria for each will be given beforehand. Peer Participation means your conduct in class lectures and in groups is helpful or not to the learning of your peers and to the overall classroom environment. Use of a cell or laptop is forbidden unless it is for class notes, peer group work or a medical emergency, as these practices take away from a positive learning environment. Exams: There will be a Midterm and a Final Exam, identifying, comparing, and analyzing images from the text. The Midterm counts as 15%, and the Final Exam 20%. Final Project: A power point presentation will show the aesthetic, cultural and historical influences of each group’s choice for Greatest Works of African Art, 77,000 BC. to 2018 AD. The Final Project/Greatest Works of African Art counts for 10%. Disability Statement: Students who wish to request accommodations in this class for a disability should contact the Academic and Accessibility Support Center, located in the lower level of Monocacy Hall, or by calling 610-861-1401. Accommodations cannot be provided until authorization is received from the Academic and Accessibility Support Center. Moravian College faculty are committed to providing a learning environment free from gender discrimination and sexual violence. Should a student disclose a concern of this nature, the faculty member is obligated to inform the Title IX Coordinator, who will assist the student in determining resources for support and resolution. Fully confidential reporting options include the Counseling Center, Health Center, and Religious Life (chaplain). Survivors are encouraged to seek immediate assistance by contacting the Advocates at (484) 764-9242. For more information, please visit www.moravian.edu/titleix. ART 222 African Art, Tuesday and Thursday, 1:10-2:20 pm Proposed Schedule of Meetings Fall 2018 Page 4 Week 1/ August 28 and August 30 Introduction, African Aesthetics, Weltanschauung, Paleolithic to Predynastic Egypt. Read Africa: The Art of a Continent, pp 8-37, 179-191, 103-105, 548-552. Ancient Egypt and Nubia. Read Africa: The Art of a Continent, pp 41-115. Week 2/ September 4 and 6 African Aesthetic and Cultural Influences in Minoan, Mycenean, Etruscan Civilizations, Classic Nok to Meroe. Read Africa: The Art of a Continent, pp 48-9, 107-115, 194-5,534-43,553-8,478, 484, 326, 526531. African Aesthetic and Cultural Influences in the Greco-Roman World, Read Africa: The Art of a Continent, p 543, 536-8, 553-8. Peer Seminar I Black Athena (hand out) Due Tuesday, September 4 Week 3/ September 11 and 13 Ancient West Africa, Coptic Christianity, Islam, 500 BC-1500 AD Read Africa: The Art of a Continent, pp 178, 196,230, 240, 326-412/179, 198-99, 327, 406, 468-70, 478-83, 488-95, 576-82, 538-43, 559-61, 586-91. Greatest Works of African Art Meeting #1 9/11 Aesthetic Analysis I Due 9/13 Week 4/ September 18 and 20 South Africa, Igbo-Ukwu to Ife in West Africa, Ife Aesthetics Read Africa: The Art of a Continent, p 178, 182-4,194-6, 327-45, 383-95, 404-08. Peer Seminar II: African Art in situ Due 9/20 Week 5/ September 25 and 27 Nigerian Sculptural Continuity, Ife to Benin Read Africa: The Art of A Continent, pp 327, 412-431. Greatest Works of African Art Group Meeting #2 9/27 Week 6/ October 2 and October 4 Ancient Djenne-Juno, Ancient Mali, Dogon Read Africa: The Art of A Continent, pp 479-95. Midterm Thursday, October 4 AR 222 African Art, Tuesday and Thursday, 1:10-2:20 pm Proposed Schedule of Meetings Fall 2018 Page 5 Week 7/ October 9 and 11 Divination: continent-wide spiritual and cultural tradition Read Africa: The Art of a Continent, pp 231-9, 244-8, 268-9, 288-91 Week 8/ October 18, Thursday only (Fall Break 10/15-10/16) Divination (Continued) Read Africa: The Art of a Continent, pp 427, 454, 456, 527. Week 9/ October 23 and 25 Benin, African Art to the 18th Century Read Africa: The Art of a Continent, pp 337-345, 395-403. Peer Seminar III: African Diaspora Art Due 10/23 Week 10/ October 30 and November 1 African Art, European Colonialism in the 19th Century, Diaspora of African Art to Europe Read Africa: The Art of a Continent, pp 231-325, 440-6, 448, 452-5, 517, 132, 150, 162, 166, 174-5. Note: Required museum field trip to the Metropolitan Museum of Art, NYC, scheduled for Friday, November 2 Week 11/ November 6 and 8 West African Art to the 19th Century, African Art and Modern European: Cubism/Expressionism Read Africa: The Art of A Continent, pp 327, 412-431, 337-45, 395-403, 231-325. Field Aesthetic Analysis II Due Tuesday 11/6 Week 12/ November 13 and 15 Central African Art/Kongo to the 19th Century, African Art and New York City's Harlem Renaissance Read Africa: The Art of a Continent, pp 145-53, 170, 346, 348, 355, 358, 363, 366-7, 372, 382, 392, 440-3, 500-2, 513, 517, 522. Greatest Works of African Art Group Meeting #3 11/15 Week 13/ Tuesday November 20 only, Happy Thanksgiving Early 20th Century African Art, African Diaspora in the Americas Read Africa: The Art of a Continent, pp 142-3, 146-7, 153, 158-9, 204-8, 256, 260, 276-8, 280, 300, 305, 312, 357-8, 421-6, 432, 436, 447-52, 456-7, 460-3. AR 222 African Art, Tuesday and Thursday, 1:10-2:20 pm Proposed Schedule of Meetings Fall 2018 Page 6 Week 14/ November 27 and 29 Contemporary African Art, 1980-present Read Africa: The Art of A Continent, pp 218-9, 372, 472, 465-6, 501, 520-2, 525, 544-6, 570-1, 573-5. Greatest Works of African Art Final Meeting #4 11/29 Week 15/ December 4 and 6 Greatest Works of African Art Presentations, Peer Evaluations and Voting 12/4 and 12/6, Winners Announced Thursday 12/6 Week 16/ December 14/Final Exam Week Final Exam is Friday, December 14, 2018, 10:15 AM, Hill 310 ART 222 Professor Kearns African Aesthetic Elements of Sculpture 1. Practical Function is how and where the sculpture is used. The practical function includes but is not limited to sculpture to be worn, i.e., masks, or sculpture to fit into an altar or sacred setting, i.e., ancestor figures. If the work is in its original setting and still being used it is identified as in situ, in context. 2. Spiritual or Cultural Function is the religious and/or cultural use of the sculpture within and for the community as a whole. The work of sculpture almost always functions as an embodiment of the religious and cultural beliefs and rituals of the community. The Spiritual Function includes but is not limited to sculpture of humans or animals honored for the wellbeing or power they give to the community, i.e., Yoruba Ibedji twins. Note: the element of function, both practical and spiritual, is primary for almost all traditional African sculpture, though there are exceptions. 3. Media is wood, clay, stone, or melded glass or metal alloys, i.e., faience, iron, which can be carved, modeled, or fired. Included in this element is the texture, which may be rough, smooth, lined, painted, embedded with gems, etc. Wooden African sculpture is almost always created out of a single trunk or limb. 4. Shape is created by the interplay of positive and negative space and is dictated by the three elements above. There are two basic categories of shape: geometric or regular, and organic or biomorphic. Note: the element of line may be implied or invisible here, that is, it emerges from the shape. 5. Space is internal and external. Internal space is both negative and positive. External space is the optimum viewing distance and possibly movement the work requires. For example, a sculpture in the round asks the viewer to walk around it. Monumentality may refer to a work small in size but demands the viewer step back. 6. Mass is the volume or weight of the work. 7. Proportion is derived from the work’s practical and spiritual functions. 8. Scale is more than size. It is the work’s relation to its setting. Categories are human scale, based on the size of a human being, grand, larger than a human, and colossal, the largest, in relation to mountains or the sky, i.e., The Sphinx. 9. Composition is the arrangement of the above elements. The basic designs are symmetrical, an equal balance divided by an axis or line, asymmetrical, an equilibrium of corresponding parts, or radial symmetry, equidistant parts emerging from a center point in a circle. 10. Style in African sculpture is abstract, rarely realistic, and based on the functions. 11. Subject Matter is important for its symbolism, i.e, what it represents in meaning 12. Emotional Intensity or Passion is the emotion, mood, or communication the viewer receives before the work. The feeling may be reverence, protection, wonder, etc. 13. Artistic Unity is the harmonizing of the above elements into a work of visual beauty. African Visual Aesthetic Elements Textiles, Apparel, Painting, Graphic Art, and/or Body Adornment 1. Practical Function is how and where the work is used, and often, by whom. The practical function may be but is not limited to textiles woven for rugs, apparel, and/or wall tapestries. If the work is in its original setting and/or is still being used it is identified as in situ, in context. 2. Spiritual or Cultural Function is the religious and/or cultural use of the visual work within and for the community as a whole. It functions often as an embodiment and/or as a signifier or visual code of the religious and cultural beliefs and rituals of the community. An example of this is Bonnet, attributed to male rites of passage or warriorship, originated by the Acholi of Uganda (see text, p 139). Spiritual Function includes its use in a practice which is religious or sacred to the community, and the visual work may, fully or in part, itself be holy. Note: function, whether practical and spiritual, is primary for almost all traditional African visual art, though there are exceptions. 3. Line, visible or invisible, is used to create directionality, compositional focus, and/or dimension. It may be regular, i.e., dotted, vertical, spiral, or lines in relation to one another, i.e. converging or parallel, or irregular, i.e., an uneven wave. 4. Color is light at differing wave lengths. Hue is full or diffused light and most often refers to a change in a primary color, red, yellow, and blue, or the seven principal colors on the visible spectrum—red, orange, yellow, green, blue, indigo (or blue-violet) and violet. Included in color is Light Value, comparative lightness or darkness, or the amount of light reflected on its surface. In the African visual palette there is also Color Contrast, the putting together of two or more colors which are vibrant or saturated. 5. Shape is regular two dimensional geometric, i.e., an oval or triangle, or irregular or biomorphic two dimensional, i.e. organic. Shape may be open or closed, and used to represent known objects or animals or abstract forms. 6. Media is any material or surface on which line, color and shape can be applied, designed and layered. The media may be dyed thread, dye, pigment, paint, ink, etc. In African art, the media may also include aural material to create sound or music. 7. Balance or Composition is the overall arrangement of the above elements. Balance is symmetrical, where an axis or line divides an exact correspondence of parts on either side, or asymmetrical, where an equilibrium exists between each side, or has radial symmetry, equidistant parts of a circle emerging from a center point. In African visual art the overall composition is also created by patterning, or repetition of a design, motif, media and/or colors. 8. Style in African visual art is often abstract, but can be realistic and a blend of abstractionism and realism, and based on the functions. 9. Subject Matter is important for its symbolism, i.e, what it represents in meaning. 10. Emotional Intensity or Passion is the emotion, mood or tone the viewer feels and receives directly before the work. The feeling may be joy, sorrow, wonder, etc. 11. Artistic Unity is the harmonizing of the above elements to create a work of beauty. AR 222 African Art Fall 2018 Professor Kearns African Aesthetic Analysis I Assignment: You are to choose a work of art, preferably a sculpture, which you perceive to be beautiful, and/or a great work of art, from the text, Africa: The Art of A Continent, Paleolithic to Benin, 77,000 BC to 1600 AD. African Aesthetic Analysis I is due Thursday, September 13, 2018. It is a minimum of five pages, maximum eight pages, and should include the use of one documented source and follow the format below. African Aesthetic Analysis I Format 1. Title Page, top: African Aesthetic Analysis I Title of Work Media Date Genre (If it is also a subgenre, include here.) Culture and Region Title Page, bottom: Your Name, Title of Course, Due Date 2. Analysis 1. Introduction. In the first paragraph discuss the reason or reasons why you perceive this work is beautiful and/or a great work of art. The reason(s) you give are any that are genuine to you. 2. Analyze each aesthetic element, following the African Aesthetic Elements page. Use one paragraph for each element, and do address each element in precise detail. 3. Conclusion. The conclusion is at least one paragraph, but can be two, which summarizes the learning or importance you received from analyzing this work. If you have had an aesthetic experience, identify the new understanding you received. Or, if you received new insights or perceptions on African art, aesthetics, culture, the perceptual process, or yourself, discuss these. Your insights or perceptions may be personal or aesthetic, i.e., any findings that are genuine and of value to you. 3. Addenda. One source citation. If the work is able to be downloaded from the internet, and some in the text are, please do, but this is not a requirement. African Art 222 Fall 2018 Peer Group I Black Athena Assignment: Black Athena, Vol. I, by Martin Bernal, NJ: Rutgers University Press, 1989. Read Introduction, pp 1-17, the handout, and please type your responses to the following questions; these will be handed in and returned to you. What is important in Peer Groups is that your intellectual participation is active, and you convey your own ideas and perceptions honestly and lucidly. Your written response is a minimum of two pages. Peer I Format: Page 1 Top Left Corner: Black Athena Peer I Response Your Name Course Title Due Date Black Athena Response, begin mid-page, page 1, pp 1-2, or can be 3 to 4 pages 1. What is the author’s main thesis? Please cite one quote that, in your intellectual judgement, states it in the text. 2. If you were able to ask the author one question about the thesis, what would your question be? Please discuss as thoroughly as possible why you have chosen this question. In other words, what is your thinking behind your question? 3. What was the most important new learning you received from Black Athena? Please state the new idea, fact, or perception you learned, and discuss thoroughly why this helped you grow in your own intellectual understanding.
Purchase answer to see full attachment
User generated content is uploaded by users for the purposes of learning and should be used following Studypool's honor code & terms of service.

Explanation & Answer

Attached.

Running head: AFRICAN AESTHETIC ANALYSIS

African Aesthetic Analysis
Name
Institution
Date

1

AFRICAN AESTHETIC ANALYSIS

2
Title of Work

Ere Ibeji Figures
The figures are made from wood and so are the beads attached to the sculpture
It is considered as an antique by the Department of Antiquities of Nigeria.
The sculpture represents the Yoruba culture and religion
Introduction
I consider Ere Ibeji Figures as a beautiful image because of the way it is created.
The sculptor was able to make a figure of a woman from wood and shape her to show the
Yoruba culture. The figure appears to be a companion as well, forming a beautiful image
of a couple. The aspects of a woman can be seen from the head, which seems to be
braided, like a traditional woman. She is also wearing a necklace, and it was used by the
female to magnify their beauty. At the waist, the woman is wearing charms, and it was
meant for protecting her from evil eyes. The charm was mostly used when a woman was
pregnant, and it would help protect the child that was carried. Men could also wear
charms which would protect them from evil eyes. The beauty of the image is shown by
the confidence of the figures, with the woman embracing her culture and standing tall
despite being almost naked (Klemm, 2018).
The image represents a great work of art because it is a description of the culture
of the Yoruba people. The Yoruba is known as one of the nations in the world where
twins are born most. These people believe that the ancestors are in charge of protecting
the child and also orisha Shango, a deity who is evoked to protect the children during the
naming ceremony. The indivi...


Anonymous
Great content here. Definitely a returning customer.

Studypool
4.7
Trustpilot
4.5
Sitejabber
4.4

Similar Content

Related Tags