What is Art? Notes (Chapter 1)
Page 1 — Anchor Standards and Chapter Objective
Anchor Standards (National Arts Standards):
Anchor Standard #7: Perceive and analyze artistic work.
Anchor Standard #8: Interpret intent and meaning in artistic work.
Anchor Standard #10: Synthesize and relate knowledge and personal experiences to make art.
Chapter Objective: Explore the definition of art and foundational ideas about how art is understood and studied.
Chapter Questions (Anchor Questions):
What is art?
What does art look like?
What media can we use to make art?
Why is art necessary?
How is art understood?
How does art deepen our understanding of ourselves and the world?
Supported Standards and context cues for classroom framing.
Page 2 — How do we define art? Historical perspectives and introduction
Art-defining question has engaged thinkers for centuries.
Plato (Ancient Greece) and the concept of mimesis:
Art should be representational; art should look like the thing that inspired the artist.
18th century shift: art should incorporate principles of art and design (balance, rhythm, harmony, unity, etc.).
19th century Romantic era: art should evoke an emotional response in the viewer.
Etymology and introduction:
The term ‘art’ relates to the Latin word ars meaning art, skill, or craft.
First known use in 13th-century manuscripts; variants include artem, eart, etc. (likely existing since the founding of Rome).
Rome factoid: The founding of Rome took place on .
Video/lesson recommendations (for instructors):
Video overview: “What is art?”
“Art is . . .” and “Art isn’t . . .” activities for students.
New York Times lesson: “What Is Art? Considering and Creating Artistic Works.”
Page 3 — Nam June Paik, Untitled (Humphrey Bogart), 1997
Artwork: Nam June Paik (South Korean, –), Untitled (Humphrey Bogart), 1997.
Medium: Cibachrome; Size: (35.6 cm × 27.9 cm)
Acquisition: Museum purchase, Collection of the Haggerty Museum of Art, Marquette University, 98.1.1.
Page 4 — Paik’s life and global influence
Major life events and geographic locations:
Gyeongseong, Korea (birth): Paik born on in what is now Seoul, South Korea.
Tokyo, Japan: studied art, music history, and philosophy at the University of Tokyo.
Wuppertal, Germany: first solo show, The Exposition of Music - Electronic Television, at Galerie Parnass in 1963; preview to later works like Electronic Superhighway (1995).
New York, USA: moved to NYC in 1964; collaborations with notable visual artists and musicians, including David Bowie.
Paris, France: installation Good Morning, Mr. Orwell (live international satellite broadcast) on New Year’s Day, 1984.
Miami, USA: Paik died on at age 73 due to complications from a stroke.
Seoul, Korea: Nam June Paik Art Center opened two years after his death, intended as “the house where the spirit of Nam June Paik lives on.”
Concept: Paik’s career spanned East Asia, Europe, and North America, integrating media and performance with video and electronics.
Art in Context: Paik’s life map as a tool to explore how place, media, and collaboration shaped his work.
Fun Fact: Electronic Superhighway (1995) features televisions, DVD players, feet of cable, and feet of multicolor neon tubing.
Page 5 — LaToya Ruby Frazier, Me and Mom’s Boyfriend Mr. Art, 2005
Artwork: LaToya Ruby Frazier (American, born ), Me and Mom’s Boyfriend Mr. Art, 2005.
Medium: Gelatin silver print; Size: (40.6 cm × 50.8 cm)
Acquisition: Museum purchase with funds from Mrs. Martha W. Smith by exchange; Collection of the Haggerty Museum of Art, Marquette University, 2009.12.1.
Page 6 — Photography as technology and storytelling; Frazier’s context
19th-century reaction to photography:
Some viewed photography as a threat to traditional painting.
Paul Delaroche allegedly proclaimed, “From today, painting is dead!” after seeing a daguerreotype (circa 1839).
Counter-current: artists explored more abstract and expressive responses to photography; technology enabled new ways to capture and present reality.
Photography as creative practice:
Frazier’s Me and Mom’s Boyfriend Mr. Art presents an insider view of family life in Braddock, Pennsylvania; invites viewers to form human connections with daily life and struggles.
Art in Context: Photography as a seed for creativity and interpretation.
Curatorial note: Katherine Ryckman Siegwarth, FotoFocus Biennial Director; contact: Christine.Fleming@marquette.edu for photography-related questions.
In Frazier’s image, viewers may look for human connections, everyday struggles, and the social context of Braddock, PA.
Page 7 — Jean-Baptiste Carpeaux, Figaro, ca. 1873
Artwork: Figaro by Jean-Baptiste Carpeaux (French, –).
Medium: Bronze; Size: (55.9 cm)
Acquisition: Gift of Catherine and David A. Straz, Jr. in Honor of Dr. Curtis L. Carter; Collection of the Haggerty Museum of Art, Marquette University, 96.3.
Page 8 — Bronze casting and Carpeaux’ sculptural approach
Bronze casting technique: Lost-wax casting (dates back to around ).
Process involves using clay molds filled with hot bronze; elaborate, multi-step method.
Used historically to create detailed copies of marble statues; still in use today.
Fun Fact: Milwaukee’s own large bronze public sculpture, the Bronze Fonz ( Fonzie ), references local culture.
Art in Context: Carpeaux’s experiments in sculpture; he was commissioned by Napoléon III and his court; known for bold, expressive figures.
Figaro’s inspiration: The Barber of Seville.
Suggested exploration: Explore more Carpeaux works at Artcyclopedia.
Page 9 — Gillis Mostaert (Netherlandish, 1528/1529–1598): Entry of Christ into Jerusalem and Scenes of the Passion, ca. 1570
Artwork: Oil on canvas; Size: (110.5 cm × 128.3 cm)
Acquisition: Gift of Mr. and Mrs. Marc B. Rojtman; Collection of the Haggerty Museum of Art, Marquette University, 58.9.
Page 10 — Gillis Mostaert and 16th-century European art context
Mostaert: Painter from Northern Europe; religious subjects, landscapes, and town life portraits.
Contribution: Helped popularize genre art (scenes of everyday life) with small figures.
Literacy context: In the 16th century, not many people could read; painted images and religious icons were essential for storytelling and conveying meaning.
Art in Context: 16th-century European art; the rise of oil paint in Northern Europe allowed more detail in small figures; religious works were popular pre- and during the Protestant Reformation (mid-1500s).
Specific work: Village Life (1590) by Mostaert; Prompt to compare with contemporary neighborhoods.
Timeline clues: 1517, 1590, 1400s (contextual markers for broad historical frame).
Quick recommendation: Explore popular historical games for context.
Page 11 — Edward Ruscha (American, born 1937): 1984, 1967
Artwork: Edward Ruscha’s 1984, 1967 (Gemini G.E.L., publisher).
Medium: Lithograph and watercolor; Size: (35.24 cm × 44.77 cm)
Acquisition: Museum purchase, Heller Art Acquisition Fund, Collection of the Haggerty Museum of Art, Marquette University, 2012.1.
Page 12 — Ruscha and lithography; Pop Art context
Ruscha’s interest in language and design; Pop Art as a movement since the 1950s.
Lithography basics: printing from stone or metal plate; image drawn with a grease crayon; grease sticks to the ink; water-treated non-image areas resist ink; pages can be printed multiple times for mass distribution.
Key idea: Art that resonates through mass distribution and printed media.
Art in Context: How did Ruscha use lithography? Reference to MoMA demonstration.
Critical motto: Good art should elicit the response “Huh? Wow!” rather than “Wow! Huh?”.
Page 13 — Joan Miró (Spanish, 1893–1983): Untitled, 1961
Artwork: Untitled, 1961; Lithograph; Size: (75.6 cm × 53.3 cm)
Acquisition: Gift of Mr. Russ Jankowski; Collection of the Haggerty Museum of Art, Marquette University, 2005.3.
Page 14 — Miró timeline and life events
Timeline markers: – major events in Miró’s life and career.
Miró Museum and Fundació Joan Miró opened in Barcelona (institutional milestones in his network).
Miró’s Paris experience after a disappointing first solo show; quote about inspiration: “I immediately burst into painting the way children burst into tears.”
Global mobility and influence: Miró’s travel and expatriate experiences shaped his practice.
Miró’s versatility: Used every medium and technique, from scorching to finger painting.
Biographical notes: Born in Barcelona; family fled the Spanish Civil War and later World War II’s disruptions; died at age 90 in Palma de Mallorca, Spain.
Art in Context: Miró’s museum and international recognition; UNESCO mural on UNESCO building in Paris as a notable achievement.
Page 15 — Experience and Create: Studio practices and extension activities
Reflective prompts: Express how artists tell stories through their art; imagine transforming a story into a painting; sketch ideas and consider composition as used by Mostaert.
Craft emphasis: Practice with available painting materials and techniques; balance teacher demonstrations with time for peer observation.
Collaboration and play: Encourage collaborative creation, art games, and playful experimentation as essential parts of the creative process.
Activity: Painting as Storytelling – Use Gillis Mostaert’s Entry of Christ Into Jerusalem and Scenes of the Passion (ca. 1570) as inspiration for a painting that tells a story.
Community: Display sketches and final paintings around the school; foster a school arts community where students view themselves as artists.
Page 16 — Art finishing, critique, and ongoing development
Epigraphs on completion and process:
Leonardo da Vinci: “Art is never finished, only abandoned.”
Ursula von Rydingsvard: “The worst thing that could happen is for me to really finish a piece, and by that I mean finish it in a way that the metaphor I mean to be there is blocked.”
Open critique concept: ARTnews-based ideas for “Glow and Grow” critique activity (about 20 minutes).
Other perspectives on finishing:
Ellen Harvey: “When I am forcibly removed from it is the correct answer.”
Mark Sheinkman: “Once the piece has left the studio, then I consider it finished.”
Page 17 — What does art mean to you? Make It Personal
Tate Modern inquiry: Students’ responses to “What does art mean to you?” (video resource).
Artists Bob and Roberta Smith: Online presence and portfolio for exploration.
Make It Personal: The term “art media” refers to the materials and tools used to create artworks.
Variety of art media in this chapter: prints (Untitled, Joan Miró, 1961); paintings (Entry of Christ into Jerusalem and Scenes of the Passion, Gillis Mostaert, ca. 1570); photographs (Me and Mom’s Boyfriend Mr. Art, LaToya Ruby Frazier, 2005); sculptures (Figaro, Jean-Baptiste Carpeaux, ca. 1873).
Why is art necessary? Art helps us see the world from different perspectives, builds empathy, and connects us to history, places, and people. It can comfort, energize, and catalyze change – potentially even revolutions. Quote: Jennie Terman, National Endowment for the Arts.
Page 18 — Open Studio: Organizations and resources
Local arts organizations and resources:
Local Latino Arts: Cultural awareness, artistic education, and programming in Greater Milwaukee and southeastern Wisconsin; features Hispanic artists globally.
Walker’s Point Center for the Arts: A long-standing community art space (founded 1987) promoting underrepresented artists in Milwaukee and beyond.
National Tate Kids: Films about art for kids.
Art School (KQED Arts): Series featuring contemporary artists across media; artist demonstrations.
The Art Assignment (PBS Digital Studios): Weekly program hosted by curator Sarah Urist Green; explores art and art history through current events.
Page 19 — Art in Action: Lessons overview (three lessons)
Lesson 1: Overview of different art-making methods; explore two artworks to frame media discussions: Figaro (Carpeaux) and Untitled (Humphrey Bogart) (Nam June Paik).
Challenge: Recreate digital works inspired by the Haggerty Museum of Art’s collection.
Lesson 2: Explore Me and Mom’s Boyfriend Mr. Art (LaToya Ruby Frazier); learn about the artist; investigate the story or meaning behind artworks.
Students draft stories about their Lesson 1 artworks and create new imagery (drawings or collages) including visual clues supporting their stories.
Lesson 3: Explore 1984 (Edward Ruscha) and Entry of Christ into Jerusalem and Scenes of the Passion (Gillis Mostaert) for deeper meaning-making.
Focus: How viewers interpret art using artists’ visual clues to make connections and meaning.
Goal: Use these ideas to create watercolor paintings depicting a time when “art saved their life.”
Lessons are scaffolded to meet diverse grade levels; option to implement one, two, or all three; educators can organize classroom visits with the Haggerty Museum of Art.
Page 20 — Book Recommendations and reading list
Books for kids:
My Many Colored Days; Dr. Seuss (author) and Steve Johnson/Lou Fancher (illustrators).
Art (Patrick McDonnell) – author/illustrator.
Ish (Peter H. Reynolds) – author/illustrator.
What If . . . (Samantha Berger) – author.
Illustrator: Mike Curato.
Books for teens:
But Is It Art?: An Introduction to Art Theory (Cynthia Freeland).
Art: The Definitive Visual Guide (new edition) edited by Andrew Graham Dixon.
Note: Additional teen reading ideas available from Five Books and MAM’s Reading with Art resources.
Practical tip: Use these books to extend inquiry and cross-curricular connections in art, history, and literacy.
Connections and key takeaways across the chapter
Art is a dynamic, evolving concept shaped by philosophy, aesthetics, technology, and social context.
Definitions of art have shifted from representational fidelity (mimesis) to design principles, emotional engagement, conceptual frameworks, and media experimentation.
Artworks across media (painting, sculpture, photography, lithography, video, installation) demonstrate how artists use form, materials, and context to communicate complex ideas and stories.
The inclusion of “Art in Context” sections helps learners connect artworks to technical processes (e.g., lost-wax casting, lithography) and historical eras (16th-century Europe, Romanticism, Pop Art).
Ethical and practical implications: art as a tool for social understanding, empathy, and potential social change; the role of education and community spaces (museums, schools) in making art accessible.
Teaching strategies emphasize process, critique, collaboration, storytelling, and real-world connections to local and global communities.
The use of direct quotes and case studies (e.g., Paik, Frazier, Miró, Ruscha, Mostaert, Carpeaux) provides models for analyzing intent, media, form, and meaning.
Quantitative data (dimensions, dates, counts) are used to ground analysis in concrete details and to illustrate scale, production methods, and historical timelines, reinforcing mathematical literacy in art contexts.
— End of notes for Chapter 1: What is Art? —