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Bell Ringer 8/19/14

Bell Ringer 8/19/14. (You should do this in your sketchbook – remember, your first check is FRIDAY!) How is Emphasis & Movement seen in your assemblage? What can you do to make sure these Principles of Art are in your work?. Bell Ringer 8/20/14.

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Bell Ringer 8/19/14

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  1. Bell Ringer 8/19/14 (You should do this in your sketchbook – remember, your first check is FRIDAY!) How is Emphasis & Movement seen in your assemblage? What can you do to make sure these Principles of Art are in your work?

  2. Bell Ringer 8/20/14 (You should do this in your sketchbook – remember, your first check is FRIDAY!) How is Rhythm & Pattern seen in your assemblage? What can you do to make sure these Principles of Art are in your work?

  3. Bell Ringer 8/21/14 (You should do this in your sketchbook – remember, your first check is FRIDAY!) How is Balance seen in your assemblage? What can you do to make sure this Principle of Art is in your work?

  4. Bell Ringer 8/25/14 What is Value? How can Value be seen in your finished assemblage? What other Element of Art works with the Value?

  5. Bell Ringer 8/26/14 If you have completed your project – please put it at the end of the slab ON TOP of your rubric with your NAME. If you have misplaced your rubric – put it on top of a sheet of paper with your name. If you have not finished. – FINISH. Don’t forget about your “Favorite” Assemblage Artist page in your sketchbook.

  6. Louise Nevelson One of the Greatest Women Sculptors

  7. Louise Nevelson (1899-1988) • Well-known as one of the most influential and original sculpture artists of the twentieth century. • Her media was typically wood assemblages painted in either jet black, or later in white and gold as well. • Some of her works basically become the room they are put into due to their wall-consuming effect.

  8. A Great Life (with a rough start) • Born on September 23,1899 in Kiev, Russia. • Her father was a lumber merchant and ditched Louise and her mother and moved to America. • Later Nevelson and her mother sold their house and used the money they received from her father to join him in Rockland, Maine. • Her father became a successful builder, lumberyard owner, and realtor, earning the family a beautiful home. • Life was easy to adjust to for Nevelson in America. • She spent the following years of her childhood doing well in school and upon graduation from high school met and married a guy named Charles at age nineteen. • She spent the first years of her marriage studying drawing and painting.

  9. At age twenty-three Louise gave birth to Myron Nevelson. • Louise later began feeling suffocated by the formal culture of her husband and left him without asking for any financial support. • She took her son to her parents in Maine and went back to Munich, Germany to continue her education of art. • She was in school for six months before the Nazis closed it down. • Upon her return to the U.S. she taught at the Educational Alliance Art School in New York City. • She had her first sculpture show in 1933; she survived off of the sales of her art work during these years. • In 64’ she created “Homage to 6,000,000” a memorial to the Jews killed during the Holocaust.

  10. What Nevelson’s Work Means • Louise Nevelson’s abstract and dark sculptures often symbolized poverty and dark times in human history. Nevelson said, “Black contained all colour... It was an acceptance... Black is the most aristocratic colour of all.” • Her work started as junk such as old baseball bats and broken tables, but she would unify these random objects into a community that created a work of art. • Nevelson saw her work as an environment, making her want her art to be displayed outside, such as a piece she put on Park avenue that established a connection between Spanish Harlem and the Upper East Side of New York.

  11. Louise Nevelson. Sky Cathedral. 1982, painted wood. 104 3/8 x 288 3/8 x 15 3/4 in. (265.1 x 732.5 x 40.0 cm), Smithsonian American Art Museum, Washington D.C., USA

  12. Louise Nevelson. Nocturnal Symphony, wood painted black, 24 boxes, 80x78x7.

  13. Louise Nevelson, "Untitled" (1964)

  14. Louise Nevelson, Dawn's Wedding Chapel IV, from Dawn's Wedding Feast, 1959-60, painted wood, 109 x 87 x 13 _ inches. Courtesy PaceWildenstein, New York, New York.

  15. Louise Nevelson, Royal Tide I, 1960, painted wood, 86 x 40 x 8 inches. Collection of Peter and Beverly Lipman, New York.

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