Instructions ART 103 Instructions for Writing Assignment | Critical Analysis - WA/Interpretations and Meanings Writing Assignment-Interpretations and Meanings essay Resources Review and Read Chapter 1-5 and 13, Exploring Art, A Global, Thematic Approach. Objective This critical analysis | writing assignment-Meanings and Interpretations essay will demonstrate your ability to analyze a work of art from an artist of your choosing based on the formal elements, principles of composition, and to form an opinion about the selected work. Students will indicate insight to the intent of the artist; as well as expand writing skills and research abilities. Students first writing assignment consists of multiple parts: a biographical sketch of an artist of your choosing, plus a critical analysis of a work of art by an artist resonates with you but You cannot use an image of an artwork that we have already studied, ALWAYS CHOOSE new works of art); and finally, a Work Cited page documenting your source materials. See example attached to give you an idea of what I'm looking for - do not use this work or artist as your own submission. Instructions 1. Biographical sketch - This portion of the writing assignment should be comprised of biographical information on an artist of your choice. * Length: At least 3 complete paragraphs but no less than 400 words * Suggestions for material: Name, date and place of birth and death, family information, lifetime accomplishments, famous art pieces, effects or impact on society, historical significance. Only include biographical information that gives insight to the intent of the artist. Remember to put all of this information into your own words! 2. Provide a bibliographical reference in the correct MLA style with at least 3 sources. Online sources are ok, but do not forget to use your textbook. If you fail to provide a Work Cited page - you will receive an automatic deduction of points. Do not forget to include this! 3. Critical Analysis - This portion of the writing assignment needs to be the student's opinion of a work of art by the same artist you chose for the biographical sketch. Write an essay clarifying and accounting your responses, your interest, excitement or frustrations that relate to your selected work of art. Be creative in your descriptions, be thoughtful in your views, be respectful in your responses and take your time. This portion of the assignment is your interpretation of the meaning of the work. *You must base, at least, your description on the principles of design and the elements of art, as well as, a combination or selection of meaningful materials, context, societal impact and historical "importance" - using this specific vocabulary throughout. Do not simply describe the work or state whether or not you "like" the work. * Length: At least 4 complete paragraphs but no less than 500 words When selecting a work of art to write an interpretation, ask yourself: Why was I compelled to w ...

1. Instructions
ART 103 Instructions for Writing Assignment | Critical
Analysis - WA/Interpretations and
Meanings
Writing Assignment-Interpretations and Meanings essay
Resources
Review and Read Chapter 1-5 and 13, Exploring Art, A Global,
Thematic Approach.
Objective
This critical analysis | writing assignment-Meanings and
Interpretations essay will
demonstrate your ability to analyze a work of art from an artist
of your choosing based on the
formal elements, principles of composition, and to form an
opinion about the selected work.
Students will indicate insight to the intent of the artist; as well
as expand writing skills and
research abilities.
Students first writing assignment consists of multiple parts: a
biographical sketch of an artist
of your choosing, plus a critical analysis of a work of art by an
artist resonates with you but
You cannot use an image of an artwork that we have already
studied, ALWAYS CHOOSE
new works of art); and finally, a Work Cited page documenting
your source materials.
See example attached to give you an idea of what I'm looking
for - do not use this work or
artist as your own submission.

2. Instructions
1. Biographical sketch - This portion of the writing assignment
should be comprised of
biographical information on an artist of your choice.
* Length: At least 3 complete paragraphs but no less than 400
words
* Suggestions for material: Name, date and place of birth and
death, family information,
lifetime accomplishments, famous art pieces, effects or impact
on society, historical
significance. Only include biographical information that gives
insight to the intent of the artist.
Remember to put all of this information into your own words!
2. Provide a bibliographical reference in the correct MLA style
with at least 3 sources.
Online sources are ok, but do not forget to use your textbook.
If you fail to provide a Work
Cited page - you will receive an automatic deduction of points.
Do not forget to include this!
3. Critical Analysis - This portion of the writing assignment
needs to be the student's opinion
of a work of art by the same artist you chose for the
biographical sketch. Write an essay
clarifying and accounting your responses, your interest,
excitement or frustrations that relate
to your selected work of art. Be creative in your descriptions,
be thoughtful in your views, be
respectful in your responses and take your time. This portion of
the assignment is your
interpretation of the meaning of the work.
*You must base, at least, your description on the principles of

3. design and the elements of art,
as well as, a combination or selection of meaningful materials,
context, societal impact and
historical "importance" - using this specific vocabulary
throughout. Do not simply describe
the work or state whether or not you "like" the work.
* Length: At least 4 complete paragraphs but no less than 500
words
When selecting a work of art to write an interpretation, ask
yourself:
Why was I compelled to write about the work? Explain.
What understandings, of the artwork, do I already possess?
Explain.
How will I convert my responses into words, in order for the
reader to share my insight?
Provide the artist full name, title and date. Does the title give
you any clues or expand your
understanding of the art work?
What is the medium/media? How does the medium inform your
interpretation?
Give a description of the work. Make direct comparisons
between what you are "looking" at
and what you are thinking and feeling.
What is the artist process? What did the artist have to know or
do to produce this work of
art? Does the process inform the meaning of the work of art?
Putting your interpretation on paper requires that we take a
second or third look at what is in
front of us.
Write for yourself to clarify your ideas. Review and rewrite for
your audience.

4. Your audience for this essay is/are your classmates.
Tell them: What they need to know, in an orderly way and in a
language that they will
understand.
This class is about how you connect to the Visual Arts.
Respond in your essay with
conviction as if you art the expert.
Communication Success Plan
Introduction: Holden and Bill are agents. They are new partners
and have only been working
together for less than a year. Holden is a newbie; he is 25 years
old, a millennial, and he has
strong beliefs about XYZ. Bill is a veteran; he is 45 years old, a
Generation X-er, and he has
strong beliefs about XYZ. Their supervisor has suggested that
they see you, the communication
counselor, to resolve their issues concerning XYZ.
Problem: After meeting with Holden and Bill, I identify that
their conflict is XYZ.
Strengths and Weaknesses: I have also identified the following
communication strengths and
challenges for each individual.
Holden Strengths: Challenges: Bill Strengths: Challenges:
Recommendations
To improve their communication, I recommend the following
tools for Holden and Bill to use to

5. improve their communication and relationship.
Note: Your plan may include separate tools for Holden and Bill
because each have their own
challenges, and the plan should also include specific tools that
they can use together when
struggling to communicate successfully
Critical Analysis
Art Appreciation 103
Audrey Flack
"Art is a powerful force in this world, it is the visual
representation of what we think and what we feel, and how
we think and how we feel." – Audrey Flack
The twentieth century saw many movements and new styles in
the art world. One of these new painting
styles was Photorealism, or the style of painting that resembles
a photograph, based on pop art. Audrey Flack
was a pioneer in this new genre and destined to become one of
the most influential artists of the twentieth
century.
Flack was born in 1931 in New York and developed a strong

6. relationship with art at an early age.
According to Flack’s official website, AudreyFlack.com, her
education started with The Music and Art High
School in New York City where she received The St. Gauden’s
medal. Flack then attended The Cooper Union
where she obtained a graduate degree and a honorary doctorate,
followed by Yale University where she
received her BFA in 1952, and finally enrolled in New York
University’s Institute of Fine Arts where she
studied the history of art in 1953.
Even with all of these prestigious achievements she never felt
that she was taken seriously. According to
JewishVirtualLibrary.org Flack “found herself having to be one
of the boys" in order to fit in. Flack says that
she was not treated differently as a woman as a student, but
many artists, students and visitors could relate to
her only as a woman. They treated her as a sex object, and her
goal of becoming a professional artist was not
taken seriously.” This also helped to form her strong theme of
women empowerment.
As described in her biography on JewishVirtualLibrary.com,
Flack studied at Yale under Josef Albers
and “Albers encouraged her to use realism instead of abstract
expressionism to express her political messages.”

7. This was where she made the transition into Photorealism but
took it a step farther and incorporated heavy
symbolism into her work and quirky juxtapositions of Jewish
foods, commonplace items, and photos of movie
stars, which had sometimes apparent, sometimes underlying
themes. She was quoted on RichEast.org stating, "I
always wanted to draw realistically. For me art is a continuous
discovery into reality, an exploration of visual
data, which has been going on for centuries, each artist
contributing to the next generation's advancement. I
wanted to go a step further and extend the boundaries. I also
believe people have a deep need to understand
their world and that art clarifies reality for them. “Flack became
an influence in the genre and was the first
photorealism artist to have work purchased by the Museum of
Modern Art. (AudreyFlack.com)
Flack does not limit herself to painting alone, she is also an
acclaimed sculptor, author of two
books, and keeps up with her blog regularly and is the lead
singer and banjo player in self titled band Audrey
Flack and the History of Art, where she composes feminist
ballads about her education and ‘womanizing’ artists

8. such as Pablo Picasso. She lives and works in New York City
and Long Island and she gave up photorealism
and painting in 1980 when she committed to sculpting. Her
sculptures are also widely praised and mostly depict
strong female figures and are meant to enforce the powerfulness
of a woman. She remains a Jewish and
Feminist icon to this day and is still creating art.

9. BIBLIOGRAPHY
"Audrey
Flack."
Jewishvirtuallibrary.org.
American--‐ Israeli
Cooperative
Enterprise,
2013.
Web.
13
Oct.
2013.
"Biography."
AudreyFlack.com.
Ed.
LOUIS
MEISEL.
N.p.,
n.d.
Web.
13
Oct.
2013.

10. B.F.
"Audrey
Flack."
RichEast.org--‐ Modern
Artist
Cafe.
N.p.,
2001.
Web.
13
Oct.
2013.
<http://www.richeast.org/htwm/artists/bf/flack.html>.
B.F.
"Audrey
Flack."
Wheel of Fortune (Vanitas) by Audrey Flack (American)
1977-8 | acrylic and oil on canvas | 96 x 96 inches
The bright and amusing yet cryptic painting Wheel of Fortune
(Vanitas) by Audrey Flack is a cornucopia of common and not
so

11. common (though recognizable) objects. Painted in Flack’s
newly
invented photorealistic style, Wheel of Fortune has all the
elements of
a classic vanitas piece with a feeling of impending doom yet
with a
colorful, vibrant even, palette. The artist has created a
conceptual (and
successful) contrast by combining recognizable, though
mysterious in
idea and effect, objects with a deeply saturated palette. This
piece has a tremendous amount of detail, contrast,
symbolism, color, movement, and wonderful photo-like realism
that Flack is famous for.
Assessing the visual elements, we see that the lines in the
painting are defined, simply edges and look
realistic. The implied lines create visual movement throughout
the work, not only in the clock-wise motion as
noted above, but from object to object – Flack has created direct
conversations between each and every object
that allows our eyes to continually move through the work. The
shapes are both organic and geometric given the
objects presented and many shapes overlap with their distinct,
hard edges. The light is natural with a broad

12. range to create the depiction of this arrangement in the daytime
and indoors, but certainly used advantageously
to depict a realistic scene.
As for color, this is where things get broader and very intense.
There is high value in all of the primary,
and tertiary colors shown here. In the primary colors, blue (the
curtain on the bottom right of the image) the
value is intense with a deep saturation and it has a cool feel to
it, where as the red grapes, violin, candle base,
and lipstick warm the picture with rich crimson hues. The
central yellow of the burning candle and accents
throughout the image create a glowing ambiance and set the
light source for the surrounding objects. As for the
tertiary colors, most are dark and intense, work complimentary
in the scene to create vivid imagery and variety.
Overall the image is warm due to the saturated reds and yellows
and the central light from the quickly melting
candlestick.
Analyzing space and texture, we are well aware that these
images are true to life. The space is small, I
imagine the scene is set on a small table, but with a true sense
of depth created through overlapping the

13. numerous and varied objects on the table. The actual texture is
the same as the real tactile quality of the objects
painted, as is the task of photo-realism.
Moving on to the principles of design we see that the image is
chaotic and occult balanced because the
skull on the right is balanced by the mirror image of the skulls
face, the wheel of fortune messaging card and
also the face of the young girl in the upper left hand of the
image. This balance is created through the gravity of
the two vertical scenes. The image contains symmetry through
the balance of the objects on each side –
counteracted by a reflection of the same item or something
equal in scale, color, or shape; though there is no
rhythm or pattern. There is contrast in the shapes, the many
colors (especially the red and blue) and the themes
(by contrast) as these vary from darker symbolism to everyday
items we all recognize.
The major principle of design in effect in this work is
movement. The first thing that draws the eye’s
attention, a point of emphasis, is the large skull on the right
side of the painting, offset in its symmetry and in
contrast to the bright and colorful surroundings with its pale
yellowish color. This stark contrast forces the eye

14. to begin here in the painting, yet Flack’s adept skill at creating
visual movement in both line and color forces
the eye to continue in a clock-wise motion from the blue silk, to
the hand-held mirror, to the mirror with the
reflection of the skull in the mirror on the lower left side. She
skillfully maneuvers our gaze upward past the
tarot card, through the arrow, and into the tomatoes to come
back full circle to the skull where we began.
Overall the most impressive part of this painting is the
symbolism, the factor that also leads us
conceptually through the work to develop our subjective
responses. The title does it’s duty explaining but it’s
the objects that make the message fall into place here. The tarot
card sets the mood, the candle is burning to it’s
end, the sand slipping though the hourglass, and the calendar
placed at the bottom of the mirror looking death in
the face tell a story of a quickly diminishing life. It is easy to
place ourselves, the viewer, into the piece – we
become the young woman in the photograph who directly
correlates to the opposing skull opposite on the
picture plane. We realize that life is a gamble, as suggested by
the single die and a card suggesting fortune, and
we contemplate is the jump worth the risk. Overall, this

15. painting is rich in color, symbolism, and a fantastic
example of photorealism in the Vanitas tradition.