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SELECTED
COURSES Looking at Art: Quality, Taste, Beauty & Importance Longboat Key Art Education Center January 4, 11, 18, 25, 2006 A four part series on Wednesdays 3:00 to 4:30 pm Over four weeks the participant will be taken on a journey from the Renaissance to the present in a discussion about four issues that determine what is a significant work of art. While taste and beauty may be considered by some subjective it can be argued that these issues are determined by factors that relate to a consensus of individuals in the art world that include collectors and artists. Quality is determined by standards and importance is decided by content and context be that historical or contemporary. The sessions will look at what leads artists to create of works of art and how they are received by the public both during the artist's lifetime and later. Mark Ormond will lead a lively discussion on these topics and illustrate his talks with dozens of images. Manet and Matisse to Marden: Artists who broke from tradition, painted what they liked and changed art forever Tampa Museum of Art May 2–23, 2005 A four week look at the major figures (and a few obscure ones) who changed the course of art history from art dominated by church, civic and private commissions to art where artists could combine a desire to investigate and expand the formal issues of art making with their own particular desires, ideas and issues. Week 1 Roots of Modernism in France, Craft in England and America's robber baron taste This class will begin with Courbet and Manet and discuss the French artists' work and their reaction to State sponsored exhibitions. Discussion will include the contributions of Monet, Cezanne, Van Gogh, Lautrec, Munch and others. It will show some parallel developments in England such as the Arts & Crafts Movement and the work of Whistler and its reception. The Gilded Age in the United States and the position of expatriot Amercan artists Sargent and Cassatt will be discussed as well as the taste in America for Tiffany and landscape painters such as Asher B. Durand. Week 2 Impressionism to Depression and Optimism This class will look at the lingering influence of the impressionists particularly in America contrasted with new ideas being proposed by Marcel Duchamp and Picasso. It will also look at Robert Henri, Social Realism and WPA projects for artists. Surrealism will be highlighted with the work of Dali and the continued contributions of Mondrian and Matisse will be discussed. The class will focus on: the impact of the 1913 Armory Show that changed New York as a place receptive to modern art; the birth of the Whitney and the Museum of Modern Art that secured it as well as the influence of French Art Deco on American streamline modern revealing a cross cultural absorption and integration of modern ideas of design. Week 3 World War II to (what was called then) the end of ART (as we know it) An enormous migration of artists including Hans Hoffman, Max Ernst and William Pachner just before, during and after the war changed the position of New York and the United States as a place for thinking about, making art and looking at it. Abstract expressionism emerged as a dominant force in the work of De Kooning and Pollock until a few young artists including, Johns, Rauschenberg and Lichtenstein started to appropriate ideas from popular culture. Color field painting with Helen Frankenthaler, Morris Louis and Kenneth Noland; minimal art in the work of Andre and Judd and finally conceptual art took art in new directions that reduced art to essential ideas and materials will be discussed. Week 4 Return of the Figure, Film based work and other developments Andy Warhol and Joseph Beuys represent two dominant forces in art from 1960 to 2000. New ideas in difference media represented by Francesco Clemente and Gerhard Richter will be discussed. The influence of Jeff Koons, Ed Ruscha, Barbara Kruger, Jenny Holzer , Agnes Martin and Lucas Samaras will be highlighted. The rise of interest in photography created in the twentieth century will be discussed looking at work by Adams, Weston, Abbott, Steichen, Steiglitz and Kertesz among others. An increasing predominance of film based work from the mid-eighties to the present will be seen in the work of Mike & Doug Starn, Jeff Wall, Gregory Crewdson. Sam Taylor Wood, Gillian Wearing and others. London began to compete with New York as a place for contemporary art with opening of the Saatchi Gallery in London in the mid-eighties and his patronage and exhibition of work by artists including Chris Ofili and Damien Hirst. The role of Biennials all over the world and the changes in the way the art world works will be discussed using current examples. This final class will address some issues that have changed the roles artists and curators play in the new art history. Northern Painting, Italian and High Renaissance, Baroque, Mannerism, Rococo & NeoClassicism Tampa Museum of Art April 4–24, 2005 The major focus of this course over the four weeks will be on art being produced in the Netherlands, France, Spain, Italy, Germany, England and the Americas. The lectures and discussions will focus on important artists including: Jan van Eyck, Hans Holbein, Rembrandt, Vermeer, Raphael, Leonardo da Vinci, Michelangelo, Bernini, Bramante, Caravaggio, Rubens, Van Dyck, Boucher, Reynolds, Gainsborough, Copley, West and Stuart The course will include discussion of how significant discoveries and developments beginning in the 15th century began to change the position of artists in society and how art was made. Discovery of different parts of the world including the Americas and expanding trade routes had their impact on patrons and artists. Major changes in governments and rulers also impacted culture in every city. Where possible these influences will be reviewed. The course will also address the integration of art forms including painting, sculpture and architecture in programs for churches, civic buildings and residences. Week 1 Northern Painting and Early Renaissance in Italy Paper, the printing press and the introduction of oil paint advanced the profile of artists. The important role of the church and private patronage will be discussed in the work of Van Eyck, Rogier van der Weyden, Dürer, Grünewald and others. The art world of Florence and the city states nearby will be discussed in the light of the guilds and history of Medici and other banking families' patronage. Ghiberti, Donatello, Brunelleschi, Alberti, Mantegna, Piero della Francesca among others will be reviewed. Week 2 The Dominance of Rome and Art on a Grand Scale The High Renaissance in Italy will be highlighted in the work of Raphael, Da Vinci and Michelangelo. Major projects and small commissions by Popes for themselves and on behalf of the Church including The Vatican, St. Peter's and tombs will be reviewed. Outside of Rome: a look at Titian, Correggio, Veronese and Palladio. Mannerism and the work of Fiorentino, Pontormo, El Greco and Parmigianino. Week 3 Baroque and Rococo The important role of Rubens as painter and diplomat to the courts of the Netherlands, Spain, France and England will serve to illustrate the dialogue in Europe in art and patronage. A continued look at Italy and Rome and the role of church and private patronage will focus on the work of Caravaggio, Bernini and Bramante. In France, the construction of Vaux and Versailles signaled the beginning of integrated and massively scaled projects that received world attention. Artists vied for royal patronage that kings and mistresses supplied. Hals and Rembrandt and Vermeer were among Dutch artists who provided portraits, still lifes and religious paintings to a rich middle class. Van Dyck, Velazquez and Poussin will be discussed. Week 4 Aristocracy to Democracy – A revolution in taste and patronage The major changes in government in Europe and the United States signaled both subtle and dramatic shifts in art and patronage. This period also saw the birth of the art museum open to the public and the seeds being sewn to liberate the artist. The undisputed dominance and influence of French culture on the world begun under the rule of Louis XIV and continued with Louis XV and Louis XVI will be highlighted. The continued role of England as a bastion of civilization and a colonial power and how its art and collectors' taste reflected that sensibility will be discussed. The influence of Dutch, German and English culture on the art of America will be outlined as well as the aspirations of a New American Republic who looked to Greece and Rome as well as to its contemporaries in France and England. Dramatic changes will be seen in French art following the rise of Napoleon and an interest in neo-classicism. Boucher, Gainsborough, West, Copley, Stuart, David, Ingres, Delacroix, Gericault, Houdon, Jefferson, Constable, and Goya among others will be discussed. The Art World and the Business of Art Longboat Key Art Education Center January 7, 14, 21 & 28, 2005 A four part series on Fridays 3pm to 4:30pm An introduction to understanding the Art World and the Business of Art – The private and the public A four part course designed for the art lover, business person, collector, artist or person just curious about the art world today. Mark Ormond who has had a distinguished career in the international art world offers a four week behind the scenes look at the fascinating business of art. He has been teaching at the university level since 1981 and has been writing about art for more than thirty years. During his career he has been a museum director and curator of over a hundred exhibitions. He has been involved in the purchase and sale of millions of dollars in art and has worked with artists, collectors, dealers, other museum directors and curators. January 7 Art and the Press What role does the press play in the art world? What publications offer the best coverage and why. How to choose the publications that best suit your needs. The differences between art criticism and art reporting, between art previews and art reviews and why it matters. How do artists get noticed? Why do some capture the media attention and others not? Who decides who gets attention and why? Learn to write a six sentence press release that is sure to get an artist noticed. Ways to insure your story or an artists story is told in the press. Which artists locally, nationally and internationally manage to stay in the news and why. What is happening on websites, blogs and how is the internet effecting the world of the print media. January 14 Museums Today What makes them tick. Who are the decision makers. What is changing in museums and why. What do curators do. How do they make decisions. Who and what influences them. How do you have your work or collection exhibited. Who is building. What are they building. What architects are the most popular and why. Why some of the most important architects are finally getting some attention. This class will include a brief overview of museum architecture and some of its most important figures including Frank Gehry, I.M. Pei, Philip Johnson and Renzo Piano. January 21 A Picasso sells for 104 million A brief history of the art auction business including Sotheby's, Christies and Ebay. What happens on-line and what happens in the salesrooms of New York and London. Can you get bargains at auction? What to do to prepare. Who are the players? What goes on? Who wins and who loses? How do auction prices effect the market. How do I know I am not paying too much? Discussion will include record prices and the recent scandal at Sotheby's and Christies. January 28 Collecting Art Starting, refining, documenting or disposing of a collection. The basic steps to forming a collection and some expert advice. How to begin. Where to buy. How to buy. Do you buy direct from the artist, from a dealer, at auction? How to know if you are paying a fair price. How to sell if you are an artist. How to choose a dealer. How to determine your market and your audience. What is the difference between the regional market and the national and international market.
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