Activity 4
DIFFERENTIATION



Cre-art-ivity





Over to you!

My view on art

Let’s use what you have learnt in
Activity 4
and / or
Activity 5
!

On a blog online, you read the following quote: “Every work of art derives to some extent from antecedent works of art”. Do you agree? Why? Post your reaction, then read other people’s comments on this point and react to it as well.


Let's talk this out!

Voir les réponses
GROUP WORK

Share your findings with your classmates and learn about the other texts.

3
What are the common points and differences? What is the greatest difference between your texts?


4
Which artist's view do you best understand?


Useful vocabulary:
The artist I understand best is…
I think I share (artist’s name)’s view…
I agree with… on...
Voir les réponses

You are in charge of one text.

Go on the Internet to find information about the artist(s) presented.
Workbook p. 88

1
Read the source of the text. What do you expect to read?

2
What kind of text is it? Sum it up in one or two sentences.


Useful vocabulary: I expect to read a…
This text is… Basically, it tells about...
Text A
Text A

My principal source of visual information is Muybridge, the photographer of the last 19th century who photographed human and animal movement. It’s a work of unbelievable precision. He created a visual dictionary on movement, an animated dictionary. (...) For me, who doesn’t have any models, it’s an unbelievable source of inspiration. The images help me just as much to find ideas as to create them. I look at a lot of very different images, very contradictory and I take in details a bit like those people who eat off other people’s plates. When I paint, I have the desire to paint an image that I am imagining, and this image transforms itself. I have also asked a photographer friend to do men fighting but that didn’t work. People have always believed that I painted movement directly from photos, but that’s completely wrong. I invent what I paint.

“Francis Bacon: The Last Interview’”, Francis Giacobetti, The Independent, 2003.
Text B
Text B

These are fairly obvious categories, and they are not the only divisions that the material at hand suggests. For there are significant differences in feeling and spirit to be discerned here. When Cornell uses a reproduction of another work of art in one of his boxes or collages, his attitude is not satirical. It is pious and loving, and the new work he creates is, in effect, a kind of valentine addressed to something he adores. The spirit of Mr. Saul’s hilarious vulgarizations of Rembrandt, Picasso and de Kooning is radically different it is critical, analytical and irreverent.

“Art: ‘About Art’, Parodies, at Whitney”, Hilton Kramer, NY Times, 1978.
Text C
Text C

English graffiti artist and international prankster Banksy has managed to become one of the world’s most recognized artists while remaining relatively anonymous. Staying true to the credos of street art, he’s built a celebrated body of work, both permanent and impermanent, that utilizes satire, subversion, dark humor, and irony to create resonant social, political, and humanist messages for the masses on a populous and public level. His style is universally familiar, founded on a signature stencil aesthetic that has elevated him from mere man with a spray can to a highly creative artist in his own right. He is responsible for catapulting guerilla work into the mainstream as a viable form of art.

“Banksy: British Graffiti Artist, Political Activist, and Film Director”, theartstory.org, 2018.
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