Visual Arts
Key terms/Concepts
Alexis Rockman
Artistic medium: composition, scale, background, foreground
Content: science and art, timeline, inventory, futuristic, iconography
Paula Hayes
Artistic medium: casting, installation, terrarium, craft, fragile, dome
Content: organic, biosphere, self-sustaining, landscape, therapeutic, ecosystem, public vs. private
Elliot Hundley
Artistic medium: repurpose/recycle, found materials, 2D vs. 3D, urban material, man-made, surfaces, panels, montage
Content: billboard, mythology, storytelling, tragedy, imaginary environments, ornamentation, nostalgia
Alexis Rockman:
Collection of images of his artwork
Paula Hayes:
Official website for her terrarium works
Elliot Huntley:
Saatchi Gallery website provides biography, articles, and images of his work
Further resources/topics of interest:
Art and Science in a small world
Real vs. Virtual: Examining works of art online
Performing Arts
The Builders Association:
“Founded in 1994 and directed by Marianne Weems, The Builders Association is a New York-based performance and media company that creates original productions based on stories drawn from contemporary life. The company uses the richness of new and old tools to extend the boundaries of theater. Based on innovative collaborations, Builders’ productions blend stage performance, text, video, sound, and architecture to tell stories about human experience in the 21st century. From BAM to Bogata, Singapore to Melbourne, Minneapolis and Los Angeles to Budapest, The Builders Association’s OBIE award-winning shows have toured to major venues the world over.
The Builders have collaborated on ten large-scale theater projects: MASTER BUILDER (1994), THE WHITE ALBUM (1995), IMPERIAL MOTEL (FAUST) (1996), JUMP CUT (FAUST) (1997), JET LAG (1998) with Diller + Scofidio, XTRAVAGANZA (2000), ALLADEEN (2003) with motiroti , AVANTI (2003), SUPER VISION (2005) with dbox, and CONTINUOUS CITY (2008). The Builders Association is currently one of the most active international touring experimental theater companies in America. Their work has also been presented at The Brooklyn Academy of Music in 2003, 2005, and 2008.” From: http://www.thebuildersassociation.org/index.html
The Mortgage Crisis:
Summary of the financial crisis in question-and-answer format
Graph of Home Foreclosures and Repossessions, 2005-2010
The Mortgage Crisis Timelines:
http://timeline.stlouisfed.org/index.cfm?p=timeline
http://www.lissettearias.com/MortgageCrisisTimeline.html
http://www.nytimes.com/interactive/2008/09/15/business/20080915_TURMOIL_TIMELINE.html
Living with Less: The Human Side of the Global Recession
CATCO Grapes of Wrath reference page:
Further Reading/Viewing:
The Grapes of Wrath (film), directed by John Ford (1940)
Media Arts
Resources for Persepolis
Key terms/concepts
Artistic Medium
Comics/graphic narrative, Media literacy, Coming-of-age story (Bildungsroman), Perspective/point of view, subjective narrative, Creative nonfiction, cel, inking, storyboard
Content
The Iranian (Islamic) Revolution, the veil, Shah, Ayatollah, Communism/Marxism, propaganda, feminism, strife, individualism
Medium:
1. Why is the film mostly in black and white?
2. What would be different (or the same) if the film had been made as a live-action movie?
3. Is the story told differently in the film as compared to the graphic novel? How so?
Content:
1. How does Marjane Satrapi’s story relate to an American teenager’s life?
2. What parts of the film might be embellished? What may have been omitted from the storyline?
Film reviews
In a Flat World, a Rebel with a Cause
Review by A.O. Scott of the New York Times on December 25, 2007.
Persepolis
Review by Roger Ebert of the Chicago Sun-Times on January 17, 2008.
Interviews with writer/director Marjane Satrapi
Powell’s Books Author Interview with Dave Welch
Interview with Simon Hattenstone of The Guardian
Literature on Media Literacy and Graphic Novels
Expanding Literacies through Graphic Novels
Gretchen Schwarz, University of Oklahoma professor, discusses the use of graphic novels in high school English classes.