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The importance of creative education
The importance of creative education
The importance of creative education
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“How to Dig a Hole Outside Itself” at SITE Sharp Often when artists collaborate what the world gets to see is a finished body of work that exists separate from the individual practices of those involved. We don’t get to see the sketchbooks or the blueprints, and in the end, it’s up to the viewer to piece together what collaboration looks like behind the scenes. This month at SITE Sharp, collaborators Alden Burke and Jasper Goodrich have chosen to take a different route; opening up to the public an archive of prints, photos, assemblage, and paintings that span the timeline of their collaboration in their show “How to Dig a Hole Outside Itself”. On entering the gallery, the viewer is inundated with a flood of imagery that threatens to become
From an early age the artist felt ostracized from nature and his only connection to wild life was through the natural museum of history and his uncle’s house, which was filled with taxidermy. His parents were divorced and his father suffered from alcoholism. His tough childhood forced Walton Ford to find humor in the challenging aspe...
...tion, we can try new forms of creating art, while questioning and expanding the very nature of collaboration itself.
What does the work consist of? Who authored it, and how? What is it based on, and how does it relate? What is it, and what will become of it? The answers to these questions, collectively, form an important response to a bigger question: What is art? What does it mean to describe a piece as “a work of art”?
DeWitte, Debra J. et al. Gateways To Art. New York City, NY: Thames & Hudson, 2012. Print.
Though people can look into color and composition, others can still even look into the source of the art itself. Cole goes deeper, delving into the source of the art, looking in particular into the idea of cultural appropriation and the view a person can give others. Though it is good for people to be exposed to different opinions of a group or an object, sometimes people can find it difficult to tell the difference between the reality and the art itself. Sometimes art can be so powerful that its message stays and impacts its audience to the point where the viewer’s image of the subject of the art changes entirely. Cole brings up an important question about art, however. Art has become some kind of media for spreading awareness and even wisdom at times, but in reality, “there is also the question of what the photograph is for, what role it plays within the economic circulation of images” (973). Cole might even be implying that Nussbaum’s advertisement can sometimes be the point of some media, and that sometimes the different genres of art can just be to make someone with a particular interest happy. One more point that Cole makes is that “[a]rt is always difficult, but it is especially difficult when it comes to telling other people’s stories.” (974) Truthfully, awareness and other like-concepts are difficult to keep going when a person or a group is not directly involved.
Comparing different works of art from one artist can help a person gain a better understanding of an artist and the purpose of their artwork. An artist’s works of art usually have similarities as well as differences when compared together. Sandy Skoglund is a photographer that stages entire rooms to create a scene for her photographs. Skoglund uses painting, sculpture, and photography to create her artwork. Due to the fact that most of her photographs are created in similar ways, almost all of her photographs have similar components represented throughout the photographs. Differences can be found in her artwork as well. Skoglund’s Revenge of The Goldfish, 1981 (Figure 1), is a popular work of art that is represented at the Akron Art Museum
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.
By studying artwork and understanding the meaning behind it, shared knowledge has the potential to shape personal knowledge to great extents, consequently raising the knowledge issue, “to what extent is preliminary skill and education and art required to impact the collective community in the Arts”. However, without the existence, spread, and development of personal knowledge, there is no room for shared knowledge to grow. Personal knowledge may lead to the rise of artistic movements and thus the creation of artistic movements. The artistic movements may subsequently lead to a paradigm shift. Shared knowledge and personal knowledge must work hand in hand to help shape knowledge. Thus, I agree with the statement that personal knowledge is based on the foundation of shared knowledge to a certain
“Like a Hole in the Head,” is an article by Christopher Turner. The article is about the perilous plight of Amanda Fielding. In 1970, she filmed herself performing a self-trepanation. Trepanation is an archaic surgical procedure, and is defunct in the realm of modern medicine. As for the contents of the procedure, trepanation is drilling a hole in the skull of a patient. That is to say, Amanda Fielding filmed herself drilling a hole in her own head. Her reasoning was that it would relieve pressure in her skull, increase blood flow to her brain, and thus increase brain performance.
Now, if you put all of this together and start to think of the entire poem, you will and should understand what is being said by Heaney. If you put together how the writer uses certain figures of speech, imagery, symbolism, persona and setting, you will see that he is trying to put his life into terms that his father may understand. The father may feel somewhat disappointed in how the son is planning to live his life, but the son knows that he will succeed and will not be a disappointment to his father and grandfather. And as the most important line in the poem says, "I'll dig with it." ("Digging" 31) It is here that the writer makes his point clear that he will accomplish many things in life with his pen, like his father and grandfather before him did with shovels, "digging."
...uding the Tulsa Artists’ Coalition, Living Arts, the Arts and Humanities Council of Tulsa, and the Oklahoma Visual Arts Council. As a member of the Board of the Tulsa Artists’ Coalition, I have initiated such efforts as a new series of members’ events, having boosted active participation in the organization and with the goal of growing our membership base. For the Oklahoma Visual Arts Council I have served on several planning committees such as the Tulsa Art Studio Tour in 2008, and Momentum Tulsa, both in 2008 and 2009. Momentum Tulsa is an annual exhibition showcasing the work of emerging Oklahoma artists. In 2009 I served as co-chair.
Another is the interesting set of images if found if the observer flips the painting over. Here in the left half of the painting there are two images, one of a puppet and an observer kneeling to view the show.
During the Wats;on festival held at Carnegie Mellon University, Elaine King was asked to speak on the future of art. She asserted that art was being created for "artists, art critics, curators and collectors." Surely this must change if art is ever to be the fulcrum it has the potential to be.
I started my annotations journey by looking at a renowned group of 35 artists who share the same obsessive need to acquire items for art making. Lynne Perrelle’s book Art making, collecting and obsessions reveals an insight into the art practices of artists working with the same idea of obsession I have been interested in with my art. This book has been a good starting point for my thinking about connections between my work and other artists. Perrelle outlines each artists practice with how their obsession is made into art. For example, artist Daniel Essig is obsessed with looking for tiny objects that look out of place along side the riverbank. To Essig there is ...
The arts have influenced my life in amazing ways. Throughout my life, art has been the place I run to and my escape from the world. As I’ve grown older, art has become so much more than that. Every piece of art I create is a journey into my soul. It’s a priceless way to deal with my emotions and my struggles. I create art not only because I enjoy it and because I want to, but because I have to. Somewhere deep inside there is a driving force, urging me to put my heart down on paper. I become emotionally attached to each of my pieces because they are like dashes on the wall marking my growth. Each one is the solution to a problem I have dealt with and overcome.