Making Art: Form and Meaning

ISBN-10: 0072521783

ISBN-13: 9780072521788

Edition: 2011

Authors: Terry Barrett

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Book details

List price: $107.52
Copyright year: 2011
Publisher: McGraw-Hill Companies, The
Publication date: 1/15/2010
Binding: Paperback
Pages: 288
Size: 8.25" wide x 10.75" long x 0.50" tall
Weight: 2.266
Language: English

Terry Barrett is Professor of Art Education, with a joint appointment in the Department of Art, at The Ohio State University, where he is the recipient of a distinguished teaching award for courses in criticism and aesthetics within education. He has authored four books: Interpreting Art: Reflecting, Wondering and Responding; Criticizing Art: Understanding the Contemporary (2nd ed.); Criticizing Photographs: An Introduction to Understanding Images (4th ed.); and Talking about Student Art. He edited the anthology Lessons for Teaching Art Criticism, published articles in Aesthetic Education, Afterimage, Art Education, Exposure, Camera-Lucida, Dialogue, Cultural Research in Art Education, New Advocate, New Art Examiner, Studies in Art Education, Teaching Artist Journal, Theory into Practice, Visual Arts Research, and many chapters in edited books. He is an art critic in education for the Ohio Arts Council, consults museum education departments, juries exhibitions, and conducts workshops on studio critiques and writing.

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