Category: Art

1 Task Choose any real person (yourself, a relative, a friend) and determine their body type. – Send full-length photos of this person in a swimsuit or form-fitting clothing (strictly – the person standing straight). Photos in bulky clothing are not suitable. – Specify the body measurements and your comments on what type of body the person has, what are the advantages and disadvantages of the body. 2. Task: Color combinations 1 Task Choose any real person (yourself, a relative, a friend) and determine their skin undertone (warm/cold). Send a photo of the person and specify their skin undertone. 2 Task Create 2 outfits (you must assemble them by yourself, they should not be photos of ready-made looks from the internet): In complementary colors or a monochrome look Using several different prints You can assemble them on websites with virtual clothing and virtual models, in the form of collages, or from real clothing. Websites where you can create virtual clothing sets: urstyle.com shoplook.io trendme.net getwardrobe.com fashmates.com Please send photos of the two outfits 3. Task “New Style” Choose any person (yourself, your friend or a client). 1) Create for this person a new style that in your opinion can suit to she/he. Think about the body shape if this person, his lifestyle and preferences in clothes. Use www.pinterest.com and create a board for this person. Collect on this board photos witch can show the idea of this style (clothes, hairdo, make up, accessories) Create photos of the person, a description – an occupation, age, life style, what is the concept of your new style for him and why. Minimum 3 Create the board from pinterest.com. where you collected photos of a new style for this person 4. Task You need to develop “Wardrobe analysis book for a current season” for a client. You can choose any of your friends or relatives (male or female) or a real client. The Stylebook should represent your idea of style and include ideas about shopping of the selected person with a specific practical embodiment in his life. The “Style book” must include following sections: 1) The face and figure in full height photo of your client 2) Client’s characteristics: Age, occupation. The answer why he needs to change the style. 3) Life Style – a graphical representation of lifestyle and the image which client supposes to have in future (it’s necessary to make a collage of photos). It can be an image of the city, buildings, interior, landscape, accessories, etc. Collage is to visually show the lifestyle of the individual, whose image you are changing. 4) Appropriate and inappropriate palette of colors for top and bottom clothes for the client. 5) Analysis of client’s type of figure and composition cards for him – Analyze your client’s figure. If he has problem areas, add photo or picture silhouettes of suitable clothes to show how you can hide it 6) Analysis of the current wardrobe of the client for the current season – which basic items he/she already has (clothing and accessories) – insert the photos – which items you recommend adding to fulfil and refresh the client’s wardrobe for a current season 7) Brand list The list of brands that you can suggest to a client for shopping to create a new wardrobe for him 8) Wardrobe ideas Make at least 5 outfits for your client using clothes and accessories that he already has in his wardrobe. Outfits should demonstrate to a client how he can wear the same items in a new more stylish and appropriate way. Take pictures of the client in these outfits. Construction of final project: “Stylebook for a current season” should be composed of photographs or images in electronic format (pdf format is the best). It should consist of pictures mostly. The text and keywords should be used minimally.

ASSIGNMENT: In this assignment, you will explore the crossroads of culture, innovation, and religious expression through art and architecture. Drawing from the course material, you will complete two distinct yet interconnected parts in a 4-5 page (1,000-1,200 words) paper:
Innovations in Art and Architecture: Examine innovations in art or architecture by analyzing how they built upon past innovations to create something entirely new.
Art, Architecture, and Religious Expression: Delve into the connection between art and architecture and the values of different religions. You will select specific works and discuss how they embody the ideals and values of their respective cultures.
In order to foster learning and growth, all essays you submit must be newly written specifically for this course. Any plagiarized or recycled work will result in a Plagiarism Detected alert. Review Touchstones: Academic Integrity Guidelines for more about plagiarism and the Plagiarism Detected alert. For guidance on the use of generative AI technology, review Ethical Standards and Appropriate Use of AI.
A. Directions
Step 1: Introduction
Begin your paper with a 1-2 paragraph introduction that provides an overview of the assignment. Clearly state the purpose of the assignment and its significance in the context of exploring the intersections of culture, innovation, and religious expression through art and architecture. Remember to introduce both parts (Innovations in Art and Architecture and Art, Architecture, and Religious Expression) of the assignment in the introduction.
Your response for this section should be approximately 100-200 words.
Step 2: Innovations in Art and Architecture
Throughout this course, we have considered several examples of innovations in both art and architecture, including the evolution of form in Greek sculpture, images of Christ, dome architecture, architecture as a place where people attempt to be closer to the gods and/or to the heavens (architecture as a holy mountain).
For this section of your paper, select two examples of artistic or architectural works covered in the course. Both examples should either be structural innovations OR technological innovations (do not pick one of each). Discuss how these works built on past innovations to create something entirely new. Consider structural and formal innovations. Provide historical context for the chosen examples and explain the significance of these innovations. Your discussion of examples should apply the formal analysis skills learned in Unit 1 that consider the use of color, line, shape, medium, and other characteristics.
Your response for this section should be approximately 1-2 pages (300-500 words) and follow this structure:
Choose a Subject: Select either two structural innovations OR two technological innovations in either art or architecture that have significantly impacted its respective field. This could be a particular style, technique, or design concept.
Historical Context: Provide a brief overview of the historical context in which this innovation emerged. Highlight the key developments and influences that led to its creation.
Analysis of Innovation: Analyze how this innovation built upon past techniques or styles. Discuss the elements that distinguish it from previous approaches and how it contributed to the evolution of art or architecture.
Comparative Analysis: Draw connections and comparisons between the selected works, highlighting both similarities and differences in their expressions of innovation.
Make sure your information and citations come from the Sophia tutorials to support your response. When citing material from a tutorial, please include the name of the lesson and use the following format:
In-text citation: For example, (Romanesque Architecture, n.d.) or (Influence of Buddhism on Ancient Indian Art, n.d.). Please note these are examples only. You will have to adjust the citation based on the specific part of the tutorial you are referencing.
Step 3: Art, Architecture, and Religious Expression
Throughout this course, you have seen how art and architecture express the values of various religions. The cultures and religions discussed in this course include, but are not limited to:
Mesopotamia
Egypt
Hinduism
Jainism
Buddhism
Islam
Christianity
Mesoamerican culture
For this section of the paper, choose two specific religious works of art or architecture. Summarize the core values and beliefs of each religion. Analyze how the selected works of art or architecture express and embody the values and ideals of their respective cultures. Pay particular attention to the formal elements and design choices that relate to the religion or spiritual practice. Your discussion of examples should apply the formal analysis skills learned in Unit 1 that consider the use of color, line, shape, medium, and other characteristics.
Your response for this section should be approximately 1-2 pages (300-500 words) and follow this structure:
Select Works: Choose two specific religious works of art or architecture that serve as exemplars of religious cultural expression.
Religious Values and Ideals: Analyze each selected work in terms of how it embodies the ideals and values of its respective culture and religion. Consider the symbolism, motifs, and architectural elements that convey religious meaning.
Cultural Context: Provide background information on the culture and religious beliefs associated with each selected work. Explain how these cultural contexts influenced the creation and design of the artwork or architecture.
Comparative Analysis: Draw connections and comparisons between the two selected works, highlighting both similarities and differences in their expressions of religious values.
Make sure your information and citations come from the Sophia tutorials to support your response. When citing material from a tutorial, please include the name of the lesson and use the following format:
In-text citation: For example, (Romanesque Architecture, n.d.) or (Influence of Buddhism on Ancient Indian Art, n.d.). Please note these are examples only. You will have to adjust the citation based on the specific part of the tutorial you are referencing.
Step 4: Conclusion
In 1-2 paragraphs, summarize the key findings of your analysis and reiterate the significance of the relationship between art and architecture with culture, innovation, and religious expression.
Your response for this section should be approximately 100-200 words.
Refer to the checklist below throughout the writing process. Do not submit your Touchstone until it meets these guidelines.
1. Introduction and Conclusion
❒ Did you include an introduction that describes the significance of exploring the intersections of culture, innovation, and religious expression through art and architecture?
❒ Did you include a conclusion that summarizes your key findings and reiterates the significance of the relationship between art and architecture with culture, innovation, and religious expression?
2. Innovations in Art and Architecture
❒ Did you select two stylistic innovations OR two technological innovations in either art or architecture that have significantly impacted its respective field?
❒ Did you provide a brief overview of the historical context in which this innovation emerged?
❒ Did you analyze how this innovation built upon past techniques or styles?
❒ Did you draw connections and comparisons between the selected works, highlighting both similarities and differences in their expressions of innovation?
3. Art, Architecture, and Religious Expression
❒ Did you select two religious works of art or architecture that serve as exemplars of religious cultural expressions?
❒ Did you analyze each selected work in terms of how it embodies the ideals and values of its respective culture and religion?
❒ Did you provide background information on the culture and religious beliefs associated with each selected work?
❒ Did you draw connections and comparisons between the selected works, highlighting both similarities and differences in their expressions of religious values?
4. Conventions
❒ Have you checked your essay for grammatical and mechanical errors?
❒ Have you used spell check or another method to check spelling?
❒ Have you cited examples from the course using the in-text citation instructions?
5. Before you Submit
❒ Have you included your name, date, and course at the top left of the page?
❒ Is your essay between 4-5 pages (approximately 1,000-1,200 words)?
B. Rubric
Advanced (100%) Proficient (85%) Acceptable (75%) Needs Improvement (50%) Non-performance (0%)
Innovations: Selection of Examples
Selects an innovative aspect of art or architecture that is relevant to the assignment prompt. (8%)
Demonstrates a profound understanding of two chosen subjects and their relevance to innovation. Chooses two highly relevant subjects with a clear connection to innovation. Selects two relevant subjects, but the connection to innovation may be somewhat vague. Chooses only one subject that is marginally relevant to the prompt. Fails to choose a relevant subject.
Innovations: Historical Context
Provides an overview of the historical context surrounding the chosen innovation. (10%)
Offers a comprehensive and insightful overview of the historical context surrounding the chosen innovation. Provides a detailed overview of the historical context. Offers a basic overview of the historical context, but some key details may be missing. Offers a minimal overview of the historical context, with significant gaps in understanding. Fails to provide any historical context.
Innovations: Analysis of Innovations
Offers an analysis of how the chosen innovation builds upon past techniques or styles. (12%)
Provides a sophisticated analysis of how the chosen innovation builds upon past techniques or styles, demonstrating a deep understanding. Offers a detailed analysis of the innovation’s development. Provides a basic analysis, but may miss some key elements of the innovation’s development. Offers a minimal analysis, with significant gaps in understanding. Fails to provide any analysis of the innovation.
Innovations: Comparative Analysis
Offers a comparative analysis, highlighting both similarities and differences in the expressions of innovation. (13%)
Provides a highly insightful comparative analysis with a deep understanding of the similarities and differences in their expression of innovation. Offers a detailed comparative analysis, highlighting both similarities and differences in their expression of innovation. Offers a basic comparative analysis, but may miss some key elements. Offers a minimal comparative analysis, with significant gaps in understanding. Fails to provide any comparative analysis.
Religious Expression: Selection of Examples
Chooses specific works of art or architecture that exemplify religious expression from diverse cultures and religions. (8%)
Selects two exemplary works that represent a wide range of cultures and religions. Selects two works that exemplify religious expression from diverse cultures and religions. Selects two works that demonstrate some elements of religious expression, but may lack diversity. Selects one work that has limited relevance to religious expression. Fails to select appropriate works.
Religious Expression: Religious Values and Ideals
Conducts an analysis of how the selected works embody the ideals and values of their respective culture and religion. (12%)
Offers a highly insightful analysis with a deep understanding of the religious values and ideals expressed. Provides a detailed analysis of the religious values and ideals expressed. Offers a basic analysis of the religious values and ideals, but may miss some key elements. Offers a minimal analysis, with significant gaps in understanding. Fails to provide any analysis of religious values and ideals.
Religious Expression: Cultural Context
Provides a background on the culture and religious beliefs associated with the selected works. (10%)
Offers a thorough background with insightful connections between culture, religion, and the artwork/architecture. Provides a detailed background with clear connections between culture, religion, and the artwork/ architecture. Offers a basic background, but some key details may be missing. Offers a minimal background, with significant gaps in understanding. Fails to provide any background on culture and religion.
Religious Expression: Comparative Analysis
Offers a comparative analysis, highlighting both similarities and differences in the expressions of religious values. (13%)
Provides a highly insightful comparative analysis with a deep understanding of the similarities and differences in their expression of religious values. Offers a detailed comparative analysis, highlighting both similarities and differences in their expression of religious values. Offers a basic comparative analysis, but may miss some key elements. Offers a minimal comparative analysis, with significant gaps in understanding. Fails to provide any comparative analysis.
Introduction and Conclusion
Introduction and conclusion set up the assignment and provide a summary of the analysis. (7%)
Both the introduction and conclusion are exceptionally clear, effectively set up the assignment, and provide a comprehensive summary of the analysis. Both the introduction and conclusion are clear, effectively set up the assignment, and provide a comprehensive summary of the analysis. Either the introduction or conclusion is clear and effectively sets up the assignment and provides a comprehensive summary of the analysis. Either the introduction or conclusion is unclear or does not effectively set up the assignment or provide a comprehensive summary of the analysis. Fails to provide a clear introduction and conclusion, or they are entirely absent.
Conventions
Submission follows conventions for standard written English and meets requirements. (7%)
There are almost no errors in grammar, punctuation, spelling, and capitalization; all length and formatting requirements are met. There are minor errors in grammar, punctuation, spelling, and capitalization that do not impede readability; length and formatting requirements are nearly met. There are frequent errors in grammar, punctuation, spelling, and capitalization that somewhat impede readability; length and formatting requirements are nearly met. There are consistent errors in grammar, punctuation, spelling, and capitalization that significantly impede readability; length and formatting requirements are not met. Submission does not meet the minimum threshold for points to be awarded.
C. Requirements
The following requirements must be met for your submission to be graded:
Composition must be 4-5 pages (approximately 1,000-1,200 words), double-spaced, with one-inch margins.
Use a readable 11- or 12-point font.
Composition must be original and written for this assignment and all writing must be appropriate for an academic context.
Plagiarism of any kind is strictly prohibited.
Submission must include your name, the date, and the title of your composition.
Include all of the assignment components in a single .doc or .docx file.

Can you wright a visual analysis on Judith Golden’s Self-portrait in the New 
mexico state university art collection made in 1977. It has to be 750 words 

First look at the original painting by Frans Hals, then watch the video, Titus Kaphar Can Art Amend History, and answer the following questions:
In looking at the Frans Hals painting, Family Group in a Landscape, what observations can be made about the work?
What characteristics of the Frans Hals painting are relevant to Dutch portraiture of this time period?
How do these observations reflect the socio-economic status of the subjects?
After watching the video, what does Titus Kaphar comment on with his replicated painting?
What other examples from your textbook might include references to a similar socio-economic schism or overlooked figures subordinated in the composition?
Be sure and include any references cited. Each of your answers should be in paragraph form and 250-500 words.
Link to video: https://youtu.be/DDaldVHUedI

For in the poetic traits for all of man and for all of woman one group within them stands out the most. Well known and persevered poets who endeavored into the world of creative minds and true understanding of versatile words of the art of mind. Such as William Shakespeare. A classic upon many to have to converse about when talking about poetic masters and famous playwrights! Such was this mans genius to write of the ways of tragedies and comedies that can make someone heartily laugh and doomily cry! And his story begins in April 23 1564 Where he was born in Stratford Upon England and Was baptized 3 days later. He died in April 23 1616.

What time period / art style stands out to you as your favorite as you look back over all of the study guides, power points, lectures, online resources, and e-book you’ve studied in this class? Why? 
Use a minimum of 5 works of art from your favorite period / style to fully explain your choice, offering an overall careful analysis of the period / style followed by detailed descriptions / analyses of each of the five works. Be as specific as you can about the events, places and people of your chosen time period in your discussion –this will help you determine why you chose what you did. You will need to focus on context to fully answer the prompt.
Be sure to fully identify your top five by title, date, and artist if known, and please cite sources, whether lectures, study guides, notes, textbook or other.
NO bullet points! Use complete sentences – this is not a formal research paper but you do have time to polish it before submitting a sloppy one-paragraph essay. To wit: each work merits a minimum of one paragraph, offering as much detail as possible. If one double-spaced typed page is approximately 250 words, I’d say this essay should aim for at least 750.

Please write a “discussion: focus on calligraphy, painting and carpets ” for the HA -126 Islamic Art and Civilization online class. I will post some examples at the bottom too. The discussion has to be more than 600 words.
Discussion Question: focus on Islamic art in sub-Saharan Africa Islamic art has well-established forms and styles in what is commonly called North Africa (Morocco, Algeria, Tunisia and Egypt). Based on what you’ve learned in this unit, what are the major features of sub-Saharan Islamic art and architecture? Can you speculate about the reason for the differences in style and appearance from North African visual culture?
What to do:
1. Listen to the VoiceThread presentations about the historical contexts of Islam in sub-Saharan Africa and selected examples examples of art and architecture.
2. Read the short essays and watch the videos in the Resources folder (these are links to websites and YouTube videos rather than PDF files).
VoiceThread : https://m.blog.naver.com/rjwltakf291/223482823643?afterWebWrite=true
Resources folder : Trade and the spread of islam in africa (An essay from the Metropolitan Museum of Art’s Heilbrunn Timeline of Art History)
https://www.metmuseum.org/toah/hd/tsis/hd_tsis.htm
the spread of islam in ancient africa (An essay from the Ancient History Encyclopedia)
https://www.worldhistory.org/article/1382/the-spread-of-islam-in-ancient-africa/
islam in the mali empire(An essay from the Ancient History Encyclopedia)
https://www.worldhistory.org/Mali_Empire/
islamic art in west africa (An article from the Encyclopedia Britannica about the influence of Islam in West African art, primarily architecture.)
https://www.britannica.com/art/African-architecture/Influences-of-Islam-and-Christianity
mosque architecture in west africa (An article about mosque architecture in West Africa.)

West African Mosque Architecture – A Brief Introduction

an introduction to the great mosque in djenne, mail (A short video on YouTube about the issues facing neighborhood inhabitants near the Great Mosque in Djenne, Mali.)

the annual festival at the great mosque in djenne, mali (A brief video about the annual festival that accompanies the “re-clothing” of the Great Mosque in Djenne, Mali every year.)

Example : Similar to what we have already mastered when analyzing Islamic art in Southeast Asia, to better understand the specifics of the Islamic art in Sub-Saharan Africa, we need to analyze the geographic and historic component of how Islam was spreading from the Arabic lands to this area of Africa, and how the already established cultures and religions of Sub-Saharan Africa was integrated or reconciled with the new religion. As North Africa was already conquered by Muslims during the seventh century, Islam continued to spread to West Africa through its first wave via merchants, traders, scholars, and missionaries, and then continued to spread across and around the Sahara Desert. At the same time, the second wave was coming through Egypt, going through the Sudan region below the Sahara Desert. And finally, the third wave of spread of Islam was by Arabic traders crossing the Red Sea from the Arabic peninsula to the Swahili coast. However, unlike the initial spread of Islam to North Africa that was created mostly through military force during the Umayyad dynasty, the spread of Islam to Sub-Saharan Africa was mostly peaceful and gradual. Islam was first adopted by ruling African rulers and members of the elites in the cities of kingdoms like Mali or Songhai, who understood the potential benefits especially when it comes to trade and power, which later resulted in the rest of the population to follow the same example, or simply converting to Islam to avoid being sold to slavery. The population in the rural areas remained mostly unaffected by the new religion until much later. However, no matter where the Islam was adopted, indigenous beliefs and rituals continued to be practiced or were even blended with the new religion which is one of the main characteristics of Sub-Saharan Islam in Africa. As African rulers understood how indigenous religions were important to the people, they did not completely dismiss the indigenous religious practices and beliefs, which cause them to blend into a locally adapted Islam. Ancestors continued to be worshipped and rituals like masquerading still performed, and existing figural African sculptural art of pre-Islamic age, especially in Dogan region in Mali, continued to be created and is still something African art in general is known for. And even though sculptural art is typically not what we are used to seeing in “religious” Islamic art, these sculptures continued to be important as a part of “secular” Islamic art. These are just some of the elements that created a more modified version of Islamic art that seems different to the Islamic art of the Middle East and North Africa, which is like the case of the Islamic art of Southeast Asia which also blended the native beliefs and traditions into the Islamic art coming to those areas. Focusing on the architecture of Sub-Saharan Africa, we can see another way the Islamic architecture was modified according to available materials of the region. If we look at the case studies presented in the lecture, like the great mosque in Djenne or the Djingareyber mosque in Timbuktu in Mali, placed in the Sahel area, made of sun-dried mud brick called Adobe, or the new houses of “Tabali”, or pear-shaped mud bricks, we can see how materials used were those available in the area, which is one of the reasons these objects look so different compared to mosques in the Arabic lands that are mostly made of stone. These materials, shaped by hand, are organic and often asymmetric, which adds a special quality to the architectural elements differing from the rigidity of the aesthetics of the rest of the Islamic world. It almost feels like every person who helped shape the facade imprinted a part of themselves into it. Other interesting details we can notice on the exteriors are wooden reinforcements sticking out of the facades as spikes, that also served as a sort of scaffolding for people to climb and work on the facade, as the mud facades needed to be often maintained. The interior of a Sub-Saharan Mosque is simplified and minimalist, stripped of interior decoration and colors, somewhat ascetic, most of the surfaces are covered in mud, both interior and exterior, which is again very different from heavily decorated mosques in other parts of the world filled of mosaics and porcelain tiles. The arches and columns remain important parts of the mosque interior’s supportive structure, and something we expect to see like minarets, orientation of qibla wall, mihrab, open courtyard, and a covered sanctuary area are still there. Often, these mosques get bigger over time with expansions, as the number of people using the mosques would grow, so it is sometimes hard to know how exactly they looked at the time they are initially built, as expansions and renovations would alter architectural elements and change the look of their architecture. Some structures, like Nando Mosque, show ever closer the influence of indigenous culture to the Sub-Saharan African architecture, and the carved high relief motifs on the interior walls show close connection to pre-Islamic Dogan visual aesthetic tradition, while the function of the building is still following the started conventions of a mosque. In the image attached bellow, it is interesting to see a few more images of the Nando Mosque, including the floor plan and cross-section, which I think are quite interesting, as I am sure it was not easy to create architectural drawings of a building that is so organic in its nature and design, and every single wall is unique. All the abovementioned unique features of the Sub-Saharan art further help us understand the diversity of Islamic art across the world in ever more detail, and how local cultures and customs can affect the development of art even when they come from the same core. Just as it was the case with Southeast Asian Islamic art, the Islamic art of Sub-Saharan Africa might be somewhat neglected in the art history when compared the Islamic art of the Arabic lands, and it is our job to help it be more recognized.

ESSAY OVERVIEW
2000+ WORD COUNT
(Word count refers to the body text and does not include references, footnotes, or headers)
For the Term Project, you are required to write an Expository Essay, which is a type of essay that requires you to investigate an idea, evaluate evidence, expound on the idea, and create an argument concerning that idea, in a clear and concise manner. The objective of the Term Project assignment is to analyze the major question of the course which is, In what ways can art effect change? 
In 2,000+ words, your essay will focus on the ONE eco-topic (chosen from the list provided) and TWO eco-artists/artworks that create art about that same eco-topic.  The selected artists/artworks will need to relate well to the chosen the eco-topic. Artists/artworks should be selected from this course (module materials or course textbook), however, one eco-artist may be selected from independent research outside of the course materials. The eco-topic and artist selection will need to be approved by the instructor for the proposal assignment prior to beginning the essay.
In the essay, the selected eco-topic will first be introduced to the reader using statistical data to support why it is an eco-topic that deserves attention. The artists will be introduced at the end of the introduction and their work will be linked to the eco-topic in the thesis statement at the end of the introduction. Each artist will then be introduced using relevant background information, and an artwork by each artist will be described and interpreted, and connected to the eco-topic, using research as support. The artists will then be compared/contrasted in various areas of artistic discipline, materials, and strategies.  Next, a proposed idea will be developed for a project that these two artists could collaborate on together based on their previous experience. This is an opportunity to be creative and plan a detailed project idea that is new and unique to both artists, rather than simply a mash-up of previous projects. The essay will conclude with how two artists are affecting change within the environment and/or community and will evaluate how effective the two artists are in the conveying the eco-topic in the context of their work.
*** Please be sure to follow the *Required* Essay Outline, below.
ESSAY EXAMPLE: Please review the essay example listed in the Term Project Essay Module. The example essay shows a successful essay that follows the outline provided and properly uses CMS footnotes to cite referenced information.
POINT OF VIEW/ TONE: Please write your Essay using the objective 3rd person point of view, avoiding the use of “I, we, you, and us”. The essay should be written in the present tense and the tone should be objective. Please do not recognize the assignment in the writing for the essay. 
*REQUIRED* CMS FORMAT FOOTNOTES: Your essay should also be formatted in the Chicago Manual of Style that uses numbered footnotes to identify ALL cited information. Your sources should directly reference your numbered footnotes and make your cited information clear to the reader. If you need help with CMS footnotes, please review the Resources Module at the top of the Modules Page for tutorials and help using CMS footnotes. 
Essays WITHOUT CMS footnotes to mark all cited information throughout the essay, will receive a grade of ZERO, as it is considered plagiarism if referenced information is not acknowledged!!!
Please review FSU’s Academic Honor Policy: http://fda.fsu.edu/sites/g/files/imported/storage/original/application/0ab8e9de6a98c1377d68de9717988bda.pdf
*REQUIRED* SOURCES: All 6 sources selected from the Annotated Bibliography portion of your Proposal should be used in your essay. You can always add or change sources if needed, but 6 sources will need to be used. It is important to include reliable and high quality researched information in your Term Project, using a mix of both credible and scholarly sources. 
ASSIGNMENT FORMATTING: This Expository Essay should be written in the 3rd person point of view and use Chicago Manual of Style formatting, including numbered footnotes. 
SUBMISSION: Submit your TERM PROJECT ESSAY by using the assignment submission tool located in the “Assignments” tab. NOTE: Acceptable file format is PDF only. 
This assignment is required and worth up to 400 points of your final course grade. This Essay fulfills the Scholarship In Practice Requirement for this course and is a required assignment. 
*REQUIRED* ESSAY OUTLINE 
(FIRST PAGE)
TITLE PAGE: Please include: Assignment Title, Your Name, Professor’s Name, Class/Section, and Date.
(NEXT PAGE)
PARAGRAPH 1: This criterion is linked to a Learning OutcomeECO-TOPIC INTRODUCTION + STATISTICAL DATA + THESIS STATEMENT
Please do not recognize the assignment in your writing and be sure to write in the present tense and from the objective third person perspective.
In the first paragraph, set the stage for the reader with opening statements to introduce the eco-topic.
Provide research based statistical data, as well as facts, to describe why the eco-issue deserves attention. Source/s should be used from the FSU library for the statistical data.
Next, you will introduce the artists and their artworks. (You will be extensively introducing them in the following paragraphs, so please be brief.)
To end the introduction, you will create a thesis statement that links the artists to the eco-topic. Be sure to describe the title of the artwork for each artist, along with the genre of the artworks and connect the eco topic to these artists work. The thesis statement is usually the last sentences of the introduction paragraph.
PARAGRAPH 2: This criterion is linked to a Learning OutcomeARTIST #1: ARTWORK DESCRIPTION + INTERPRETATION
Introduce the artist by discussing any relevant background information and describe the type of work they create.
Identify a specific artwork by this artist that relates to the eco-topic you have chosen to write about. Include: Title, date and materials used.
Describe the key visual aspects of a specific artwork in detail, using research as support. What does the artwork look like and how is it organized? Think about the scale, materials, and all of the visual components.
Based on research, interpret what the artwork is about, making connections with the visual and conceptual elements of the piece and the eco-topic, while examining underlying themes. Please use research as support.
PARAGRAPH 3: This criterion is linked to a Learning OutcomeARTIST #2: ARTWORK DESCRIPTION + INTERPRETATION
Introduce the artist by discussing any relevant background information and describe the type of work they create.
Identify a specific artwork by this artist that relates to the eco-topic you have chosen to write about. Include: Title, date and materials used.
Describe the key visual aspects of a specific artwork in detail, using research as support. What does the artwork look like and how is it organized? Think about the scale, materials, and all of the visual components.
Based on research, interpret what the artwork is about, making connections with the visual and conceptual elements of the piece and the eco-topic, while examining underlying themes. Please use research as support.
This criterion is linked to a Learning Outcome
PARAGRAPH 4: COMPARISON + ANALYSIS OF ARTWORKS
Compare how each artist/artwork are similar through the analysis and investigation of specific artistic approaches, disciplines, materials, and strategies used for each artist, using researched details as support.
Contrast how each artist/artwork are different through the analysis and investigation of specific artistic approaches, disciplines, materials, and strategies used for each artist, using researched details as support.
Evaluate how effective the two artists are in visually and conceptually conveying the eco-topic in their work, using specific supporting examples.
PARAGRAPH 5: ARTIST COLLABORATION
Develop an idea for a project that these two artists could collaborate on together, centered around the selected eco-topic.
First make an argument for why these two artists should collaborate together on an art project and later discuss how the project could impact the community and/or create awareness about the eco-topic.
What are new ways the artists can use their talents to create a new and dynamic project together? Think about a new idea instead of re-creating a project they have already done.This is an opportunity to be creative and plan a detailed project idea that is new and unique to both artists, rather than simply a mash-up of previous projects.
How will both artists be equally represented in the collaboration?
Include a specific location of the project, not just the city, but the venue and why you have selected this location. 
What the project would look like? (scale and visual characteristics).
What materials will be used? What process will the artists use?
Will people interact with the project? If so, how?
PARAGRAPH 6:  CONCLUSION
Analyze how the two artists are inspiring or affecting change within the environment or community, using specific supporting examples.
Conclude your essay with statements that support your thesis, synthesizing research in order to come to an original and well-informed conclusions about the eco-topic and the impact of the artists. Wrap-up the main points of your essay to the reader.
(LAST PAGE) 
BIBLIOGRAPHY:  
Bibliography should be on its own page at the end of your Term Project Essay, noting your sources in the proper Chicago Manuel of Style format. Please note that this a regular bibliography, without the annotations
References should be in Alphabetical order by author’s last name. If the author is not available, then the title should be used for alphabetical order.
Please single-space and indent after the first line for each reference.
Please include a working link for each source.
Please be sure you have used all the sources listed in your paper at least once.
EXAMPLES OF ECO-TOPICS + ARTIST SELECTION
Please choose only ONE eco-topic + TWO artists (ONE artwork by each artist that relates to the eco-topic selected)
WASTE
• water pollution: Alexis Rockman, Betsy Damon, Bright Ugochukwu Eke, Mel Chin, Alejandro Duran, Sue Lipscombe,
Marina DeBris, Mandy Barker, Tan Xi ZI, Benjamin Von Wong, Hans Haacke, Pam Longobardi, Angela
Pozzi, Gilberto Esparza, Jeremy Gobe
• single-use plastics: Daniel Webb, Alejandro Duran, Mandy Barker, Bright Ugochukwu Eke, Mel Chin, Sue Lipscombe, Jean
Shin, Tue Greenfort, Pam Longobardi, David Webb, Benjamin Von Wong, Aurora Robison
• post-consumer waste/mass consumption: Jean Shin, Mary Mattingly, Chris Jordan, Reverand Billy Talen
• e-waste/planned obsolescence: Chu Yun, Eduardo Relero, Peter McFarlane, Haribaabu Naatesan
• up-cycling materials: Michelle Reader, Guerra de le Paz, Simon Starling, Pedro Reyes, Mel Chin, Wim Delvoye, Lin Evola-
Smidt, Ruganzu Bruno
• waste management: Hans Haacke, Mierle Laderman Ukeles, Viet Ngo
GLOBAL WARMING
• global warming: Marina Zurkow, Tue Greenfort, Olafur Eliasson, Tue Greenfort, Tavares Strachan,
Edgar Martins, David Buckland, Daniel Beltra
• sea-level rise: Mel Chin, Eve Mosher, Haubitz + Zoche, Tea Makipaa, Mary Mattingly, Carolina Aragon
ENERGY
• energy conservation/ alternative energy: Amy Franceschini, Tomas Saraceno, Hehe
• fossil fuel dependance/air pollution: Hehe, Michael Pinsky, Anirudh Sharma, Kim Abele, Simon Starling
• industrial pollution: David Maisel, Beehive Design Collective, Mitch Epstein, Gilberto Esparza, David
Mainsel, John Sabraw, Mel Chin
SUSTAINABILITY
• sustainable farming: Nicole Fournier, Viet Ngo, Mary Mattingly, Artist As Family, Gerda Steiner and
Jorg Lenzlinger, Tissue Culture + Art Project
• biomimicry: Friedensrich Hundertwasser, Jae Rhim Lee, Mario Merz, Viet Ngo, Tomas Saraceno,
Jeremy Gobe
• urban farming: Mary Mattingly, Fritz Haeg, Ron Finley, Gerda Steiner and Jorg Lenzlinger
• green architecture: Friedensrich Hundertwasser
HABITAT
• preservation of land and natural resources: Alan Sonfist
• habitat loss/deforestation/loss of biodiversity: Alan Sonfist, Daniel Beltra,Yun-Fei Jei, Fernando
Garcia-Dory, Bonnie Ora-Sherk, Helen and Newton Harrison, Alan Sonfist
• extinction/species loss/ loss of biodiversity: Alison Turnbull, Maya Lin, Brandon Ballengee, Nick
Brandt, Esther Traugot, Cai Guo-Qiang, Helen and Newton Harrison
• species preservation: Brandon Ballengee, Maya Lin
• urban ecology: Basia Irland, Buster Simpson, Helen and Newton Harrison, Gerda Steiner and Jorg
Lenzlinger
ENVIRONMENTAL REMEDIATION
• environmental remediation: Mel Chin, Mart Tremonte, Viet Ngo, John Sabraw, Hans Haacke
COMMUNITY ENGAGEMENT
• environmental education: Katie Holten, Fallen Fruit Collective, Amy Franceschini
• community healing/social change through art: Lily Yeh, Pedro Reyes, Chris Jordan
• innovative solutions to municipal problems: Viet Ngo, Hans Haacke
• urban development + globalization: Free Soil, Micheal Mandiberg, Dirk Fleischmann
From me: Topic – species preservation
lib.fsu.edu – for sources
My artists- Maya Lin, Brandon Ballengee

Representations of the Body in Art
Artistic representations of the human body have been a timeless source of inspiration, reflecting cultural aesthetics, societal norms, and individual creativity. This assignment challenges you to delve into the diverse ways the body has been portrayed in art, both historically and in contemporary contexts. Through thorough research and creative reflection, you will not only analyze various approaches to body representation but also envision your own artistic interpretation. The final project will be presented as a well-researched PowerPoint presentation. Scholarly research is an important component of this project.
Select a Focus/Theme and Find Artworks
Choose a theme that centers around the representation of the human body in art. This theme should offer a unique angle through which you can explore how the body has been depicted, symbolized, and communicated in diverse artistic contexts.
Below are some theme ideas. You do not have to select from this list, but feel free to use these themes as a starting point, or come up with your own. Remember, try to choose a theme that aligns with your interests and the artworks you plan to analyze. Anatomy and Scientific Inquiry: Analyze how artists have engaged with anatomical accuracy and scientific understanding of the body, reflecting advancements in medical knowledge.
Beauty and Aesthetics: Explore the concept of beauty as represented through the human body and how cultural ideals have shaped artistic portrayals of physical attractiveness.
Body in Photography and Digital Art: Analyze how digital media and photography have influenced the representation of the body in art.
Human Body in Religious Context: Analyze the representation of the body in religious art, highlighting the significance of religious beliefs and rituals in shaping these depictions.
Movement and Gesture: Explore how artists capture the dynamics of the human body in motion, conveying emotion and narrative through gestures and poses.
Mythology and Folklore: Investigate how art uses the human body to portray mythological narratives and folklore, emphasizing cultural stories and beliefs.
Nature and Ancestral Connection: Examining how artworks use the body to depict a profound connection with nature and ancestors, often seen in indigenous art.
Nature and the Human Form: Investigate how artists integrate the human body with natural elements, blurring the boundaries between human and environment.
Renaissance and the Body: Explore how the Renaissance period revolutionized the portrayal of the human body.
Resilience and Strength: Analyze how artists can portray the body as a symbol of resilience, strength, and endurance in the face of historical and contemporary challenges.
Social Hierarchies: Investigate how the portrayal of the body in art reflects social hierarchies, status, and the dynamics of power.
Surrealism and Abstraction: Investigate how the body is transformed and abstracted in surreal and abstract art, giving rise to new interpretations.
Symbolism in Eastern Art: Exploring how the human body is used as a vehicle to convey spiritual and metaphysical ideas in Eastern art forms such as Indian, Chinese, or Japanese art.
Textiles and Body Adornments: Explore the depiction of the body through textiles, clothing, and body adornments in non-Western cultures.
The Body in Ancient Art: Explore the significance of the human body in ancient art forms such as cave paintings, Egyptian sculpture, Greek and Roman statuary, and ancient African, Indian or Chinese art.
The Body in Modern Art – Body as a Medium: Examine how the body became a medium of artistic expression in modern art, with a special focus on performance art and body art movements.
Where can you find artworks that fit your theme? Consider using your textbook as a starting point. The Google Arts and Culture websiteLinks to an external site. is also a good place to find artworks to research as it contains pieces from over 2000 museums and archives. Remember, an internet search can start you off, but you want to move onto scholarly articles for your presentation. Museum resources are acceptable.
Gather Scholarly Sources and Research
Utilize at least five scholarly sources that align with your chosen theme. Keep in mind that you will be focusing your research around a minimum of five artists/artworks. Use your textbook and course material for inspiration. Avoid simple Internet searches and Wikipedia entries.
Effective primary sources include:
Artist’s statements
Interviews with the artist
Manuscripts, correspondence, and reviews written at the time that exhibitions of the artist’s work were held
Artists’ own accounts of their life and work: autobiographies, memoirs, and oral histories recorded later
Effective secondary sources include interpretations and analyses of primary sources by someone else, such as:
Reference books (dictionaries of art, encyclopedias)
Books by scholars
Scholarly journal articles
Book reviews
Museum websites*
* The Internet is a rich source of information, but you need to be very careful to evaluate the legitimacy of the sites. In general, websites are unreliable if it is unclear who wrote the information or what contributors’ qualifications are. Many of the great museums around the world have their own websites, however, which are excellent and trustworthy sources of fascinating information. These websites are generally considered secondary sources, but may include primary source information, too.
Once you have done your research, you need to pull it all together to present a coherent interpretation of the artwork that shows that you understand the content and context. This interpretation should include your own opinion, carefully developed by considering your research findings. The strongest interpretations of an artwork combine the viewer’s formal analysis, factual evidence from primary and secondary sources, and support from the work of specialists who know about the topics being covered.
Source: DeWitte, Debra J., et al. Gateways to Art: Understanding the Visual Arts. 2018.
Presentation: Artwork Analysis
Create a PowerPoint (PPT) Presentation using the following guidelines to present your research. Slide 1: Title Slide
Your title slide should include a captivating title that reflects your chosen theme.
Also include your name and date.
Slide 2: Defining the Theme
Write a concise explanation of your chosen theme. Introduce the artists and their cultural contexts. Provide an explanation of how this theme offers a unique perspective on body representation in art.
Slides 3-12: Artwork Analysis
Present and analyze at least five artworks by at least five different artists that exemplify your chosen theme.Use your textbook and course material for ideas on where to start.
Your chosen artworks should have two dedicated slides each as follows:An image slide which includes a high quality image of the artwork and its basic identifying information (artist name, title, date, medium, dimensions, and location if known). You may include detail images or alternative views.
A separate slide where you discuss in a researched statement how the artwork reflects your theme and contributes to the discourse of body representation in art. Also consider how the artist’s choice of materials and/or processes may be relevant or meaningful.
Remember, you will do the above for each artwork, so this section should be 10 slides (5 image slides and 5 researched statement slides).
Slide 13: Comparative Analysis In a separate written statement (300 words minimum) you will compare and contrast the artists in terms of their interpretation of the theme. Identify common threads and variations in their approaches. Support your claims with research and informed examples/ideas, and draw upon concepts, terms, and approaches learned in class. Presentation (cont.): Artwork Proposal
Slide 14 (or more slides as needed): Artwork Proposal
After conducting your research, you will now get a chance to think creatively and propose an imagined artwork where you envision your own representation of the body. This could be a self-portrait, but it does not have to be. Do not worry if you are not artistically inclined! You are not expected to create an actual finished art piece; it is merely a proposal.
Concepts: Describe the concepts and theme of your envisioned work. What emotions or messages are important to convey?
Inspiration: Share what inspired your idea. Did the research influence your concept? Keep in mind that your artwork proposal does not have to relate directly to the artists or theme you chose for the main part of your research project. However, in your statement, you should make thoughtful connections to your artists and/or theme, whether this be through comparison or contrast.
Details: What materials/medium would you use? Consider and explain the scale, location, style, and subject matter. Be specific and as vividly descriptive as possible, demonstrating an understanding of course concepts. Would it be figurative or would you represent the body (yourself if a self-portrait) through other ways?
Visual Representation: Include any simple sketches, diagram, images, or visuals that may aid in the depiction of your proposed artwork. If you don’t want to sketch, you could include found images or a digital collage that may assist in helping to visualize your idea.
A fun part of this proposal is that since you are not actually expected to complete the work, you are not constricted by location, scale, or cost of materials!
Presentation (cont.): Works Cited
Final Slide: Works Cited (References)
On the final slide, include a properly formatted full reference list.
Remember to use in-text citations on the content slides.
Formatting GuidelinesIt is recommended to create your presentation in PowerPoint and submit a PPT file or a PDF.You may choose a different application such as Google Slides or Canva, but remember, if you use something other than PPT to complete your presentation, it must be saved and submitted as a PDF document – other file types are NOT accepted.
Organize your slide presentation according to the instructions.
Use clear and complete sentences throughout your presentation. Proofread before submission. You must use correct grammar, punctuation, and spelling.
Your file may be large, so give yourself plenty of time to upload the assignment to avoid delays. The syllabus late policy applies.
-(need to be done by Jun 18 by 11:00pm)-

5+ page paper w/ bibliography and citations
Choose at least two artworks from an artist or movement or tradition to describe in your paper and show in your paper. Place a picture of the artworks in your paper no more or smaller than a 1/4 page size of the paper. Pick an artwork that is not pixilated or blurred. A high resolution picture is preferred.
You will describe one artwork with a formal analysis and second artwork with a formal analysis or one artwork with a formal analysis and second artwork with a content interpretation or one artwork with a content interpretation and second artwork with a content interpretation. 
Use at least two sources of information for your bibliography. No Wikipedia for a source
Your research paper must include the following:
An introductory paragraph, in which you describe what you will cover in your paper. Your paper should be summed up in one thesis statement, which is included in the introductory paragraph.
Biographical information on your subject. Where is your artist from, when did he/she live, and any interesting facts about their background. If you are researching an artistic tradition, discuss the background of its practitioners.
A general description of his/her/their art.What sort of art did they make over a lifetime? What materials and processes did they use? What is the general appearance of the work?
A formal analysis or a content interpretation of at least two artworks. A formal analysis includes a visual description, a discussion of visual elements and design principles; and a interpretation of content tells of the story, the message, what it is communicating.
A concluding paragraph which sums up your observations in the paper, and can include your own opinions of the artist or art discussed.
A bibliography page in which you list all the references you used to gather ideas. Use at least two sources. Citations of all borrowed material. Anything not in your own words will be written in quotation marks and cited with a footnote, endnote, or parenthetically. Plagiarized papers will receive no credit.
It will be about Michelangelo