Article Critique: The Ethics of Perception: Joseph Albers in the United States.
The article “The Ethics of Perception: Joseph Albers in the United States” by Eva Diaz fully assesses the artist Josef Albers’ beliefs and teaching methods, after his arrival in the United States. Diaz’s main take away of the article is Josef Albers’ philosophy of an ethics of perception and his certainty that experimenting with art can affect one’s perception in all aspects of life. ___________________.
Diaz begins her article with the immigration of Josef Albers and his work in geometric abstraction at Black Mountain College. His teaching methods are thoroughly examined along with the concept that anyone can benefit from the investigation of form and materials. By showing examples of Albers works she justifies that by learning new ways of looking at things student can carry out the same idea into their daily lives. Diaz considers Albers models, unlike the traditional route of teaching by repetition, will aid in producing more creative and inventive society thus improving society.
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The information supporting her claim is reliable and rational as when she shares Walter Gropius’ praise of Albers's innovation: "He has discarded the old procedure to hand over to the student a ready-made formulated system. He gives them instead objective tools that enable them to dig into the very stuff of life. . . . This ever-changing approach seems to me pregnant of life, present and future."(262) Using evidence of others helps to support her
Josef Albers was a well-known and influential artist of the twentieth century. He was known for his use of vivid colors and interesting and abstract shapes. He was instrumental in ushering in the Modernist movement as he was a teacher to many of the great artists of the 1950s and 1960s. In 1963, Josef Albers released a book surrounding a series of paintings he did, The Interaction of Color. This book was crucial when it came to art education and various applications in his and his student’s works. His final series was his Homage to a Square that only used squares and rectangles with varying colors to demonstrate spatial relationships between the shapes and the colors. Albers use of shape and color, particularly in his Homage to the Square
Riopelle received professional training in fine art at the École du Meuble from 1943 to 1946 and was one of the students of another important Canadian artist, Paul-Émile Borduas. Borduas was known as the father of abstraction in Quebec. Borduas encouraged his students to discover a form of freedom and reject all academic constraints, invited them to think “painterly” rather than “literally”. This ideology had laid foundation to Riopelle’s oeuvre. Later, Riopelle joined a group of young abstract artists that led by Borduas, which lately was known as the “Automatist”. He adopted a stance in clear opposition to geometric abstraction. In Riopelle’s works from the late 1940s, he developed the spontaneous expression which favored by the surrealist painters. By Automatism, it means that allow the hands to work freely, that is no particular result in mind. The Automatism encourages total openness, the artist who draws unconsciously and repeat indefinitely the same shape. There is no metaphysical interpretation hides behind the works. According to Riopelle “painting is never the reproduction of an image, it always starts with a vague feeling… the desire to paint… Not a clear idea. The painting starts where it wants, but after, everything falls into place. That’s the important
In “Checking My Privilege: Character as the Basis of Privilege”, Tal Fortgang tries to argue that he does not feel he is privileged just because he is a white man. He believes that everything he has now is based on his personal accomplishment and does not have anything to do with his race. Fortgang feels outraged that he is stereotyped because he is attending one of the top universities in the world known as Princeton based on the color of his skin. Nothing is given to him freely without diligent work. He went to dig into his past to see if he really was privilege and somehow he doesn’t know he was. Then he gives us evidence of the hardship that his grandparents and family went through emphasizing if hardship is what privilege is, therefore he is privileged. The only privilege he has is the passed down values such as education and faith that was given from his ancestors. He feels the success that his family has made wasn’t handed to them on a silver spoon and the only privilege that his family has is being able
Review of “Situationism and Virtue Ethics on the Content of Our Character” by Rachana Kamtekatar
It appears to me that pictures have been over-valued; held up by a blind admiration as ideal things, and almost as standards by which nature is to be judged rather than the reverse; and this false estimate has been sanctioned by the extravagant epithets that have been applied to painters, and "the divine," "the inspired," and so forth. Yet in reality, what are the most sublime productions of the pencil but selections of some of the forms of nature, and copies of a few of her evanescent effects, and this is the result, not of inspiration, but of long and patient study, under the instruction of much good sense…
Neither is there any other composition of his that is so vividly keyed to the space lying out of the picture frame. Recent studies of Las Meninas, inspired by the ideas of Michel Foucault, have paid considerable attention to the seemingly novel relationship between the scene on the canvas and the spectator. These ideas tacitly assume that the picture was meant to be seen by the public-at-large, as if it were hanging in an important museum, as it is today.
In the book “Ways of Seeing,” John Berger explains several essential aspects of art through the influence of the Marxism and art history that relate to social history and the sense of sight. Berger examines the dominance of ideologies in the history of traditional art and reflects on the history, class, and ideology as a field of cultural discourse, cultural consumption and cultural practice. Berger argues, “Realism is a powerful link to ownership and money through the dominance of power. ”(p.90)[1] The aesthetics of art and present historical methodology lack focus in comparison to the pictorial essay.
From the creation of art to its modern understanding, artists have strived to perform and perfect a photo realistic painting with the use of complex lines, blend of colors, and captivating subjects. This is not the case anymore due to the invention of the camera in 1827, since it will always be the ultimate form of realism. Due to this, artists had the opportunities to branch away from the classical formation of realism, and venture into new forms such as what is known today as modern art. In the examination of two well known artists, Pablo Picasso and Jackson Pollock, we can see that the artist doesn’t only intend for the painting to be just a painting, but more of a form of telling a scene through challenging thoughts, and expressing of the artists emotion in their creation.
Introduction Upon my first encounter with Kandinsky's painting, my eyes and indeed my mind were overcome with a sense of puzzlement, as it seemed impossible to decipher what lay beneath his passionate use of colour and distorted forms. Kandinsky hoped by freeing colour from its representational restrictions, it, like music could conjure up a series of emotions in the soul of viewer, reinforced by corresponding forms. Throughout this essay, I will follow Kandinsky's quest for a pure, abstract art and attempt to determine whether his passionate belief in this spiritual art and his theories on its effects on the soul, can truly be felt and appreciated by the average viewer, who at first glance would most likely view Kandinsky's paintings as simply abstract. Kandinsky was indeed a visionary, an artist who through his theoretical ideas of creating a new pictorial language sought to revolutionize the art of the twentieth-century. Regarded as the founder of abstract painting, he broke free from arts traditional limitations and invented the first painting for paintings sake, whereby the dissolution of the object and subsequent promotion of colour and form became means of expression in their own right.
Emmer, Michele. “Intoduction to the Visual Mind:Art and Mathematics.” The Visual Mind: Art and Mathematics. Ed. Michele Emmer. Cambridge: MIT Press. 1-3.
Among the many theories of art that have emerged over time, the theory I will defend in this paper is the Neo-Wittgensteinian theory of Art. I will defend this view against the following (two) objections: a) The “open concept” idea of art is too expansive, and b) the “family resemblance” theory of artworks is also too expansive.
The findings in this book could easily be compared to real findings, throughout history we have been looking at finding proof for existence of life out in the universe and we have found several meteorites throughout times. Though they are not as significant as the discovery in the book where they are found during presidential elections and with fossils on it, but today when people are looking in space and saying our future lies there; reading the book has made everything just more interesting and exciting. "If this discovery is confirmed, it will surely be one of the most stunning insights into our universe that science has ever uncovered. Its implications are as far-reaching and awe-inspiring as can be imagined. Even as it promises answer to some of our oldest questions, it poses still others even more fundamental"
Both ways of knowing can be associated with teleological or deontological arguments; the ethics are based on either an objectives-focused or obligations-focused mindset. In this essay, I will be discussing the limitations set on both the arts and the natural sciences as areas of knowledge. To what extent do ethical implications hinder the way art can be produced or the methods involved in expanding society’s knowledge of science? To begin with, what is the definition of art? Art can be anything that expresses something, embodies artistic or aesthetic intention, or demonstrates creative choice.
Ethics is the study of moral values and the principles we use to evaluate actions. Ethical concerns can sometimes stand as a barrier to the development of the arts and the natural sciences. They hinder the process of scientific research and the production of art, preventing us from arriving at knowledge. This raises the knowledge issues of: To what extent do moral values confine the production of knowledge in the arts, and to what extent are the ways of achieving scientific development limited due to ethical concerns? The two main ways of knowing used to produce ethical judgements are reason, the power of the mind to form judgements logically , and emotion, our instinctive feelings . I will explore their applications in various ethical controversies in science and arts as well as the implications of morals in these two areas of knowledge.
Ethics is a system of moral principles and a branch of philosophy which defines what is acceptable for both individuals and society. It is a philosophy that covers a whole range of things that have an importance in everyday situations. Ethics are vital in everyones lives, it includes human values, and how to have a good life, our rights and responsibilities, moral decisions what is right and wrong, good and bad. Moral principles affect how people make decisions and lead their lives (BBC, 2013). There are many different beliefs about were ethics come from. These consist of; God and Religion, human conscience, the example of good human beings and a huge desire for the best for people in each unique situation, and political power (BBC, 2013).