Museum Field Trip. Thursday, March 6th meet at 6:00pm inside the show. We are
seeing the permanent collection. Find me, I will take roll.
DIRECTIONS AND PARKING INFORMATION FOR
MOCA GRAND AVENUE 250 South Grand Avenue, Los Angeles, CA 90012
METROLINK Take the Red Line to Pershing Square. Visit metro.net to plan your route.
PARKING Use the Walt Disney Concert Hall garage, enter from Lower Grand Avenue or 2nd Street. (you can park at a
meter if there is one available)
$9 flat rate with MOCA validation ($20 deposit required upon entry; $11 refund). (Price subject to change.)
From Hollywood and the San Fernando Valley:
1. Take the Hollywood (101) Freeway south.
2. Exit Temple Street, turning left onto Temple Street.
3. Turn right onto Grand Avenue.
4. Turn right onto 2nd Street.
5. Turn right into the Walt Disney Concert Hall parking garage.
Museum Visit
Writing Assignment
1. At the Museum select one painting to examine. Carefully observe the work of art and write down all thoughts,
observations and ideas that are triggered by the work. Consider the artworks relationship to other pieces in the show. What
formal factors shape the artwork and your response to it? What is it merits and how do they relate to broader contexts?
Consider historical significance.
2. First Draft: Select from all of the ideas from brainstorming that give the best accurate description and reaction to the work.
Write a topic sentence identifying the art (artist, title, year) and then expand the description in two or three paragraphs.
Include formal factors, human experience, merits, historical significance and broader context. Paper must be written in 3rd
person meaning, no use of “I” or “You.”
Ideas must be arranged in some logical order, such as in order of importance starting with the most general to the specific
to (i.e. subject, basic composition, color, line, textures, line quality, etc.) or arranged according to space (i.e. top to bottom,
middle edges, upper left to lower left). One suggestion is to follow the way that your eye is naturally directed by the
composition. Relate description of the artwork to the human experience.
3. The conclusion: should include an expansion on the discussion of merits, such as broader context, other works in show or
career or historical significance of the artist or specific work.
4. Properly quote and site any reference materials utilized, the majority of the paper should be in your own words.
5. Reread, check for logical order, with clear relationships of each idea to those that come before or follow it.
6. Revise and Proofread. Have someone you live with or a classmate read it. Consider going by the LRC writing lab. for
assistance. Ask for their suggestions. Ask them if any part is unclear. Ask them how you should improve it.
7. Type final draft, double-spaced. Due March 20th.
Institutional Learning Outcome: Aesthetic Responsiveness (for museum trip paper)
Students will demonstrate aesthetic responsiveness by taking a position on and communicating the merits of great works of the human
imagination such as art, music, literature, theatre and dance and how those works reflect human values. Evidence will be written or
oral communications that articulate a response to works of art and explain how personal and formal factors shape that response, and
connect works of art to broader contexts.
Criteria
Exemplary (4pt.)
Above Acceptable
(3pt)
Acceptable (2 pt)
Unacceptable (1pt)
Focus and
Thesis:
Articulates a
personal
response to
art, music or
literature.
Clearly focuses on
specific works of arts,
narrow thesis. Provides
overview and detailed
analysis of the
components of the
work. Analyzes,
interprets and explains
with full detail, personal
responses to aesthetic
expressions.
Focuses on specific
works of arts, narrow
thesis. Provides
overview and analysis
of the components of
the work. Analyzes,
interprets and explains
personal responses to
aesthetic expressions.
Lacks focus on
specific works of art.
Lacks in analysis of
the components that
make up the works of
art. Inadequately
provides interpretation
and explanation of
personal responses to
aesthetic expressions.
Ideas: Explains
how formal
factors shape
the response.
In-depth, clear
articulation of the formal
factors that shape the
response.
Demonstrates
engagement with the
art, recognizing multiple
dimensions and/or
perspectives with
elaboration and depth;
offers considerable
insight.
With insight relates the
work to the human
experience and how the
work reflects human
and/or cultural values.
Articulates the formal
factors that shape the
response.
Demonstrates
engagement with the
art, recognizing
multiple dimensions
and/or perspectives;
offers some insight.
Needs more focus on a
specific works of art.
Provides some analysis of
the components that make
up the art works.
Acceptably analyzes,
interprets and explains
personal responses to
aesthetic expressions.
Descriptions could be
more elaborate or
detailed.
Acceptably articulates
the formal factors that
shape the response.
Shows some
engagement with the art
without elaboration;
offers basic observations
but rarely original insight.
Acceptably relates the
work to the human
experience and how the
work reflects human
and/or cultural values.
Unable to or very
minimally relates the
work to the human
experience and how
the work reflects
human and/or cultural
values.
Relates the
response to the
human
experience.
Relates the work to the
human experience and
how the work reflects
human and/or cultural
values.
Unable to or very
minimally articulates
the formal factors that
shape the response.
Shows minimal
engagement with the
art, failing to recognize
multiple dimensions/
perspectives; lacking
even basic
observations.
Score
Communicates
merits of the
specific works of
art, music or
literature in
connection to
broader
contexts.
Written in the
3rd Person
Organization
Style and
Mechanics
In-depth and clearly
communicates the
merits of the work by
analyzing its
relationship to broader
context, such as
historical placement and
significance.
Conceptually relates to
artists career and other
works in the show.
Demonstrates a
professional review
perspective by utilizing
the 3rd person style of
writing, including
avoidance of the words:
“I, you or we.”
Communicates the
merits of the work by
analyzing its
relationship to broader
context, such as
historical placement
and significance.
Relates to artists
career and other works
in the show.
Organization is logical
and appropriate to
assignment; paragraphs
are well developed and
appropriately divided;
ideas linked with
smooth and effective
transition. Introduction
and conclusion are
effectively related to the
whole.
Each sentence
structured effectively,
powerfully; rich, well
chosen variety of
sentence styles and
length; virtually free of
punctuation, spelling,
capitalization errors.
Sources are properly
quoted and sited.
Few organizational
problems on any of the
3 levels (overall,
paragraph, transitions).
Introduction and
conclusion are
affectively related to
the whole.
Mostly demonstrates a
professional review
perspective by utilizing
the 3rd person style of
writing, including
avoidance of the
words: “I, you or we.”
Effective and varied
sentences; some errors
in sentence
construction; only
occasional punctuation,
spelling, and/or
capitalization errors.
Sources are mostly
properly quoted and
sited.
Acceptably
communicates the merits
of the work by analyzing
its relationship to broader
context, such as
historical placement and
significance.
Needs to more clearly
relate to artists career or
other works within the
show.
Needs to more often
demonstrate a
professional review
perspective by utilizing
the 3rd person style of
writing, including
avoidance of the words:
“I, you or we.”
Organization, overall
and/or within paragraphs,
is formulaic or
occasionally lacking in
coherence; few evident
transitions. Introduction
and conclusion may lack
logic.
Does not
communicate the
merits of the work by
analyzing its
relationship to broader
context, such as
historical placement
and significance.
Needs to relate to
artists career or other
works within the show.
Shows minimal
demonstration of a
professional review
perspective by utilizing
the 3rd person style of
writing, including
avoidance of the
words: “I, you or we.”
Organization is
missing both overall
and within paragraphs.
Introduction and
conclusion may be
lacking or illogical.
Sentences show errors
of structure and little or
no variety, many errors
of punctuation, spelling
and/or capitalization.
Errors interfere with
meaning in places.
Sources need to be
better quoted and sited.
Careful proofreading not
evident.
Multiple and serious
errors of sentence
structure; frequent
errors in spelling and
capitalization;
inaccurate punctuation
such that
communication is
hindered. Sources not
properly quoted or
sited. Not proof read.
Here is an example: You can look for more writing about art in Art in America on-line reviews. http://www.artinamericamagazine.com/magazine/
Art In America
REVIEWS FEB. 06, 2014
Patricia Treib
NEW YORK, at Wallspace
by Jeff Frederick
Patricia Treib: Devices, 2013, oil on canvas, 66 by 50 inches; at Wallspace.
In a high-wire act featuring a breathtaking economy of means, Patricia Treib triumphed at Wallspace with an exhibition of
eight paintings and four works on paper. While she had a fine smaller show last year at Tibor de Nagy gallery, Wallspace
presented what is perhaps Treib's strongest work yet. Her paintings in oil on canvas (most from 2013), all slightly larger
than 5 by 4 feet, tend to feature five to seven large shapes in different colors on a painted cream or white ground. The
shapes are inflected by the wide, direct brushstrokes with which they are built, in a limited number of moves. While Joan
Mitchell hides the beginnings and ends of her strokes, Treib clarifies where each mark starts and finishes.
Treib's shapes constitute a personal language throughout the works. Certain arrangements repeat in multiple paintings, such
as Camera (II), Device and Devices, which contain forms based on the shape of a 35mm camera. The iconic abstract shapes
push and pull against each other, performing a bit like acrobats, and areas of paint seem to become tangible, manipulable
objects. A space is created that is two-dimensional but expansive. Air seems to flow in through the white areas, causing the
shapes to breathe within a shallow matrix. The translucency of the paint reveals a light background in between the thick
brushstrokes.
The forms suggest butterflies, mountains or pieces of clothing. Indeed, clothing seems to be a reference point for Treib, as
she gives some of her works titles like Cuff or Blouse. In two of the works on paper, The Mobile Sleeve (Gray) and The
Mobile Sleeve (Green), soft pastel is applied to a shaped piece of paper that is then collaged onto another sheet, suggesting
the kind of paper pattern that is used for making clothes. The shape is sleevelike, but it also suggests both a gondola oarlock
and a Brancusi-esque sculpture. Treib's syntax of repeating forms can itself be seen as relating to the pieces of a garment
under construction.
Treib's hues are muted, not strident, with pleasing harmonies, like the colors one might find in baked goods. Ocher, browns
and various blues-cerulean, slate and royal-appear frequently, along with black. Ridges left by the brush are like lines in
frosting applied with a pastry bag, or like the ruching on a garment. The paintings feel fresh, uncluttered, unhurried-the
products of a serene mind, or one that aspires to be. There is just enough there to make the paintings feel very satisfying,
with an exquisite touch to the brushstrokes. Evident influences include Picasso and Matisse, whose drawing styles Treib
evokes in the facility and precision of her marks, as well as Georgia O'Keeffe, who analyzed and abstracted natural
forms. Blouse andGuise, which share a structure, seem almost to be creative reconfigurations of Matisse's The
Dream (1940), one of the "Romanian Blouse" paintings. The Glass Clock (2012) is surprising in its inclusion of a large area
of lemon yellow in the left background that is balanced against watery blue and ocher. It suggests a view through the case of
a clock into its workings, which resemble floral and leaflike forms partially glimpsed among reflections.