Art

espond to 20 prompts total. Each is worth 1 point (20 points total for the assignment).  Part 1: Chapters 15-17 Choose and respond to 7 prompts from Part 1. Make sure that your responses are written in full sentences and respond in detail to the prompts.  I will be looking for responses that demonstrate understanding of the course material and its application to artworks you view at the museum.  *Make sure to number your responses to correspond to the prompt numbers. Do not include the prompt text with your responses.  1) Locate the Winged Genius from Nimrud in Gallery 240. Compare the appearance and purpose of this demi-god image with that of the human-headed winged lion (lamassu) on page 326 of your textbook or the Lion Hunt panel on page 327.  2) In gallery 250, locate the Casket and cartonnage of Lady Tashat. Compare the painted images that decorate the cartonnage with the Fragment of a wall painting on page 331 of your textbook.  3) In Gallery 241, locate the Cycladic Female figure. Considering the artistic culture and style of the Cycladic period, compare this object with the Statuette of a woman on page 335 of your textbook.  4) Also in Gallery 241, locate the Black-figured Hydria. Compare the representation of human and animal forms that decorate this hydra with the decoration of the Krater pictured on page 337 of your textbook.  5) Using the Roman Matron and the Doryphoros examples, comment on the differences between the styles of sculpture from Classical Greece and Rome. Neither statue is currently on view in a gallery, so you will need to search for these by title.  6) In Gallery 343, locate the Madonna and Child Enthroned with Saints painted by Bernardo Daddi. Compare the techniques and elements this artist used to depict a holy figure with the same seen in Cimabue’s Madonna Enthroned, pictured on page 53 of your textbook.  7) In Gallery 342, locate Virgin and Child in a Landscape (c. 1492-98). Considering the techniques this artist used to define pictorial space (review pages 103-111 in your textbook), compare with the same as seen in Madonna and Child with St. Anne by Leonardo Da Vinci, pictured on page 372 of your textbook.   8) In Gallery 330, locate Salome with the Head of Saint John the Baptist by Onorio Marinari. Discuss what exactly that you see in this painting that makes it distinctly Baroque.  9) Locate Rembrandt’s Lucretia in Gallery 311. Using this painting as an example, comment on how the Dutch Baroque style of Rembrandt differed from the Italian Baroque of Caravaggio or Artemisia Gentileschi.  10) In Gallery 309, locate a painting titled The Asparagus Vender. Considering the content of Chapter 3 of your textbook and Johannes Vermeer’s Woman Holding a Balance depicted on page 67 of your textbook, comment on genre subjects in Dutch painting of the 17th century.  11) Enter Gallery 318 and look around you. Comment on how this Grand Salon period room is representative of the Rococo style architecture.  12) In Gallery 307, locate the sculpture titled Ganymede and the Eagle. Comment on how its Danish sculptor adhered to the style and subject matter of Neoclassicism.  Part 2: Chapters 18-20 Choose and respond to 7 prompts from Part 2. Make sure that your responses are written in full sentences and respond in detail to the prompts.  I will be looking for responses that demonstrate understanding of the course material and its application to artworks you view at the museum.  *Make sure to number your responses to correspond to the prompt numbers. Do not include the prompt text with your responses.  13) In Gallery 243, locate a rectangular tile from Iran (13-14th century). Considering the buildings depicted on page 414 of your textbook, use this object to comment on the use of blue-glazed tile to decorate mosque architecture and the significance of calligraphy in Islamic art.  14) In Gallery 236, locate the beaded Yoruba crown (c. 1920). Considering figures 18.12 and 18.13 in your textbook, comment on the original function of the crown on display at the Minneapolis Institute of Art.  15) In Gallery 254, locate a terra-cotta head from the Nok culture (1000 BCE-300 CE). Considering how this object may have originally appeared, compare it to the Nok head depicted on page 418 of your textbook.  16) In Gallery 254, locate the Sande mask. Considering this mask and figure 18.17 in your textbook, comment on how masks and masquerading function in many African cultures.  17) In Gallery 254, locate the Dogon Male Figure (17th-18th century). Considering this sculpture and figure 18.14 in your textbook, comment on the role of abstraction in Dogon sculpture.  18) Locate a wooden Maori House Panel in Gallery 256. Considering figure 20.5 in your textbook, comment on where the house panel in the Minneapolis Institute of Art originated and its function/meaning.  19) In Gallery 256, locate Bark Painting with Suns, Fish and Plants from Australia. Considering the function/meaning of this object, compare it to figure 20.1 in your textbook.  20) In Gallery 200, you will see several depictions of the bodhisattva Avalokiteshvara (Guanyin) in sculpture and painting. Choose one and compare its appearance and iconography to the Guanyinsculpture depicted on page 441 of your textbook.  21) In Gallery 210, locate Uma-Maheshvara (10th-11th century). After reviewing pages 232-234 of your textbook, consider the use of iconography in Hindu art.  22) In Gallery 218, locate Plum, Narcissus and Rock (1679) by Wang Wu. After reviewing pages 442-444 of your textbook, comment on Wang Wu as a scholar painter.  23) In Gallery 205, locate the Haniwa of a Female Shrine Attendant (6th century) from Japan. Compare the style and function of this object to the haniwa horse depicted on Page 445 of your textbook.  24) In Gallery 222, locate the locate the pair of panel screens called Hawks by a Stream (mid 17th century). Compare the style and media of these screens to the same seen in figure 19.33 of your textbook.  25) In Gallery 226, choose one woodblock print that interests you. Then, comment on how it represents imagery that would have been of interest in Edo Japan.  26) In Gallery 260, locate a painted Bowl (c. 800-1200 CE) from the Maya. Considering the iconography seen in figure 20.10 in your textbook, theorize what or who you think may be depicted on the Mayan vase at Mia and what may have been the function of this object.  27) In Gallery 259, locate the Dakota Cradle Board Cover (c. 1880). After reviewing pages 466-467 of your textbook, comment on how objects such as this cradle board imbued “arts of daily life” with meanings beyond practical function.   28) In Gallery 261, locate the Transformation mask carved by Richard Hunt in 1993. After reviewing page 470 of your textbook, use this object to comment on the role of masks in Kwaukiutl ritual.  Part 3: Chapter 21 Choose and respond to 6 prompts from Part 3. Make sure that your responses are written in full sentences and respond in detail to the prompts.  I will be looking for responses that demonstrate understanding of the course material and its application to artworks you view at the museum.  *Make sure to number your responses to correspond to the prompt numbers. Do not include the prompt text with your responses.  29) In Gallery 357, locate the painting View of Tangier by Eugène Delacroix (1852-1853). What qualities does this painting have that make it Romantic? 30) In Gallery 355, find The Smoker (1866) by Édouard Manet. Then, venture over to Gallery 306 to locate Union of Love and Friendship (c. 1793) by Pierre-Paul Prud’hon. Using these two paintings as examples of Realism and Academic art, explain their differences in subject matter and painting technique. 31) In Gallery 355, find Grainstack, Sun in the Mist (1891) by Claude Monet. Using this painting as an example, explain where Impressionist artists painted and what their artistic goals were.    32) In Gallery 355, locate Olive Trees (1889) by Vincent Van Gogh and Tahitian Landscape (1891) by Paul Gauguin. In what ways are both of these paintings examples of Post Impressionism?  33) In Gallery 371, view London: St. Paul’s Cathedral seen from the Thames (1906) by André Derain. In what ways does this painting illustrate Fauvism?  34) In Gallery 371, locate Seated Girl (Fränzi Fehrmann) by Ernst Ludwig Kirchner and Study for Improvisation V (1910) by Vassily Kandinsky. Using these paintings as examples, explain the differing tendencies of the Die Brücke and Der Blaue Reiter Expressionist groups in Germany.  35) In Gallery 367, locate Table and Fruit (1909) by Fernand Léger. In what ways does this painting demonstrate Léger’s interest in the experiments of his contemporaries, Georges Braque and Pablo Picasso? 36) In Gallery 376, view The Scholar’s Playthings (1917) by Giorgio de Chirico. What qualities of Metaphysical Painting does this painting share with The Disquieting Muse by Giorgio de Chirico pictured on page 491 of your textbook?  37) In Gallery 376, locate Gift (1921) by Man Ray. How is this object representative of the ideas of the Surrealist Movement? 38) In Gallery 377, find Composition with Blue, Red, Yellow, and Black (1922) by Piet Mondrian. After reviewing pages 496-497 of your textbook, explain what Mondrian was trying to achieve with this painting.  39) In Gallery 378, locate Marcel Breuer’s Armchair (AKA the Wassily Chair). How does this chair, in regard to form and materials, illustrate the principles of the Bauhaus school of design?

Instructions Step 1: Watch the following videos: -The Modern Revolution: Crash Course Big History #8 -A brutal history told for a modern city, Diego Rivera’s Suga -Futurism -Phonograph vs Gramophone The Invention of Sound Recording Step 2: Spend a moment reflecting on the different ways you saw technologies influence the arts and society. This influence could include the development of specific instruments/materials, artistic styles, manifestos, or artistic responses to the changing world. Answer the following questions.   Use analysis and evidence to describe what is the most surprising thing you’ve learned about how technological advancements have affected the arts.  Take a moment to think about how current technologies may soon influence the arts. What is one way you predict the arts might be affected by our new technologies? Be specific and use evidence to support your prediction.  Step 3: Respond to at least two of your classmate’s posts. In your response, tell them what you think about their prediction. Do you agree or disagree with it? Explain why not, or add more information to help support their claim. Responses are due by 8:00 pm on July 31st.  Maximum post length ~ 300 words

This class is 20th century art history As first steps in the research process, you will need to refine your paper topic and produce a working annotated bibliography. Please submit this information as a type-written, double-spaced document in 11- or 12-point font that is submitted to Blackboard’s “Discussions” link labeled “Research Paper Proposal & Annotated Bibliography” by 5pm, Friday, July 24. The paper topic proposal should narrow your topic and focus and begin to indicate the argument that you will make in the final paper. The paper topic proposal requires research in order to make your proposal as close to your final paper topic as possible. I strongly suggest that you come to office hours to discuss your topic proposal in advance. The written proposal must include: 1. A preliminary thesis statement. A thesis statement is “a proposition stated as a conclusion which you will then demonstrate, or ‘prove’ in your paper.” It is the focal point around which your research will revolve. It is not a question, it is an answer. Your thesis statement must take a position. It announces the argument or point you want to prove. The thesis tells the reader how you will interpret the significance of the subject matter under discussion. It is a road map for the paper, telling the reader what to expect. The thesis is usually one or two sentences somewhere in the introduction that presents the argument to the reader. At this point, your thesis will be a working thesis. It will likely need refining and revising as you write the rest of the paper. Thesis statement examples: a) “This paper examines the ways in which Ernst Ludwig Kirchner’s painting Street, Berlin (1913) reflects the chaos and eroticism seen throughout Germany’s thriving cities at the beginning of the twentieth century. Primarily through a distorted use of color, line, texture, and spatial perspective,Kirchner was able to provoke a sense of awareness in the viewer using an expressive style —emblematic of the German Expressionist Die Brücke group — and address the transition from the tradition of the past into the modern future.” b) “This paper examines the ways in which Judy Chicago’s The Dinner Party (1979) challenges the male-dominated culture of post-World War II America as promoted by art movements such as Abstract Expressionism and Minimalism. With its overt celebration of needlepoint, china painting, and feminine ‘central-core’ imagery, it demonstrates Chicago’s aim to elevate women’s“craft” to the level of fine art in order to explore the often-silenced conditions of women and to produce truthful renditions of women’s experiences, culture, and heritage.” 2. The second part of this exercise is the working Annotated Bibliography. An annotated bibliography gives a brief account of the available research on a given topic. It is a list of research sources that includes concise descriptions and evaluations of each source. An annotation usually contains a brief summary of content and a short analysis or evaluation. As you evaluate your sources consider: the content and scope of the work, the main argument, the intended audience, the conclusions, the relevance of the text for your research, the themes or concepts that are emphasized, your reaction to the text, what you gleaned from the source. The evidence (primary and secondary sources) you provide for your thesis will include your interpretation, analysis, and description of the characteristics of works of art and texts, and must at all times relate to your thesis. Primary Sources Primary sources refer to “first hand” information directly from the artist or the artist’s contemporaries– the original accounts created usually during the time under study. In addition to examining the artwork itself, you will also need to research interviews with the artist, manifestos or essays written by the artist, contemporary criticism, and personal and public correspondence written by the artist. Your bibliography must include at least 1 primary source. Secondary Sources These sources are made up of interpretations and commentary on primary sources, especially works of art. Secondary sources include books (monographs, anthologies, and exhibition catalogs) and articles in scholarly journals. You should begin your search for your sources by visiting SCAD’s Library catalog. There are a number of useful digital databases on this site, and you should first try JSTOR as it includes articles from a large number of peer-reviewed academic journals and most can be downloaded as PDF files. Your bibliography (the list of textual sources) must include at least three secondary sources, alongside the minimum one primary source. Each annotation should be about 3-4 sentences in length. Annotations should be concise and distill the most important and relevant details of that source. The annotated bibliography starts with the bibliographic details of a source (the citation) followed by the annotation.

You will write 2-3 pages (typed, double-spaced with one inch margins) on either of the following two topics: Any VISUAL artist ( historical or contemporary) who is recognized as having produced works of significant importance to the world of art. (NOT musicians, actors, dancers, fashion designers) This may include artists mentioned specifically in your text, but is not limited to those artists. However, do not pick your Aunt Minnie simply because she likes to knit. Tattoo artists, directors, animators, comic book artists are all ok. Any historical period of art from the prehistoric up to, and including, the postmodern era. Gather information: Once your topic is decided, you should begin gathering information on that artist or era from as many sources as you can access. Do not limit yourself to your text. Use books and periodicals from the library, video tapes, DVDs and Internet sources as well. Do NOT simply transcribe or download from the Internet or any other reference. What I want is your personal thoughts on the artist or era and the work produced by that artist or era. Questions you should address might include, but are not limited to, the following: During what time did this artist produce work? What was the historical context in which this artist worked? Where was this artist’s or era’s major body of work produced? In what medium(s) were works produced? To what group or particular paradigm is this artist considered to belong? Why is this artist’s work considered to be significant? Why it does this artist or era appeal (or not appeal) to you? How does the art of your chosen era compare to what we see today? Do you see any of its influences in your world? Does the art tell a story or seem to represent a particular worldview? Describe some examples of the works produced by your artist or era. Are they representational, abstract, symbolic, etc.? Treat the writing assignment as you would a conversation over coffee with a friend. Write informally, but intelligently. Although you are not required to add footnotes, do make sure that your assertions are based on facts gathered during your research, and if you include an idea or statement that is not your own, simply include the source in the body of your text. I am not looking for a rewritten version of an academic treatment you have found, but for your opinions and evidence of your personal understanding of the work of the artist or era you select. Organize your paper: Introduction: Begin your writing by introducing your topic. (artist or era) This is a good time to introduce objective aspect (facts) concerning your topic. Who, when, where, etc. If you hope to make an assertion or prove some particular point, this is the time to articulate that point. This part of your paper should take no more than a paragraph or two. Body: Although you may certainly continue to introduce supportive facts in this section, this is where you should get to the subjective aspect (your opinion) in discussing your topic. If, for example, some particular work impresses you, then simply explain why you find it impressive. This is where you may apply the interpretation and judgement steps in Feldman’s model for criticism. This section should take up the bulk of your paper. If you quote anyone directly at any time, please simply include the source in your writing rather than footnoting it. For example: Albert Einstein once said, “The most beautiful experience we can have is the mysterious. It is the fundamental emotion that stands at the cradle of true art and true science.” Conclusion: In this final section you should take a paragraph or two to summarize your feelings and to add any parting thoughts regarding your investigation into your topic. This is where you tie it all together. Sources: At the end of your text you are to list your sources. These may include books, tapes, magazines and Internet URLs. Obviously, you should have several, otherwise you have probably not done enough research to form much of an opinion of the artist or era.

paper on a work of art from Jose de Ribera called Virgin and Child. discuss the time periods and cultures the of this portrait.

To complete this assignment, you must first read Exploring Art Histories (Instructions) and complete the assignment as described. Original post must be minimum 500 words. Include at least one photo of your selected work.

Description: For this paper you are going to do some formal analysis on a work of art you choose that falls within the parameters of this course. That means you will choose a work from the time period and geographical regions we cover in this class. You may choose the same work you did for the Annotated Bibliography. You will write a description of this object and then compare it to something we have studied together in class. For your main object you must choose a work that we have NOT studied together in this class. For example, you are not allowed to work on The Girl with a Pearl Earring, which we covered in the Module on Baroque Art. You may, however, choose to work on a different painting and discuss how it reminds you of The Girl with a Pearl Earring. Be careful about your selection. If you choose a work that does not fit in the time period and geography we’ve covered, you will automatically get 20 points deducted from your paper. Choosing an appropriate work is a major component of this project. What is Formal Analysis? A formal analysis includes an analysis of the forms appearing in the work you have chosen. These forms give the work its expression, message, or meaning. If you do not remember what formal analysis is, please refer to Introduction to the Course and Discipline of Art History | Readings & Videos. To aid in writing a formal analysis, you should think as if you were describing the work of art to someone who has never seen it before. When your reader finishes reading your analysis, she/he should have a complete mental picture of what the work looks like. Yet, the formal analysis is more than just a description of the work. It should also include a thesis statement that reflects your conclusions about the work. The thesis statement may, in general, answer a question like these: What do I think is the meaning of this work? What is the message that this work or artist sends to the viewer? What is this work all about? The thesis statement is an important element. It sets the tone for the entire paper, and sets it apart from being a merely descriptive paper. Format for the Paper: Two to three pages (not including title page, if you use one) double spaced 12 pt type 1” margins include an image of the work you are discussing (this is NOT included in the page limit) Make sure you proofread your papers for adhering to the information listed above, as well as incorrect grammar, spelling, punctuation, and other errors. In addition, make sure your paper includes a thesis statement. Your grade will reflect your ability to follow these guidelines. In the first paragraph, called the introduction, you will include: the name of the artist (if known), title (which is underlined or italicized every time you use the title in your paper), date, and medium (if known) what you think is the subject a very brief description of the work thesis statement – usually the last line or so of your first paragraph. From that point, the rest of the formal analysis should include not only a description of the piece, but especially those details of the work that have led you to come to your thesis. Yet, your paper should not be a random flow of ideas about the work (i.e. stream of consciousness writing). Rather, your paper should have a sense of order, moving purposefully through your description with regard to specific elements (ex: one paragraph may deal with composition, another with a description of the figures, another with the background, another about line, etc.). You will also include a paragraph in which you compare and contrast your chosen work of art to one of the works we have studied together. Does it resemble your piece formally? Do they have iconographical similarities? Finally, in your conclusion (the final paragraph) you should end your paper with a restatement of your thesis. Important Note about Research It is important to remember that your interest here is strictly formal; NO RESEARCH IS TO BE USED IN THIS PAPER. In other words, you are strictly relying on your ability to visually ‘read’ a work of art and make interpretations about it based on your analysis of it. Remember too that your analysis should not be just a mechanical, physical description. Please use descriptive language and adjectives to describe your work. Begin with a general description of the work, and then move on to the more specific elements. In addition, please refer to your syllabus concerning my policy on plagiarism – do not share your thesis or paper with other students and please do not work on your paper with another student. This is considered plagiarism and will result in a failing grade for the entire class. For Help: Writing help is available in two locations at the SRJC! Please take advantage of this wonderful, free resource while it is available to you. These centers are still operating remotely. at the Writing Corner in the Tutorial Center in Doyle Library: https://college-skills.santarosa.edu/tutorial-centers-nettutorLinks to an external site. at the Writing Center sponsored by the English Department: https://english.santarosa.edu/writing-centerLinks to an external site. Watch this Smarthistory video on How to do Formal Analysis (Links to an external site.) Read this free resource to learn more about Writing about Art Ask someone to read a draft to see if your text makes sense. See me during office hours or email me a question. Things to consider when writing a formal analysis (in no particular order): Keep in mind that you always need to Back Up Your Statements! Record your first impression(s) of the artwork. What stands out? Is there a focal point (an area to which the artist wants your eye to be drawn)? If so, what formal elements led you to this conclusion? Your impressions can help you reach your thesis. What is the subject of the artwork? Composition: How are the parts of the work arranged? Is there a stable or unstable composition? Is it dynamic? Full of movement? Or is it static? Pose: If the work has figures, are the proportions believable? Realistic? Describe the pose(s). Is the figure active, calm, graceful, stiff, tense, or relaxed? Does the figure convey a mood? If there are several figures, how do they relate to each other (do they interact? not?)? Proportions: Does the whole or even individual parts of the figure(s) or natural objects in the work look natural? Why did you come to this conclusion? Line: Are the outlines (whether perceived or actual) smooth, fuzzy, clear? Are the main lines vertical, horizontal, diagonal, or curved, or a combination of any of these? Are the lines jagged and full of energy? Sketchy? Geometric? Curvilinear? Bold? Subtle? Space: If the artist conveys space, what type of space is used? What is the relation of the main figure to the space around it? Are the main figures entirely within the space (if the artwork is a painting), or are parts of the bodies cut off by the edge of the artwork? Is the setting illusionistic, as if one could enter the space of the painting, or is it flat and two-dimensional, a space that one could not possibly enter? Texture: If a sculpture, is the surface smooth and polished or rough? Are there several textures conveyed? Where and How? If a painting, is there any texture to the paint surface? Are the brushstrokes invisible? Brushy? Sketchy? Loose and flowing? Or tight and controlled? Light and Shadow: Are shadows visible? Where? Are there dark shadows, light shadows, or both? How do the shadows affect the work? Size: How big is the artwork? Are the figures or objects in the work life-sized, larger or smaller than life? How does the size affect the work? Color: What type of colors are used in the work? Bright? Dull? Complimentary? Does the artist use colors to draw your attention to specific areas of the work? How? If a sculpture, examine the color(s) of the medium and how it affects the work. Mood: Do you sense an overall mood in the artwork? Perhaps several different moods? If so, describe them. How does the mood interpret how you view the work? Once you have spent some time analyzing your work, notice if your first impression of the work has changed, now that you have taken a closer look? How? If you came up with a thesis statement before doing this in-depth analysis, you may want to change it if your impression of the work has changed. Your thesis statement should reflect your view of the object.

Select one of the following artists: Leonardo da Vinci, Michelangelo, and Raphael to write an essay to describe the art in Renaissance. Requirement: Minimum two pages double spaced essay. The letter size should be #12. essay should include at least one artwork from the artists. essay should include your own description of the artwork. essay should include information about the changing of the purpose of art from Medieval time to the High Renaissance. essay should include the information on how artist’s social status changes affect the artist’s creativity.

This essay fulfills the course requirement to conduct written research on a work of art or architecture. The work of art (or architecture) that you select will also be used to create your Research PowerPoint (due in Module 3). This work of art or architecture must be from the eras covered in Modules 1 and 2. Your topic does not have to be covered in the textbook, but it should have been created during the Prehistoric era through the Ancient Greece (Module 1 through 2). In your paper, you must provide a clear thesis and demonstrate your support for that thesis in your research. I want to see your thesis stated by the end of your first paragraph. Remember, a thesis is: a statement or theory that you intend to prove by the end of your paper. Details 3 pages, double-spaced and typed, in 12pt. font at least 3 sources (other than your text) Information Literacy You must use this Research Resource Guide (Links to an external site.) to access the following credible academic sources on the basis of your research: books dissertations interviews journals magazines videos Websites and encyclopedic entries will not be counted as appropriate research sources. What is provided for you through the Research Resource Guide are the required, credible, peer-reviewed sources you will need for this assignment. If you are unsure of the legitimacy of any of your sources, please ask the instructor. Demonstrate You must provide a clear thesis, which states what you hope to show about a specific work. For example, you may want to discuss a work of architecture and its relation to social and political ideas of the society that created it. If the artist’s biography is known, you may discuss how the work of art might relate to that biography. Provenance is the history of ownership. In addressing provenance, you answer: Was the work commissioned and why? If not, why was it made? What were the artist’s intentions? How do factors like the historical context and location shape the meaning of the work? Remember that in discussing style, you are often referring to a period style or regional style. You must also utilize formal analysis in your approach to communicating the work’s key features. Give attention to the materials and techniques the artist used to effectively communicate their ideas. The possibilities are endless, but you must demonstrate that you understand the interpretations of a work of art architecture. This should be responsive to the research you have encountered, and you may be expanding upon or arguing against previous research. You must include MLA (Links to an external site.) citation style, with endnotes and a complete bibliography on two separate pages at the end of the paper. Your endnotes should be on their own page, as well as your bibliography. You don’t need to fill these two pages, but they should be on separate pages at the end of your paper. A full resource guide to MLA citation is also included in the Research Resource Guide.

1. Develop a small sculpture that is a minimum of eight inches tall, by four inches wide. please use found materials and supplies from your home or another accessible location to create a modified object. The difference mediums that you choose should be manufactured objects or materials. you are welcome to include any material that you wish. submit at least two photographs accompanied by a 1-2 paragraph write up describing the form and content of your piece. 2. Develop a work of art with natural, organic materials. This may include any sort of found material in nnature such as dirt, rocks, sticks, water, earth pigments, or any sort of naturally occurring material. your work of art should be at least one foot square, and a height of your choice. submit at least two photographs accomplished by a 1-2 paragraph write up describing the form and content of your piece.