Category: Aesthetic

In the tranquil stillness of a moonlit night, I found my world awash in the subtle interplay of shadows and light, a canvas that whispered the first notes of my artistic journey. It wasn’t just the beauty of the night that captivated me; it was the realization that I could capture and reinterpret this beauty through my art. This moment was more than an epiphany; it was a calling. My aspiration to become an artist stems from a deep-seated desire to explore and express the myriad hues of life and to weave stories that resonate with the soul. Art is not just a form of expression but a means of connecting with the world profoundly. In this essay, I will delve into the path that has led me toward this artistic pursuit, the inspirations that have shaped my vision, and the goals that fuel my journey forward. Each brushstroke is a step, each color a word in the ongoing narrative of my aspiration to live and breathe as an artist.

A personal journey into art

My earliest encounter with art was not through grand galleries or famous paintings but through the vibrant illustrations in children’s storybooks. These colorful pages were not just stories but windows into other worlds. I found it fascinating how a single brushstroke or pencil line could convey emotion, a story, and an atmosphere. I remember spending hours trying to replicate these illustrations, finding joy in the challenge and creation process.

A critical experience that deepened my interest was an impromptu visit to a local art fair when I was ten. The fair was a kaleidoscope of creativity – from surreal paintings to intricate sculptures. One artist, in particular, captured my attention. He painted landscapes that seemed to breathe and live. He spoke to me about his work, about capturing the essence of nature. That conversation ignited something in me – a desire to create and communicate through my art. Then, I understood art’s power to connect, evoke emotion, and tell stories without words. This experience solidified my commitment to pursue art as a hobby and a way of life.

Inspirations and influences

A diverse tapestry of artists and styles has profoundly influenced my artistic vision. The surreal landscapes of Salvador Dalí have always fascinated me, teaching me the power of the imagination and the boundless possibilities of art. Similarly, the vivid expressionism of Van Gogh, with his bold colors and passionate brushwork, showed me how emotions can be viscerally captured on canvas. These masters taught me to see beyond the conventional and explore the depths of my creativity.

On a more personal level, my high school art teacher played a pivotal role in shaping my aspirations. She was more than an instructor; she was a mentor who encouraged me to experiment and find my voice in the crowded world of art. Her belief in my potential, even when I doubted myself, was a constant source of motivation. Under her guidance, I learned to embrace my unique perspective and understand that true art comes from an honest expression of oneself. Her influence has guided my artistic journey, continually inspiring me to push my boundaries and evolve as an artist. 

Vision and goals as an artist

My artistic vision centers on capturing the brief moments of life, the fleeting emotions, and the subtle nuances that often go unnoticed. I aim to bring these transient moments to the forefront, allowing viewers to pause, reflect, and find a piece of themselves in my work. Through a blend of realism and abstraction, I aspire to create art that pleases the eye and stirs the soul, encouraging introspection and a deeper connection with the world.

As I look ahead, my goals are multifaceted. I am committed to mastering the intricate dance of light and shadow in my paintings, a technique that breathes life into art. I also plan to explore themes of nature and human emotion, intertwining these elements to create art that speaks to the harmony and discord between humanity and the natural world. Beyond personal development, I aim to contribute to the art community by mentoring young artists and sharing my journey and learnings. This reciprocal exchange of knowledge and experience enriches my artistic journey and helps nurture the next generation of creative minds.

Conclusion

Embarking on an art career is akin to setting sail on a vast, uncharted sea. It promises a journey filled with challenges, from the struggle for recognition to the constant evolution of one’s style and technique. Yet, these challenges forge resilience and ignite creativity, offering endless opportunities for growth and self-expression. I have an unquenchable desire to capture the complexity and beauty of the world around me, which motivates my unwavering commitment to becoming an artist. It is more than a career choice; it is a calling that resonates with every fiber of my being. Ultimately, art is not just about creating; it’s about sharing a part of oneself with the world. As I continue this journey, I am reminded of a poignant question: In the tapestry of life, aren’t the colors of our experiences creating the most beautiful art?

The play “Art” written by Yasmina Reza has been reviewed by many journalists. On the surface, the writers appear to just be sharing their opinion of the play, but it is much more complex than that, and the writers are using specific techniques to make their review as interesting as possible and to make you want to read further. In my opinion, the form of ”Blank Canvas”, a review written by Michael Billington has a superior form and flow to “Arguments and Loneliness” another review due to its use of rhetorical devices.

“Blank Canvas” begins by building up to a climax with its summary by putting the most important information at the end, while using phrases like “I doubt that anyone could have predicted its global popularity” to entice the reader to read further. This is a rhetorical device that is used often in reviews to make the specific fact seem more interesting, rather than saying it at the beginning of the opening sentence and is very effective. The writer then ends the paragraph with a question to further hook the reader and get them thinking, then answers the question in the next paragraph. This is known as Hypophora and is another rhetorical device. The writer uses this rhetorical device again later in the review, although indirectly. The question is asked from the point of view of anyone who has read the play and lets the outcome of the play answer the question for the reader with the answer varying on how each person felt about the play. The writer also uses Amplification to clarify how a statement is relevant to the play. “-as happens with Serge and Marc-“. This rhetorical device is used to retain the flow of a sentence while adding extra detail, and making sure the reader fully understands the purpose of the sentence. The final rhetorical device that is used is sentient, which is the use of a general piece of wisdom applied to a sentence or paragraph. The review is concluded with one such statement: “Reza went to write more taxing plays but she learned early on the value of a very simple lesson: that life is long, but Art is short.” This statement perfectly sums up the ending paragraph and is used very effectively as something that leaves the reader satisfied. The writer also spreads the summary throughout the review and mentions certain outcomes of the play as they become more important rather than putting it all at the beginning, which helps the flow of the writing.

Argue and Loneliness, while in my opinion the inferior review, still uses multiple rhetorical devices to great effect. Instead of building up a climax like the first review, the writer uses the first paragraph to do a very quick summary of the script before delving deeper into the next few paragraphs. The first rhetorical device used is Expletive which is a short phrase that interrupts a sentence, to emphasize the subject or point of the sentence. This review uses expletives multiple times to emphasize a point, first at the beginning of the review when explaining how Marc reacted to Serge’s purchase: “Serge’s friend is appalled, even angered by the purchase”, and again later in the review: “at times, it’s kind of an intellectual Punch and Judy show”. The phrases “even angered” and “at times” are expletive phrases. The next rhetorical device used is Antanagoge. Antanagoge is stating a negative point, then pointing out a positive immediately after to soften the blow of the negative point. It is used in this review to say that it is unrealistic how much conflict a white painting can create, but the play does bring up interesting questions by having that. Moving on, the writer uses a poetic device known as an allegorical figure, which is the application of a human characteristic given to a concept. In this case, the concept is loneliness, and this is demonstrated by the phrase “Aching loneliness is waiting in the wings”. The last rhetorical device used in this review is Scesis Onomaton, which is the use of multiple phrases or statements that mean the same thing to emphasize the statement. In the review, it is used to emphasize that the painting in the play “Art” could hardly be considered modern art: “Reza treats a white-on-white painting as if it were the latest, trendiest thing.

Blank Canvas made better use of rhetorical devices, and the climax and the Hyphoria(questions that are flowed by an answer) are very effective in luring you into reading more. Argue and loneliness used some of the less important rhetorical devices that only affected singular sentences, whereas the devices used in Blank Canvas affected entire paragraphs. 

To what extent are artists driven by monetary gain when they produce their art?

This essay will explore the motivations of artists when they produce their work. It will try to answer questions such as: do artists merely produce work for financial reasons? Do artists know the value of their artworks before doing them and how does this influence them? Is the cost of some modern artworks justified or are artists over-inflating their prices? However, before tackling these questions it must be decided what art and an artist are.

There is no universal definition of art, probably because the meaning of this word has changed a lot through time and through different points of view.

The Oxford Dictionary defines art as “the expression or application of human creative skill and imagination, typically in a visual form, (…) producing works to be appreciated primarily for their beauty or emotional power”1. Some would say that art nowadays focuses less on displaying beautiful objects and more on representing convincing ideas. Therefore, it is not relevant anymore if the way in which they are displayed, through objects or concepts, has beauty within. The importance is now set on the artist and what he wants to communicate. However, the best way to define art, in my opinion, is to consider three general concepts that lay inside this word: representation, expression, and form. In fact, the first ones that tried to define art were philosophers like Plato and he gave art a different meaning than the one cited before. He cultivated the theory of art as “mimesis”, meaning copying or imitation in Greek.

Therefore, until the end of the eighteenth-century art was intended as the “representation or replication of something that is beautiful or meaningful”2. Art kept evolving and this measure of value was unable to fulfill the task to understand all the artists that were thinking differently like Picasso or Jean Miro. This is where expression became important: The Romantic movement brought to attention the viewers’ emotional response. Art itself stopped categorically seeking the perfect representation and began to express the artist’s feelings. Immanuel Kant introduced the idea of judging the formal qualities of a work of art and this concept became increasingly important when art became more abstract. These three concepts can give a general perception of what can be considered art. Ultimately, art can be a way to symbolize something that is tangible, an idea, or a feeling.

Who is an artist? Many have tried to define an artist but the former concept is not something universal. Wikipedia claims that “An artist is a person engaged in an activity related to creating art, practicing the arts, or demonstrating an art”3. This usage mainly refers to a practitioner in the visual arts only. Art includes more human endeavors than just painting so, musicians, writers, photographers and many more should be called artists. However, for the purpose of this essay and for the most common use of the word, the definition “A person who works in, or is skilled in the techniques of, any of the fine arts, esp. in painting, drawing, sculpture, etc.”4 will be used to define an artist.

The first investigation is about artists creating art only for earnings. This question does not want to assume that the artists that get paid to do artwork do not enjoy doing it. Consequently, some artists find that working by someone else’s thoughts and rules kills all their creativity while others believe that sales in the world of art business can be irregular therefore it is hard to make a living out of it. A solution to this problem that can help to generate a stable income, avoiding accepting other types of jobs, is to start doing commissioned works of art. For instance, Carl Richards wrote an article in The New York Times about his own experience and thoughts about making money from art, stating clearly that it is not “dirty money”5. He explains that if you don’t make money from your art you can still be an artist but it would be something that you do other than your 9 to 5 job, like a hobby. If you want to give your art all the consideration that it merits, you should be able to have financial freedom. He talks about commissioned works of art as a practical way to make money, not a dirty one. 

Description:

My artwork is a replica of the moon scene from “The Very Hungry Caterpillar” by Eric Carle. In my artwork, the background is a night blue sky with a few white dots as stars. In the background, there is also a full white moon that is slightly blue in color. On the moon, there are 2 eyes, a nose, and a mouth that is done in blue crayon. Beside it, there is a brown tree trunk that is around 5 cm wide. There are 3 greenish-brown leaf stems; 1 stem is on the right side of the tree trunk, another stem is on the bottom left of the tree trunk and the final stem is going across the moon. There are also 2 greenish-brown leaves; 1 is attached to the bottom left stem, but only a part of it is seen. The other leaf is half greenish brown and the other half is plain green. On the brownish-green side of the leaf, there is the round white caterpillar egg.

The art process is about painting and sketching. Sketching was involved in the art process when I had to sketch the scene on a piece of paper before making the collage. The painting was involved when I had to paint the papers to make the piece for the collage. The artist that influenced my artwork is Eric Carle. I used his collage-making style; I followed a similar process with him. I also used the acrylic techniques that he used, for instance, I used the wet-on-wet technique. The acrylic techniques that I used in my artwork are wet in wet, dry in wet and I used a little blending. The characteristics of the artist’s style that I used in making the parts of the collage. Since Eric Carle did that, I also sketched and painted the collage pieces. The media used in this artwork is sketching paper, pencil, eraser, scissors, paint, paintbrush, pallet, gluestick, and a dark blue crayon.

Analysis and The Process:

The art elements that are included in this artwork are shape, color, and form. The shape is shown when I had to sketch and cut out the shapes for the collage pieces. Color is shown in the whole artwork. There are primary colors and secondary colors such as blue and green. The form is shown in the form of the collage that I chose. I chose to do Eric Carle’s collage form which is sketching the scene, then cutting and pasting the pieces. The art principles in my artwork are unity and proportion. Unity is shown in the leaves as it has the same color (greenish brown). Proportion is shown when the size of the moon is compared to the size of the leaves and trees. The leaves and tree seem larger than the moon because the proportion of it is placed close to our viewpoint.

To make the artwork, I first chose a scene from one of Eric Carle’s books. After that, I sketched the scene on a piece of paper. Then, I observed the color and the acrylic techniques that Eric Carle used in the scene. After that, I painted the same colors and used the acrylic techniques on a piece of paper. I painted either 1 or 2 colors on each piece of paper. Later, I cut out the collage pieces from the painted paper based on the sketch I made earlier. Then, I pasted them on the background paper. Finally, I added decorations such as the little white stars, the moon’s face, and the white caterpillar egg.

Interpretation:

I created this artwork because I wanted to learn more about making a collage in different ways. I got to experience doing that when I tried to replicate Eric Carle’s style of making a collage. I also made this artwork because I wanted to paint an artwork using the acrylic techniques that I learned in this unit. This artwork tells me about a calm scene in the night sky and that there are many wonderful sceneries all over the world. It also tells me that are various ways to create a collage. Not only can we paste pictures on top of each other, but we can also sketch, paint, cut, and paste our own collages. When people see this artwork, I want them to feel relaxed and creative. I want them to feel relaxed because this artwork displays a sense that helps relieve us. This artwork also shows a calm scene which can help us feel relaxed. I want them to feel creative because they could learn many things from this artwork. For instance, they could learn that there are various ways to make a collage.

Reflection and Self-Judgement:

This artwork is successful because my final product is similar to the scene in Eric Carle’s book “The Very Hungry Caterpillar”. It is also successful because I made a collage using the same process as Eric Carle and the acrylic techniques that I learned in this unit. This artwork is also successful because I got to fulfill the task given which is to recreate a scene from any of Eric Carle’s books. In my opinion, the most challenging part to make this artwork is to get a fixed layout. Getting a fixed layout means that I have to adjust the scene to fit my layout, in my case the layout was an A4 paper. Another challenging thing is when I had to get the pieces of the collage. This was hard because I had to accurately sketch and cut the pieces for the A4 layout. Since I changed the layout, I had to try my best to accurately make the pieces. I enjoyed assembling the final collage because I got to paste the pieces and make the decorations. I also enjoyed making the final product because I got to see it come together as a replica of the moon scene from one of Eric Carle’s books.

In my artwork, I could have made it more similar to Eric Carle’s work. I could have used different colors to make the color more similar. I also could have made the textures more similar by adding more layers of paint or by carefully making the paint strokes. I also could have changed the paper layout by making it either in an A3 paper layout or by combining 2 horizontal A4 papers. I also could have been more accurate with the shapes by measuring the actual shape with the painted piece of paper before cutting it out. I can improve my skill by doing more collages using Eric Carle’s style. I could also practice cutting my shapes on a random piece of paper before cutting the actual painted paper. Besides practicing cutting my shapes, I could practice making the decoration too. Finally, I can do more artworks that replicate the scenes from his other books. By doing this, I can practice Eric Carle’s style and I can practice my creativity.

My philosophy of music education is a guide on music and the value it has on life and education. Using music and its power to provide a phenomenon, we can take a look at its value to enhance our perception of beauty, our need for in-the-moment, lived bodily experiences the role it plays in social interactions, and our need for a higher quality of life. As we journey through my discovery of music philosophy, we will look at music as being something outside of itself as well as the symbolism certain works portray. On the contrary, we are to find our music with ourselves as we reach a commonality to combine social interaction and musical preference. Music’s role in education comes from a holistic program that begins in elementary to professional with the aim of finding a true aesthetic of music. The true aesthetic of music can only be found and advanced through research with goals of developing new philosophies, better musicianship, and preserving our culture in its most natural form.

My philosophy of music education starts with the belief that every student in education should be afforded the opportunity of music education. Band, choir, orchestra, musical theater, music appreciation, and music production are gateways to enhance students’ lives internally as well as externally in a way that other subjects lack. Music programs are designed to encourage critical thinking for students to incorporate hand-eye coordination as well as decipher what is considered beautiful music. Through my research on the concept of beauty in music, What is considered beautiful music? I found that beauty is in the eye of the beholder. Everyone can listen to music and make a judgment on whether they like it or not. Jean- Jacques Nattiez said that the border between music and noise is always culturally defined which implies that, even within a single society, this border does not always pass through the same place; in short, there is rarely a consensus. (Hodges, 2016, p.172) People have different experiences in life that adds value to certain sounds and music. A person that listens to music with certain properties during a time of grief will likely consider that a sad song. A person experiencing upbeat music at a party will consider this as music that brings happiness. Beauty, within music, comes from the perception of a culture in a period of time and gives different properties to the aesthetic of beauty. People who set those properties are the ones who invest time and research into what is considered beautiful or bad music. Those people will not exist without the study of music in schools. From performances to adjudications, students experience culturally acceptable music from a young age. Throughout music education, students are exposed to different cultures and periods which makes them more qualified to assign properties to music to consider it beautiful.

Absolutism, finding meaning and value of music in itself, and absolute expressionism, meaning found in the music and is primarily emotional, is my stance on what is truly considered music. I insist that the meaning and the value of music come from within. Listening to music provoke moods, feelings, and emotions that come unwillingly. One might say, perhaps, that a musical figure besides referring to a feeling as a word does, also serves as an auditory semblance of it, and in this way reveals what it is like.(Langer, 1969, p.174) I have listened to music that has put me in an incredible mood. Pharrell’s Happy is a great example. Happy is an uptempo tune that is set in a major mode from beginning to end. It was featured in the Despicable Me 2 soundtrack to demonstrate the protagonist’s emotion as happy as he has found love.

Music is an inherently social phenomenon: the patterns and regularities that exist in physical sounds only take on musical meaning when they are interpreted as such by groups of people. (Corwell, 2002, p.604) Music education gives students the ability to participate, internalize, and create music as a collective. Band, choir, and other musical ensembles are able to incorporate a large number of student and community member involvement to create a positive culture for the school and its stakeholders. Jose Abreu stated that involvement becomes a weapon against poverty and inequality, violence, and drug abuse. Music, in its physical form, is able to influence social behavior as well as create a built comradery among the student body. Students that are involved in other activities have a limited amount of people allowed to play at once. Music ensembles are an all-inclusive activity that can involve all students enrolled. This includes special needs, at-risk, gifted, and the average student. The commitment and practices bring students together which makes the music ensemble a member of their family. Relating to music and the annual seasons, the music would act as the seasons of the year in which songs will change. Those songs will speak to the students’ lives, adding more positive qualities to life.

The phenomenon of experiencing music is a valuable piece of the arts. In music, there are multiple roles/professions in music a person can experience: composer, performer, conductor, listener, and music educator. The ability to create music is a skill that can be fostered and nurtured in an advanced career. In order for society to enjoy the pleasures of music, someone music creates it. Music education gives students the foundation to be able to create and add to their school, community, and culture music that is acceptable today or push the limits to something new. I believe students should be able to learn, discover, create, and innovate what is acceptable in music. Music education will give a foundation of the possibilities through theory, history, and performance. Music appreciation is designed to spark an interest in students through lessons on music history, exploring, and basic theory. This course is beneficial in growing a music program in school. The general population of school needs and deserve to learn about music. Music is one of the most consumed items through purchases and engagement. A deeper relationship between music and consumers is vital in preserving the arts. Performers are the people who share the music with one another. During this process, the performer/conductor is directly involved in the phenomenon of music. In actually creating the sound, performers are engaged in a metacognitive state where he is using physical means to create sounds, keeping time, and adjusting to ensemble restrictions to perform at an acceptable goal of art. In music education, the students’ performances would take place in different ensembles and activities. A student preparing and performing at a talent show can be just as important as a concert band and choir performance in the spring. One is singular while the other is a group presentation, both performing acts are creating music, as performers, to entertain or give an audience a deeper experience in music. Listening to music puts a person in the in-the-moment experience that adds to memories in time that can be called upon with a song. Enjoying music at the moment is a mental phenomenon of thinking about something that is not tangible. The subject of intangible things such as emotions, ideas, and music, builds upon the advancement of knowledge and mental capacity. The music educator’s role in the phenomenon of music is to guide, expose, and develop students’ experiences in music so that they can become high-level independent thinkers in music and as citizens.

People’s perception of beauty comes from their exposure and culture. Growing up in a lower socioeconomic community, my exposure to the arts came from school music. Being a product of a Birmingham City School, we were never able to travel, go see the symphony, or attend a live show to experience different things. If music did not come on the radio or was popular within my culture, it was considered unattainable or rejected. School music was the opportunity to listen, study, and perform music outside of my isolated culture. Being educated in my music gave me a higher awareness of what is considered beauty and exposed me to what is considered beauty in other cultures. There, I was able to truly develop a strong preference for what I like and dislike about music. Exploring music in school introduced me to music that provoke emotions from me that my culture’s preferred genres had yet to bring out of me. Middle-class students benefit in the same way. Being exposed to music and other cultures is great for questioning more. My aim is to expose and begin research on music on its components to develop students’ knowledge of music and be able to articulate why they prefer one style over another. Having a holistic program, marching band, jazz band, concert band, small ensemble, solo ensemble, music appreciation, and music technology, is essential to the complete development of the students before potentially continuing their education to college.

References

1. Hodges, D. A. (2017). A concise survey of music philosophy. New York, NY: Routledge.
2. Hospers, J. (1969). Introductory readings in aesthetics. New York: Free Press.
3. Colwell, R., & Richardson, C. (2012). The new handbook of research on music teaching and learning: A project of the Music Educators National Conference. Oxford: Oxford University Press.

Arts can express emotions such as anger, confusion, happiness or sadness. Art is a creative and flexible tool for positive interference for people who suffer directly or indirectly from any kind of conflict within society. Art for peace allows people to find a flat-form to entertain their negative emotions and escape from destructive conflict providing a stage to perform their emotions, opinions, and hopes for the future as well. Nevertheless, art motivates people to rethink, find new ways for problem-solving, use nonviolent symbols, and release the thoughts, ideas and feelings in innovative ways.

When there is the difficulty of express the emotions by words art enables to express emotions through art. Art can work as a non-verbal language to all without regarding any kind of differences, such as gender, social hierarchies, caste, race, political opinion, etc. Moreover, write in a journal to express feelings, or sharing personal experience on web pages or in public also can be used another way of using art for expressing repressed feelings. Not only by words a person can express their conflicting thoughts via body communication such as dancing on stage or theatre.

In conflict zones, art tells and interprets stories of people, healing trauma victims, restoring communities, giving voice to women and other marginalized groups, protesting the loss of justice, giving existence, education, free inheritance, defining the identity and commitment of young people seeking peace in conflicts (Wood, 2015). Art provides verbal and nonverbal language to express unmask hidden truths. Moreover, despite all wartime efforts to destroy, art fosters a people’s survival and revival and reunites them in conflict’s aftermath. Indeed, arts play a vital role in the process of healing and reconciliation at the individual and societal level in countries that have gone through mass atrocities. While legal justice deal with atrocious past, arts can help to address past trauma (Sirik, 2015).

In recent years’ recognition given for arts in its contribution to building peace is a real and growing concept in present-day. Wood (2015) stated that the arts have their own language, logic, reference points, and interpretive framework, inviting us to see the world through a new lens and use new assessment paradigms that can benefit the peacebuilding field. Moreover, more scientific research on the arts in relation to emotional and psychological drivers of conflict and peace. In a postmodern, globalized world, art can generate a vision of peace, reconciliation, and coexistence (Dubin, 2010). According to Shank & Schirch (2008) arts offer a unique tool for peacebuilders to transform tractable interpersonal, inter-communal, national, and global conflicts.

Art can be defined as a simple and effective device which allows all participant in, regardless of gender, age, religion, ethnicity, political affiliation, and physical ability. Art makes a stage for voiceless to speak and get attention for the story not have heard by others. It has been considered as a tool to critically reflect the violence, manifest resistance to oppression, and assist in healing trauma.

How do we separate the artist from the art? Is the art more important than that of the moral values of the artist? The classic case of whether to choose the artist or the art they make. Unfortunately, there are countless examples of artists performing wrongful acts. One such example is Casey Affleck who won an Oscar for the best actor despite the allegations of sexual harassment directed at him. His win was due to his role in Manchester By The Sea where he showed his remarkable acting skills. Casey Affleck was accused of sexual harassment on the set of the 2010 film I’m Still Here (Sharf, 2018). This created a controversy wherein he was awarded an Oscar in spite of these sexual allegations.

The art in and of itself is a completely different entity from the artist and therefore should be viewed on its own. A work of art is an already completed work process by the artist, which can and should be viewed separately from the artist (Ibrahim, 2018). If the artist were to commit such unreasonable acts and be punished, that would be adequate. But if the art was taken down because of the acts committed by the artist, it would be unfair to the art. The reason why we think art should be separated from the artist is the idea that the punishment is not fair from the perspective of the art. We also disagree with the fact of the knowledge that when a killing artist or a bad person who calls himself an artist has painted something that we liked before but we now do not like and do not want to look at or support anymore, it is completely barbarous. Art should stand alone and be viewed as art, not as art created by a criminal or a sexual offender. The artist will get the proper criminal punishment anyways, therefore the art should not be affected by the acts of the maker. Think of it as a successful President who lifted up an entire economy but he committed a criminal act. Would you rescind all the laws he has implemented? Would you demolish all the infrastructures he had helped create during the duration of his term? Of course not, it would be vacuous to think that way. The Great Pyramids were commissioned by slave owners, but built by slaves. Do we then stop promoting these wonders of the world because slavery is wrong, and we want to prove to all of our peers we disagree with slavery too? No. It’s somewhat universal knowledge that slavery is wrong, but it doesn’t mean we have to boycott things to prove it. The work is and should be separated from the maker (Radhakrishnan, 2017).

As aforementioned, the art is separate from the artist and should be viewed differently (Güner, 2017). Artists are people and do not live in a world where their actions are judged in the same way art is. Unlike art, people constantly face the consequences of their actions. Art does not. Art is just art. Your opinions of the artist should not affect your views of the art. Judging an artist’s work through the scope of their actions is a ridiculous notion. View the art, only as the art. Even the artist would think that way because he is proud of his work, and his work should not be bombarded with criticisms against him. The closing of the Institute of Contemporary Art’s Nicholas Nixon photographic exhibition at the artist’s request amidst an investigation into allegations against him is an unfortunate example. “I believe it is impossible for these photographs to be viewed on their own merits any longer.” Started by Nixon himself (Gorel, 2018). As you can see, the artist knew that his art would not be viewed the same way as before which is ill-fated. Furthermore, one could let the project have an effect on oneself again without any prejudices through the biography of the artist and form one’s own intention for it. Everybody should have their own perspective of art and be able to look at it from different angles. One is able to see the art in an objective way and the other to look at it with the knowledge of who created it but never less respect the creation for what it is. For these reasons, we think it is inappropriate to abandon art just because the artist did something wrong. Art resides in a place where people can choose to just focus on the art. This is because art is greater than the artist (Neuendorf, 2017).

Eliminating art is another problem of this dilemma of good art, and bad artists. Simply because the artist is not the only one who benefits from the art. Exhibitions, museums, and the general public are the ones who benefit. They benefit not only in the financial part but they also benefit both intellectually and mentally. So, what if you were to purge the art, music, television, and movie industries of works by criminals? Would that be plausible? Art contributes to various cultures and communities. In language and history classes, studying art is a large part of history. Similarly, in history, artists are important in changing societal norms, and making large changes, sometimes being seen as revolutionaries (Britannica, 2019). If these historical works created by criminals were to be eradicated, there would be a huge hole in our history and what we are today. It is because art changed the course of our history. Take for example Leonardo Da Vinci, who was a sodomite (ARTnews, 2016), widely considered an archetype of the “Renaissance man”, he was a man whose curiosity was equaled only by his intelligence and talent. He was a scientist, mathematician, engineer, inventor, anatomist, painter, sculptor, architect, botanist, musician, and writer (Andrei, 2018). Another side of this is, what if the criminal artist is part of a much larger group of artists, who are innocent, and who collaborated in one work? You should not eliminate the art as everyone in the production of the art will be affected, not only the criminal artist.

To conclude, an artist’s personal life should not intertwine with that of their artistic life. Yes, as a human being, Casey Affleck is not good. But that being said, his personal life should not negate his remarkable work as an actor and the roles he played. We certainly do not think that canceling or removing projects is a viable punishment for these criminals. We cannot censor things purely because of their dark past. Yes, we do not and should not idolize these artists in the ways that we once did, but this does not mean that the quality and importance of their work diminish. One can always like the character but does not have to like the actor. We think that art can be separated from the artist, only if the art does not portray any meaning other than the one meant. We believe that the people responsible for their atrocities should without a doubt receive harsh punishments. However, this does not mean that their work should be shunned or neglected.

Works Cited

1. Andrei, M. (2018, March 28). Leonardo da Vinci: inventions and discoveries that changed the world. Retrieved February 2019, from ZMEScience: https://www.zmescience.com/science/geology/5-things-leonardo-da-vinci-did-to-change-the-world/
2. ARTnews, T. E. (2016, May 5). Theft! Forgery! Murder!: Art History’s Greatest Crimes. Retrieved February 2019, from ARTnews: http://www.artnews.com/2016/05/03/theft-forgery-murder-art-historys-greatest-crimes/
3. Britannica, T. E. (2019, January 16). Art History. Retrieved February 2019, from Britannica: https://www.britannica.com/art/art-history
4. Güner, F. (2017, June 12). Can you separate the artist from the art? Retrieved February 2019, from BBC: http://www.bbc.com/culture/story/20170517-can-you-separate-the-artist-from-the-art
5. Gorel, A. (2018, April 12). ICA Closes Nicholas Nixon Exhibition Amid Allegations Of Misconduct. Retrieved February 2019, from Wbur: https://www.wbur.org/artery/2018/04/12/ica-closes-nicholas-nixon-exhibition
6. Ibrahim, A. (2018, January 8). What is Art? Why is Art Important? Retrieved February 2019, from The Artist: https://www.theartist.me/art/what-is-art/
7. Neuendorf, H. (2017, January 19). John Armleder on Why Art Is More Important Than Artists. Retrieved February 2019, from Artnet: https://news.artnet.com/art-world/john-armleder-interview-822530
8. Radhakrishnan, S. (2017, December 15). Why art must be separated from the artist. Retrieved February 2019, from Thread: https://www.thehindu.com/thread/arts-culture-society/why-art-must-be-separated-from-the-artist/article21691513.ece
9. Sharf, Z. (2018, August 9). Casey Affleck Admits ‘I’m Still Here’ Set Was Unprofessional, Breaks Silence on #MeToo: ‘I Need to Keep My Mouth Shut and Listen’. Retrieved 2019 February, from Indie Wire: https://www.indiewire.com/2018/08/casey-affleck-metoo-lawsuit-interview-oscars-1201992679/

Exploration of spaces through expanded sculpture and painting

This essay will examine different spaces, how they function, what spaces are they, and how their purpose is changing over time. It will define how the expanded sculpture and painting function within their specific spaces.

The surroundings that the artwork or the objects are being placed within, change their purpose and the way we look at them within the new concept. ‘’Sculpture and painting have been kneaded and stretched and twisted in an extraordinary demonstration of elasticity, a display of cultural term […] with vanguard aesthetics – the ideology of the new /’’

It will be a comparison of Pollock pouring paintings and Frank Stella’s hard-edge paintings to define them in the space and how it is no longer painting, because it is based on a ‘specific object’. The critical philosophy here is phenomenology from Gaston Bachelard’s book called Poetics of Space.

Frank Stella- the Marriage of Reason and Squalor, enamel on canvas, 230.5 x 337.2 cm, 1959

Frank Stella’s geometric paintings are shaped canvases that underscore the idea of the painting as an object. It was considered to no longer be a painting because it wasn’t based on entity. He wanted the spectator to appreciate the color, shape, and structure alone, where the major influence on his painting was minimalism. It is a non-representational painting that alluded to underlying meanings, emotions, and narratives. Stella had challenged the very notion of the painting by declaring his flat canvases, structured reliefs, metal protrusions, and freestanding sculptures all to be paintings.

‘’My painting is based on the fact that only what can be seen there is there. All I want anyone to get out of my paintings and all I ever get out of them is the fact that you can see the whole idea without any confusion. What you see is what you see’’. (frank stella)

No more painting, because it is based on a specific object. Paintings became pictorial, which is the capacity to allow a viewer to see on the surface of a painting some depicted figure. ‘’painting continually opens out beyond itself while maintaining a nourishing link to what it has been (la Peinture de manet, 47 CZYYYY TO BYLOOO Tilmarsh, sp. cit. 32) (painting holds itself together as it expands by becoming increasingly systematic. The current account of painting is based on painting as an object. (less a picture to look into that painting-object (Foucault) or ‘an object to see ‘ (Perret)

Michael Fried said: […] gradual withdrawal of painting from the task of representing reality-or of reality from the power of painting to represent it/ ‘’ (Michael Fried: ‘’Three American painters: Noland, olitski, Stella 1965’)

The material properties of the painting are the flat surface, the coloration, and division of its surface, and the relation of this surface to its supports, whether frame or wall: which raised a number of problems for painters and critics throughout the 1960s. ‘demarcated picture plane’.

The frame separates the outer space, it allows us to see a picture to represent it that it is the picture we should be looking at.

Without the illusionistic techniques of picture making, the plane surface of the painting entertains a specific relation to the plane of the wall upon which it is placed. (plaszczyzna powierzchni obrazu ma okreslony zwiazek z plaszczyzna sciany)

‘’The plane is also emphasized and nearly single. It is clearly a plane one or two inches in front of another plane, the wall, and parallel to it. The relationship of the two planes is specific; it is a form. Everything on or slightly in the plane of the painting must be arranged laterally (judd specific object)

Stella’s derivative structure’, derivative with no expression, is not composed of the structure derives from the material qualities of the frame.

Donald Judd described them as ‘’specific object’ rather than sculpture or paintings.

You can set up a set of rules for the painting that you do follow. Where the rules are being presented in the artwork it becomes a systematic type of art with the several rules artists are coming up with to create their works like pollocks systematic set of rules of pouring the paint and Frank Stella’s hard edge paintings.

Jackson Pollock’s pouring paintings that were made during his ‘’drip period’’ between 1947 and 1950. Pollock Is expressing his emotions in his paintings by pouring the paint onto the canvas.

In Gaston Bachelard’s book called ‘Poetics of Space’, he describes different spaces and their poetics sense where he mainly focuses on our home to be ‘the space of our belongings’. It is a ‘felicitous’ space of the home and its domestic menage of tables, chairs, cupboards, and stairs. It is a psychological threshold between open and closed, inside and outside, arrival and departure, they are the spaces of the gathering through the memories and self-discovery. There is a psychological relationship between humans and space, most of it is shaped in domestic space, and this way modern hospices have sought to emulate. (sofa in the cafes) There is a special emphasis on the interior domestic space and its components like the rooms and the furniture or the objects placed within the space (eg…)

‘’all really inhabited space bears the essence of the notion of the home ‘’ (pg. 5)

‘’Imagination augments the values of reality’. (pg 3)

The house, the most intimate of all spaces ‘protects the daydreamer’’ and therefore understanding of the house is for Bachelard’s way of understanding the soul. It is the phenomenology of the soul and not the mind.

‘we are never real historians, but always near poets and our emotion is perhaps nothing but an expression of a poetry that was lost’ (pg.6)

The desire can stop time. To produce the space that suspends time is through imagining. It is space not time which invokes the memories.

The top analysis examines the intimacy of the house room after room, space after space. these are not actual material rooms or spaces, but rather the dreamed, imagined, remembered, and read spaces, which allow us to come closer to the core of mental experience.

Psychoanalysis calls the subconscious into the conscious in order to help the ‘’homeless’’ find their sense of being in place. Topoanalysis as an aid for psychoanalysis, will examine the spaces through which we can exit the shelter of the subconscious and enter the conscious of our imagination.

Bachelard determines that the house has both unity and complexity, it is made out of memories and experiences, and its different parts arose different sensations yet it brings up a unit of any intimate experience of living. What Bachelard means is that memories of the house and its various parts are not something remembered, but rather something which is entwined with the present, a part of our ongoing current experience.

Topophilia term to describe his comments on happy places

To his notions of top analysis and topophilia introduced in the poetics of space Bachelard adds the physical dimension, arguing that our house is engraved into our flesh. The body is better at presenting detailed memories than the mind is. Other memories are harder to trace, and these can be revealed only by means of a poetic image.

Bibliography

1. Donald Judd, 1965,’’ Specific Object’’, Arts Yearbook 8 & Donald Judd 1955-1968, (2002), 1-6 http://atc.berkeley.edu/201/readings/judd-so.pdf
2. Gaston Bachelard, Poetics of Space, France: Presses Universitaires de France (1958), 241
3. Rosalind Krauss, ‘’Sculpture in the Expanded Field’’, October, Vol. 8 (Spring 1979) The MIT Press, 30-44

Introduction:

Jazz, blues, and ragtime are three distinct genres of music that emerged in the late 19th and early 20th centuries, deeply rooted in African American culture and experiences. These genres have not only had a profound impact on American music but have also influenced musical traditions around the world. In this informative essay, we will explore the origins, characteristics, and significance of jazz, blues, and ragtime, highlighting their contributions to the rich tapestry of American musical heritage.

Jazz:

Jazz, often referred to as “America’s classical music,” originated in the early 20th century in African American communities, particularly in New Orleans. It is a genre characterized by improvisation, syncopated rhythms, and expressive individuality. Jazz musicians utilize a variety of instruments, including trumpets, saxophones, pianos, and drums, to create vibrant and energetic sounds.

The roots of jazz can be traced back to African musical traditions, spirituals, work songs, and the musical innovations of early black musicians. Through its evolution, jazz has incorporated elements from various musical styles, including blues, ragtime, and European classical music. Jazz musicians such as Louis Armstrong, Duke Ellington, and Miles Davis have become iconic figures, pushing boundaries and revolutionizing the art form.

Blues:

The blues, with its origins in African American communities of the Deep South, is a deeply expressive genre that emerged in the late 19th century. It is characterized by its 12-bar chord progression and lyrical themes centered around personal experiences, struggles, and emotions. Blues musicians often employ call-and-response patterns and soulful vocal techniques to convey heartfelt narratives.

The blues played a significant role in giving a voice to African Americans, expressing their joys, sorrows, and experiences of injustice. It influenced the development of other genres such as jazz, rock and roll, and R&B. Legendary blues artists like B.B. King, Muddy Waters, and Robert Johnson have left an indelible mark on the music world, shaping the course of popular music for decades to come.

Ragtime:

Ragtime, a syncopated piano style, emerged in the late 19th century and reached its peak popularity in the early 20th century. It is characterized by its lively, syncopated rhythms and distinct left-hand patterns that create a sense of “ragged” time. Ragtime composers, such as Scott Joplin, created compositions that combined African American musical elements with European classical forms.

Ragtime music captured the energy and spirit of the time, reflecting the social and cultural changes occurring in America. It provided a platform for African American musicians to showcase their talent and creativity. Ragtime’s influence can be heard in later genres such as jazz and stride piano.

Conclusion:

Jazz, blues, and ragtime are not merely musical genres but cultural expressions that tell stories of resilience, creativity, and the African American experience. These genres have played a crucial role in shaping the landscape of American music, influencing countless artists and styles worldwide. Through their improvisation, emotional depth, and rhythmic complexities, jazz, blues, and ragtime continue to captivate audiences and remind us of the power of music to transcend boundaries.

As we reflect on the origins and significance of jazz, blues, and ragtime, we gain a deeper appreciation for the cultural heritage they represent. Let us celebrate the contributions of the musicians who paved the way, and let their enduring legacies inspire future generations of artists and music lovers.

Like humans, art too has evolved over the centuries. To what it used to be, to what it is. Often, artists who are in the vanguard of their culture, when express new ideas or what appears to be a new idea, a large number of people do not accept them. Only a small number of people accept them. They want to experience their work, feel it, understand it, or even simply enjoy it. And this has been seen throughout history. When Picasso first started deconstructing his forms into Rothko’s geometric shapes. Even when artists like Pual Mezzanine or Monet began making their remarkable landscapes. People did not like them. They were used to seeing naturalistic painted landscapes where artists’ own freedom of expression meant very little. A “good” painter would be the one who knew “how’ to paint.

If we look at art and artists today they belong to an era where nothing really comes as a surprise to anyone anymore. When Duchamp first placed a urinal in an art gallery it shocked people to their core. Do you think if somebody did that today would have the same impact as it did during Duchamp’s time? Recently an Italian artist Maurizio Cattelan, displayed his work at the Art Basel exhibition in Miami. His work titled “Comedian” consisted of a ripe banana duct taped to a wall. This piece caught a lot of attention as it was sold at a very high price. This event sparked a heated argument as to what is high art these days.

Have we finally hit rock bottom in the contemporary world of art or is the “comedian’ the modern-era urinal? Nobody can tell. Even the person who bought the art piece bought it that maybe just maybe it might give rise to a new era in art. Has the viewer become that desperate for new content? Art today seeks influence from the previous art movements. Whether it was an artist’s intent or not. Some of its elements reflect old masters’ work. This is true for almost all artworks created today.

Of course with the advancement in technology and availability of electronic media for the masses, possibilities in art have become endless. With the emergence of more art genres in art, for example, performance art and partaspapory art. Art focuses more on the artist’s self-expression and how he chooses to present his work. Be it in his performance or in his painting.

Ahmed Alsoudani – Untitled (2007)

Ahmed is a Baghdad-born, New York-based artist. Ahmed fled to Syria during the First Gulf War. Later he came to seek refuge in America. his work reflects the chaotic experiences he has had during his time in the Gulf War and his journey through Syria. War has impacted many artists throughout history. Artists like Picasso in his painting “Guernica”, Goya and his “The Third May of 1808”.different artists have represented war in their own special style.

Ahmad paints these grotesque colorful forms that portray the feeling of distress and agony. Some of these forms overlap each other while others are placed very strategically in a space that almost resembles an art gallery. When you first look at the painting your eye is drawn to the huge painting set inside the painting. Which consists of abstract forms overlapping each other. He used bright vibrant colors to paint the canvas inside the canvas in the same manner as William de Cooing. Who was an abstract expressionist artist his series of women were painted in a similar style. Ahmad‘s work seems to carry a similar energy in his work. Those bold brushstrokes in addition to the grey/blue color used in the background add a very ominous element to the painting. His use of similar colors on painting the forms in the space in the foreground, not only adds perspective to his work but almost assists in bringing the element of the painting in the background to life. The figures in the foreground represent a very powerful image. When you look very closely you can see that the figures dragging, what seems like a pile of flesh, along with them. The flesh of their own missing limbs that they lost in the war. It’s interesting to note that Ahmad chose to paint more drama and tragedy in the foreground instead of in the presumably painting hanging on a wall in an art gallery. This seems like a comment on how everybody has a preconceived notion of how strong a visual representation can be while hanging in a gallery. the viewer can try to relate, he can try to sympathize as much as he can, When in fact the real truth is what’s happening outside in the real world. The painting is just a mere representation of the artist’s opinion on the matter. It’s not the whole truth. Sort of like what Rene Magritte did in his surrealist art piece known as The Treachery of an Image. He painted a pipe and wrote underneath it, in French” This is not a pipe”. it is not a pipe but oil paint on canvas, which can be filled with tobacco and smoked. Rene’s work encourages society to take things literally.

Ahmad uses a combination of paint and charcoal in his work. His use of vibrant colors in against muted space not only adds perspective to the painting but also assists in bringing viewers’ attention to figurative forms. One thing that Ahmad is doing which seems a bit different from the other artist is the chaos that he’s bringing inside the gallery. Another way this can be interpreted could be the impact of an image on the audience. The idea of painting a scene from the work is to transmit his feelings, and his emotions to his audience. it’s like he is trying to simplify his own abstraction in the foreground of the painting to help people understand the tragedy of the war painted in the background.

Free and Leisure-10 2003

Yue Minjun is a contemporary artist who uses himself as the subject in his paintings. He is famous for portraying himself in this flesh pink brightly colored depictions of maniacally laughing figures. All his figures were plastered with jaw-breaking smiles and eyes completely shut. The figures he describes as his alter ego Yue Minjun paints in various sizes often the scale is enormous. his painting “Free and Leisure-10” the initial reaction that one gets while looking at the painting is of humor. it seems as though you are having a good time. But when you see a continuous series of the same figure laughing in various poses and gestures it gets almost painful. Yue takes his inspiration for his work from his surroundings, from the Chinese political structure, from his society. In an interview with Financial Times “Behind the Painted Smile” Yue talks about his work as a “fundamental agony of being human”

This phrase reminded me of Frida Kahlo’s painting of herself. It’s ironic how Yue paints himself as these laughing figures to depict agony and confusion. In an interview with the New York Times (13 November 2007), he explained his work;

‘In China, there’s a long history of the smile. There is the Maitreya Buddha who can tell the future and whose facial expression is a laugh. Normally there’s an inscription saying that you should be optimistic and laugh in the face of reality. There were also paintings during the Cultural Revolution period, those Soviet-style posters showing happy people laughing. But what’s interesting is that normally what you see in those posters is the opposite of reality.’

The complete opposite emotion that one might gather from his work. Frida’s work “Self-portrait with Thorns and Hummingbird”

This reminded me of Frida Kahlo’s painting of herself. It’s interesting to see how Yue paints these laughing figures to depict agency. Frida’s work “Self-portrait with Thorns and Hummingbird” is the depiction of agony and pain as one might expect. Thorns around her neck pierced her skin, Mexican flora and fauna surrounding her almost looked suffocating.

Yue Minjun’s painting seems to contain surrealistic elements similar to Salvator Dali. The background of the chosen painting shows almost the same elements as something Salvador Dali would paint. Some of the mining paintings’ backgrounds seem to lack context. It’s like him bringing his wildest fantasy to life. Maybe in his unconscious mind, Yue Minjun longs for a hearty laugh. He does talk about how socially and politically deranged we all have become. Maybe he’s using his art to laugh at a common man’s life decision. When you first look at his work you smile. As you continue to browse through his every painting it gets almost annoying. Especially with figures that are literally pointing. As if pointing right at you. Adding more and more figures to the painting makes you want to join in and be part of the unknown hysterical joke.

The pink, fleshy-colored, shiny, almost hairless, figures seem to take a lot of influence from pop art. The figures almost seem to be photoshopped on top of the background. Andy Warhol is one of the most prominent pop art artists. Seeing Yue Min’s work and the repetition of the same facial expression reminds one of Andy Warhol’s studio which he referred to as “the factory”. The same face over and over again seems like the production of the same factory. The vibrant pink color theme that continues throughout his work is somewhat similar to what Andy Warhol did with the Brillo box and Campbell soup. It may not be a product that Yue is working with but his laughter serves the same purpose. The figures and the foreground seem like two different works, almost like a spontaneous decision. I shadows being cast on the figures do not match the lighting source. The foreground in the back depicts a sunset, while the shadow on the figure is quite vividly painted. Almost like two separate works overlapping each other. As if the shiny figures in front are trying to hide something behind them.