Global issues in Graphic Novels [Fine Arts]

This assignment falls within Fine Arts’ Intermediate Studio Elective and is a final deposit for Global Learning Core Competency and Oral Communication Ability. The students are primarily advanced majors. Students will work on this assignment over the course of several weeks as it is scaffolded throughout the semester. It is worth 10% of the final grade. This assignment was modified during the course of the Global Learning Assignment workshop, and was built during Fine Arts’ Learning Matters! Mini Grant. During this grant process, Fine Arts revamped global assignments to better meet the rubric. We worked together in our grant team to revise the assignment, then worked with Drs. Christopher Schmidt and Karen Miller for feedback. We then performed a mini norming session and benchmark reading on the assignment, and further adjustments were made. LaGuardia’s Core Competencies and Communication Abilities Main Course Learning Objectives: This assignment meets two course objectives: To create an oral presentation on a work of global graphic narrative. Interpret a work of sequential narrative using visual analysis. The assignment also meets several Program Learning Outcomes. Communicate effectively through: oral critiques and presentations written assignments demonstrating an understanding of art and artists in a global historical and contemporary context creation of a portfolio demonstrating proficiency in digital documentation and presentation of work A required component of this assignment is writing a script for a video or audio presentation that would communicated the students’ understanding of selected text’s global elements as the author has presented them. The required recording will be about 5-7 minutes long. Students that complete this assignment will be expected to: --demonstrate an understanding of global issues and events by identifying their interdependent implications on the natural, social, cultural, economic, and political world. --communicate an awareness of how diverse cultural perspectives are shaped within global contexts. Ability to communicate across difference. --show an ethical engagement and global self-awareness by recognizing the ethical dimensions of global issues (e.g., environment, education, housing, healthcare, etc.), articulating global self-awareness, and analyzing human action on global issues and events.\u3

Maestro Ercole Ferrata

Ercole Ferrata (1610–1686), a gifted sculptor, collaborator, and restorer of antiquities, made his strongest impact on the Italian art scene as the director of Rome\u27s preeminent teaching workshop. Ferrata was the only artist of his generation to devote himself to the education of sculptors. His diverse talents in sculpture, which he cultivated during travels throughout the peninsula, gave him the freedom to work on high-profile projects that varied in genre, medium, scale, style, and technique. In his house-workshop, Ferrata saved the models of his own works, acquired molds and studies by modern masters, and collected casts of ancient statuary. This unparalleled collection of sculptural studies, coupled with Ferrata\u27s skill and his links to Bernini, Pietro da Cortona, and Rome\u27s most powerful patrons, attracted students from the length of the Italian peninsula and abroad. His own emphasis on iconography, narrative, and an archaeological accuracy in rendering ancient subjects informed the manner in which he trained his students in his workshop and in the Florentine Granducal Academy. By combining a thorough course of modeling from art and from life with lessons in restoration and practical experience gained from collaboration, Ferrata taught his students to become workers of stucco, marble, wood, and bronze. This dissertation addresses Ferrata\u27s completion of his artistic education in Rome under Algardi, considers his stylistic maturation under Bernini, reconstructs his workshop, investigates the role he played as professore in the academy, reclaims his contributions to collaborations with students and masters, and seeks to dispel the myth of Ferrata\u27s lack of creative invention. The project also explores how Ferrata and his students responded artistically to the masterpieces in their immediate environment and in doing so, affected the development of Baroque art. These investigations, which depend on the close reading of the sculptures themselves, should provoke a return to the object that has long been missing in the history of Baroque sculpture by major artists other than Bernini, Algardi, or Duquesnoy

Maestro Ercole Ferrata

Ercole Ferrata (1610–1686), a gifted sculptor, collaborator, and restorer of antiquities, made his strongest impact on the Italian art scene as the director of Rome\u27s preeminent teaching workshop. Ferrata was the only artist of his generation to devote himself to the education of sculptors. His diverse talents in sculpture, which he cultivated during travels throughout the peninsula, gave him the freedom to work on high-profile projects that varied in genre, medium, scale, style, and technique. In his house-workshop, Ferrata saved the models of his own works, acquired molds and studies by modern masters, and collected casts of ancient statuary. This unparalleled collection of sculptural studies, coupled with Ferrata\u27s skill and his links to Bernini, Pietro da Cortona, and Rome\u27s most powerful patrons, attracted students from the length of the Italian peninsula and abroad. His own emphasis on iconography, narrative, and an archaeological accuracy in rendering ancient subjects informed the manner in which he trained his students in his workshop and in the Florentine Granducal Academy. By combining a thorough course of modeling from art and from life with lessons in restoration and practical experience gained from collaboration, Ferrata taught his students to become workers of stucco, marble, wood, and bronze. This dissertation addresses Ferrata\u27s completion of his artistic education in Rome under Algardi, considers his stylistic maturation under Bernini, reconstructs his workshop, investigates the role he played as professore in the academy, reclaims his contributions to collaborations with students and masters, and seeks to dispel the myth of Ferrata\u27s lack of creative invention. The project also explores how Ferrata and his students responded artistically to the masterpieces in their immediate environment and in doing so, affected the development of Baroque art. These investigations, which depend on the close reading of the sculptures themselves, should provoke a return to the object that has long been missing in the history of Baroque sculpture by major artists other than Bernini, Algardi, or Duquesnoy