{"id":754,"date":"2015-05-26T22:03:09","date_gmt":"2015-05-26T22:03:09","guid":{"rendered":"https:\/\/courses.candelalearning.com\/masteryart1x6xmaster\/?post_type=chapter&p=754"},"modified":"2024-05-23T19:06:29","modified_gmt":"2024-05-23T19:06:29","slug":"why-it-matters-4","status":"publish","type":"chapter","link":"https:\/\/courses.lumenlearning.com\/mcc-artappreciation\/chapter\/why-it-matters-4\/","title":{"raw":"Why It Matters","rendered":"Why It Matters"},"content":{"raw":"

Identify and explain the periods of art history; identify and discuss period artworks (course level learning objective)<\/h2>\r\n

Introduction<\/h3>\r\nWe now embark on studying\u00a0art in\u00a0historical context. Consider this statement by James W. Loewen about the importance of studying American history:\r\n
Even when an event seems to be new, the causes of the acts and feelings are deeply embedded in the past. Thus, to understand an event\u2014an election, an act of terror, a policy decision about the environment, whatever\u2014we must start in the past (11).<\/blockquote>\r\nIn this sense, artwork can be taken to resemble a kind of\u00a0event. To develop a deep understanding of art, we must consider it within the trajectory of history and within the most basic contexts\u2014time and place. How is an\u00a0artwork from one period of history an affirmation, rejection, or some more nuanced continuation of\u00a0what came before it? Watch this video of a posthumous installation of a work by Felix Gonzalez-Torres, Candies (Portrait of Ross in L.A.)<\/em>:\r\n\r\nhttps:\/\/youtu.be\/37bSb-aQ4BM\r\n\r\nAt the end of this module\u00a0we will discuss how this art installation is not only emblematic of a specific time and place, but it is also part of the continuum of art history. Consider these questions as you work\u00a0through this section: How do artworks build on what came before them? How and why did\u00a0Marcel Duchamp\u2019s \"readymades\" represent a kind of seismic shift in the world of art? Can\u00a0they be considered as \"events\" that had a profound impact on\u00a0what kinds of things are considered art today? How is this installation by Gonzalez-Torres a product of the time in which it was created?\r\n

Works Cited<\/h3>\r\n

Loewen, James. Teaching What Really Happened<\/em>. New York: Teacher\u2019s College Press, 2010. Print.<\/p>\r\n\r\n

Module Learning Outcomes<\/h3>\r\n
    \r\n \t
  • Identify and describe key characteristics and defining events of art from prehistory<\/li>\r\n \t
  • Identify and describe key characteristics and defining events of art from the Age of Faith<\/li>\r\n \t
  • Identify and describe key characteristics and defining events of art from the Renaissance through Baroque periods<\/li>\r\n \t
  • Identify and describe key characteristics and defining events of art from the eighteenth and nineteenth centuries<\/li>\r\n \t
  • Identify and describe key characteristics and defining events of art from the twentieth century to the present<\/li>\r\n \t
  • Compare and contrast two works of art from a similar period<\/li>\r\n \t
  • Compare and contrast two works of art from different cultures and periods in terms of\u00a0formal qualities, context, and meaning<\/li>\r\n \t
  • Analyze a modern\u00a0work of art and describe how it borrows from or is influenced by an earlier work of art<\/li>\r\n<\/ul>","rendered":"

    Identify and explain the periods of art history; identify and discuss period artworks (course level learning objective)<\/h2>\n

    Introduction<\/h3>\n

    We now embark on studying\u00a0art in\u00a0historical context. Consider this statement by James W. Loewen about the importance of studying American history:<\/p>\n

    Even when an event seems to be new, the causes of the acts and feelings are deeply embedded in the past. Thus, to understand an event\u2014an election, an act of terror, a policy decision about the environment, whatever\u2014we must start in the past (11).<\/p><\/blockquote>\n

    In this sense, artwork can be taken to resemble a kind of\u00a0event. To develop a deep understanding of art, we must consider it within the trajectory of history and within the most basic contexts\u2014time and place. How is an\u00a0artwork from one period of history an affirmation, rejection, or some more nuanced continuation of\u00a0what came before it? Watch this video of a posthumous installation of a work by Felix Gonzalez-Torres, Candies (Portrait of Ross in L.A.)<\/em>:<\/p>\n