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“The hierarchy between art, architecture, design, and planning remains a paradox within the culture of sustainability, where the principal criterion of value to bring into being sustainable projects and environments,” states design Professor Victor Magolin from Illinois states in the essay Reflections on Art and Sustainability. Overall, when trying to define collaborations, movements, art objects, or what have you, it all comes down to the intent of the project or creator’s final goal.
What is my definition of a culture sustainability? There were many themes, artists and “artworks” discussed. Margolin analyzes each theme through the eyes of as politicians, scientist, and philosophers. There were so many arguments about what type of art fits were, who qualifies as artists, and what qualifications or categories do these artists and art pieces belong? There’s performance, land alteration, installation, architecture,
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The artists that design Professor Victor Magolin brings up in his essay all address art, sustainability, and culture. They reflect culture because the people who create it are either, creating for a certain social issue, or are from a social background which inspired them to address the environment. Any art addressing the environment, (one which does not affect the ecosystem in a negative, of course) is aiding in creating a sustainable culture because it is opening up a dialogue about the environment at least. “The prevailing division between art and design practice is one of the biggest obstacles to holistically envisioning a new sustainable culture and remains a challenge not only for museums, but also for artists and practitioners,” Margolin begins to argue against old categories and for new categories. Although he concludes there are risks to categorizing the various practices of art promoting sustainable cultures, he still proposes new categories, just a lot less of
In “Is Art a Waste of Time?” Rhys Southan examines Effective Altruists’ (EA’s), an organization that advocates people to pursue a career that provides money for generous donations (Southan). Southan also explains how EA’s believe that it is an ethical choice in giving up one’s hobbies to increase their income for those living in extremities (Southan). Despite the EA’s view of ethical standards, there are many variations of what people consider to be right and wrong behavior. Jobs such as being a teacher, a doctor or an artist, all have related ethical principles in which could define how moral a person is in their occupation. An ethical career is one that allows a person to have integrity, compassion and passion when helping others.
Humans have used art for centuries as a response to their environments. The use of icons, perspective, and cubism have all reflected the cultures and societies of those times. However, art has often been mistaken as a substitution or creation of reality, rather than a reflection. John Gardner has taken up this attitude in his novel Grendel. While Grendel is a provocative and innovative work, John Gardner's views on art, as reflected in Grendel, are based upon a misunderstanding of art and are therefore unfounded.
Richard Serra, a known American sculptor, created an artwork called the “Tilted Arc” in the middle of Federal Plaza, in a downtown New York City business district. This curving wall of steel or CorTen steel was measured 120 feet long and 12 feet high made in 1981. Serra was commissioned to create this artwork for the Federal Plaza space; however, the public was against his art and was a target for criticism. Although the “Tilted Arc” was seemed as worthless and the “ugliest work of outdoor art”, people who opposed needed to understand that the point of art is not the “traditional” beauty, but the true meaning and the purpose of it. Many are narrowed minded when it comes to viewing and perceiving art, when it should be viewed by trying to understand
I am sure that we have all, at one time or another, noticed that almost any discussion concerning the merits and demerits of art, if it goes on long enough will come to the qualities of innovation and traditionalism in regards to aesthetic value. As soon as these two qualities are mentioned, there comes an inevitable forming up of those who favor innovation and deride tradition and those who favor tradition and deride innovation. Either side usually admits only enough merit to their opposition, and limitation of their own view, to make themselves seem reasonable and objective: but the bulk of their effort goes into savaging their opponents and extolling the ultimately ascendant nature of their position. I am inclined to take neither view, but to propose a third. It is not enough that we should pursue either innovation or traditionalism simply because we have some sort of aesthetic attraction to them, such as, for example, sentimentality or novelty. There may be those who would respond that there is simply no arguing about taste: that you like what you like and that is that. Certainly such people are right in one sense, but this response seems too simplistic and of a ‘sour grapes’ nature to convince me that this is the end of the matter. Rather, I suggest, it is the purpose to which we apply either innovation or traditionalism which dictates whether or not they have aesthetic merit: too often, our adherence to either of the two qualities becomes a thoughtless habit of our culture rather than anything useful in itself. In order to prove the viability of this qualification, I will first explore the negative and positive qualities of innovation, and the possible causes thereof. Then I will look at the negative and positive qual...
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.
Paola Antonelli, design curator at New York’s Museum of Modern Art (MoMA), in her talk in 2007 claimed that there is a possibility to approach to the idea of the design as an instruction or a direction rather than a prescription of form. During resent decade, many designers have tried to separate art and design and introduce the design as an independent tendency. They believe that the essence of art and design are different. Professor Jae-Jin Shim explained that “Art is something driven by instinct, but design has to be based on a rational and commercial purpose” and John Maeda in 2012 argued that there’s a difference between art and design, and it matters. “Designers create solutions – the products and services that propel us forward. But artists create questions — the deep probing of purpose and meaning that sometimes takes us backward and sideways to reveal which way “forward” actually is.”
The questionable influence and dominance of western culture is at the forefront of a new form of seemingly ephemeral diplomatic history that is termed ‘new internationalism’. Internationalism itself is not really a new concept, and is basically a system based on equality for all people and cultures on a global scale. In the global art world ‘new internationalism’ is an active topic and was the focus of a 1994 INIVA Symposium entitled, A New International Symposium. The topics discussed included: Recording the International; Art, History and the Modern Museum; Beyond Diversity and Difference; Curatorship and International Exhibitions.1 During his lecture at the symposium, sculptor, essayist and poet Jimmie Durham puts forth the idea that, “…Europeans seem to think that, as art is their invention, effective art is within a developed vocabulary and accent…”2 This kind of statement emphasizes the enormous task of disuniting ‘actual’ art history from that recorded under the influence of western culture, and it demonstrates the long-standing influence of imperial thinking.
An inescapable ignorance dominates the way we define "culture". It is all too easy to define culture when a group of people feel as though they are part of the same culture. A bias arises when defining this term, because we consider ourselves to be "cultured". We define culture with our own definitions, and we judge it through our own prejudiced eyes. To accurately define culture, we must take ourselves out of the cultural boundaries we have been accustomed to. Of course, this is impossible. Accordingly, defining the essence of culture is something I cannot attempt to do.
‘Design thinking’ stands for Design-Specific Cognitive activities that many designers apply during the process of their designing and outline of designing, this is what design thinking stands for and compromises of many factors. For example, design is the creation of a plan or convention for the construction of an object or a system which includes: within architectural blueprints, engineering drawings, business processes, circuit diagrams and sewing patterns to name a few. Some examples of these design principles include Applied arts, Architecture, Benchmarking design, Communication design, Engineering design, Fashion design, Game design, Graphic design, Information Architecture, Industrial design, Instructional design, Interaction design, Interior design, Landscape architecture, Lighting design, Military Design , Multimedia design, Product design, Process design, Service design, Software design, Sound design, Transition Design, Urban design, Visual design and Web Design. Throughout this essay I will firstly be discussing the meaning and different aspects of social change, followed by influencing social change through design then the influence of social change on design and lastly I will be concluding this essay with my final answer to the question.
The. Theories of Contemporary Art. Englewood Cliffs: Prentice-Hall, 1985. Kotz, Mary Lynn. Rauschenberg/Art and Life. New York:
Art has had its roots, one may argue, when civilization was born. With each respective civilization and time periods from the past, humans have formed a diverse and unique society, a group of people with their own individual characteristics, cultures, as well as philosophies within which all kinds of differing ideas, thoughts and opinions are always brought upon for challenge and evaluation. These distinct aspects of a culture and/or time period may be recorded by people in varying forms of expression we all know as art. Directly from where culture had originated, events and/or emotions from that time period have been reflected or directly recorded in the arrangement of pictures i.e. paintings from the past which inform us about the people’s experiences and events in the past historical periods. Ultimately, History is the record of the development and how we have evolved as humans together in a society. History can be expressed and reflected in different kinds of music, sculptures, as well as paintings. There are several different periods of Art, each has contributed and reflected to how a society was. Art has been usually used by historians as one of the vehicles of history to illustrate and illuminate it as they are able to recognize that some types of art may be able to help them identify and explain the nature of societies and periods in history. Art and society have counteracted with each different type bringing forth new arts and new societies for many generations to come. Ideas have caused responses by citizens and therefore bring forth several different types of influences on a period’s background, heredity, and environments. These influences are then translated into new a idea, which then triggers the circle to repeat it...
Throughout the world, there are an abundance of diverse cultures, each truly unique in comparison to another. Culture is described as the “characteristics of a particular group of people, defined by everything from language, religion, cuisine, social habits, music and arts” (Zimmermann). Each of these traits is what sets each society apart, and is what influences their expression of design. Throughout this course, we’ve learned how planning and design have varied all through history, however we decided to take it a step further and focus on how different regions throughout the world create spaces that reflect their own cultures’ particular interests. Being a group composed entirely of Interior Design majors, our emphasis is investigating the use of material, color, motifs and layouts of their interior spaces, and how they reflect their societies. Not only do we explore a culture’s influence on design, but we briefly touch on environmental factors as well. Of all of the regions throughout the world, we decided to focus our research on the cultural practices and designs of Mexico, India, and Japan. Our reasoning behind centering on these three cultures is that these cultures are some of the most well-known, yet each entirely distinct within their own way, thus providing a greater understanding of design styles around the world.
Environmental art is a genre of art that was established in the late 1960’s and it was created by things found in nature to make a piece of art. Some of the the environmental art would be so large in size, that it would be considered to be monumental. This kind of art can not be moved without destroying it, and the climate and weather can change it. There are many reasons why an artist would create an environmental work of art, such as : to address environmental issues affecting earth today, to show things that could be powered by nature or be interactive with natural phenomenon (like lighting or earthquakes), or to show how people can co-exist with nature, or maybe use it as a means to help restore ecosystems in an aesthetic way. (greenmuseum) Based on the artworks of Michael Heizer, Walter de Maria, and Robert Smithson, that have created and expanded the wonderful genre of environmental art. The major concepts underlying their art will define the roots of this genre throughout history.
Based on the premise of Leslie White’s ideas, the relationship between the production of “culture” and what we know as “nature” seemed to be reduced and understood into one strict formula addressing the utilization of technology onto environment as the independent variable, where the production of cultural materials, beliefs, practices, were derived from this particular factor (Wardlow 2015: Lecture Notes). This is a flawed argument, because it tends to disregard and ignore facets of human free-will, and their cultural ideas that may have contributed into progressing their skills to adapt to their environment and produce cultural materials, beliefs and practices in the first place. Moreover, White’s hierarchical progression of favoring technology as the foundation of cultural progression, and imposing categories such as technology, social and ideology as separate domains gives a false differentiation and disregard their possibilities of influencing one another (Wardlow 2015: Lecture Notes). Similar critique was given towards Julian Steward’s Cultural Ecology perspective, as the idea of cultural practices and beliefs being constructed solely to adapt to their respective environment and judge on its efficiency to determine the cultural progression is
Design has major impact with concerns to environmental qualities. This field is a direct study of the relationship between behaviouristic actions of its inhabitants. Designers constantly interact with people and communicate to solve the needs of their clients regardless of large or small scale projects. Analysis is key in combining creativity with managerial design solutions. These outside-of-the-box designers have the ability to create beautiful, safe and functional and aesthetically pleasing spaces using common factors, designing for communities as well as,