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2nd Art app > Finals Reviewer > Flashcards

Finals Reviewer Flashcards

1
Q

• is an alternate place to know oneself and to look at the depths and meaning of what we do in our daily lives.
• It is a way of crafting stories, creating images and symbols from fleeting moments, connecting with people, understanding culture, and the embodiment of understanding and peace.

A

Soulmaking

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2
Q
  • refers to anything associated with a group of people based on their ethnicity, religion, geography, or social environment. This might include beliefs, traditions, language, objects, ideas, behaviors, customs, values, or institutions.
A

Culture

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3
Q
  • refers to taking something that doesn’t belong to you or your culture. In the case of this cultural , it is an exchange that happens when a dominant group takes or “borrows” something from a minority group that has historically been exploited or oppressed.
A

Appropriation

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4
Q
  • is when someone adopts an element of a culture with the sole purpose of humiliating or putting down people of that culture. The most obvious example of this is blackface, which originated to denigrate and dehumanize Black people by perpetuating negative stereotypes.
A

Cultural Denigration

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5
Q
  • is the respectful borrowing of elements from another culture with an interest in sharing ideas and diversifying oneself.
A

Cultural Appreciation

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6
Q

is the inappropriate or unacknowledged adoption of an element or elements of one culture or identity by members of another culture or identity.

A

Cultural Appropriation

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7
Q

What are the FIVE ACTS OF CULTURAL APPROPRIATION?

A
  1. ObjectAppropriation
  2. ContextAppropriation
  3. Style Appropriation
  4. Motif Appropriation
  5. Subject Appropriation
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8
Q

occurswhenthepossessionof a tangible work of art (such as a sculpture or a painting) is transferred from members of one culture to members of another culture.

A

ObjectAppropriation

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9
Q

occurs when an artist has made significant reuse of an idea first expressed in the work of an artist from another culture.

A

ContextAppropriation

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10
Q

It occurs when a person uses stylistic innovations distinctive of a cultural group that is not their own.

A

Style Appropriation

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11
Q

It occurs when artists are influenced by the art of a culture other than their own without creating works in the same style.

A

Motif Appropriation

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12
Q

when this sort of appropriation occurs no artistic product of culture is appropriated. Instead, artists appropriate a subject matter, namely another culture or some of its members.

A

Subject Appropriation

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13
Q

• is the process of creating something using fibers gained from sources like plants, animals, insects (e.g. silkworms) or synthetic materials.
• From early times, this have been used to cover the human body and protect it from the elements; to send social cues to other people; to store, secure, and protect possessions; and to soften, insulate, and decorate living spaces and surfaces.

A

Textile Art

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14
Q

The word textile is from the Latin word what? which means “to weave” or “to construct”.

A

“texere”

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15
Q

is a sacred cloth woven by the T’boli people in the communities around Lake Sebu, South Cotabato, Mindanao Island, Philippines.
is defined by using 3 traditional colors: black, red and white
• Used for ritual purposes and during the festival celebration.
• Used in every important life event of the T’boli, from birth, to marriage, to
death.

A

• T’nalak

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16
Q

is originally made by the Mandaya tribe (one of Mindanao’s surviving minority tribes in the Philippines that can be found in Davao Oriental and Davao del Norte.)
• Made from abaca fibers and its colors are extracted from bark, seeds, fruits, and other natural dyes.
• Has been worn as women’s skirt but it is also used as blankets and to wrap the dead.

A

Dagmay

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17
Q

is the prized handwoven cloth of Tausugs of Sulu.
• Cotton or silk are the materials used on this it and was woven using back strap loom.
• Now in modern times, this is now used as decoration in households, frames, giveaways, and curtain.

A

Pis – Syabit

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18
Q

• A handwoven square cloth used by Yakan tribe of Mindanao as head covering, sash or waistband to secure their trousers.
• The complex geometric design of this consists of the warp and primary weft made of handspun cotton and the supplementary weft of silk.
• it symbolizes the Yakan’s pangubatan which is the alter set at the center of the field before planting.

A

SEPUTANGAN

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19
Q

, which means “woven” in Maguindao, is a handmade fabric with designs handed down from generation to generation.
• The first _______ weavers were known to use the sutra threads form the spider webs using. Now, the _______ is woven with rayon, cotton, and silk.
• The weaving of this can take a month to produce a one four – meter fabric.

A

Inaul

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20
Q

is an image, spoken, or written word, sound, act, or another visual or structural device that has symbolic significance.
• The concept of this is related to a theme, but unlike a theme which is an idea or message, also a detail that is repeated in a pattern of meaning that can produce a theme while creating other aspects at the same time

A

motif

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21
Q

Classification of Motif

A
  1. GeometricMotif-
  2. Realistic or Natural Motif
  3. Stylized Motif
  4. Abstract Motif
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22
Q

These motifs include lines in various forms,such as vertical, horizontal, diagonal, and curved. They form fabric designs, such as stripes, plaids, checks and circles and their associated designs

A

GeometricMotif

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23
Q

This motifs portray as direct replica of things as they exist in nature, such as flowers on trees, animals in jungle, human figure, and other natural things. They are also called novelty patterns. As these motifs lack a designer’s creativity and require a three-dimensional platform to copy reality, they do not find wide acceptance in apparel designing.

A

Realistic or Natural Motif

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24
Q
  • These are simplified variations of natural or man-made objects that are no longer recognizable. This motifs are obtained by rearranging the real objects either by simplifying or exaggerating too achieve the purpose of the design.
A

Stylized Motif

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25
Q
  • These are combinations of color, size, and shape without relationship to natural or man-made objects. They are full of color and interest in the fabric. Abstract implies an element of impression and a greater freedom that is found in most geometric designs. This type of design is used in modern art.
A

Abstract Motif

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26
Q

is an object, a picture, a written word, or a sound that is used to represent something else either by resemblance, convention, or association.
• The meaning of a this depends largely on its usage, its history, and purpose. A very fine example of a ________ is the cross. It is used to symbolize Christianity; the religion is based on the teachings of Jesus Christ who was crucified. The cross is also used to remind Christians about how Christ suffered to save them.

A

symbol

27
Q

What are the Types of Symbols?

A
  1. Ideograms
  2. Logograms
  3. Typograms
  4. Phonograms
28
Q

are illustrative representations. They are iconic signs which, as an illustrative representation, emphasize the points in common between the signifier and the signified.

A

Iconograms

29
Q

are pictorial representations, such as ISOTYPE. And.iconic signs which represent complex facts, not through words or sounds but through visual carriers of meaning.

A

Pictograms

30
Q

are topographical complex functions (statistics, etc.) and iconic facts, for example an atlas or the ground plan of a house.

A

Cartograms

31
Q

are functional representations. They are visual signs which represent, but are more functional carriers that illustrate, for example, a sequence of facts or functions.

A

Diagrams

32
Q

represent concept. Typically, it correspond to the sign as a symbol which relates to the object or concept referred to, independently of any format identification with it.

A

Ideograms

33
Q

are conceptual representations like writing. They are visual, referential linguistic signs that do not take the phonetic dimension into consideration.

A

Logograms

34
Q

are typographical representations. This is a sign that is also composed of a sign, derived from a written repertoire such as the alphabet.

A

Typogram

35
Q

are phonic representations and it is a sign that is used to signify linguistic or other sounds.

A

Phonograms

36
Q

• the act of creating something spontaneously and without prior planning or preparation.
• It is a crucial aspect of various art forms, allowing artists to explore their creativity, express themselves freely, and connect with their audience in a unique and authentic way.

A

Improvisation

37
Q

• is a form of dance and movement improvisation that involves two or more people making physical contact with each other.
• It was developed in the 1970s by American dancers Steve Paxton and Nancy Stark Smith to explore the relationship between bodies in motion.
• Dancers use their weight, balance, and momentum to move together in a
fluid and organic way.

A

Contact-body Improvisation

38
Q

What are the Five Rhythms of Contact-body Improvisation?

A
  1. Flow
  2. Staccato
  3. Chaos
  4. Lyrical
  5. Stillness
39
Q

is the pipe line to our inner truth, the impulse to follow the. _______ of one’s own energy; to be true to oneself - listening and attending to our needs, receptive to our inner and outer worlds. It is one of the most beautiful and fascinating ways of dancing - to be in, to be around, and to watch.

A

Flow

40
Q

is an energetic rhythm that generates connection and masculine energy. It is percussive and strong, guiding us to step out into the world connected to our feet and feelings. It embodies a defined, clear, and connected person, making it a powerful experience.

A

Staccato

41
Q

It involves physically releasing our bodies, breaking free from our illusions, and moving faster than we can think. This practice brings us back to our bodies, liberating us from ideas about who we are and allowing us to experience total freedom, intuition, and creativity.

A

Chaos

42
Q

is expansive and connects us to our humanity, timeless rhythms, repetitions, patterns, and cycles. It is more of a state of being than a rhythm, as it can be a crystal-clear expression of any of the Rhythms in their lightness.

A

Lyrical

43
Q

Physically, in the dance of _______, we move in slow motion- like highly unpredictable meditative Tai Chi masters. Shapes from the past, the present and the future come through us-shapes of the Feminine and the Masculine and the magic dance they do together.

A

Stillness

44
Q

is the creative activity of immediate musical composition, which combines performance with communication of emotions and instrumental technique as well as spontaneous response to other musicians.
• involves spontaneous, stylistically guided performance often based on existing harmonic structures, seen across various genres.

A

Sound / Musical improvisation

45
Q

, or improv, is a kind or a form of live theatre in which the plot, characters and dialogue of a game, scene or story are made up in the moment or from the exact time and position. Often improvisers will take a suggestion from the audience or draw on some other source of inspiration to get started.
• is something that not only needs acting skills but also has a pure talent to adapt and cope easily in every scenario and action they make on the spot.

A

Theater Improvisation

46
Q

• Philippine indigenous arts are as diverse as its islands, as complicated as its waterways, as varied as its language and as unique as its people.
• Throughout the 7,107 islands the Philippine archipelago has, it offers unique places and cultures where all forms of arts and crafts can flourish, some can be considered spectacular by the outsider, such as the Ifugao rice terraces that native Ifugaos built by hand, our own version of the Great Pyramids.
• The ambiance of being in islands may have given so many inspirations to at least attempt to capture and recreate the powerful and spectacular forces of nature to the best they can, and also during times of need use it to help them get their basic necessities, not only implying that visual arts is purely for entertainment and decoration, but also for practicality and use.

A

Indigenous Art

47
Q

What are the Forms of Philippine Indigenous Arts?

A
  1. Architecture
  2. Sculpture/Carving
  3. Pottery
  4. Weaving
  5. PhysicalOrnaments
48
Q

• Wander over the world heritage site, Banaue Rice Terraces, Eighth Wonder of the World, carved from the high Cordilleras over 2,000 years ago. These rice terraces were carved out of the mountains by the native Ifugao people. The Ifugao made the walls out of hardened mud and clay while they flattened the slopes; it could hold water essential
for rice growth.

A

Architecture

49
Q

• _________ is three-dimensional artwork created by shaping or combining hard materials, typically stone such as marble, metal, glass, or wood, or plastic materials such as clay, textiles, polymers, and softer metals.
•_______ is one of the techniques used in sculpture.

A

Sculpture & Carving

50
Q

are the most numerous and best known of Ifugao figurative sculptures and usually take the form of either a standing or seated
figure. These represent their ancestral spirit and granary gods.
• Which are represented as protective gods of barns and harvests and guardians of rice, one of the fundamental nourishments of the area.

A

• Bul-ul

51
Q

is objects that are first shaped of wet clay, then hardened by baking. It includes both decorative and practical items such as bowls, vases, dishes, and lamps.

A

Pottery

52
Q

• is a secondary burial jar found in Tabon Cave, one of the Manunggul caves in Palawan. It was founded by Dr. Robert B. Fox and Miguel Santiago in 1962.
• It featured a vessel carrying two human figures in a sitting position, with one behind steering the boat and the other waiting to reach the afterlife.

A

Manunggul jar

53
Q

means making cloth and other objects. Threads or strands of materials are passed under and over each other. This in the Philippines has different forms, functions, and materials. They also vary in design and techniques used. Most of the common forms of this in the Philippines are in the form of hats, mats, bags, baskets and textiles (clothes and blankets).
• This brought the ikat technique of resis- dyeing of the warp thread before weaving, the use of the reel for winding the spun thread and the concept of using textiles in death ceremonies.

A

Weaving

54
Q

can be categorized into three areas specifically the use of traditional costumes (textile), jewelries and tattoos.
• Since the early 16th century, jewelry making in the country has been practiced in the country. It is believed that the skills of the early Filipino jewelry-makers were adopted from their Asian neighbors like the
Chinese.
• Non-Muslim peoples in Mindanao decorate their colorful and distinctive costumes with glass beads, shells and metal bells and chains. Their jewelry materials include coral and fibers; forms of jewelry include earplugs as well as earrings.

A

• Physical ornamentation

55
Q

• in the Philippines it was prevalent in the 17th to the 19th centuries when parts of the country were under Spanish colonial rule. The colonizers used art as a tool to propagate the Catholic faith through beautiful images.
• Many of these religious images were reliefs and paintings of the Virgin Mary and Jesus Christ, Images of the Holy Family, carved wooden santos (saints), via crucis (Station of the Cross), as well as paintings on church ceiling.

A

Christian Art

56
Q

• Intended as a reaction to preceding modern art movements and is thought to have begun on the heels of Pop Art.

A

Contemporary Art

57
Q

• is defined by an interest in portraying mass culture and reimagining commercial products as accessible art. While the movement lasted roughly from the 1950s through the early 1970s, it was reborn as Neo-Pop Art in the 1980s thanks to artists like Jeff Koons.
• Much like artists working in this style sought to artistically reproduce objects, those involved with Photorealism-a concurrent movement-aimed to create hyper realistic drawings and paintings.
• In turn, it also helped shape Conceptualism, which rejected the idea of art as a commodity. In conceptual art, the idea behind a work of art takes precedence. Major conceptual artists include Damien Hirst, Ai Wei Wei, and Jenny Holzer. Though this experimental movement is rooted in art of the early 21st century, it emerged as a formal movement in the 1960s and remains a major contemporary art movement today.

A

Pop Art

58
Q

is a movement in which artists transform natural landscapes into site-specific works of art.

A

• A unique spin on installation art, Earth Art (or Land Art)

59
Q

Robert Smithson, Christo and Jeanne-Claude, and Andy Goldsworthy are celebrated for their
?

A

avant-garde earthworks.

60
Q

• As one of the most recent contemporary art movements, this is a genre that gained prominence with the rise of graffiti in the 1980s. Often rooted in social activism, this includes murals, installations, stenciled images, and stickers erected in public spaces. Key street artists include figures from the 1980s, like Jean-Michel Basquiat and Keith Haring, as well as practicing artists like Banksy and Shepard Fairey

A

Street art

61
Q

In post- war Britain and America, Pop Art was pioneered by artists like

A

Andy Warhol and Roy Lichtenstein.

62
Q

often worked from photographs, which enabled them to accurately reproduce portraits, landscapes, and other iconography. Chuck Close and Gerhard Richter often worked in this style.

A

Photorealists

63
Q

Type of symbol

A
  1. Iconograms
  2. Pictograms
  3. Cartogram
  4. Diagrams

2nd Art app (5 decks)

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