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How you define art
Influence of art on a society
How you define art
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Did you hear about the two little boys who found themselves in a modern art gallery by mistake? "Quick," said one, "Run! Before they say we did it!" Although this may be a hilarious slap your knee joke, I believe this depicts how society feels about modern art. As a popular saying goes “’Modern art’ is produced by incompetents, sold by charlatans, and bought by ignoramuses!” Why such the skepticism towards current art? Why do art historians and renowned scholars set new art aside in favor of a Monet or Rembrandt? Is the importance of modern art so infinitesimal that it is reduced to child’s play? Or, better yet, is contemporary art worthy enough to be art? Meandering through the Lowe Art Museum, I constantly find myself attracted to the Modern Art section of the museum like a magnet to a refrigerator. More specifically, I am attracted to the piece entitled Shattered Illusions. Shattered Illusions consists of five glass bottles: glass bottles that looked as if they have been around for centuries and endured extensive use by multiple people. The bottles have a yellow tint symptomatic of aging and rigid holes that suggest previous use. Inside of each of these average-sized bottles are figures that represent humans. Each bottle has a different figure; for instance, two of the bottles contain what seem to be females and the other three males. Each figure is tangled helplessly in this relentless coil that protrudes from every direction imaginable like there is no end or hope in sight. The coil wraps around the figures’ extremities, midsection, and neck wanting to choke the life right out of them. In each bottle the figures are struggling with the desire to escape, but not everyone is set free. The center bottle has... ... middle of paper ... ...and mysterious but as Gladwell states “It is one thing to acknowledge the enormous power of snap judgments and thin slices but quite another to place our trust in something so seemingly mysterious” (51). Art has no set characterization so therefore no one could declare whether or not something is art. Art is left up to perception of the viewer and not the opinion of the critic; in quintessence art is indefinable—that is the beauty! Works Cited Esaak, Shelley. “What Is Art?” Art History. About .com. 29 Sept. 2006 Read, Herbert. Art Now. London: Faber and Faber Limited, 1968. Requadt, Water E. “Modern Sculpture: Art or Incompetence?” What Is Art? 2006. 29 Sept. 2006 Richardson, Tony and Nikos Stangos. Concepts of Art. New York: Penguin Books, 1974.
At the turn of the 20th and further into the 21st century, art began to drop the baggage carried from the masters of the Renaissance and began a trajectory of change. Artists began challenging the schools and galleries of art around the world in an effort to break away from the chains that were wrapped around them in an effort to control the basis of art. Strange patters, shapes, colors and spaces emerged as each one challenged every norm known to the artistic circle. Critics and viewers alike were suddenly required to think less about the topics of paintings and more about their formal aspects. As decades passed, the singularity of art began to intensify and different forms of art demanded the same recognition as others before. Liberation
For her first point of the “still-life on the counter” she argues that the objects on the counter are for “public consumption” and that the labels on the bottles
The American artist Fred Tomaselli arranges pills, leaves, insects and cutouts of animals and body parts to create his pieces of art. His incorporation of items are arranged to suggest a level of perception along with a heightened visual experience. This gives me, the viewer, a sense of Energy. The perception of color that Fred uses gives a gravitating feel. If you take a look at the heart of this piece you can instantly visualize the different items Fred incorporates into the piece.
By the late 1950s, Voulkos had established an international reputation for his muscular fired-clay sculptures, which melded Zen attitudes toward chance with the emotional fervor of Abstract Expressionist painting. Some 20 works -- including five "Stacks" (4-foot-tall sculptures) as well as giant slashed-and-gouged plates and works on paper -- recently went on view at the Frank Lloyd Gallery. This non single show is his first at a Los Angeles gallery in 13 years, although a survey of his work was seen at the Newport Harbor Art Museum (presently carries a different...
Before the modern era sculpture was monumental; it had an unspoken meaning. Sculptures of this time were commissioned to commemorate a person or an event. They were eternal, designed to last and make people remember a legacy. When the modern era arrived there came a shift, the concept of sculpture became broader. They were still permanent but no longer site specific or placed of a pedestal; they became nomadic. Flash forward to the postmodern era and sculpture is the space it inhabits, as the site changes so does the meaning. They convey the human experience and become something broader than just a monument as Krauss puts it the realm of sculpture has become “infinitely malleable ”.
My goal for this paper is to give a practical critique and defense of what I have learned in my time as a Studio Art Major. During my time here I have learned that Pensacola Christian college’s definition of art “art is the organized visual expression of ideas or feelings” and the four parts of Biblosophy: cannon, communication, client, and creativity. Along with Biblosophy I have studied Dr. Frances Schaeffer 's criteria for art, seeing how the technical, and the major and minor messages in artwork. All of these principles are great but they do need to be refined.
People can have many different opinions depending on a topic, but what is truly difficult is getting a complete level of understanding from every opinion, or understanding the point of view of each opinion. Even accepting the points of view can be difficult for some people, who believe that their opinions are right. Luckily, people can learn about the other person’s frame of reference, and at the very least understand the topic or the person a little better. This particular topic is art, which is known for its multiple possible perceptions or its many different messages that it can send a person or group of people. In this way, people can learn more about the thought processes and feelings of others. Unfortunately, with differing opinions,
The St. Louis Art Museum is one of the United States most renowned art museums that is located in our very own St. Louis. It has over 30,000 pieces of exquisite art that I had the privilege to witness. While there, I mainly examined the art pieces that were modern art, since that is of what I have a good working knowledge. There is a wide range of art that I also got to witness including the sculptures and the museum itself. In the past year, they have recently installed a new sector of their establishment that has done nothing less than enhance the entire museum’s overall beauty. The St. Louis Art Museum, there are many beautiful works, but there were three special projects that caught my eye while I was there. The Contemporary art periods, Modern art periods, the American art periods, and the museum itself.
Mays claims that Modern Art’s very philosophy is based on freedom from tradition and the removal of the artist’s hand and therefore immediately disqualifies the crafts with their antiquated, ideals. He equates art--the educated eye, with intellect and craft--the intimate hand, with popular culture. In other words, artists can make well crafted work on the condition that they don’t enjoy themselves too much and craftspeople are tolerable so long as they stay out of Modern Art’s intellectual domain. Believing the craft community to be lacking the necessary ingredients for intellectual prowess, Mays also blames craft critics as well as the community at large for being too friendly and and encouraging
Varnedoe, Kirk. A Fine Disregard: What Makes Modern Art Modern. New York: H.N. Abrams, 1990. 152. Print.
I didn’t know the exhibit would be displaying two pieces artwork which would awaken and reveal a hidden attitude of remorseful anger. As I analyzed Alfred Jaars and Nan Goldin’s pieces of art, both pieces revealed my conflicting attitudes of frustration, loss, fear, anxiety and anger. I didn’t like these feelings I was confronting at the moment, but I had to come ...
Whether it be writers, painters, sculptors, musicians, or photographers, artists all over the world have striven to show people their views of the world, of people, and even of the universe itself. Throughout history the creative urge of man to present to fellow men a different perspective or representation of life-or even the afterlife-has surfaced time and time again in the form of artwork. Sometimes it comes through genius and complexity, full of meaning and symbolism. Others, it is simple and void of any clear meaning at all other than that it is art. Soon, however, there became a point when the work of art was no longer something one could just look at and understand; the principle of the matter had changed. Art leapt from viewable understanding straight into the Modern movement where theory became art, and to understand it, one must know the theory it is based upon. Never was this more apparent than in the artwork of the abstract expressionist. Essentially, artwork is not art because of theory, and art based on theory cannot be creative or truly said to be art.
Modern art serves to immerse us more thoroughly in a scene by touching on more than just our sight. Artists such as Grosz, and Duchamp try to get us to feel instead of just see. It seems that this concept has come about largely as a way to regain identity after shedding the concepts of the Enlightenment. “Philosophers, writers, and artists expressed disillusionment with the rational-humanist tradition of the Enlightenment. They no longer shared the Enlightenment's confidence in either reason's capabilities or human goodness...” (Perry, pg. 457) It is interesting to follow art through history and see how the general mood of society changed with various aspects of history, and how events have a strong connection to the art of the corresponding time.
Barrett Terry. Criticizing art: understanding the contemporary. (UTSC library). Imprint New York, NY: McGraw-Hill, 2012. Print.
Art can be defined in many ways by an individual. One can say that any creative output by a person is considered art. Others contend that art must conform to a societal standard and the basis of the creation should be understood by most intellectual people. For example, some contend that computer-generated images, such as fractals, are not art due to the large role played by a computer. E.O. Wilson states “the exclusive role of the arts is to intensify aesthetic and emotional response. Works of art communicate feeling directly from mind to mind, with no intent to explain why the impact occurs” (218). A simple definition may be that art is the physical expression of the ideals formed by the mind.