Best and Worst Works of Art. Visual & Performing Arts Coursework
In this assignment, you will begin by identifying what you think is ONE best work of art in the textbook and ONE worst work of art in the textbook. You will need to fully identify the work by artist name, title, image number AND page number from the book.
Your next step is taking the time to carefully study each work you selected. I suggest you copy both images and place them where you can see them frequently as you go through the day---on your computer desktop, copied and taped on your wall, on your phone. You'll be referring to these two works throughout the course.
Discuss how the visual elements of art and the principles of design from chapters you've read thus far are applied and organized in each of your selected works. What art elements are apparent? Lines? Colors? Shapes? Textures? Space? Describe what you see. How are the forms arranged in space? Which organizing principles are at work? Asymmetrical balance? Unity and/or variety? Emphasis? Rhythm? Scale or proportion?
Don't try to interpret work or speculate on its meaning---you will do this in a later assignment.
Write up to one page (250-400 words) for each work.
Best and Worst Works of Art
1. Best Work of Art
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This photograph – Dorothea Lange, Migrant Mother, No. 10.12, p. 157 – is one best work of art. In black and white, Migrant Mother emphasizes mass at a considerable expense of space. Filled up by mother’s figure, Migrant Mother, huddled by a couple of kids on right and left, faces not shown, lines – of mother’s face, hair, and dress – are lent a special emphasis perhaps to accentuate a certain state of affairs. The Migrant Mother is, more specifically, shown front and center in a photograph barely offering much space except for a headroom, bare and empty. The kids, leaning on mother’s right and left shoulders, make space more compacted by filling in all area between each kid’s head and mother’s shoulder. This corporeal compactness is, moreover, paralleled by a state of mental compactness, so to speak, expressed in “hard” lines shown on mother’s face, particularly on forehead. The eyebrows frowning and lips dry, mother’s face is rich in texture made even more striking by capturing light (on mother’s face, right hand and elbow) against darker shades all over mother’s neck, cheeks and, of course, hair. The juxtaposition of light and dark as shown in mother’s figure is further accentuated by a playful capture of moods expressed in a contrast between son’s lighter nape (to left) and daughter’s darker neck (to right). The light-dark shade manipulation is, moreover, well captured in
background as a darker headroom over son’s head is juxtaposed to a lighter headroom over daughter’s head. Overall, Migrant Mother is, in a sense, a masterful e...
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