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Chapter One: The Concepts of Creativity essay
Chapter One: The Concepts of Creativity essay
Chapter One: The Concepts of Creativity essay
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Recommended: Chapter One: The Concepts of Creativity essay
Appropriation art has frequently occurred alleged to favor the understanding that authorship in art is an old-fashioned or erroneous notion. Throughout a supposed experimentation associating appropriation art to a distinctive example of creative imitation, I scrutinize and discard a sum of applicants for the division that forges artists the creators of their work whilst imitators are not. The fundamental divergence is perceived to lie in the circumstance that artists assume definitive liability for whatever ideas they decide to follow within their work, while the forger’s main purposes are decided by the attributes of the action of forgery. Appropriation artists, by disclosing that no quality of the intents an artist follows is actually formed in to the notion of art, determined artists’ liability for all traits of their purposes and, therefore, of their creations. This obligation is component of authorship and answers for the logic of artworks. Away from damaging the notion of authorship in art, subsequently, the appropriation artists in fact reasserted and reinforced it. Introduction Is there something that recognizes an artist as the creator of an artwork? Of which rules the distinctive connection of authorship, to the extent that the work must be understood in relations of the artist’s significances (or at least in relation of significances the artist might have had) is composed of? Notoriously, the concept of the author fell into inquiry in the 20th century with theorists like Roland Barthes, who finishes his tribute of the author with the idea that the origin of the reader should be at the price of the demise of the Author. Michel Foucault approves, claiming that the notion of the author is an oppressive one that does no m... ... middle of paper ... ..., and the Everyday (Oxford University Press, 2014) Searle, A., Elaine Sturtevant: queen of copycats, The Guardian, http://www.theguardian.com/artanddesign/2013/jul/01/elaine-sturtevant-queen-copycats (Accessed 21st April 2014.) Hainley B., Erase and Rewind: Elaine Sturtevant, Frieze, Issue 53, June–August 2000. http://www.frieze.com/issue/article/erase_and_rewind/ (Accessed on 2nd May 2014.) Tiernan K., Sturtevant: Leaps, Jumps and Bumps, http://www.studiointernational.com/index.php/sturtevant-leaps-jumps-and-bumps (Accessed 21st April 2014.) Weaver, Cat, 2011, Law vs. Art Criticism: Judging Appropriation Art, Hyperallergic, http://hyperallergic.com/23589/judging-appropriation-art/ (Accessed 25th April 2014) Hudson Hick D., Authorship, Co-Authorship, and Multiple Authorship, The Journal of Aesthetics and Art Criticism Volume 72, Issue 2, pages 147–156, Spring 2014
Potok, Chaim. “Asher Lev, an artist is a person first.” Goodreads. N.p., n.d. Web. 3 May. 2014.
Osborne, Harold. The Oxford Companion to Twentieth Century Art. New York: Oxford University Press, 1981.
Before you begin reading this paper, look through the appendix. Are you shocked? Disgusted? Intrigued? Viewers of such controversial artwork often experience a wide spectrum of reactions ranging from the petrified to the pleased. Questions may arise within the viewer regarding the artistic merit and legitimacy of this unorthodox artwork. However, art's primary purpose, according to Maya Angelou, “is to serve humanity. Art that does not increase our understanding of this particular journey or our ability to withstand this particular journey, which is life, is an exercise in futile indulgence” (Buchwalter 27). To expand on Angelou's analogy, because everyone experiences a different life journey, art is different to everyone. In other words, art is subjective to the viewer. The viewer creates his own definition of what is art and what is not art. Some may recognize the artistic value of a piece of artwork, while others may find it obscene. Some may praise the artwork, while others will protest it. Censorship is derived from these differing perspectives on artwork. Through censorship, communities seek to establish boundaries and criteria that limit an artist's ability to produce “proper” artwork. However, some artists choose to ignore these boundaries in order to expand the scope of art and, in their view, better serve humanity.
Barnet, Sylvan, William Burto, and William E. Cain. Literature for Composition. Boston: Pearson, 2014. Print
Benjamin, Walter. "The Work of Art in the Age of Its Technological Reproducibility." The Norton Anthology of Theory and Criticism. 2nd ed. New York: W.W. Norton &, 2010. 1051-1071
The article Artists Mythologies and Media Genius, Madness and Art History (1980) by Griselda Pollock is a forty page essay where Pollock (1980), argues and explains her views on the crucial question, "how art history works" (Pollock, 1980, p.57). She emphasizes that there should be changes to the practice of art history and uses Van Gogh as a major example in her study. Her thesis is to prove that the meaning behind artworks should not be restricted only to the artist who creates it, but also to realize what kind of economical, financial, social situation the artist may have been in to influence the subject that is used. (Pollock, 1980, pg. 57) She explains her views through this thesis and further develops this idea by engaging in scholarly debates with art historians and researcher, and objecting to how they claim there is a general state of how art is read. She structures her paragraphs in ways that allows her to present different kinds of evidences from a variety sources while using a formal yet persuasive tone of voice to get her point across to the reader.
Goldwater, Robert and Marco Treves (eds.). Artists on Art: from the XIV to the XX Century. New York: Pantheon Books, 1945.
1. Hunter, Sam and Jacobs, John. Modern Art, 3rd Edition. The Vendome Press, New York, 1992.
?Any work of art owes its existence to the people and culture from which it has emerged. It has a functional and historical relationship with that culture.? Michael W. Conner, PhD#
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.
The act of creating art is rarely, if ever, a truly original action. The literary scholar Harold Bloom coined the phrase anxiety of influence, which describes the belief that there is no such thing as an original poem: “new poems originate mainly from old poems; that the primary struggle of the young poet is against the old masters.” The same is true
Strunk, William and White, E. B. The Elements of Style (4th ed.). Allyn & Bacon, Boston, MA, 2000.
Howard Gardner has studied many creative masters within the context of his theory of the three core elements of creativity. These include the relation between the child and the adult creator, the relation between the creator and others, and the relation between the creator and his or her work. Karen Horney’s childhood and adult life have been reflected in much of her work. She was born in 1885, the end of the Victorian era. Horney’s father was a “God-fearing fundamentalist who strongly believed that women were inferior to men and were the source of all evil in the world” (Hergenhahn & Olson...
Roberts, D. (2005). Book Review: The Total Work of Art. Thesis Eleven , 83, 104-121.