These are “go further” questions. You will now, undoubtedly, be able to answer them on your own.

Q. What do you consider beautiful, how did you develop this view, on what is it based, and how has your definition changed over time?

Q. Each of these artists is using line to convey both feelings and ideas. What visual and emotion response does each elicit?

Roni Horn

Q. One of these images is a photograph of water and one is a drawing of water, done in chalk. Which one is which and how can you tell? If you can’t tell, what might be affecting your ability to determine the difference? 

Liana Repass, Untitled, 2009. chalk on paper 64 x 42 in.

Q. Can you identify each of these wild cats by their spot patterns?

Q. These portraits are by Mike Disfarmer, a reclusive self-taught photographer who made a living by photographing the local residents of the small town where he lived, Herber Springs, Arkansas, between 1939 and 1946. His glass-plate negatives were “discovered” by the art world after his death in 1959. He is now considered a major contributor to the history of portraiture. Why are Disfarmer’s portraits more interesting than the typically arranged studio portrait and why do you think they are both historically and artistically significant?

Q. This photograph by Tyler Hicks appeared on the cover of the NY Times in 2008 with an article about a growing world food crisis. The subject of this photograph is a Haitian girl who is searching for food at a waste dump. What do you think this photograph brought to the article about world hunger and what details has Hicks included that make this photograph particularly affecting?

Q. These are screen shots from the creepy but mesmerizing video game Big Buck Hunter. What has been your most memorable interactive video experience and what visual elements made it stand out for you?

Q. Take this visual test and see how well you do. If you missed anything, what does this tell you about the limits of attention?

Q. These photographs are from the series Summer Light by Dag Alveng. How has Alveng manipulated his images to extend his narrative about light?

Q. How many images do you look at in a day, a week, a year…a lifetime? How do you evaluate these and what impact do they have on your life?

(Image above by Douglas Gordon)