Exploring Art: A Global, Thematic Approach (4th Edition) by Margaret Lazzari, Dona Schlesier

By Margaret Lazzari, Dona Schlesier

EXPLORING artwork makes use of artwork examples from around the globe to debate paintings within the context of faith, politics, kin constitution, sexuality, leisure and visible tradition.

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The strange lighting and shadows contribute to the sense of ill-ease. Now, let us turn to space in sculpture and architecture, which consists of the footprint occupied by the structure and also the voids and solids within each piece and immediately surrounding it. Look again at Martin Puryear’s That Profile (Fig. 19), which is so memorable because of the large empty space that the framework contains and the sky and landscape seen through it. The voids and solids in Louise Nevelson’s Mirror Image I (Fig.

The masks and raffia costumes also disguise the performers’ identities. CONNECTION Allan Kaprow’s Household (Fig. 23) was a Happening performed by several men and women, who worked from a simple premise but were free to improvise as the performance unfolded. 42 C HA PTER T WO The Language of Art and Architecture PRINCIPLES OF COMPOSITION The arrangement of the formal elements in a work of art is called its composition. The principles of composition are balance, rhythm, proportion and scale, emphasis, unity, and variety.

It is interesting to see how architects use nature to create variety in their designs. House plants add variety to the interior, while planter beds and gardens relieve the austerity of the exterior. Within Principles of Composition 45 neighborhoods, rows of houses are juxtaposed with greenbelts and parks. stone, wood, steel, and concrete. Structural systems and materials strongly influence the design and visual appearance of buildings. CONNECTION An extreme example of variety is the density of Manhattan relieved by the expansiveness of New York City’s Central Park, designed by landscape architects Frederick Law Olmsted and Calvert Vaux (Fig.

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