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Making Art: An Overview | |
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Processes and Purposes | |
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Subject Matter and Meanings | |
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Representational Works of Art | |
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Nonrepresentational Works of Art | |
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Simple and Complex Subject Matter | |
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Choice and Use of the Medium | |
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Medium as Material | |
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Medium as Artform | |
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Medium and Craftsmanship | |
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Aspects of Form | |
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Contexts | |
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Viewing Context | |
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Internal Context | |
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Artist's Context | |
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Social Context | |
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Art Historical Context | |
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Conclusion: The Components and Meanings | |
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Meanings and Interpretations | |
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Designing with a Purpose | |
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Architecture: Designing for a Small Space | |
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Product Design: Knowing How the Product Is Perceived | |
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Graphic Design: Integrating Purpose, Form, and Process | |
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Commissioned Art | |
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The Value of Knowing Your Own Intentions | |
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Writing an Artist's Statement | |
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The Process of Interpretation: Subject Matter + Medium + Form + Contexts = Meanings | |
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Martin Puryear's Ladder for Booker T. Washington | |
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Subject Matter | |
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Medium | |
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Form | |
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Contexts | |
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Meanings | |
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Hannah Wilke's Intra-Venus Series | |
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Subject Matter | |
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Medium | |
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Form | |
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Contexts | |
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Meanings | |
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Jacquie Steven's Double-Spouted Jar | |
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Subject Matter | |
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Medium | |
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Form | |
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Contexts | |
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Meanings | |
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Annie Seidman's Untitled | |
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Subject Matter | |
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Medium | |
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Form | |
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Contexts | |
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Meanings | |
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Semiotic Interpretations: Denotations and Connotations | |
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"Right" Interpretations | |
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Deciding among Competing Interpretations | |
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The Value of Having Your Work Interpreted | |
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Conclusion: Principles for Interpreting Art | |
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Point, Line, Shape, Mass and Volume, Texture, and Value | |
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Point | |
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Line | |
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Line in Two-Dimensional Art | |
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Line in Three-Dimensional Art | |
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Shape | |
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Figure and Ground | |
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Positive and Negative Shape | |
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Amorphous Shape | |
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Three-Dimensional Shape | |
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Mass and Volume | |
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Texture | |
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Actual Texture | |
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Implied Texture | |
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Invented Texture | |
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Value | |
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Conclusion: The Power of Simple Elements | |
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Color | |
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Basic Color Physics | |
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Color and Light | |
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Additive Color and Subtractive Color | |
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Optical Mixing Processes | |
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Color Wheels | |
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Physical Traits of Color: Hue, Value, and Intensity | |
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Neutrals | |
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Pigments and Dyes | |
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Opaque and Transparent Colors | |
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Subtractive Color Mixing | |
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Color Schemes | |
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Monochromatic, Analogous, and Complementary | |
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Triads, Tetrads, and Hexads | |
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Warm and Cool Colors | |
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Earth Tones | |
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Polychromatic Schemes | |
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Color Interactions | |
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Simultaneous Contrast | |
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Afterimage | |
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Artists and Optical Mixing | |
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Local Color and Arbitrary Color | |
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Color and Meaning | |
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Mood and Emotion | |
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Colors and Cultures | |
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Conclusion: Beyond Color Theory | |
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Space | |
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Actual Space | |
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The Psychology of Space | |
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Architectural Space | |
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Interior Spaces | |
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Artifacts within Spaces | |
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Three-Dimensional Artifacts | |
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In the Round | |
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In Relief | |
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Positive and Negative Space | |
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Virtual Space | |
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Virtual Entertainment Spaces | |
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Simulated Spaces for Real-World Training | |
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Virtual Educational Spaces | |
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Illusional Space | |
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Indicators of Ilusional Space | |
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Foreground, Middle Ground, and Background | |
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Size | |
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Overlap | |
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Transparency | |
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Placement | |
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Types of Perspective | |
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Atmospheric Perspective | |
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Linear Perspective | |
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One-Point Perspective | |
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Two-Point Perspective | |
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Three-Point Perspective | |
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Points of View | |
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Bird's Eye View | |
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Worm's Eye View | |
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Foreshortening | |
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Isometric Perspective | |
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Multiple Perspective | |
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Denying Illusion | |
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Conclusion: Limitless Opportunities in Space | |
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Time and Motion | |
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Indicating Time in Art | |
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Dimensions of Time | |
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Actual Time | |
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Implied Time | |
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Recorded Time | |
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Indicting Motion in Art | |
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Actual Motion | |
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Implied Motion | |
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Implied Motion and Passage of Time | |
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Photographic Techniques in Implied Motion | |
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Recorded Motion | |
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Conclusion: Perspectives on Time and Motion | |
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Words and Sounds | |
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Words and Their Uses in Art | |
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Words as Images | |
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Words and Images | |
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Sounds: Adding a Sensory Dimension | |
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Audible Words | |
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Nonverbal Sounds | |
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Conclusion: Combining the Elements | |
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Directional Force, Size, Scale, and Proportion | |
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Design Principles | |
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Directional Force | |
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Vertical Force | |
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Horizontal Force | |
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Diagonal Force | |
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Circular Force | |
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Triangular Force | |
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Using Multiple Directional Forces | |
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Size, Scale, and Proportion | |
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Making a Statement with Size | |
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Playing with Scale | |
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Searching for Perfection in Proportion | |
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Classical Proportions | |
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The Spiral | |
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Conclusion: Effective Uses of Size, Scale, and Directional Force | |
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Balance and Contrast | |
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Balance and Weight: Actual and Implied | |
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Kinds of Balance | |
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Symmetrical Balance | |
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Approximate Symmetrical Balance | |
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Asymmetrical Balance | |
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Radial Balance | |
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Achieving Balance in Artifacts | |
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Contrast | |
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Visual Contrast | |
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Conceptual Contrast | |
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Conclusion: The Inherent Qualities of Balance and Contrast | |
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Repetition, Unity and Variety, Emphasis and Subordination | |
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Repetition | |
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Pattern | |
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Repetition and Rhythm | |
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Unity and Variety | |
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Principles that Unify | |
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Grids: Basic Structure for Unity or Variety | |
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Designing Works for Variety | |
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Emphasis and Subordination | |
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Emphasis: Focusing Viewers' Attention | |
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Subordination: Supporting a Larger Theme | |
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Conclusion: Reflecting on Design Principles | |
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Postmodernist Approaches to Making Art | |
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Modernism and Postmodernism in Culture | |
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Modern Art and Postmodern Art | |
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Postmodern Attitudes toward Art | |
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Challenging the Art World | |
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Escaping the Confines of Museums and Other Traditional Venues | |
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Collapsing Boundaries between “High” and “Low” Art | |
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"Texts" and "Works" | |
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Rejecting Originality | |
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Accepting the Abject | |
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Jouissance | |
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Postmodern Strategies for Making Art | |
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Working Collaboratively | |
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Appropriating What Already Exists | |
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Simulating the "Real" | |
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Hybridizing Cultural Influences | |
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Mixing Media | |
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Layering Images | |
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Mixing Codes | |
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Recontextualizing the Familiar | |
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Intertextualizing Signs | |
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Confronting the Gaze | |
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Using Dissonance | |
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Constructing New Identities | |
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Adapting Literary Devices to Visual Art | |
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Using Narratives | |
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Creating Metaphors | |
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Using Irony and Parody | |
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Conclusion: Are You a Postmodernist? | |
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Artists' Processes and Practices | |
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Artists' Motivations and Ideas for Making Art | |
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Artists' Practices of Making Art | |
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Conclusion: Keep Yourself Motivated | |
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Studio Critiques | |
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Critiques Defined | |
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Recommended Attitudes toward Critiques | |
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What Students Want and Do Not Want from a Critique | |
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Kinds of Critique | |
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Descriptive Critiques | |
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Intentionalist Critiques | |
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Interpretive Critiques | |
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Judgmental Critiques | |
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Theoretical Critiques | |
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Samples of Critiques | |
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Excerpts from an Interpretive Critique | |
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A Written Critique | |
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Assessing Your Own Art | |
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Conclusion: The Benefits of Critiques | |
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Notes | |
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Glossary | |
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Bibliography | |
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Photo Credits | |
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Index | |