Overviewin This First Short Writing Assignment Need To Choose Two Art ✓ Solved

Overview In this first short writing assignment, need to choose two artists from the list below and write a brief description of each ONE of their artworks you have chosen and how it fits within the current learning unit. (Modernism)What commonalities or influences do you see? You cannot pick the same artist more than once. Reference at least 3 artists form the reading. Understanding Modernism: Readings/Viewings Virginia Spivey, "Abstract Expressionism, an introduction" SmartHistoryLinks to an external site. (required)Links to an external site. Clement Greenberg, "Modernist Painting," originally a Forum Lecture, 1960, revised for The New Art: A Critical Anthology, 1966Links to an external site.

Links to an external site. Lee Krasner Untitled 1949 Links to an external site. " The Painting Techniques of Barnett Newman: Vir Heroicus Sublimis"Links to an external site. (video, 3:49) (required) Beth Harris and Steven Zucker, "Onement I, 1948" SmartHistoryLinks to an external site. (video, 4:52) (required) Fred Mogul, "Barnett Newman," All Things Considered, NPR, July 1, 2002Links to an external site. (audio, 7:59) (optional Arthur Danto, "Barnett Newman and the Heroic Sublime," The Nation, May 30, 2002Links to an external site. Michael Kimmelman, "Willem de Kooning Dies at 92; Reshaped American Art," The New York Times, March 20, 1997Links to an external site. (optional) Liane Hansen, "De Kooning: an American Master," Weekend Edition, NPR, December 19, 2004Links to an external site. (audio, 10:44) (optional) Jackson Pollock.orgLinks to an external site. (required) SFMOMA videoLinks to an external site. on Pollock's techniques (3:45) (required) Artworks covered: · Andre Masson, Battle of the Fishes, 1926 (example of automatism) · Pablo Picasso, Guernica, 1937 (important work for AbEx artists) · Thomas Hart Benton, Arts of the West, 1932 (important work for AbEx artists) · Willem De Kooning, Woman I, · Willem De Kooning, Excavation, 1950 · Jackson Pollock, Guardians of the Secret, 1943 · Jackson Pollock/Hans Namuth, Pollock at Work, 1950 · Jackson Pollock, Number 1, 1948 · Mark Rothko, Number 14, 1960 · Barnett Newman, Onement I, 1948 · Barnett Newman, Vir Heroicus Sublimis, Instructions review the work of the artists below to find the one that bests fits within the themes (Abstraction, the body, pop culture, etc) You will be graded upon how well the choice of an artwork you make corresponds to the ideas and artworks in the current unit, and how well you answer the questions below. save your essay on your desktop before posting it. (if anything happens you will have a backup copy).

Word count is max 500 words for each artist. Please do not write more or less. Then answer the following questions: · How does this object show the influence of art we’ve studied in class? · How does it depart from these earlier practices in either form or meaning? · When/where was this object produced? · How does it reflect (or not) its historical context? 1-Ann Hamilton / blue indigo art work Originally conceived by the artist in 1991 as a site-specific installation for the Spoleto Festival held in Charleston, South Carolina, indigo blue was inspired by the region’s history of indigo production. Both a plant and a dye, indigo is inextricably bound to the South plantation economy.

Hamilton’s interest in the history of American labor was underlying motivation behind the creation of this work; she has cited Howard Zinn’s “A People’s History of the United States†(1980)- an alternative history of the nation -as a particularly important source of inspiration. Indigo blue with Hamilton’s attempt to unearth this history. The work is comprised of approximately 18,000 pieces of used, blue, cotton work clothes. The uniforms of anonymous blue-collar workers, whose names for the most part are lost from written histories. In front of the platform stands a wood table and chair where a hired participant is seated, and erases passages of the book published by the Naval War College, title “International Law Situationsâ€.

The performative actions of the body are essential aspect of Hamilton’s work, investing the piece with an action of authorship. This action in particular, speaks to how traces of the human body have the potential to participate in the rewriting of the different story. 2-Maya Lin wood art work image1.jpeg INFO 4745 Information Architecture Assignment 1 UNT Department of Information Science Spring 2023 Assignment One The goal of this assignment is to apply your learning from Module 1 and 2. You will evaluate a webpage of your interest to identify all the major elements of the information architectures in terms of Organization System, Labeling System, Navigation System, and Search System. A rubric is provided on Canvas for you to see how this assignment will be reviewed and graded.

Before you apply the following guidelines to a webpage you would like to evaluate, you have to select a webpage with the following components to meaningfully evaluate their information structure & architecture. (See Canvas instruction for suitable and unsuitable websites) 1. Does the website contain information & content (e.g., text, description) for an intended group of audience ? 2. Does the website contain enough layers/structures so that you can assess the 4 major elements and allow search query? COPY the sections under the line and provide your responses to each guiding questions.

Submit your completed evaluation via Canvas Assignment 1 submission page. Be sure your work is saved as a WORD document as I cannot open MacOS Pages files! Name you file as “firstname_lastname_assignment1.doc†URL of the Website: Part 1: Organization systems (Reference Chapter 6 in Rosenfeld, et al. book) 1) What is the organization system and scheme(s) used in the site? Explain the characteristics that you observed from the site that aligns with the definitions and properties of the specified system and schemes you have identified. 2) What is the organization structure(s) used in the site?

Explain the identified structure(s) and how the definition and properties you observed are evidence to the structure. Part 2: Labeling systems (Reference Chapter 7 in Rosenfeld, et al. book) 3) What is the purpose and intended audience of this site? Is the labeling systems appropriate to the intended audience? Why or why not? 4) Which type of label format is used in the site and how do you determine which varieties of label(s) this site is using?

5) Is the labeling systems consistent among the homepage and subpages? Why or why not? 6) How about the language used for the labeling system? Are there any places for improvement? Elaborate.

7) If you will be updating the labeling system to meet the users’ need, what will you modify? Explain what the users may need and how you will address it through the labeling system. Part 3: Navigation systems (Reference Chapter 8 in Rosenfeld, et al. book) 8) What is the global, local, & contextual embedded navigation systems within this site? Provide examples with your explanation for each system. 9) What are the supplemental navigation systems in this site?

Identify it/them and show an example with your description. 10) Does the site include any form of advanced navigation, such as personalization, customization, visualization, or social navigation? Identify it/them and provide an example with your description. Part 4: Search systems (Reference Chapter 9 in Rosenfeld, et al. book) 11) What is the search interface available on the site? How does it suggest the user to use it?

12) Could you determine if the search function allow advanced queries? Explain the procedure you took to examine this functionality and your conclusion. 13) Select one of the following criteria and conduct a search: Auto complete, stop words, stemming, controlled vocabularies, or keywords. Analyze the results and response to the following questions. a) How many results are displayed per page? (Provide a screenshot of the result) i) If, there is no result returned, does it tell the user what to do? b) How are the results ranked or ordered? c) Can you reorder results using other criteria (as listed above)? What happened? d) Does the site allow printing, saving, or emailing results? -------------------------------------- End of Assignment One ---------------------------------- 3

Paper for above instructions

Short Writing Assignment on Modernism

Artist 1: Jackson Pollock - Number 1 (1948)

Description of the Artwork
Jackson Pollock's "Number 1" (1948) is a hallmark of Abstract Expressionism and represents a fundamental shift in modern art during the post-World War II era. The painting is created using Pollock's signature drip technique, in which he poured, dribbled, and flung oil-based paints onto a large canvas laid flat on the ground. The resulting composition appears chaotic at first glance, but upon closer inspection, there is a complex interplay of colors, lines, and textures that evoke a sense of movement and spontaneity (Harris & Zucker, 2023).
This artwork exemplifies the key tenets of Modernism, particularly the notion of breaking away from traditional forms and embracing abstraction. Pollock's choice to use everyday materials, such as commercial-grade oil paints, moves art toward a more democratic approach, reflecting the socio-political changes of his time. As Clement Greenberg articulated in his essay "Modernist Painting," modern art aims to advance the idea of self-sufficiency (Greenberg, 1966).
Influence and Departure from Earlier Practices
Pollock's work shows a significant influence from the Surrealist movement, particularly in his emphasis on spontaneity and the unconscious mind's role in the creative process (Spivey, 2023). However, "Number 1" departs from earlier practices in several ways. Unlike the conventional application of paint or representation of objects found in traditional art forms, Pollock's work relies on gestural and expressive techniques to create abstraction that reflects his emotional state. The work embodies a shift from depicting a message or a recognizable subject to focusing on the act of painting itself, allowing the viewer to engage with the artwork on an experiential level.
Historical Context
Created in 1948, "Number 1" emerged in a post-war America grappling with existential crises. The Second World War had fundamentally altered global dynamics, leading artists like Pollock to explore the psyche and individual experience in new and radical ways. This painting reflects the tumultuous historical context, which led artists to seek new languages of expression that echoed the chaos and uncertainty of contemporary life (Kimmelman, 1997).

Artist 2: Barnett Newman - Onement I (1948)

Description of the Artwork
Barnett Newman’s "Onement I" (1948) is another critical work of Abstract Expressionism and is characterized by its minimalist aesthetic and profound conceptual depth. The painting features a vertical band, often interpreted as a "zip," against a solid field of color. The starkness of Newman’s composition evokes serenity and contemplation, steering away from the chaos presented in Pollock's works. The use of color expresses a spiritual and emotional resonance, reflecting Newman’s interest in existentialism and the human condition (Arthur Danto, 2002).
Influence and Departure from Earlier Practices
"Onement I" serves as a bridge between the earlier styles of abstraction and fresh modernist approaches. Like Pollock's work, it demonstrates the influence of the Surrealist Movement, especially through its focus on deep emotional engagement. Newman departs from traditional forms by abandoning overt representation, instead employing his "zip" to evoke an emotional response. As he explained, these zips were "marks of the human condition" (Harris & Zucker, 2023). Unlike Pollock, who utilized the canvas as a site for action, Newman’s work invites stillness and introspection.
Historical Context
Created around the same time in 1948, "Onement I" reflects the growing awareness of abstraction in American art, suggesting a defining shift toward exploring philosophical themes encapsulated within visual language. The ideological context of the post-war period, marked by a quest for meaning and identity amid the existential rumbles of modern life, is palpable in Newman’s work. Critics like Fred Mogul have noted that Newman’s paintings reject the decorative concerns of earlier art forms, ushering in a new era (Mogul, 2002).

Commonalities and Influences

Both Pollock's "Number 1" and Newman’s "Onement I" share commonalities in their roots in Abstract Expressionism, aimed at conveying emotional resonance through abstraction rather than clear, representational imagery. Additionally, both works reflect the sociopolitical landscape of their time, pushing back against the confines of traditional artworks in favor of more expressive forms that encapsulate individual identity within a communal experience.
Their works relate to the theories of Greenberg, who posited that the role of modernist art is to engage with the viewer in a self-reflective manner, challenging the method of representation and traditional values that had long dominated the art world (Greenberg, 1966). Both artists extend the dialogue into explorations of the self, unconscious experiences, and historical context, embodying the dynamic ideas present in the broader Modernist movement.
In summary, Jackson Pollock’s "Number 1" and Barnett Newman’s "Onement I" illustrate the evolution of Modernism by intertwining elements of action, existentialism, and emotional depth. Their divergences reveal the rich tapestry of the art movements they represent while maintaining a shared critique of traditional representation.

References

1. Spivey, V. (n.d.). Abstract Expressionism: An introduction. SmartHistory.
2. Greenberg, C. (1966). Modernist Painting. In The New Art: A Critical Anthology.
3. Harris, B., & Zucker, S. (2023). Onement I – Barnett Newman. SmartHistory.
4. Danto, A. (2002). Barnett Newman and the Heroic Sublime. The Nation.
5. Mogul, F. (2002). Barnett Newman. All Things Considered, NPR.
6. Kimmelman, M. (1997). Willem de Kooning Dies at 92; Reshaped American Art. The New York Times.
7. ArtNet. (2023). Jackson Pollock: Overview.
8. Hauser, A. (1986). The Social History of Art. Vol. 4.
9. Foster, H. (1996). The Return of the Real: Art and Theory at the End of the Century.
10. Leja, M. (1993). Reframing Abstract Expressionism: Subjectivity and Painting in the 1940s.