GET A PROFESSIONAL PAPER DONE BY AN EXPERT
1. Choose one of the following memorials:District of Columbia War Memorial (https://www.nps.gov/nama/planyourvisit/dc-war-memorial.htm), 1931, by Frederick H. Brooke, Nathan C. Wyeth, and Horace W. PeasleeAbraham and Isaac: In Memory of May 4, 1970, Kent State University (https://artmuseum.princeton.edu/campus-art/objects/31772?lat=40.3491&lon=-74.6567), 1978-79, by George SegalHelping Hands (http://sites.nd.edu/erikadoss/files/2018/05/Doss-Helping-Hands-essay-PAD-2012.pdf), original location, 1996, by Louise Bourgeois (see ART 021 video (Links to an external site.) for more info)Olympic Black Power Statue (https://www.atlasobscura.com/places/olympic-black-power-statue), 2005, by Rigo 23Fallen Warrior (https://www.hawaii.edu/news/2014/05/12/hawaiian-warrior-forever-honors-uhs-fallen-warriors/), 2014, by Tuione PulotuMemorial to Enslaved Laborers (https://news.virginia.edu/content/closer-look-design-and-details-new-memorial-enslaved-laborers), 2021, by Mabel Wilson and team (note the eyes, in the photo below).2. Describe the set-up.Memorials are complicated (even seemingly simple ones), so take a moment to explain how this memorial is set up.Note the materials used, dimensions (if known), and overall size (how many people could comfortably visit this memorial at the same time?)Explain how a viewer encounters or approaches this memorial — how they navigate the different parts or pieces. Can they approach from any side or is there a preferred approach? Do they approach on a straightforward pathway, or do they have to navigate in or around things? Are they encouraged to touch surfaces?Use the link provided to get started, and provide information about the subject of the memorial, whom it’s about, and why it’s here, at this particular site.Be sure to put borrowed words in “quotation marks” and follow up with the webpage in parentheses. If you put their information in your own words, you still need to put the webpage in parentheses, after you borrow.3. Address the artist’s treatment of line.Look back at Ch. 5 to refresh your memory about line vocabulary.Start with line shape — does this layout, and the shapes of the materials overall, give you a sense of geometric order, or unpredictable, organic disarray? Or are there contrasting areas, where geometry is juxtaposed with organic shapes?Don’t forget that pathways and landscape (hills, trees, etc.) are part of the design — memorials are never just a building, statue, or group of statues. Some trees are very geometric (hello, redwoods!) and others quite organic, especially as their leaves fall.Next, consider line texture — are the materials here mostly drippy, ragged, or rough — or are they smooth, clean, polished? Again, are there contrasting areas, where ragged, rough textures are juxtaposed with smooth, clean edges?Don’t forget that pathways and landscape (hills, trees, etc.) are part of the design. Some paths are made of jagged or rough stones, others are neatly arranged bricks or smooth concrete.Is this memorial clearly analytical or clearly expressive in line vocabulary? (Clearly analytical vocabulary includes clean lines plus geometric shapes. Cleary expressive vocabulary includes rough lines plus organic shapes.)Finally, address overall line direction — do things seem to lean diagonally, or is everything laid out in a stable, unmoving way (mostly straight up and down / on its side?)4. Address the artist’s treatment of balance and time.All memorials demand the viewer to spend time with them, in order to understand the artwork fully. However, some memorials present a kind of unified, sacred space with a determined direction, where time seems to stand still. Others encourage you to explore, discover surprises (pleasant or unpleasant), and meander.Look back at Ch. 9 to refresh your memory about balance and time vocabulary.Identify the kind of balance here — is this layout very clearly symmetrical, or is it loosely symmetrical, or is it asymmetrical?Based on the balance and line vocabulary, decide if time is frozen here, or if it’s fluid, using the following guide:Frozen time: mostly geometric shapes, vertical and/or horizontal in layout, with symmetrical or loosely symmetrical balance.Fluid time: mostly organic shapes, with diagonals and loosely symmetrical or asymmetrical balance.5. Address the artist’s use of light and space.Look back at Ch. 6 to refresh your memory about light and space vocabulary.Identify the kind of light here — is there chiaroscuro (mostly bright with some shadows), or tenebrism (mostly dark with strong spotlights or little bits of light)?Of course, the light will depend on weather and time of day, but some designs amplify the drama of contrast.Analyze the space here.First, how personal is this space? Usually, memorials invite the viewer to come close, which is already pretty personal.Does this installation invite the viewer to touch the work (an extra personal use of space?)Does this memorial invite you to look up (suggesting “up” feelings and inspiration), or look down (suggesting “down” feelings and emotional connection)?Next, how compressed is the space within the memorial (are things close together — or is there a lot of room to move around? Consider again how many people can comfortably visit this site at the same time.)6. Connect the artist’s visual vocab to the concept.Now it’s time to put it all together — what does all the visual vocabulary mean as a whole?Overall, is this work more emotionally expressive, or more analytical? Use this guide to help you decide.Analytical visual vocabularyPresents a logical environment, giving the viewer the mental space to reflect on what they experience.A mostly analytical artwork has mostly analytical line (geometric, clean), an open and clearly organized space, a symmetrical or loosely symmetrical balance, and a sense of frozen time.Expressive visual vocabularyPresents an emotional environment, provoking an immediate reaction from the viewer.A mostly expressive artwork has mostly expressive line (organic, rough), a tight and jumbled space, asymmetrical or loosely symmetrical balance, and a sense of fluid time.Overall, is the vocabulary evenly split between analytical and expressive, creating a sense of contrast, conflict, or lack of resolution?Connect the vocabulary to the concept — how does this visual vocabulary support the artist’s intended meaning or message?What is the artist saying in this work, and how does the vocabulary help them say it?Use a source to clarify the artist’s concept (the artist’s own words, or something said about the artist), and be sure credit your source right after you borrow from it (putting any borrowed phrases or sentences in “quotation marks”).GuidelinesBe sure to follow the instructions to get full credit!Always credit your source, right after you borrow from it, by putting the link to the relevant webpage in parentheses (these things).Always put borrowed phrases or sentences in “quotation marks,” then follow up with the source in parentheses.
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