Part 1 Short Answer: What Is Van Houtryve Exploring?

Part 1short Answerwhat Is Van Houtryve Exploring As Part Of This Proj

Part 1. Short answer What is van Houtryve exploring as part of this project? - How does he use photography to communicate what he learned from his reporting? - Why did van Houtryve choose to investigate this theme? - How might this theme connect to issues facing your own community? - What questions do you have for van Houtryve about how he reported this project? - PART 2. Compare and Contrast two artist. Final Essay of comparing and contrasting 2 photographers and their work. 1200 words, double spaced, with APA or MLA Two Artist: · Peter Ralston · UroÅ¡ Fink Art Critique -Compare Two Pieces / 2 Due Feb 3, 2016 by 11:59pm Points None “The Mona Lisa “ painting by Italian painter Leonardo da Vinci. And “Self-Portrait with Monkey “1938, by Mexican painter Frida Kahlo. Art Critique Process in Spanish: Link: ( Lesson: Writing about art is not so very different from writing about other subjects. One of the main differences is that writing about art tends to be more descriptive. Art is a visual experience, and you cannot write meaningfully about it without describing what you see. During class two very different works of art by two different artists will be provide to you, as you observe the two works carefully, take notes concerning their likenesses and differences. Lesson Objectives: Students will participate in an interpretation of a critic's review forming a schema on speaking of art. (3 paragraph essay) using critical process (Critical process; description, analysis, interpretation, Judgment) and a comparison and contrast of two pieces of art. Students will be able to broaden their visual insights when looking at art, making a verbal understanding of art influential in their own physical work. Instruction: Complete the 3 paragraph art critique essay following the next steps (part 1 and 2) Part 1 ; Critical Process: Paragraph 1 and 2 Four steps of art criticism 1. Description / “Characterâ€: Describe the work without using value words such as "beautiful" or "ugly": What is the written description on the label or in the program about the work? • What is the title and who is (are) the artist(s)? • When and where was the work created? • Describe the elements of the work (i.e., line movement, light, space). • Describe the technical qualities of the work (i.e., tools, materials, instruments). • Describe the subject matter. What is it all about? Are there recognizable images? • A gathering of information; names, dates, size. What do you see, feel, hear, smell, taste? Also, contextual information such as facts about the artist or the times in which the art was made. Subject Matter: What is in the art work (objective)?Medium: What tools, materials, or processes did the artist use? Note: Part 1;Describe the two paintings in detail so that your readers can easily visualize them without actually seeing them. Explain how the perspective, technique, and compositional features of each painting help create contrasting rhetorical effects. In your analysis, focus on two or three specific points of contrast. Support your analysis by referring to specific details from each painting. Give your essay a thesis and a clear, logical organization. Your first paragraph should start with a strong lead, provide any necessary background information, and end with a clear thesis statement. 2. Analysis / “Settingâ€: Describe how the work is organized as a complete composition: • How is the work constructed or planned (i.e., acts, movements, lines)? • Identify some of the similarities throughout the work (i.e., repetition of lines, two songs in each act). • Identify some of the points of emphasis in the work (i.e., specific scene, figure, movement). • If the work has subjects or characters, what are the relationships between or among them? • Analysis: A discussion of formal elements and principles. Provide information about how the artist presents subject matter. Tell of the artwork's composition, arrangement, and visual construction. • Elements: Line, shape, light and value, color, texture, mass, space, volume. • Principles: Scale, proportion, unity, rhythm, balance, directional force, emphasis or subordination. 3. Interpretation / “Plot†Describe how the work makes you think or feel: III. Interpretation: What is the artwork about? • Interpretive Statement: Express what you think the artwork is about in one sentence. • Evidence: What evidence inside or outside the artwork supports your interpretation? Describe the expressive qualities you find in the work. What expressive language would you use to describe the qualities (i.e., tragic, ugly, funny)? Does the work remind you of other things you have experienced (i.e., analogy or metaphor)? How does the work relate to other ideas or events in the world and/or in your other studies? • Interpretation: What is the artwork about? • Interpretive Statement: Express what you think the artwork is about in one sentence. • Evidence: What evidence inside or outside the artwork supports your interpretation? • How 4. Judgment or Evaluation / “Conflictâ€: Present your opinion of the work's success or failure: • What qualities of the work make you feel it is a success or failure? • Compare it with similar works that you think are good or bad. • What criteria can you list to help others judge this work? • How original is the work? Why do you feel this work is original or not original? Judgment: Is the artwork successful? Why or why not Part 2; Paragraph 3 Compare and contrast similarities and differences between the two pieces. Compare and contrast similarities and differences between this two pieces in four paragraph (Introductory paragraph: description, Body of essay: analysis, conclusion or summary: judgment) between “The Mona Lisa “ painting by Italian painter Leonardo da Vinci. And “Self-Portrait with Monkey “1938, by Mexican painter Frida Kahlo. Be sure to discuss how each artist applied certain elements and principles of art, which we have discussed during class. Additionally, you should include their use of mediums and how to they chose to represent their subject . Study a "short biography of each artist".to get better understanding of artwork Note: Part 2;The next paragraph should establish the similarities between the two paintings and describe them. Then, in two or three paragraphs, present the points of contrast or differences between the two paintings. Be sure to support your analysis with specific details from the paintings. In your final paragraph, summarize your main points and clearly present the significance of your analysis. Each paragraph should have a strong topic sentence. Note : Questions for Visual Analysis Perspective: What point of view does the painting take toward its subject? Does the perspective seem subjective or objective, positive or negative, emotional or detached? How do the details of the painting create a specific impression? Technique: What artistic techniques does the painting display? Does the painting seem realistic or expressionistic? Are its colors vibrant or subdued? Does the brush work look polished or messy? Composition Features : How are the details of the painting arranged? What do you notice about the colors, the lines, and the relationships among the people and objects portrayed? How do the individual figures relate to each other and to their setting? What visual parallels and relationships do you see? Art Critique Rubric Total Points: 50.0 Criteria Ratings Pts 50.0 pts Critique Breakdown Score Level Indicators 0 No Command Cannot not form an opinion of a piece of art Cannot use common language in a critique 1 Inadequate Command Can form an opinion of an art piece, but cannot give evidence to support it Cannot use common language in a critique, but can identify parts of a art piece using limited vocabulary 2 Limited Command Can form an opinion of an art piece and can give one piece of evidence to support it Can use minimal common language in a critique, but relying heavily on limited vocabulary 3 Partial Command Can form an opinion of an art piece and can give two pieces of evidence to support it Can use minimal common language in a critique, using more common language than not, but still relying on vocabulary that is not grade specific. 4 Adequate Command Can form an opinion of an art piece and can give three pieces of evidence to support it Can use common language in a critique 5 Strong Command Can form an opinion of an art piece and can give a minimum of four pieces of evidence to support it Can use common language in a critique and explore vocabulary that expands the common group language 50.0 pts Strong Command 40.0 pts Adequate Command 30.0 pts Limited Command 30.0 pts Partial Command 10.0 pts Inadequate Command 0.0 pts No Marks Modeled after rubric used in the UC Davis English Department Composition Program The A paper The B paper The C paper The D paper The F paper Ideas Excels in responding to assignment. Interesting, demonstrates sophistication of thought. Central idea/thesis is clearly communicated, worth developing; limited enough to be manageable. Paper recognizes some complexity of its thesis: may acknowledge its contradictions, qualifications, or limits and follow out their logical implications. Understands and critically evaluates its sources, appropriately limits and defines terms. A solid paper, responding appropriately to assignment. Clearly states a thesis/central idea, but may have minor lapses in development. Begins to acknowledge the complexity of central idea and the possibility of other points of view. Shows careful reading of sources, but may not evaluate them critically. Attempts to define terms, not always successfully. Adequate but weaker and less effective, possibly responding less well to assignment. Presents central idea in general terms, often depending on platitudes or cliches. Usually does not acknowledge other views. Shows basic comprehension of sources, perhaps with lapses in understanding. If it defines terms, often depends on dictionary definitions. Does not have a clear central idea or does not respond appropriately to the assignment. Thesis may be too vague or obvious to be developed effectively. Paper may misunderstand sources. Does not respond to the assignment, lacks a thesis or central idea, and may neglect to use sources where necessary. Organization & coherence Uses a logical structure appropriate to paper's subject, purpose, audience, thesis, and disciplinary field. Sophisticated transitional sentences often develop one idea from the previous one or identify their logical relations. It guides the reader through the chain of reasoning or progression of ideas. Shows a logical progression of ideas and uses fairly sophisticated transitional devices; e.g., may move from least to more important idea. Some logical links may be faulty, but each paragraph clearly relates to paper's central idea. May list ideas or arrange them randomly rather than using any evident logical structure. May use transitions, but they are likely to be sequential (first, second, third) rather than logic-based. While each paragraph may relate to central idea, logic is not always clear. Paragraphs have topic sentences but may be overly general, and arrangement of sentences within paragraphs may lack coherence. May have random organization, lacking internal paragraph coherence and using few or inappropriate transitions. Paragraphs may lack topic sentences or main ideas, or may be too general or too specific to be effective. Paragraphs may not all relate to paper's thesis. No appreciable organization; lacks transitions and coherence. Support Uses evidence appropriately and effectively, providing sufficient evidence and explanation to convince. Begins to offer reasons to support its points, perhaps using varied kinds of evidence. Begins to interpret the evidence and explain connections between evidence and main ideas. Its examples bear some relevance. Often uses generalizations to support its points. May use examples, but they may be obvious or not relevant. Often depends on unsupported opinion or personal experience, or assumes that evidence speaks for itself and needs no application to the point being discussed. Often has lapses in logic. Depends on cliches or overgeneralizations for support, or offers little evidence of any kind. May be personal narrative rather than essay, or summary rather than analysis. Uses irrelevant details or lacks supporting evidence entirely. May be unduly brief. Style Chooses words for their precise meaning and uses an appropriate level of specificity. Sentence style fits paper's audience and purpose. Sentences are varied, yet clearly structured and carefully focused, not long and rambling. Generally uses words accurately and effectively, but may sometimes be too general. Sentences generally clear, well structured, and focused, though some may be awkward or ineffective. Uses relatively vague and general words, may use some inappropriate language. Sentence structure generally correct, but sentences may be wordy, unfocused, repetitive, or confusing. May be too vague and abstract, or very personal and specific. Usually contains several awkward or ungrammatical sentences; sentence structure is simple or monotonous. Usually contains many awkward sentences, misuses words, employs inappropriate language. Mechanics Almost entirely free of spelling, punctuation, and grammatical errors. May contain a few errors, which may annoy the reader but not impede understanding. Usually contains several mechanical errors, which may temporarily confuse the reader but not impede the overall understanding. Usually contains either many mechanical errors or a few important errors that block the reader's understanding and ability to see connections between thoughts. Usually contains so many mechanical errors that it is impossible for the reader to follow the thinking from sentence to sentence. Example of a Grading Rubric For a Term Paper in Any Discipline

Paper For Above instruction

Van Houtryve’s exploration within his project primarily centers on the impact of surveillance and privacy issues in the contemporary digital age. Through his photography, he aims to communicate the tension between personal freedom and governmental oversight, highlighting how surveillance technologies scrutinize individual lives and challenge democratic values. His use of imagery often employs stark, high-contrast visuals, capturing clandestine moments or the omnipresent gaze of surveillance cameras. Van Houtryve’s choice to investigate this theme stems from a concern over the erosion of privacy rights and the implications of mass surveillance on civil liberties. By documenting these issues, he endeavors to raise awareness and provoke critical reflection on the balance between security and personal privacy. This theme connects to issues facing communities worldwide, including debates over government surveillance programs, data collection, and personal privacy for citizens in a digital society. Questions arise about the ethical responsibilities of journalists and artists in exposing such practices and how their work can influence policy and public opinion.

In analyzing van Houtryve’s work, it becomes evident that photography is used as a powerful tool for storytelling and advocacy. His images function not merely as documentation but as a visual argument, compelling viewers to reconsider the scope of privacy in the modern world. The framing, composition, and choice of subjects all serve to communicate complex ideas about transparency, control, and resistance. His photographs often employ visual metaphors—such as surveillance cameras doubling as eyes or barriers symbolizing restricted access—to deepen the narrative. Van Houtryve’s artistic approach facilitates an emotional connection, fostering empathy and understanding of the nuanced issues surrounding surveillance. His work demonstrates how photography can transcend mere visual record-keeping to act as a form of investigative journalism, engaging viewers both intellectually and emotionally.

Van Houtryve’s preference for thematic investigation appears rooted in a desire to challenge societal norms and inspire activism. He chooses to explore themes that question authority, question legality, and illuminate the consequences of technological surveillance. His investigative stance is motivated by a concern that unchecked surveillance diminishes democratic freedoms and individual autonomy. He often reports on border controls, national security measures, and data privacy, asserting that these issues are integral to the fabric of modern society. His project’s focus on surveillance is, therefore, a critical commentary on how state and corporate powers operate covertly, often without public accountability. Connecting his work to community issues, one might consider local debates over data privacy, the use of surveillance footage by law enforcement, and the impact on civil liberties. Questions for van Houtryve include inquiries about his methods of gaining access to restricted areas, how he balances objectivity with advocacy, and the ethical considerations in depicting sensitive information.