Artisawayfornotonlyeverydaypeoplebutalsoartiststoshowtheirfeelingsandtheirpassions. Peoplecanbeaffectedinmany,anddifferentways,throughart.Eventhoughartcanbeinterpreted indifferentwaysitcanstillhavevaluablemeaningstoalmosteveryoneintheirownspecialways Throughouttimearthasfollowedthepeopleclosely.Ithasfedon,andevenpublicizedthestatein whichsocietywasin.Thisisnotsayingthatartcan'tdifferfromthethemeofsociety,butmore timesthannotitusuallyrelatestosocietyinatleastsomesmallway.SocietyandArtcandifferover theeraintime.Arthelpspeopletobuildtheirideasandreshapetheirimaginations.Artcan contributetopassonthewaythingwereoverdifferenttimeperiodsDrawings,painting,and sculpture,hasbeenknownnotrightfromtheearlieststartingpointasconfirmbytherelicsofthe past.Bethatasitmay,positively,innovationhasmadeitworkablefornewtypesofgeartobe exploitedandfornewmediumstobeutilizedThereisadditionallythealternativeofcomputerized craftsmanshipthatwillpermitindividualstoworkwithhuesandpicturesevenwithoutthemost severepreparingtomakethebestmagnumopuses.Numerousinnovativechangeshappenedamid theModernisttimeframe.Theseincludedphotography,thedevelopmentoftheshadingrange,and soon.Inthepostmodernperiod,changesincludedPC–controlledphotography,advancedmedia,and soonThingslike
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ThemoreIlearnaboutartinartclassthemoreIpayattentiontoeverythingIsee.Itrytounderstand themeaningofeachartIsee,andwhattheartististryingtoinformmeortotheworld.Inthestudy ofartyouhavetopayattentiontoeverydetailinanartworkandwhatcolororshapesheorshe used.OfalltheartworksthatIsawintheMuseumofFineArts,therewerethreeartworkswhichI preferredoutofhundredsofartsworksinthemuseumTheveryfirstartworkthatIsawatthe museumisoneofmyfavoriteones.TheartistthatcreatedtheartworkhisnameisFrederic Remington.HisartworkisanAmericanmadein1861–1909.Thepaintingwasmadewithoilpaint oncanvastomakeitlookshinnyThepaintingisrepresentationalbecausethethreehorseraiders resemblerealthingsfromtherealworld.InthispaintingFredericRemingtoncreatestensionby suspendingtheactionatitsclimax.Astheraidersandhorsesrushheadlongintotheviewer'sspace, thefateofthefallenraiderisunclear.Whilethefacialexpressionsoftheraidersappearcalm,the rearingheadsandflarednostrilsofthehorsesconveythehorrorofthescene.Hispaintingcatches youreyerightawaybecauseofthelightcolorsheusestodistinguishbetweentheskyandthe terrain.Thecoloroftheskylooksveryrealisticbecauseofthecombinationofcolorsblueand white.Yethedidn'tusewhitefortheclouds,butyoucantellthatitissunnybecauseoftheshadow that
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Thoughmostworksofarthavesomeunderlying,deepermeaningattachedtothem,ourfirst impressionoftheirsignificancecomesthroughourinitialvisualinterpretation.Whenwefirstviewa paintingorastatueorotherpieceofart,wenoticefirstthevisualdetails–itssize,itsmedium,its color,anditscondition,forexample–beforewebegintoponderitsgreatersignificance.Indeed, thesevisualcluesarejustasimportantasanyotherinterpretationormeaningofawork,forthey allowustounderstandjustwhatthatdeepermeaningis.Theexpressiononastatue'sfacetellsusthe emotionandmessagethattheartististryingtoconvey.Itscolor,too,canprovideclues:darkeror lightercolorscanplayaroleinhowweshowmorecontent
TheSteledepictsasimplescene:aseatedmanandstandingwomanbehindhimstareblankly straightahead.Awomanstandingontheleftlooksdownuponthem.Allofthemareordinary humans.Theyarenotgodsorgoddesses.Theyareprivatepeople.Theirclothingisplain,consisting ofsimplerobes.Itisrepresentationalofaregularfamilymourningthelossofoneofitsmembers,a scenethatmostpeople,eventoday,areabletorelatetohundredsoreventhousandsofyearslater
Thesteleconveysasolemnforlornnessthatcanbeseeninthefigures'faces.Theirmouthsare tightlyshut;theireyesgazeblanklyahead.Thewomanontheleftstaresaheadwithlittleemotion onherface.Thesteledoesnotdepictanymotion.Allofthefiguresarestanding(orsitting)still,in quietmemorialThissolemnityaddstotheemotionofagravewherethesteleoncestoodThereis norealclearanswerastowhoisbeingmourned.Aretheseatedmanandthewomanmourningthe lossoftheirdaughter,ontheleft?Oristhewomanontheleftmourningthelossofafather?The sculpture'sambiguityalsoaddstotheemotionthatitevokesItmightevenbeappropriateforits purpose.Itsfunctionwastomarkagravesite–thesiteofthebodyofsomeonewhohasdied.Death isoneofthemostcomplexpartsoflife.Itisthemostambiguous,fornobodyknowsforsurewhat happensindeath.Theambiguityofthestelehighlights
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Art.Tomeissomethingundefinable,whatIwantmyarttoshowyouisapieceofmyselfanda pieceofyourself.Somethingwecanallrelateto;amemory,asong,apoem,artshouldmakeyou feelsomething.Artisagift,atoolwecanusetohidebeautyinordinaryplacesandthings.Iwantto broadenmyunderstandingofdesignandtheworldthatartisbeyondmyknowledgeand experiencesBecausemyloveforcreatingburnssobrightanddeepwithinme,Iamdeterminedto findacareerpaththatwillallowmetoexploretheworldofdesignandarteveryday.Anumberof artformsareendlessandthisseemslikeadauntingtasktofindjustonepaththatcanexpressthe enjoymentandinvolvementIwanttohavewithartThroughoutmylifeIhavebeenendlessly drawing,painting,sculptingandcreating––oftentimesIfeelalmostcursedwithsuchtalenttocreate becausetheabilityseemsendless.Ihavetakenanumberofartclassesexploringmypassionsasa HighSchoolStudentandcreatedmanydifferenttypesofworksincludingoil,acrylic,and watercolorpaintings;etching,embossed,andscreenprintmaking;charcoal,graphite,andpastel drawings;SculptingwithceramicsandplasteraswellaswheelpiecesIfindthatthereisfew mediumsIhaveyettoexperimentwith.IhavebecomeaccustomedtoAcrylicpaintingsasIhave recentlystartedtocreatepaintingsandsellthemtocommunitymembers.Iparticipatedinalocalart fairanditopenedmyeyestowhatart
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Withoutart,theworldwouldbeavastemptyvoidofuncreative,unimaginative,non–colourful, blandsociety;Toastwithnobutterortopping;boring,life–drainingdeathofthemind.Artis absolutelyeverywhereineverydaysociety,yetgoesalmostunnoticedandunappreciatedbysome; television,movies,music,stories,billboards,ads,evenclothesandjewellery.Theseareallsymbols ofartorartinthereownright,andwithouttheArts,therewouldbenoneofthisArthascreatedall thesethingsthatgounappreciated,haschangedalltheunimaginative,hasmanipulatedtheplacewe liveintoamorebeautifulandwonderfulplacetolive.Andwithoutsupport,ofalltheArts,then societyasawholewilldiealittleeverytimeartshowmorecontent
WithoutArt,andthereforewithouttheArts;anthropologicalresearchintobehaviourofhumanlife fromanyerainhistorywouldbegreatlydiminished;societywouldbewithoutsoul,withoutart, withoutmusic,withouttheatre,oranyformoffictionalwritingandstorytelling.Havilandwrites"art reflectstheculturalvaluesandconcernsofapeople.Thisisespeciallytrueoftheverbalarts–myths,legends,andtales"(1990,p383)Healsostatesthat"Myth,setstandardsfororderly behaviour,andtheverbalartsgenerallytransmitandpreserveaculturescustomsandvalues"(1990, p.383).SoifaskedwhobenefitsfromtheArtsthentheanswermustsurelybeallofus;withoutthe arts,wewouldneverhavestoriesofourpast,orevenlearnfromourpastmistakes,ortriumphs. WithouttheArts,therewouldbenogreatwriters,painters,ormusicians;noShakespeare,no Picasso,noBeethoven;wewouldhavenopastcreativehistory,nocreativeevolution
Oftenseenasaluxuryitem,theArtssometimeisoverlookedinthelevelofabsolutenecessityithas onsocietyandthepeoplewithinthatsocietytolearn,growandcommunicateandunderstandhis/her fellowman.WithouttheArts,wewouldneverlearnofothercultures,wewouldneverlearnany ideasfromforeignart,musicortheatre.ButtheideaoftheArtsgettingsupportedinmostwestern countriesisseenasaluxuryitem,anon–necessity.Thisopinionisonlygenerallybecausethe
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MFAHCULTURALRESPONSEESSAY
Theartmuseumistrulyaworkofartinitself.Ienjoytripstoplacesofculture,beitaplay,musical, opera,artgalleryor,inthiscase,amuseum.WhenIwalkin,Ifeelinspiredtodraw,paint,and sculpt.Forjustalittlewhile,Igettofocusonartandexperienceasenseofdetachmentfromthe everydayhustleandbustleoftheworldTimetrulyseemstoslowdownwhenyou'reatthemuseum Uponenteringthemuseum,Ifeltrefreshedandfrankly,smarter.FormyCulturalResponseEssay,I visitedtheMuseumofFineArtsinHouston.Ivisitedthemuseumbrieflylastsemestertoview specificworks,butthiswasthefirsttimethatmyfamilyandItookourtime,reallyfeelingtheart andtraversealloftherooms.Thelasttimewewenttothemuseum,wemissedanentiretopfloor! Fortunatelythistime,wefoundourwayupstairsandloandbeholdifitwasnotmyfavoritetime period...Egyptian.AttheEgyptianexhibittheyhadmummies,hieroglyphics,jewelry,potteryand statuesofpharaohs.TheworksIenjoyedthemostcamefromthisfloor,soIconcentratedmyefforts thereIchosetheMummyofachild,TheCoffinofPedi–Osiris,andThefalcon–formCoffinwith GrainMummytodiscuss.MummyofaChilddatesfrombetween30B.C.to150AD.Ancient Egyptiansbelievedinlifeafterdeath,sotheydiscoveredadetailedandcomplicatedprocesscalled mummification.Thebodyofthedeceasedwasbathedrepeatedlytobothcleansethebodyandthe soul.Thelungs,liver,stomach,andintestineswerepreservedandprotectedincanopicjarsforthe afterlifeTheheart,ontheotherhand,waskeptintactwiththebodyThiswasnecessaryinorderfor thedeceasedtoprovegoodnessintheafterlife.Thepicturesonthedelicatewrappingsareextremely significantaseverythingrepresentssomethinginEgyptianculture.Thepaintedwrappingsofthe childheldtwogreenjackalsatthetop,thejackalsrepresentingAnubis,godofembalmingThe colorgreensignifiesrenewalandrebirthwhichexpressesthehopeforimmortalityofthedeparted. Thereddiamondshapeinthemiddleofthejackalsrepresentsthechild'sheart.Themourning femalesarethegoddessesIsisand
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TheEmotionalPerceptionofArtArthasararecapabilityofevokingdifferentemotionsindifferent people.Twopeoplecanlookatthesamepieceofartandseetwoimagesthatareentirelydissimilar. Whatoneperceiveswhilelookingatartdependsonaperson'sstateofmind.Ifoneishappy,heor shewillfindsomethingcheerfulandpleasingintheworkofart.However,ifoneisdepressedor goingthroughahardtime,itwillbeasiftheyarelookingattwopaintingsortwosculpturesthatare totallyunalike.Theartist'spurposeincreatinghisorhermasterpieceistocreatesomethingthatwill maketheviewerthinkandimaginewhatthepieceofartisshowingthem.MalcolmGladwellstates inBlink:Theadaptiveshowmorecontent
Thenunisgrabbingontothemanwithbothherhandsandshehastheman'sredscarfclenched betweenherteeth.Theauthorportraysthemanasathief,bygivinghimmanyobjectsthathe appearstohavestolen.Theyincludearustymetalsword,twohandbags,andablackbriefcase. However,ifoneweretolookatthispaintingwithouthavingreadthetitle,onemaygetadifferent perspectiveofthepaintingForinstance,whenIfirstgazedatthepaintingIenvisionedadifferent situationoccurring.Isawamanwhoistryingtoescapefromawoman,notbecausehehasstolen somethingfromher,butbecauseshewillnotleavehimaloneandlethimlivehislife.WhenIstared athiseyesitalmostappearedthattheyweretellingme"Ohno,shefoundmeagain!"Hisfacial expressionwassodistraughtandsodepressedthatIimmediatelyknewhowhefelt.ThereasonI sawthisproductioninsuchaway,wasbecauseatthetimeIwasviewingtheimageIwasfeeling verysimilartowhatIthoughttheartistwastryingtoportray.Inoticeddepressionintheman'sfacial expression,becauseIwasslightlydepressedandIacknowledgedhispain,becauseIwashurting.
AnotherreasonwhythispicturestandsoutsomuchisitsuseofviolenceBecausetheladyis forcefullyholdingontotheman,itprovidesaneffectthatisdescribedgreatlybyKateRobothamin heressayonartisticviolence:Unlikemanyaspectsoftheartworld,artistic
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Artdeclaresmanythings.It'sawayforpeopletoarticulatetheirviews,expresstheiremotions,and communicatetotheworldinawaythatgivesthemcreativerelease.Thisabilitytoexhibitone's viewsinaimaginativeandsafemannerisexceptionallyimportanttosociety'sgrowth,andtoborder thisfreedomtoarticulateisdetrimental.Artshouldnotbehiddenandconcealedpermanentlyfrom thepubliceyebecausesomeseeitasvulgarduetothefactthatmanypeoplehavevarying definitionsastowhatiscrossingtheline.Onlycertain,obviousthingscanbenotedastruly indecent.
CensorshipisnotaneasysubjectAsanartist,thereisoftenalotoftolerancefortheobscene,from appreciationtodetailonthehumanfigureortheuniquerenditionsofanimalisticinteraction. However,themajorityofthepublicmightfindthesamethingsthattheartistsseeasaunique interpretationasvulgar.Itiseasytoseethatsuchastandpointmustbetakenintomore consideration,asthepointofindecencycandiffergreatlyforaconservativeChristiancomparedtoa liberalatheistThetwoimagesofwhateachgroupconsidersunseemlywouldmostlikelyrangein theirobscenity,andsoitwouldbedifficulttoputalinewhereoneshouldbecrossed."Ifanimage offendsverymanypeople,soonerorlatersomeonewillinvokethelaw,andalongwithitjudges, legislators,policymakers,andthepolice,"quotesMelindaHinksoninAustralia'sBillHenson scandal:notesonthenewculturalattitudetoimages.Herewehaveamajorityrule,whereanimage shouldonlyhaveactiondealtuponitifenoughpeoplewantchangeSuchcensorshipiseasyto determinewhentherearepiecesdepictingderogatorythemes,suchaschildpornographyorracial notions.Buttherearemultiplecaseswheretherearetwosidesofthestory,anditisnotassimple. AstatuenamedTruthisBeautybyMarcoCochranehasrecentlybeenconstructedinthecityofSan Leandro,hereinthebayarea.Thisstatuedepictsanudewomandancing,herbodysemi–geometric, andalthoughyoucannotvividlyseetheallofthewomansbodyparts,itisnotdifficulttoknowthat sheissupposedtobedepictedasnaked.Acompletelynakedfigure,
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Throughouttheculturalhistoryofman,objectshavebeencreatedtoentertain,record,confront, enrich,clarify,communicate,reveal,toorderanddisorder,withorwithoutapurpose.Yetthe definitionofwhatisartisobscure,weareabletorecogniseforourselvesbutnotexpressconcisely whatartis.Arthas'acomplicatednetworkofoverlappingseriesofsimilarities'(Law,2003) howeverthereisnotonefeaturethatallarthasincommonTheclassificationofArtdoesnotfitinto theclassiclogicargumentwheretobedefinedasarttheobjectmusthaveastatedcharacteristic,as inthemannerofclassifyingadog,computer,houseorboat.Adogisadogbecauseithassomebut notallofthecharacteristicsofA,B,showmorecontent Withoutbeingabletospeakwiththeanimalartistsitisdifficulttodeterminewhattheyareseeking toexpress,andwhethertheirworkisintendedtocommunicatesomethingtousorotheranimals, whetheritisaselfrewardingactivity,oraestheticallymotivated,(TheMuseumofNon–PrimateArt, (MONPA),1999).Acharacteristicofartisit'snonconformitytoadefinableformula.Law(2003, p100)definesartintwoparts,firstlyasanartifactorsomethingthathasbeenworkedonand secondlyassomethingthathasbeennominatedwiththestatusof'artwork'bythe'artworld'–the artist,curator,or'expert,'butartmaybeartwithoutbeingidentifiedbytheinstitutionclassifiedas the'artworld.'Theartworld'sopinionofwhatisartisdynamicandmaychangeovertime,anartist maycreatewithoutbelievingtheirworktobeart,forthatobjecttolaterbedeterminedtobeart.The 'qualifyingconditionsofwhatmakesaworkofartmaychangefromtimetotimeinanunsystematic way'(Brooks,2008,p96).Craftisnotart,craftpertainstothemakingofdecorativeorpractical objectswithskillbyhand,craftmaybeartisticincreation.Thereexistsadifferencebetweenartand aworkofart,aworkofartisabletobe
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Awisepersononcesaid,"Donotunderestimateyourselfbycomparingyourselfwithothers.It'sour differencesthatmakeusuniqueandbeautiful."Ihadbeentaughtthisinoneofthemostunusual ways.Afewyearsago,duringtheendofthedayIhadbeengivenaninvitationtocometotheart show,whichhadmeantmyartwasaccepted.OnceIhadgothome,myfamilycongratulatedme saying,"Iknewyouwouldgetin"and"Youdidsuchanamazingjob"Ihadenteredartin,butasI seenotherkidsart,Ididn'texpectminetogetin,yetsomehowIhadstillmadeit.Theother children'sartwasmoreintricateandshowedahigherlevelofskill,whileminewasnothingoutof theblueIwasitchingfortheartshowtocomeSuspensewasslowlykillingmefromtheinsideout Theartshowwasonlyinafewdays,butIwantedittocomemuchsooner.Afterwhathadfeltlike yearsofwaiting,thedayhadcome,theartshowhadfinallyarrived.Iwassojumpythroughthe wholedayofschool,Iwouldn'tbesurprisedifIhadgotcomparedtoafrog.Afterschool,Ididmy homeworkandtriedtorelaxinonewayoranother.Mymethodhadn'tworkedsince,curiositystill waskillingmeAstheoldsayinggoes"curiosity,killedthecat"wastrueformysituationThe clockhadfinallystruck6:00,signalingwastimetoleave.Myparentshaddrovemyanxiousselfto theartshow.AsIwalkedinthroughthelargeglassdoorsofthecommunitycenter,mynosewas greetedwith
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Veterans'ArtExhibitThisexhibitiscertainlyverydifferentthantheoneswehaveseeninpervious galleryreviews.AttheperformancestudioisfilledwiththeVeteran's.ThisisthefirsttimeICChas gonehandandhandwiththemilitaryveteransandhopethatthisisthebeginningofanannualart showthattakesplaceovertheyears.https://icc.edu/arts/news/icc–art–gallery–exhibits–featuring–works–by–veterans–local–artist–open–october–19/Alltheartworkhasadifferentartist,butalso theartisthavedifferenttechniquesfortheirartwork.Afterlookingthroughallthedifferentart piecesIpulledoutonethatcertainlystoodouttomewhenasIwaslookingthroughthem.From MaxBartonwhowasapartofthe5thArmyAirCrop,
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So,whatisart?Artisaarrangementofideasthatanartistmakesorbuilds.Therearevarious variationsforartthatexpresstheirfoundcreativityandinspirationtotheirartwork.Manypeople makearttodisplaytheiremotionsandideastowardslifeortocreatesomethingbeautifulfor spectators.Artisaformofpleasurewhichappeasestheaudiencetostayconnectedorfeelfixated onthatcertainartworkArtisunderstoodthroughfocusingonits:function,visualform,contentand creativity.Itshouldcommunicatewiththeviewersandhelpthemimaginetheconceptofthe artwork.Theyshouldalsoqualifyworkthatcouldbeseenorphysicallyfelt,displayingtheirideas tobeconveyedtothepublicImageryandsymbolicmeaningshouldbepresentwiththeirartpiece Inaddition,theymustportraytheircreativityandimaginationonacanvasoranyworkofart.Inmy opinion,artisarepresentationofyourthoughtsandemotionsportrayedtotheaudienceina perceivableandcommunicativemanner,helpingtheaudienceconnectwiththeartwork. Thecreativityofpaintingshelpstheviewerunderstandtheartist'semotions,aswellastheirart piecePabloPicasso,oneofthegreatestpaintersofthetwentiethcentury,helpedmeunderstand moreaboutart,aswellashispointofviewofhisownstyleormethodtodisplayhisemotionsonto acanvas.IlearnedthatPicassowasthecreatorofmodernartsthroughhisimaginativeand innovativeideasfoundin
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Artisaformofhumanexpression.Artcanbeseenastheartistsleightofhandonhismood.Artisin variousmediafromposterstopublicwallofwhichwecall"graffiti".Artiselusiveastheuseof colorsshapesandthesurfaceusedaddsanewdimension.Artportraysvariousideas,feelingssuch astriumph,love,happiness,sorrowandboredominlosstomentionafew.Artisbeautyand creativityDuringman'sevolutionarthasprogressedoverinitsmostprimitivestateuptoitsmost modernizedversionstoday.
Historyshowsthatarthasbeenusedasamajortoolforcommunication.Cavemendidartontheir wallsusingunsophisticatedandblunttoolsTheindigenouspeopleofourcountry,theaborigines suchasAlbertNamatjira...showmorecontent...
AncientEgyptians,Aztecs,IncasandMayanscreatedmanymeticulouspiecesofart.Someofthe meticulouspiecesofartaremasks,pyramids,jewelry,wallpaintings,tombs,sarcophagi.Theprimal RomansandGreeksshowedtheirappreciationoflifethroughart.Indiausedarttoshowtheirdance andtheirreligionsTheAfricanartissymbolicoftheirtribalcuffsasseenoftheirtotempoles Today,Arthasgonethroughmanychanges.Abstractartdominatesarttodayshowsambiguouslife amanlives,incontrasttotheunambiguousartofthepast.Moderndoesnothavespiritualityand culturalvaluesandbeliefsinthepastandisnowareflectionofamaterialisticlifeoftoday.Bill Henson,aportraitartistusedhis12yearoldOlympiaasanudemodelforhisportraitdrawing.This broughtmuchcontroversythathewasexploitingthebodyofanunder–agegirlashisowngains Thisshowsthatartisusedforpopularityandfinancialgain.Themessagebehindartistoshowideas andideasthatarerelevanttosociety.Artismeanttoenlivenlifeandthings,thoughmodernart showsmoreiflife'snegativenessGalleries,parksandmuseumsviewtothepublicwith meaningfulnessandwiththeappreciationforart.Artisstilleffectiveashandwrittenmaterialwas seeninthewallsofAncientEgypt.Modernartstimulatesthethoughtandfostersgreater
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TheHistoryofArt
Artwasthefirstwrittenlanguageandtostudythehistoryofartistostudythehistoryof civilizationsandhumankind.ThePaleolithiccavepaintingsinFrance,whenviewedinthemodern westernperspectivecanonlybespeculatedatastotheintentand/orpurposeoftheoriginalartisans Perhapsthepaintingsofanimalswerethefocalpointofareligiousceremonyorritual,surveyed beforethehunt,tobringsuccessorperhapspartofacelebrationordocumentationafterthe successfulhuntItappearsthatartfromtheearliesthistoryintotheRenaissancefocusesaround religiousceremoniesofsometype.
Platobelievedarttobeaformofcommunicationonametaphysicallevel.Themodernwestern view...showmorecontent...
Withoutthescientificknowledgeoflatergenerations,itisassumedthatthesefigureswere representationstoinvokefertility.
MesopotamiaartwascenteredinwhatarenowIranandIraq.Thedevelopingcultures(Assyrians, Sumerians,Babylonians,etc)inthearea,betweentheTigrisandEuphratesRivers,whichis sometimescalledthe"CradleofCivilization"orthe"FertileCrescent",arecreditedwiththe inventionofcuneiformwritingwhichisshowntousintheStele(lawcode)ofHamarabi.Within thesecultures,rulersoftenconferredwiththereligiousleadersandreligionwasanimportantpartof theirsociety
TheuniquecharacterofSumerianartisexemplifiedbyagroupofvotivestatuesfromtheAbu Temple,atTellAsmar.Theidentitiesofthesestatuesareunclear.However,itisaneducatedtheory thattheyservedAbu,Godofvegetation,andtheyrepresentpriests,andworshipers.Thereisno indicationthatthesefigureswereintendedtorepresentanaturalisticschemeItisimportanttonote thatthesymbolizationisthatofthehumanformandrepresentativeofsomeformofauthoritarian hierarchy.Trackingthehumanformanditsrelationshiptoart,history,andcultureasthehuman figureevolvesthroughthecenturiesasartistsperfecttheir
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Artsgenerateastrongfeelingofadmiration,displeasure,oranythinginbetween.Furthermore,art expressesthehumanexperience,andbecauseofthatcorrelation,there'sastrongerbondbetweenart andhumanity.Thatbondallowsarttoevokeintenseandpowerfulemotionfromus.However,there isadifferencebetweenartandart–like;arthasimplicationbeyondtheobvious,andart–likebeing merelydecorativeSoitiscrucialtoremember,thattruearthasmeaningeitherpositiveornegative Obviously,Ilearnedthatthroughthiscourseandfromexperiencingartintherealworld.Infact, sincethebeginningofthiscourseI'vebeensearchingforartintherealworld,soIcananalyzeand trytounderstandthedeepermeaningbehinditSearchingandFindingartintheworldhascertainly openedmyeyestoallofthewonderfulthingsintheworld.Searchingforart,I'vefoundthatitis everywherearoundusandplaysamajorroleinoureverydaylives.SincetakingthiscourseIhave encounteredartinmyhomeandschool.BothareplacesthatIgoalmosteveryday,butmyconcept ofartwassolimitedthatIneglectedtonotice.Atmyhomethepaintings,books,andeventhe buildingitselfisartInfact,mymomhasaThomasKinkadeoriginalhanginginthehallwayand countlessbibleslyingaround.Notonlydowehavebibles,butonmybookshelfliestonsofclassic literaturethatIneverconsideredtobeart,becauseIthoughtartwas"justpaintingsandstuff".
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ArthasbeensomethingthatIhavealwaysenjoyed.Whetheritbeactuallycreatingmyownpieces oradmiringpiecesfromlocalartist,ithasbeenapassionofmineveryearlyoninmylife.Now beforetakingArt102IneverreallyattemptedtodiveindeeptothepiecesIwasadmiring;Inever really"decoded"anyofthepieces,really.Instead,Iwouldsimplysnapaquickphoto,addadark filterthatreallymadetheredsstandout,andwriteawittyquoteThishasbeenmycyclewhen walkingintoanyexhibitforthepastyears;findthemostvisuallyappealingworkofartandspend moretimeonpostingthepieceonsocialmediathanactuallyinterpretingwhattheartistwastrying toportrayGoingthroughthesemesterIhavelearnedshowmorecontent
CharlesGranerandhisteamaretheonesresponsibleforsuchactionsandareresponsibleforthe photo.WhenGranerandhisteamwereexposedbyJoeDerby,theentireworldtooknoteandthere wasnotonlyoutrageonGraner'spartbutonDerbyaswellforbetrayinghisfellowAmerican military.CopperGreenenotonlyborrowsthephotobutiPodbillboardaswellandinasensedoesa spinoffcreatinghisuniquepiecewithhisownmessageThereasonwhyweasindividualsareable tomaketheconnectionofGreene'spiecetoApple'sadvertisementisbecausetheideaofsignifier andsignified.Whereinthiscasethewetakethesignifierwhichisthebrightloudcolorswiththea darkfigureusedinGreene'sworkandwetranslatethattothesignified;whichisappleproducts.In short,brightloudcolorswithdarkfigureequalsappleproducts.Greenealsousesbricoloageto createasenseofrepresentationasheisusinghisplatformtohighlighttherealworldandthosereal issues.Inthiscase,thatbeingofAmericanMilitarypersonalusingstrongformsofinterrogation. Lookingatthepiececloseranddecodingwhatthewhiteheadphonestrulymean,wecanconclude thatthoseheadphonesnotonlyservesaselectricalwiresusedfortorturebuttooAmericansuse thosesomeheadphonestoshutouttheoutsideworldandanyrealproblems,isolatingthemselvesto theirtunesandtheirownproblems.The
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AlthoughBasquiat'smotherMatildewasthedrivingforcebehindtheartistatayoungage,itwashis lifeexperienceswhichshapedhispersonalityandinturnhisartwork.Thefirstshiftinfocusfor Basquiatoccurredin1968whenhewasstruckbyanautomobileandinjured.Whilerecovering,his mothergiftshimacopyofGray'sAnatomyandhereiswherehetakesspecialinterestinanatomy whichislaterreflectedinhispiecesAtage15,Basquiatrunsawayfromhomeafterhisparentshad beendivorcedandhismotherwasinandoutofmentalinstitutions.Basquiatledalifeonthestreets ofNewYork,sleepingonparkbenchesinTompkinsSquareParkandeatingwhathecouldfind. Aroundthistime,in1976,heandAlDiazcreateafictionalcharacterbythenameofSAMO(Same OldShit)andthetwobegantospreadwittyphilosophicalmessagesthroughouttheLowerEastSide ofManhattan.TheSAMOdaysbegintobuildanameforBasquiatand,alongwithhisingenious andsuavepersonality,heslowlyintegratesintheartsceneofNewYork.Basquiat'scapacityto distillhisperceptionoftheoutsideworlddowntotheiressence,andprojectthemoutwardthrough hisartiswhatdefinedhisuniquestyleHewascapableofdigestingcomplexsocialissuessuchas racialinjusticeorreligionandunlockamorebasictruththroughhissimple,thoughtprovoking pieces.OneofBasquiat'smosticonicpieces,IronyoftheNegroPolicemandealswithcriticismof hisownrace.Because
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contemporaryart,theartofthelate20thcent.andearly21stcent.,bothanoutgrowthandarejection ofmodernart.Astheforceandvigorofabstractexpressionismdiminished,newartisticmovements andstylesaroseduringthe1960sand70stochallengeanddisplacemodernisminpainting, sculpture,andothermedia.ImprovisationalandDada–likestylesemployedintheearly1960sand thereafterbyRobertRauschenbergandJasperJohnshadwidespreadinfluence,asdidthestylesof manyotherartists.Themostsignificantoftheoftenlooselydefinedmovementsofearly contemporaryartincludedpopart,characterizedbycommonplaceimageryplacedinnewaesthetic contexts,asintheworkofsuchfiguresasAndyWarholandRoyshowmorecontent
Amongothercontemporary"neo"stylesarethecool"neo–geo"abstractionsofPeterHalleyand others,thestarkstructuresofneoconceptualism,theslickneopopofsuchartistsasJeffKoons,and thelandscaperevivalrepresentedbyDianeBurkoandAprilGornik,amongothers.
Manynewartistshavesimultaneouslyinvokedandchallengedarthistory,rejectingtheheroic statureofthesingularworkofartandthesingle(usuallywhitemale)artistandinvokingthe ubiquityofmechanicallyproducedreproductionsbyemployingsophisticated"quotations"or "appropriations"frompriorworks.Thiscanbefound,forexample,inCindySherman's photographicrecreationsofpaintings,inthemultiplequotationsofhistoricimagesofDavidSalle's paintings,inthepostmoderntakesonBarnettNewmanbyPhilipTaaffeandonManetbyYasumasa Morimura,andinthenearlyidenticalrepresentationsoffamousimagessuchasPicasso'siconof modernismLesDemoisellesd'AvignonbyMikeBidlo.
Alsowidespreadamongcontemporaryartistshasbeenarepudiationoftheideathatunderliesmost worksofpureabstraction–thattheworkofartisaself–sufficiententityRejectingtheexclusively self–referentialimagesofabstractionandtheconstrictedcommercialismoftheartworld(yetoften embracingthewider
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AlthoughIhavebeendrawingforamajorityofmylife,itwasn'tuntilrecentlywhenIrealizedjust howmuchIloveart.Artwasmymethodofself–expressionandcreativity,creatingadoorwayfor myimaginationtoexplainitsintricacies.Iloveartbecauseofitsabilitytoexpressemotions,moods, andstories.
StoriesarealargeaspectoftheartistinmeAssomeonewithanextremelyvividimagination, storiesaremywayofexpressingthoughts,copingwithproblems,andbringingabitofadventure intoaroutinelife.Icancreatethepersonalities,strengths,flaws,andmotivesofmanydiverse charactersthatchangethecorruptfantasticalworldtheyliveinThroughart,Idrawoutthese characters'designs,emotions,andstorylines,...showmorecontent...
IusedpencilinordertocreateahighcontrastwiththeshadowsandhighlightsandIusedcolored pencilsandpentocreatebothsubtlecolorsandasurrealeffect.Iamalsoinfluencedgreatlybythe storiesIwatch.MymandalaartpieceisfilledwiththemesfromtheshowRWBY,whichisabouta younggirlandherteamoffriendsbattlingmonstersandcorruptioninadangerous,butunique world.RWBYinspiredmetotakeamorefantasticalapproachtomystory,buildingaworldwithits ownlaws,countries,andhistory.Imadethispieceintoamandalainordertoexpandintodifferent artstyles.WiththeradialdesignIcreatedatypeofabstractsymbolism,somethingIrarelyhave doneinmyartbefore.Someofmyartpiecesaren'tinspiredbystories,however.Inmyobservation piece,IdrewaflowerthathasbeeninmyhouseeversinceIcouldrememberThisflower representshomeforme,alwaysgivingoffafamiliarvibeandanostalgicfeelingofcomfort, security,andsafeness.Iusedcoloredpencilsinordertolearnrealismthroughcolorbecausebefore thispieceIhadonlyeverdrawngrayscaleartpiecesFinally,mysecondstudentchoiceartpiece, whichfollowsthe
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ThispaperwillcriticizetheGuardian,anoilpaintingoncanvasbyValtonTyler,createdin1973 andisdisplayedbytheAmonCarterMuseumofAmericanArtinFortWorth,TXThepainting illustratesunusualstructuresthatutilizeavarietyofgeometricandorganicshapes.Theirregular curvilinearformandshapesofthestructureshasthiswhimsicalfairytalemeetsmechanicalfuturistic feeltoit–orDrSeussmeetsWizardofOzTheamorphousshapedcloudsinthemelancholysky giveitthissortofindustrial,bleak,factorysmokestackimpression.Thedrearyskyisthen contrastedwiththeselivelyorganicstructuresthataresetamongstagreenlandscapewithhillsor mountainsshowmorecontent
ThefirstthingthatcametomindwhenIthoughtaboutwhattheartworkisrepresenting,wasalittle greenplantsproutingthroughthecracksofconcreteThisthoughtIhadislikethelittleleaves sproutingfromthestructuresinthepainting.Iwasreadinganarticletheotherdayabouthowlong mankindhasbeenhereinthetimelineoftheearthandhowmuchwehavedestroyedinthesmall amountoftimewehaveresidedonearth.Ifeelitisvitaltorespectandappreciatemothernature, butourworlddoestheexactopposite.Mankindhascausedglobalwarming,pollutedtheoceansand air,destroyed50%offorestsandhavecausedavarietyofspeciestogoextinctWehaveabusedour planetandhavefailedtoproperlynurtureit.Wehardlyrelyonnaturetoprovideuswithfood anymoreeither.Whyfarmwhenwecanconcoctourdietinalabandthenproduceitinafactoryin largevolumesquicklyandinexpensively?Ican'tstresshowimportantitistostillbeconnectedto natureandyourfellowman.Wehavebecomesoindulgedintechnologythatwearenowthese lifelessrobots.BythisImean,wesitwithourfacesgluedtoourtablets,TV's,cellphones,etc.This isnowaytolive.It'samindless,emptyzombiewayofliving.Ithinktechnologyisgreat,but societyshouldbewearyandcarefulofhowmuch,whenandwhereweutilizeit.Technology
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