A WORLD OF ART INSTRUCTOR S MANUAL. Henry M. Sayre. for SEVENTH EDITION. Oregon State University Cascades Campus. Upper Saddle River, New Jersey 07458

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1 INSTRUCTOR S MANUAL for A WORLD OF ART SEVENTH EDITION Henry M. Sayre Oregon State University Cascades Campus Upper Saddle River, New Jersey

2 2013 by PEARSON EDUCATION, INC. Upper Saddle River, New Jersey All rights reserved ISBN Printed in the United States of America 2

3 Table of Contents MyArtsLab Resources 4 Part 1: The Visual World Chapter 1: A World of Art 6 Chapter 2: Developing Visual Literacy 11 Chapter 3: Seeing the Value in Art 17 Part 2: The Formal Elements and Their Design Chapter 4: Line 26 Chapter 5: Space 31 Chapter 6: Light and Color 36 Chapter 7: Other Formal Elements 42 Chapter 8: The Principles of Design 46 Part 3: The Fine Arts Media Chapter 9: Drawing 51 Chapter 10: Printmaking 59 Chapter 11: Painting 63 Chapter 12: Photography and Time-Based Media 68 Chapter 13: Sculpture 75 Chapter 14: The Crafts as Fine Art 81 Chapter 15: Architecture 87 Chapter 16: The Design Profession 94 Part 4: Placing the Arts in Historical Context Chapter 17: The Ancient World 99 Chapter 18: The Age of Faith 104 Chapter 19: The Renaissance through the Baroque 110 Chapter 20: The Eighteenth and Nineteenth Centuries 115 Chapter 21: From 1900 to the Present 120 3

4 MyArtsLab Resources MyArtsLab contains a number of valuable resources for you and your students. At the beginning of each chapter s section in the Instructor s Manual the appropriate resources available on MyArtsLab will be listed, but additional videos, podcasts, Closer Looks, and other resources not listed may be available. Multimedia Resources -Technique videos that aim to show students how artists create their works. -Interviews with Professor Patrick Frank which touch on a number of subjects related to Art History. -Closer Look features that offer a detailed and informed walkthrough of important pieces so that your students don t miss any intricacies. -Interactive Exercises aimed at improving your students understanding of the material. -Digital Flash Cards for both Terms and Images that allow a customized way for students to absorb the fundamentals of the art, laying the foundation for a deeper understanding of Art. Discovering Art -Discovering Art is a new web-based resource that includes explanations of a wide variety of important concepts in understanding art. Each concept is described in a simple, straightforward tone, with visual examples. Interactive elements have also been provided to better demonstrate more complicated topics. Discovering Art is available through MyArtsLab, and can be found referenced throughout the book. Assessment Options -Compare and Contrast essay questions. -Pre-test and Post-test chapter quizzes that help your students know where they need improvement and focus their efforts. -Project suggestions for a more hands-on approach to learning art. Reference Materials 4

5 -A digital audio glossary to help your students pronounce artists names and key terms correctly. -Primary Source Documents to provide a contextual approach to art history. -Helpful guides on how to write about art, as well as sample papers concerning Museum exhibitions, Compare/Contrast Essays, Formal Analysis papers, etc. -Google Earth coordinates that show important architectural and geographic locations, such as the Pyramids at Giza and the Villa Rotonda in Vicenza. 5

6 Chapter One: A World of Art CHAPTER OVERVIEW The World as Artists See It The Creative Process: Pablo Picasso s Les Demoiselles d Avignon The World as We Perceive It The World as We Understand It : Thinking Thematically The Critical Process: Thinking about Making and Seeing THINKING AHEAD What do all artists share? What are the roles of the artist? What is active seeing? KEY MyArtsLab RESOURCES Closer Look: Jan and Hubert van Eyck, Ghent Altarpiece Closer Look: Kongo Nkisi Nkonde Closer Look: Pablo Picasso, Les Demoiselles d Avignon THINKING BACK What do all artists share? Artists all share the fundamental desire to create, but different artists respond to their world in divergent terms. The artist must be something of an explorer or inventor. What distinguishes artists from other people? What must an artist be able to do to produce a work of art? What are the roles of the artist? Most artists think of themselves as assuming one of four fundamental roles or some combination of the four as they approach their work. Artists may help us to see the world in new and innovative ways, create visual records of specific times and places, imbue objects with beauty and meaning, and give form to feelings and ideas. What roles do artists John Ahearn and Rigoberto Torres play in their work Pat? What distinguishes Kane Kwei s decorative coffins? How does Pablo Picasso give form to the immaterial in his painting Les Demoiselles d Avignon? What is active seeing? The act of seeing is not a simple matter of making a direct recording of reality. Everything we see is filtered through a long history of fears, prejudices, emotions, customs, and beliefs. Through art, we can begin to understand those filters and learn to look more closely at the visual world. In his painting Three Flags, how does Jasper Johns present an opportunity to look closely at a familiar image? How might the historical context of Faith Ringgold s God Bless America influence how we see the work? LECTURE AND DISCUSSION TOPICS 6

7 1. The World As Other Artists See It Provide a historical overview of the variety of artworks illustrated in the chapter in order to familiarize the students with cultural and historical differences and similarities. Emphasize to students the potential dangers of viewing and interpreting artworks with 21 st -century eyes. Stress the point that all art is culturally determined, and it must be viewed according to the context of the time and place it was created; otherwise we tend to judge artworks from our own cultural standards. Illustrate this argument with an examination of the featured artists and artworks (Kusama, Ahearn and Torres, Manohar, Monet, Kwei, Koari kimono, Tjibaou Cultural Center, Picasso, Nkisi nkonde, van Eyck) with attention to philosophical and cultural similarities and differences. Compare and contrast how artists from different cultures reflect those cultures disparate worldviews. Use Jan van Eyck s God and the nkisi nkonde magical figure as examples. Discuss how art often captures the spirit of the age and place in which it was created. Additionally, a discussion of aesthetic and functional art can be initiated. Use figures from the chapter to discuss varying levels of functionality and how that relates to our experience of the work as aesthetic, as art. Utilitarian objects created by Native American, African, Oceanic, and Asian cultures reflect the desire to make the mundane beautiful and pleasing to the eye. Yet, in many cultures the word art does not exist. Discuss philosophies of aesthetics and creative processes as they relate to non-western cultures. Consider aboriginal dreamings, Native American sand paintings, and the works featured during this discussion in the chapter, including Kane Kwei s Coffin Orange, in the Shape of a Cocoa Pod, and the Karaori kimono in your discussion. Discuss how architect Renzo Piano s Jean-Marie Tjibaou Cultural Center in Noumeu, New Caldonia illustrates the principles of aesthetic beauty that is compatible with both the environment and traditional cultural conventions. Seated Bather by the Sea is another subjective representation of a woman by Picasso, one that represents how deeply Picasso was affected by imagery he had seen of ancient Iberian sculptural reliefs. We can similarly see Picasso influenced by both Iberian sculpture and African ritual masks in Desmoiselles d Avignon. Ask students if they think these images of women are aesthetically pleasing. Have students consider our own culturally determined notion of beauty by looking at current fashion magazines that promote how to achieve the body beautiful. 3. How Do We See the World? With examples from the chapter, discuss the physical and active processes of seeing. Using a biological diagram of the human eye, discuss the physical process of seeing by dividing the explanation into the 3-step description found in the Sayre text: reception extraction inference. Show Jasper Johns Three Flags to illustrate the difference between looking and seeing = understanding images. Articulate Johns intentional use of images that, according to the artist, are looked at but never seen, never examined. Ask students how well they see/understand the American flag. From memory, ask 7

8 students if they can answer the following questions. What are the flag s dimensions? How many red stripes, white stripes? Why is the flag rectangular in shape? Do the colors red, white, and blue have symbolic significance? What does the compositional arrangement represent? Have students research the American flag and present their findings in class. On another level, discuss the symbol of the flag itself by discussing the terrorist events of September 11 and how the prominent display of the American flag after that time has actually increased our appreciation of the flag and all it symbolizes. Illustrate through other events in American history, like McCarthyism or the Civil Rights Movement, for example, how the flag has not always been a positive symbol of patriotism. Examine the variety of artworks that express specific viewpoints concerning the American flag with artists, Jasper Johns, Yukinori Yanagi, Faith Ringgold, and Andy Warhol. CRITICAL THINKING: More Opportunities to Think about Art Several artworks are detailed in the Critical Thinking and Works in Progress features found in this chapter. 1. Works in Progress: Picasso s Les Demoiselles d Avignon Pablo Picasso s Les Demoiselles d Avignon (See the Closer Look in MyArtsLab) is a Work in Progress feature of this chapter. The author presents the creative process of the artist by examining several aspects of the work, including several of Picasso s preliminary sketches for the finished painting. The feature also describes Picasso s research of Iberian sculpture and African ritual masks and their inspiration in developing his style. The role of the conservationist is discussed while describing the x-ray process used as historians documented Picasso s process of working. 2. The Creative Process Flexibility and openness are two fundamental characteristics of creativity. Under the heading The Creative Process, the author describes the creative process using preliminary drawings for Pablo Picasso s Desmoiselles d Avignon. In order for students to understand the nature of creativity, have students compare the Desmoiselles d Avignon drawings with the finished work. Consider the historical context in terms of how nature was perceived during the lives of these two artists. 3. Thinking about Andy Warhol s Race Riot Engage students in a critical discussion about the subject matter depicted in artworks such as Andy Warhol s Race Riot. Ask students how they respond to this type of artwork and others that depict disturbing events. Point out that Warhol expresses one of the traditional roles of the artist, in that he gives visible form to ideas, philosophies, and feelings. Have students discuss how Warhol has arranged the subject matter for emotional impact. Introduce students to the langue of elements and design by having them describe and interpret the effectiveness of such compositional elements as repetition, color, balance, and design. To broaden this discussion, show the works of more contemporary artists such as Kara Walker, Jake and Dinos Chapman, or Sue Coe. WRITING ASSIGNMENTS 8

9 1. The Commodification of Ancient Ideas The magical power of African art, illustrated in the nkisi nkonde figure is unfamiliar to Westerners. Additionally, our knowledge of these figures and the cultures that produced them has been gained at great loss to those cultures. As Western culture has encountered non-western cultures, particularly from the 19 th century forward, local customs and tradition suffered and art was pilfered. Have students research the relationship between museums and non-western collections. Have them focus on recent attempts to return artifacts to the people whose ancestors produced them. 2. The Power of the Visual Image Have students research and write about the Civil Rights Movement in order to understand the imagery portrayed in works such as Andy Warhol s Race Riot and Faith Ringgold s God Bless America. How do these works express the artist s personal feelings about growing up in an intensely political time in American history? 3. The Language of Art As an in-class assignment, have students create a list of adjectives they have used to describe artworks, such as pretty, nice, interesting, different, etc., and have them replace those words with new vocabulary they have learned in chapter 1. Other Suggested Websites: The United States Flag Page presents an inclusive history of the American flag at Robert Smithson s respected earthworks can be viewed at his official website at Faith Ringgold at is a comprehensive site where students can view the artist s work, examine her biography, participate in a racial exam, and visit other links provided by the artist. Claude Monet s art and life are showcased at Kane Kwei s fantasy coffins are on view at The Georgia O Keeffe Museum, America s first art museum dedicated to the work of a woman artist of international stature showcases the work, including themes of nature, at Visit Pablo Picasso s famous painting Les Demoiselles d Avignon at and other works of art located in numerous exhibitions at artcyclopedia at Renzo Piano at is the architect s website and includes biographical information as well as detailed views from his major architectural projects. 9

10 Suggested Videos and DVDs Wild Wheels, Harrod Blank, 1992 (90 minutes) Faith Ringgold, The Last Story Quilt, 1992 (28 minutes) Aborigine: Great Cultures Triumph of Nomads, 1997 Christo, Running Fence, 1978 (60 minutes) Five Films about Christo, 2004 (includes Christo s Valley Curtain (1974), Running Fence (1978), Surrounded Islands (1986), Christo in Paris (1990) and Umbrellas (1995), 2006 (282 minutes total) Jasper Johns: Ideas in Paint, 1992 (56 minutes) Who Gets to Call It Art, 2006 (80 minutes) Andy Warhol, 2006 (180 minutes) Andy Warhol: The Complete Picture, 2002 (104 minutes) Also see recommended Films for the Humanities and Sciences at 10

11 Chapter Two: Developing Visual Literacy CHAPTER OVERVIEW Words and Images The Creative Process: Lorna Simpson s The Park Describing the World The Creative Process: George Green s marooned in dreaming: a path of song and mind The Critical Process: Thinking about Visual Conventions CHAPTER OBJECTIVES How does subject matter differ from content? What is representational art? What constitutes an artwork s form? What is iconography? KEY MyArtKit RESOURCES Closer Look: Man's Love Story Closer Look: Howling Wolf and the Signing of the Treaty at Medicine Creek Closer Look: Jan van Eyck, Double Portrait of a Giovanni Arnolfini and His Wife Discovering Art: Introduction to Content Discovering Art: Introduction to Jan Van Eyck Discovering Art: Jan Van Eyck, Double Portrait of Giovanni Arnolfini and His Wife: Detail 1 Discovering Art: Jan Van Eyck, Double Portrait of Giovanni Arnolfini and His Wife: Detail 2 Discovering Art: Neshat: Introduction to Shirin Neshat Discovering Art: Shirin Neshat, Rebellious Silence: Detail 1 Watch the Video: Beatriz Milhazes Watch the Video: Rene Magritte Considers Language and Perception THINKING BACK How does subject matter differ from content? An artwork s subject matter is what the image or object literally represents. The content, by contrast, is what the artwork means. How can the subject matter of Shirin Neshat s Rebellious Silence be distinguished from its content? How does Lorna Simpson use text and images together to create the content of She and Necklines? What is representational art? Representational artworks portray recognizable forms. The more the representation resembles what the eye sees, the more it is said to be an example of realism. What does Albert Bierstadt 11

12 represent in his painting The Rocky Mountains, Lander s Peak? What distinguishes naturalism from other types of realism? How does representational art differ from abstract art? What constitutes an artwork s form? Form is the overall structure of an artwork. Form includes such aspects of an artwork as its materials and the organization of its parts into a composition. What role does form typically play in nonrepresentational art? How does form differ from content? How do Kazimir Malevich and Beatriz Milhazes use form in their works? What is iconography? Iconography is a system of images whose meaning is understood by a certain cultural group. The images used in iconography represent concepts or beliefs beyond literal subject matter. Cultural conventions are often carried from one generation to the next through iconography. How might the meaning of an image change over time? What is personal iconography? How is iconography used in the lower six panels of the center lancet window of Chartres Cathedral? LECTURE AND DISCUSSION TOPICS 1. Words and Images Discuss the differences between words and images using René Magritte s The Treason of Images. Point out that visual literacy is only attainable if an understanding of language itself is understood. Many times words and our verbal descriptions of objects do not coincide. Illustrate this idea with another René Magritte work titled The Interpretation of Dreams, 1930, which presents the viewer with many isolated objects with words under each one. For example, in one section, under an image of a shoe, the word la Lune (French for the moon) is written. Magritte is clearly challenging the viewer to question his or her visual literacy, thus posing the paradoxical nature of seeing itself: that sometimes what we see is not always what we see. Ask students to consider the notion that Western culture is visually dependant on mass media such as magazines, television, and the Internet, yet we remain visually illiterate. Examine Lorna Simpson s Necklines and She and Shirin Neshat s Rebellious Silence, to explore the way images and words function together to create meaning. Show examples from other artists such as John Baldessari, Gilbert and George, or Barbara Kruger, that incorporate words and images to further develop students visual literacy. Counterpoint the examples from the Western world with those from the Nonwestern world. With examples of Islamic art and architecture, such as Triumphal Entry or The Dome of the Rock in Jerusalem, emphasize the importance of words over images in the Muslim world. Provide students with a brief overview of the Islamic religion and the symbolic significance of calligraphy as their primary form of art. 2. Types of Art Representational Art Show examples of a wide variety of representational art including illusionistic, figurative, and naturalistic. Emphasize the similarities in all the types of representational art: recognizable imagery. Representational art depicts the appearance of things. Objects in the everyday world are re-presented for the viewer. Distinguish between Naturalism and Realism as referring to specific types of representational art which conform very closely 12

13 to the appearance of objects, and Illusionism (or trompe l oeil [fool-the-eye]) works of art, which are sometimes indistinguishable from those objects in the everyday world. 3. Abstract Art As a verb, abstract means to take from, to extract the essence of a thing or idea. As a noun, the word abstract refers to a summary of a longer text. Provide the following analogy for students: when an unknown writer submits their 1,500-page novel to a publisher for possible publication, the publisher usually wants to see an abstract, or a summary of the work that emphasizes the main ideas of the book. Relate these two definitions to examples from the text. Point out that some artists, such as Marisol Escobar, simplify/abstract the features of her Baby Girl and exaggerate size in order to emphasize the emotional presence of this rather monstrous baby. Many artists interested in abstraction are not conforming closely to the appearance of the objects, but are emphasizing or revealing certain qualities not otherwise apparent to the viewer. Sesshu Toyo s Haboku Landscape for Soen is a good example of this. 4. Nonrepresentational Art Illustrate nonrepresentational or nonobjective art by similarly dissecting the words themselves. A nonrepresentational artwork has no representation to the world of images. There is no object that is readily familiar, but the aim of the artist is to represent an idea that transcends the real world. Using Malevich s Suprematist Painting, Black Rectangle, Blue Triangle, explain how nonrepresentational imagery such as Malevich s colored geometry can evoke ideas and emotions. 5. Meaning in Non-Representational Art Form is what we see; content is the interpretation of what we see. In relation to art works, the two terms are inseparable since form determines content. Using examples in the chapter illustrate that in a nonobjective work of art such as Malevich s Suprematist Painting, Black Rectangle, Blue Triangle, form is the content. Other artists such as Piet Mondrian have arrived at a nonobjective type of art that considers formal elements of shape, color, and spatial properties of the composition as the primary content. To illustrate that Malevich and Mondrian did not begin their artistic career painting nonobjective artworks, show early representational works by both artists and continue with their experiments in abstraction to illustrate their more familiar mature style. Additionally, you can illustrate this by tracing Jackson Pollock s development from early career to drip paintings. A comparison of works with the same subject matter can illustrate the relationship between form, content, and how form may determine content. A good example of this is Auguste Rodin s and Constantine Brancusi s The Kiss. Where Rodin s sculpture represents a more realistic kiss, Brancusi s is abstract. Consequently, the more naturalistic/figurative, representational kiss evokes a more passionate emotional content whereas Brancusi s geometric, simplified form renders a more informal or impersonal, childlike idea of a kiss. 13

14 6. Meaning and culture Remind students that the question of what is art depends on their own experiences, their prejudices, beliefs, and values. Ask students to consider the definition of beauty. Discuss how beauty is culturally determined. See to read and view G. W. Cichon-Hollander s A Short Introduction to the Ideal Beauty of the Human Body in Art, which illustrates ideas of female beauty using masterpieces of art, from Venus of Willendorf to examples in the early 20 th century. Remind students that if they only like art that is beautiful, they are limiting themselves to one particular type of expression. Emphasize the power of ugly imagery that is sometimes necessary to provoke deeper contemplation. Illustrate this with Ivan Albright s heavily textured and unflattering portrait paintings and prints such as Into the World Came a Soul Called Ida. Using Kenneth Clark s comparison of a Western and Nonwestern artwork, discuss the term ethnocentrism. Ask students to consider their own prejudices concerning the conventions of other cultures. The decoration and modification of the body through various means such as cosmetics, tattooing, piercing, scarification, circumcision, head binding, and so on dates back many thousands of years. There is, in fact, evidence to suggest that people were tattooing themselves and/or each other at least commensurate with Paleolithic cave painting. These practices are considered by many tribal peoples as a way of differentiating the human body from nature and the natural body of animals. The resulting non-natural body is beautiful. Animals do not file their teeth or tattoo their skin. People all over the world in virtually every society decorate themselves and so there is no reason to think that our ancestors did not. In Western industrialized culture, at least until very recently, we tend to dismiss modification of the body as something primitive. However, the Western conception of physical beauty is achieved through similar types of alterations. Have student consider such body alterations as orthodontics, plastic surgery, and the application of make-up. 7. Representing the Spiritual Spiritual understanding is a realm of comprehension that is unique to each individual. Using visual imagery to educate and recruit parishioners has been an historical practice as seen in the works of Jan van Eyck, God, panel from the Ghent Altarpiece, and the Chartres Cathedral lancet window. Discuss the use of Christian iconography represented in these examples and how art can function as a tool to reinforce religious belief systems. Compare and contrast with the cast Amitabha Buddha. Discuss how the iconography of used in the representation of the Buddha are similar/different from that used in representations of Jesus. Debate how historical images of Godsustain one s spiritual belief system. 8. Iconography Iconography is the set of symbols or images used in a particular field of activity (i.e. music, film, art) and recognized by people as having a specific meaning. Looking at Ana Mendieta s Silueta Works in Mexico and Jean Michel-Basquiat s Charles the First, discuss how artists use images to symbolize an idea. Ask students to think about other images that represent gender. To understand iconography is to be familiar with the theory of semiotics the study of signs and symbols of all kinds, what they mean, and how they relate to things or ideas they refer to. Ask students how images and words 14

15 function within our society. Elaborate on the theory of semiotics as it relates to the issue of visual literacy. For example, Jacques Derrida s The Truth in Painting deals directly with the relationship between images and words. Show examples of Western signs and symbols in order to achieve a proper perspective on how images and words function in our society. Show Jan van Eyck s The Marriage of Giovanni Arnolfini and Giovanna Cenami to illustrate how symbols relate to the time in history in which they were created. CRITICAL THINKING: More Opportunities to Think about Art Several artworks are detailed in the Critical Thinking and Works in Progress features found in this chapter. 1. Works in Progress: Lorna Simpson s The Park Lorna Simpson s Necklines and She explore the way images and words function together to make meaning. Compare Simpson s use of words and imagery with the image from The Park series. Ask students: Does the accompanying text transform each image? What is the intention of the artist? How does the artist want viewers to respond to her work? Would they have responded the same way if the text were not part of the artwork? Have students watch the A World of Art: Works in Progress video to further understand Simpson s creative process. For more Lorna Simpson information and a related student project, go to the following websites: or 2. Thinking about Visual Literacy Promote visual literacy by having students compare and contrast the artworks of John Taylor and Howling Wolf, Treaty Signing at Medicine Lodge Creek. Review the differences between representational and abstract art, and point out that realistic works of art are often not as true to reality as abstract works of art. Engage students in a discussion about the relationship of form to content realizing that as form changes, the content also changes. Have students evaluate the aims of the two artists by what, and how, they have represented the historical event. For more Native American Indian Ledger Art examples and history, visit the website at the Plains Indian Ledger Art Digital Publishing Project at: Initiate a discussion about public images that students find discriminatory or offensive in terms of stereotyping a culture or group. How would they reinterpret these images or use alternative symbols to challenge existing images? For more works relating to the deconstruction of stereotypical imagery, see works by Masami Teraoka, Geisha and AIDS Nightmare; Kerry James Marshall, Better Homes, Better Gardens; Robert Colescott, George Washington Carver Crossing the Delaware; and Kara Walker, The End of Uncle Tom and the Grand Allegorical Tableau of Eva in Heaven. WRITING ASSIGNMENTS 15

16 1. Behold Beauty Have students visit the site The focus of this site is the understanding and appreciation of beauty in the natural world, in Western culture, and in other cultures both past and present. Topics covered include fashion, hairstyles, beautiful animals, and range from Aztecs to Orchids. Have students compose a list of criteria for beauty (i.e., what determines a beautiful person, landscape, artwork, etc.). 2. High-Fives and Hang Tens Ask students to research and compile a dictionary of at least 20 iconographic gestures, religious and/or secular (i.e., Buddhist mudras, peace sign, Star Trek greeting, etc). Have students compare their dictionary of signs and symbols with others in the class. 3. American History Lesson Have students research the subject matter of John Taylor and Howling Wolfe s Treaty Signing at Medicine Lodge Creek, Are there other artworks that illustrate this event in American history? Compare and contrast with the images in the text. Other Suggested Websites Lorna Simpson information and a related student project can be viewed at sites: or Native American Indian Ledger Art examples and history are available at the Plains Indian Ledger Art Digital Publishing Project at: Aesthetics, Beauty and all the cultural ramifications of what is beautiful and the ideal human body in art are historically chronicled at: or Jan van Eyck artworks and information are available at Chris Witcombe s Art History Resources on the Web at: Suggested Videos and DVDs: A World of Art: Works in Progress, Lorna Simpson (30 minutes) Magritte: Monsieur René Magritte, 2000 (51 minutes) Painting the Town: The Illusionistic Murals of Richard Haas, 1989 (56 minutes) Mondrian: From Naturalism to Abstraction, 1988 Breaking Free of the Earth: Kasimir Malevich , 1990 (54 minutes) Great Religions of the World, 2004 (33 minutes) Also see recommended Films for the Humanities and Sciences at 16