Making Art: Form and Meaning / Edition 1

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Overview

This comprehensive introduction to art and design explores making artifacts as a process of making meaning. Making Art: Form and Meaning offers a framework for understanding how all the aspects of an artwork--subject matter, medium, form, process, and contexts--interact. The text's wide array of examples and its emphasis on late-modernism and postmodern art give students a thorough look at the expressive possibilities of traditional design elements and principles and contemporary practices, including the use of computer-based, time-based, and lens-based media.

With artist quotes, clearly defined key terms, and a chapter dedicated to studio critiques, Making Art allows students to join the conversation of contemporary art and gives them a jump start in thinking and talking about their work using the language and concepts of today's art world.

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Product Details

  • ISBN-13: 9780072521788
  • Publisher: McGraw-Hill Higher Education
  • Publication date: 1/15/2010
  • Edition description: New Edition
  • Edition number: 1
  • Pages: 288
  • Sales rank: 254,645
  • Product dimensions: 8.40 (w) x 10.70 (h) x 0.60 (d)

Meet the Author

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.
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Table of Contents

1 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

Contexts

Viewing Context

Internal Context

Artist's Context

Social Context

Art Historical Context

Conclusion: The Components and Meanings

2 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
Medium
Form
Contexts
Meanings

Hannah Wilke's Intra-Venus Series

Subject Matter
Medium
Form
Contexts
Meanings

Jacquie Steven's Double-Spouted Jar

Subject Matter
Medium
Form
Contexts
Meanings

Annie Seidman's Untitled

Subject Matter
Medium
Form
Contexts
Meanings

Semiotic Interpretations: Denotations and Connotations

"Right" Interpretations

Deciding among Competing Interpretations

The Value of Having Your Work Interpreted

Conclusion: Principles for Interpreting Art

3 POINT, LINE, SHAPE, MASS AND VOLUME, TEXTURE, AND VALUE

Point

Line

Line in Two-Dimensional Art

Line in Three-Dimensional Art

Shape

Figure and Ground

Positive and Negative Shape

Amorphous Shape

Three-Dimensional Shape

Mass and Volume

Texture

Actual Texture

Implied Texture

Invented Texture

Value

Conclusion: The Power of Simple Elements

4 COLOR

Basic Color Physics

Color and Light

Additive Color and Subtractive Color

Optical Mixing Processes

Color Wheels

Physical Traits of Color: Hue, Value, and Intensity

Neutrals

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

Afterimage

Artists and Optical Mixing

Local Color and Arbitrary Color

Color and Meaning

Mood and Emotion

Colors and Cultures

Conclusion: Beyond Color Theory

5 SPACE

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
Size
Overlap
Transparency
Placement

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
Foreshortening

Isometric Perspective

Multiple Perspective

Denying Illusion

Conclusion: Limitless Opportunities in Space

6 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

7 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

8 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

9 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

Contrast

Visual Contrast

Conceptual Contrast

Conclusion: The Inherent Qualities of Balance and Contrast

10 REPETITION, UNITY AND VARIETY, EMPHASIS AND SUBORDINATION

Repetition

Pattern

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

11 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

Jouissance

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?

12 ARTISTS' PROCESSES AND PRACTICES

Artists' Motivations and Ideas for Making Art

Artists' Practices of Making Art

Conclusion: Keep Yourself Motivated

13 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

Notes

Glossary

Bibliography

Photo Credits

Index

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