Wednesday, April 30, 2008
Monday, April 28, 2008
The Art of Fernando Botero
Man on a Horse
Adam and EveMuseums are afraid to show works that reveal the truth. So claimed professor Peter Selz in a lecture inspired by the exhibition of Colombian artist Fernando Botero’s “Abu Ghraib” series organized by the center for Latin American Studies last spring. The university of California, Berkeley was the first public institution in the United States to show the powerful series. The approximately 100 drawings and oil paintings resulted from Botero’s shock and rage at what had happened at that Iraqi prison. As part of series of talks related to the exhibit, Selz examined Botero’s development as an artist in relation to topics of violence and considered the importance of the painting today.
Professor Selz began with a discussion of Botero’s artistic development. After winning second prize in the Salon de Artistas Colombianos in 1952, Botero used his winnings to travel to Europe to study the Old Masters. He began in Spain, copying the work of El Greco, Velazquez and Goya. In Florence, he studied the location of generously proportioned, verisimilar bodies in real spaces, focusing especially on the work of Masaccio and Piero della Francesca and the sensuality of Rubens. Botero then visited the Sistine ceiling in Rome before traveling to Mexico and turning to the famous muralists Diego Rivera and Jose Clemente Orozco, whose paintings of strong, powerful human figures were important to Botero’s own approach.
Though he often recreated his predecessors paintings, Botero did not always approach the originals reverentially. According to Selz, Botero considered the Mona Lisa more a part of pop culture that a work of art, as can be seen in “Mona Lisa age 12” painted in 1959. In the Colombian painter’s rendition of the famous work, he gives the subject a mischievous, almost deranged expression in place of the original’s calm smile. Botero’s compulsion to quote became a recurring theme throughout his career to cite only examples, he took on the oft-portrayed figure of Christ in “Ecce Homo” of 1967, painted an obese pear in 1976 in response to Rene Magritte’s “The Listening Room” and reinvented Titian’s “The Rape of Europa” in 1995, placing the subjects in a space that resembles a bullring. The clear note that sounded across these echoes of other’s work, giving them coherence, was Botero’s constant interest in rounded, solid, voluminous form.
By the turn of the millennium, Botero was known worldwide for his visual vocabulary based on sensual human shapes. Focusing on what Botero calls “poetic transformation,” Selz explained that the painter is interested in “the truth and in the authenticity of the painting as a painting, which is very different from verisimilitude.” He often works with universal themes, interpreted through particular, individual subject matter, such as city street in Latin America in “The Street” of 2000. Botero delight in the human from and paints with great sensuality.
In 1999 Botero began to focus on political themes and to depict violence in his paintings, seeing a moral necessity, according to Selz, in leaving testimony to the madness of war and violence. His painting “Massacre in Columbia of 1999” interprets a historical event and forefronts the individual pain and horror of violent death in a color scheme dominated by his customary bright pastels. Another painting from the same series. “The Earthquake,” portrays the crumbling of colonial architecture into rubble, in a world thrown off balance and ravaged by the unexpected. It is similar to “Massacre” with its cheerful palette in discord with the somber subject matter. Botero’s images of pain which hadn’t previously been a frequent topic of his work draw on a history of depictions of violence that includes Goya’s “Disasters of War” Paintings, the works of German artists such as Otto Dix during the interwar period and Picasso’s “Guernica.”
Botero’s “Man on a Horse” at the intersection of Wydown Boulevard and Hanley Road. The 11’6” tall bronze sculpture titled “Man on a Horse” This public art installation was made possible through the generosity of the Gateway Foundation, a private organization that fosters and supports cultural and artistic activities in the St. Louis Metropolitan Area. The foundation purchased the sculpture and is paying all costs associated with the installation of the sculpture, landscaping, maintenance and insurance. The Foundation entered into an agreement with the city of Clayton to loan the sculpture to the city on a long-term basis. Prior to Clayton, the sculpture to the city on a long-term basis. Prior to Clayton , the sculpture was on display in Venice and New York.
“Man on a Horse” , depicts a smooth, rotund, meticulously, formed and unclothed man and horse. In his paintings and sculpture, Botero appropriates themes from art history, which in this case is the traditional monumental equestrian statue. Unlike a traditional bronze horseman, however, “Man on a Horse” is commemorating a war hero or city father. Instead, with its disproportionate scale and lack of specific identity, it asks viewers to look at this traditional form in a new way.
IAdam and Eve Statues stand in the lobby of the Time Warner centers shop at Columbus Circle, one of world's most popular and sought after contemporary artists. The figures in the photo are represented as rotund forms and exaggerated proportions, a style for which Botero is known. Each statue stands about 20 feet tall, is nude and is cast in bronze. Born in Colombia in 1932, Botero became interested in painting at a very young age and has produced thousands of paintings; in the 1970s he began producing sculpture. With such a puritanical thread running through American society.
By combining Renaissance and Baroque painting techniques with the Colonialo tradition fo Latin America, Botero creates a fugurative painting style that is Universal in its appeal. He captures intimate moments in life. A woman bathing, a men’s card game or a famil posing for photograph, depicting plump, nonchalant figures in everyday scenes. In group scenes, the artist frequently teases the viewer by showing one nude female figure, which is reminiscent of the famous Manet painting, Luncheon of Grass.
In the world of Fernando Botero, roly-poly is king. Fat women, fat food, fat horses, fat generals, fat babies. They’ve all delighted admirers of Botero’s paintings and sculptures for more than a half century.
The Delaware Art Museum is presenting “The Baroque World of Fernando Botero” a major retrospective exhibition featuring 100 paintings, sculptures and drawings on view until june 8. Using a broad range of media, the artist has created a world of his own, one that is at once accessible and enigmatic.
“Botero’s brilliant colors and massive forms make you stand up and take notice immediately .” said Mary F. Holahan, curator of collectons and exhibitons at the Delaware Art Museum.
But then his paintings and drawings and sculptures take you through a more subtle range of emotions. Empathy, outrage, curiosity, and just plain good humor. The result is that you just keep wanting to come back to look again and again.
Tuesday, April 15, 2008
Tuesday, April 8, 2008
THE EVOLUTION, HISTORY AND DEFINITION OF FINE ART
It is easy to talk about painting and sculpture, or architecture, music and other forms of art; but it is not so easy to discuss fully what constitute their natures and qualities. The question "What is Art?" has been widely discussed by artists, philosophers, and art critics; but many aspects of it have merely been explained away. It is also a question for which no cut-and-dry definition has yet been offered, nor would any if offered, be adequate. Through aesthetic experiences and constant application of thought to art, writers on art have been able to offer different aspects of the answers which may serve as an adequate definition of art.
LANGUAGE OF ART
But very often the language of art employed is misunderstood, or else, taken for granted. One of the reasons for that misconception of written documents memoirs on art being of course that the eloquence of a work of art is beyond verbal interpretation. The most effective language of a work of art is its quality, which speaks for itself. Some people can react to the effect of the quality of a work of art, others cannot; but this is a matter of sensitivity and education to an appreciation of the work of the human hand.
People with good taste are apt to wonder why it is that what they admire in works of art are not easy for others to grasp. A man of good taste may like certain qualities in a work of art for certain reasons, no matter whether those qualities recall to his memory what he had experienced in life or not. He likes those qualities simply because they appeal to him.
To be able to admire certain qualities in a work of art in this way, is to begin to discover for oneself, what art really is.
ART CONNOISSEURS
But, of course, some men of taste take art objects for granted as historical and fashionable documents. Usually, a class of aristocratic or bourgeoisie art connoisseurs spring up in a society, who are themselves genuine and ardent admirers of the "beautiful." They would be classified as people who understand art. There is no question that they do, when it comes to the fact that they are the precursors of what society is to acclaim and emulate. But quite often, these art enthusiasts have no independent judgement and criticism of art based on justifiable aesthetic concepts. Art has suffered under the patronage of aristocracy which is the least criterion for assessing artistic merits and demerits. It is equally true that such patronage has promoted artistic creativity, but only materially. This is a matter of history.
ELEGANT TASTE
Does the criterion for artistic judgement therefore depend on standards set by aristocracy and elegant taste, or does it depend on the nature and types of human races, who have so produced, as it were, not one art but many? Are beautiful paintings, beautiful buildings and beautiful sculptures necessarily art? Are works produced merely for purposes of the representation of things in nature and for decorum? Has man's whole spirit and soul been wrapped up with the idea of building monumental copies of natural phenomena, and of creating great artistic impressibilities as a result of his reaction to impulse? If not, what is art, and for what purpose does it exist? Is what prompts artistic creativity art? Or, is what transforms a piece of wood or canvas, or even sounds into that, what has given "life" and concrete meaning, art?
I should now begin to seek answers to all these questions, and then try to explore the nature and types of human arts; for upon the answers to such questions would depend what I would contend to be, a clear definition of art.
COPY NATURE
Art is not the human activity which aims at the creation of beautiful things. By this, I do not exclude elements of beauty, or "beauty" itself, from the qualities which a work of art must embody; but such a hypothesis bridges the gap between art, as a reality, which is not visible nor tangible, and art as a human activity, the product of which we know as a work of art.
When critics of art discuss the subjects of art, they generally do not talk how clever the artist is, how he has copied nature or imitated her, nor even how nearer to nature the colours in a painting are. They, the critics of art, talk about artistic qualities which do not necessarily recall to mind what had been seen before; that is, those eternal qualities which know neither time nor space.
TOLSTOY SPEAKS
"To value a work of art," says Tolstoy, "by the degree of realism or by the accuracy of the details is as strange as to judge of the nutritive quality of food by its external appearance. "When we appraise a work of art according to its realism, we only show that we are talking, not of art, but of its counterfeit."
Most people admire what recalls things of sentimental value, or expect to find such things in a work of art; and when such things do not exist in a work of art, they think that the work of art is either crude or not even art at all.
Others expect to find in a work of art and the function it performs, records of history and great deeds. It is in fact, one of the functions of art to record history: to tell the story of man's intellectual and mental development in time and space, but such stories which a work of art does tell, are but its "descriptive" qualities, which must be subjected to greater qualities that are aesthetic in essence. Eugene Delacroix once said to Baudelaire:
The visible world is only a shop full of images and signs to which imagination gives relative value and place. It is a kind of pasture – land which imagination should order and transform. All the faculties of human soul should be subordinated to the imagination which uses them simultaneously.
A genius creates his own method; he has no other; a true artist is born to pick and choose, and group with intelligence, elements in nature, so that the result may be as beautiful as the musicians gathers his notes and forms his chords, until he brings forth from chaos, glorious harmony. To know what art is, one must know the human mind.
ART LOVERS
Most art lovers do not like to feel that beauty is not automatically implied when the word "ART" is mentioned. So that to them, it would seem quite aesthetically incoherent to call what seem an "ugly" object of art, beautiful. Unlike the Hellenic standards up to, and after the Renaissance, the classic theory of beauty conformed to realism and photographic verisimilitude. It is the meaning of art, and the purpose for which it exists, that justifies shapes, colours, or designs in a work of art.
Unless the meaning of a thing is understood, it is difficult to appreciate that thing in any reasonable sense. It is easy to misunderstand it, or take it for granted. One of the qualities which a work of art has, is its power to attract attention and to make an appeal. By this means, what the artist has communicated or had expressed, and the significance of his interpretations, become part and parcel of his medium or material, which is merely a means by which ART is born.
ACTIVITY OF MAN
Art is therefore not a quality of things, but an activity of man. Beautiful lines in a drawing, or beautiful colours in painting or beautiful shapes in a piece of sculpture, are not at all ART. Art does not imply good colours, lines and shapes, not do these make up Art.
DEFINITIONS
Thinkers, philosophers, and artists, have offered varied definitions of art, its manifestations and its functions. Apart from the fact that art gives pleasure, it also fulfils other functions which are as important as living itself.
Art elevates the human mind, sublimates his base emotions, and cultivates his sense to be more sensitive to the finer things of life. Art gives peace and vitality to the human mind and soul; and as children are to women of whom they are born, so is art to its creator, the artistic genius. To cultivate ones mind so that art may "speak," is to raise oneself above the level of the animal kingdom; it is to give freedom to man's spirit which is the real joy of life.
VERNON'S VIEW
But I am limiting art to painting and sculpture in the sense as Vernon would contend, that art is essentially the expression of emotion. Great music cannot exist if it does not express emotion. And in painting, it does not matter if colours are not rich and "harmonious." Degas, the impressionist and Cezanne, both painted in entirely different styles. Degas' colours were rich and characteristic of the impressionist school; whereas, Cezanne sometimes, and quite often used dirty muddy colours; but the unity, and vitality which his work conveys, are what critics call art in its entirety. Thus a work of art is complete, and nothing is left out, if even the absence of luscious colours predominate.
HUMAN EMOTION
Tolstoy's definition of art emphasises the transmission of the human emotion as the essence of art. Here, there is justification for the interpretations and the ideas which artists like Mark Ernst, Paul Klee, Duchamp, and others of the "DADAIST" group show in their works. Although the platonic theories of art, as the Imitative and the Representational, or the Aristotelian speculations on the mimetic impulse have prevailed, other theories like Schiller or Karl Groos whose views are equally acceptable, have added to man's aesthetic discoveries. While Plato and Aristotle upheld the view that art must represent what the eyes have seen, and this idea prevailed throughout the immense period of art history, and was used to a very great extent by the Greeks and the Europeans, Schiller's play theory of art has explored other aspects of art, which had never occurred to philosophers of his time and before.
FREE EMOTION
"The imagination of man," says Schiller, "like his corporeal organs has also its free emotion and its material play, in which it merely enjoys its native power and liberty without reference to shape or colour." This play of the imagination consists in a free, unconstrained flow of images, which, because of the absence of form, is not yet aesthetic. But from this free play of ideas, "the imagination" makes, at length, a leap to aesthetic play. An entirely new power comes here into requisition; for the directing spirit at first interfering in the operations of blind instinct, subjects the arbitrary process of the imagination to its immutable eternal quality. Art, in other words, is born when taste, asserting itself, imposes upon the products of the free play of man's imagination.
Schiller's analogy of the manifestations of art in the human imagination pre- supposes an answer to the question "What is Art?" From this point, the essential features of art begin to show themselves in positive terms. At this, I should contend that art, in the broadcast sense of the terms, is the human activity which is consciously so controlled as to produce a result satisfying some specified condition. I use the term "specified" in the sense that the artist/s free play of imagination helps, or does not hinder the ultimate creation of a desired "effect" which is the aim of Art; be that effect one of "fear," or "joy," of the mysterious, or even of "death" and "horrors" – so long as the artist had been impulsed to infuse an effect into his image-making propensity.
In this sense, also, it would be reasonable to state that the germ of artistic creativity is that which differentiates man's artistic expressions from the dim adumbrations of animal art. It follows, as the trend of art history has shown, that in its entirety, Art has been produced by man from the pre-historic times to the present; and that there can be no logical argument denying the fact that what man had produced when he lived under primitive conditions, inspired by fear or imbued with taboo and superstition, is still great, if it was acknowledged so to be when compared with "Art" which he now produces as a civilized or cultivated man.
ARTISTIC CREATION
The capacity for artistic creation of the early man whose environment differs from ours is no less inducive to the production of great art as that of the man of the middle ages, or man of the Renaissance, and even modern man. It is only the treatment of the material which the artist employs as an agent, that is different; itself, a product of science or industry or of nature, but not of Art – is a matter of studies and experience. The telic activities which I have stated can be classified in such positive terms so as to state quite categorically the extent to which the effect a world of Art has is a direct result of the manifestation of Art in the human imagination and vice versa.
SPECIES OF ART
I should divide Art into two species – the "Ectotelic" and the "Endotelic." "Ectotelic" art may be defined as utilitarian or skilled work; and "Endotelic" Art which is skilled self-objectifictation is the one with which I am essentially concerned. What the positive end of endotelic Art seeks is objectification of the artist's beliefs, his feelings, meanings or significances, and volitions. The Art which is endotelic consists in conscious or subconscious, critically controlled, objectification of self; or equivalently, in consciously objective self-expression.
OBJECTIFICATION
It does not imply that the feeling, meaning, or significance and volition, which may be expressed in a material that the artist uses, or call it his medium which renders observation and admiration by the artist and others possible, is meant when "objectification" is addressed to artistic creativity. Objectification is usually mentioned in "personal stuff" but it plays its role in Art in distinct image-stuff; that is to say, the interplay of both material and thought, is the result of a conscious creative activity of the artist. In this sense, self-objectification remains private to the artist. It is easy to see that the image stuff has a limit, where it meets with the realm of perpetual-stuff. The latter is what objectification denotes. However, the image-stuff as a medium of artistic creativity or expression, remains empirical.
IMAGE-STUFF
Theoretically, image-stuff is possible stuff for self-objectification in so far as it does not encroach upon perceptual objectivity. Let me be more explicit – the expression in a work of Art which is a quality, is creative of something i.e. capable of being contemplated by the artist and others as well. But this is not the meaning of "self-objectification."
The expression, as objective is such that in contemplation of some quality in a world of Art, it yields back to the artist's feeling, meaning, or significance and volition, of which it was the attempted expression. Thus, an artist paints a picture or carves a figure; and in desolation or dissatisfaction, destroys the work he has done because he knows that he has failed to express what he wanted. He would say, on contemplating his work, "Yes, that is what I meant," or sometimes, "No, that is not what I meant," if on the contrary, according as the extent to which self- objectification has manifested itself in terms of expression.
The artist may get rid of the impulse to express something, but that "something" may not rid him of it by objectifying it. Unsuccessful attempts at objective self-expression can only be noted, by contemplating the products – the works of Art. By obtaining back to the observer of the work, or by the artist, of what has been attempted to express, is the only proof as to the meaning of self- objectification. Objectification is a means and not an end; but it is also the meaning of a work of Art, otherwise creative Art would be essentially not endotelic but ectotelic.
SELF-EXPRESSION
Artistic creativity is the act of self-expression. The act of self-expression is blind to accuracy or definite form unless it has been tutored – that is to say, the expression which the work thus produced possesses, is bound to be native, whenever expression is something original or new unless the technique is good enough. This does not deny the fact of its power or its vitality. The point I am trying to make is that when a child draws something, self-objectification remains a matter of guesswork, and in most cases, never occurs. Until he has learnt the Art and the craft, he cannot develop a sense of critical analysis. So it is with a clever draughtsman on the other hand, whose technique is superior to his capacity for self-expression, and self-objectification. Such blind acts never pass objectivity in the sense of that term, for the work produced would have no purpose except that which is purely biological or utilitarian.
DYNAMIC FORCES
Art is not merely self-expression but objective self-expression in the act of which it must be a conscious effort, only permissible of un-self consciousness in cases of primeval Art when self-objectification has been canalised into some definite purpose, categorized in various, though interrelated mechanisms as part and parcel of other dynamic forces that exist in the human society. I speak of the so-called "primitive" Art of which some critics of Art have described as "unconscious self- objectification." Primitive Art is self-conscious, because the artist, either before or during the act of its creation, was conscious of certain elements which were to play a role in the artist's creations; he was aware of being aware, that certain elements were playing a part; the question of the time when such elements became a part of the work produced is irrelevant.
Every artist, no matter what race, country, or epoch has been endowed with gifts such as capacity for artistic contemplation in word, that thing which he creates yields back to his feeling, meaning or significance and volition of which the work was the attempted expression.
PASSING THE TEST
Art is not only capable of passing the test of "conscious objectivity" but must have passed it before successful work is done. This means that a work of art is finished before it begun. The artist must have conceived an image of a thing before actually making it a concrete thing – a work of art. Consciousness of the act is gained by contemplation of the product, i.e. judgment as to whether or not the work truly mirrors back what Wassily Kandisky calls "the inner klang."
The conscious objectification of the artist's feeling belongs to the realm of aesthetics. Here the reason for calling Art "Fine Art" which is an ambiguous term crops up. The implication which the term "Fine Art" carries has implied, on many occasions, that Art so referred to, is an activity essentially concerned with the production of something beautiful. This, of course, is false and a wrong view of the nature of Art, as has already been pointed out in the earlier part of this article. Any activity of which the deliberate and ultimate aim is to produce something beautiful is "Ectotelic Art" i.e. skilled work, crafts. A craft work may be beautiful or lovely but that is its ultimate aim; it does not reveal the maker's imagination to question. As long as the eye beholds is as something attractive and `fine' or beautiful, it has performed its function.
ENDOTELIC ART
The definition of Endotelic Art or Aesthetic Art is wholly independent of the notion of "the beautiful." This does not mean that its product must or must not lack beautiful lines, and beautiful colours, and beautiful forms. It only means that "Art" the products of which are things pre-conceived, is true to the precepts of the images thus created in concrete form.
The word aesthetic is used at random and is applied even to the emotion which an American saloon can evoke on the mind – the steam lines! Sometimes the workd is used in its etymological sense – meaning perceptible. When the etymological sense of the word is conjoined with ethnography, the word is used to standardize works produced by man living under primitive conditions or else the work of the pre-historic man.
PURE REASON
Kant's first part of his "Critique of Pure Reason" dealt with aesthetics as if it has only to do with perception. Thus the word as I have stated above has been used to make all sorts of distinct enquiries such as the philosophy of beauty; and empirical investigations of the characters and qualities which objects of art should possess, and then judged by standards established by society, based on beautiful things or persons, correct angles or rectangles, and anatomical proportions and so on.
Some Art critics have not resisted the temptation to judge some works of Art on such basis. But great critics of Art like John Ruskin, Herbert Read, Morris Collis and Eric Newton, would judge Art from a wider angle according as Art has satisfied all aesthetic canons. Any object may be called beautiful when, or in so far as, the feelings which one obtained in the aesthetic contemplation of it are pleasurable feelings. A beautiful object therefore may be, but need not be, a work of Art; and a work of art may be, but need not be, beautiful. Beauty, being purely a matter of the sort of feeling that an object gives us in contemplation, remains wholly independent of the manner (whether artificial or natural) in which the object itself came into existence. On the other hand, a work of Aesthetic Art, being simply the consciously achieved objectification of a feeling, will not be beautiful unless the feeling objectified in it and reflected by it in contemplation, is a pleasurable feeling.
A mask can be a work of art if it is a successful attempt to imprison an idea or express an idea in terms of wood, and if it reflects such ideals or ideas by the effect of its shape, be they repellent or pleasurable to the onlooker. If the mask represents a goddess it could be a model of beauty in so far as the same ideal and the ideas that made the perpetual stuff possible of achievement, is triumphant. A realistic painting could be beautiful, but not a work of Art. The masks created by our ancestors are not only beautiful, but are highly sophisticated "masterpieces."
LANGUAGE OF ART
But very often the language of art employed is misunderstood, or else, taken for granted. One of the reasons for that misconception of written documents memoirs on art being of course that the eloquence of a work of art is beyond verbal interpretation. The most effective language of a work of art is its quality, which speaks for itself. Some people can react to the effect of the quality of a work of art, others cannot; but this is a matter of sensitivity and education to an appreciation of the work of the human hand.
People with good taste are apt to wonder why it is that what they admire in works of art are not easy for others to grasp. A man of good taste may like certain qualities in a work of art for certain reasons, no matter whether those qualities recall to his memory what he had experienced in life or not. He likes those qualities simply because they appeal to him.
To be able to admire certain qualities in a work of art in this way, is to begin to discover for oneself, what art really is.
ART CONNOISSEURS
But, of course, some men of taste take art objects for granted as historical and fashionable documents. Usually, a class of aristocratic or bourgeoisie art connoisseurs spring up in a society, who are themselves genuine and ardent admirers of the "beautiful." They would be classified as people who understand art. There is no question that they do, when it comes to the fact that they are the precursors of what society is to acclaim and emulate. But quite often, these art enthusiasts have no independent judgement and criticism of art based on justifiable aesthetic concepts. Art has suffered under the patronage of aristocracy which is the least criterion for assessing artistic merits and demerits. It is equally true that such patronage has promoted artistic creativity, but only materially. This is a matter of history.
ELEGANT TASTE
Does the criterion for artistic judgement therefore depend on standards set by aristocracy and elegant taste, or does it depend on the nature and types of human races, who have so produced, as it were, not one art but many? Are beautiful paintings, beautiful buildings and beautiful sculptures necessarily art? Are works produced merely for purposes of the representation of things in nature and for decorum? Has man's whole spirit and soul been wrapped up with the idea of building monumental copies of natural phenomena, and of creating great artistic impressibilities as a result of his reaction to impulse? If not, what is art, and for what purpose does it exist? Is what prompts artistic creativity art? Or, is what transforms a piece of wood or canvas, or even sounds into that, what has given "life" and concrete meaning, art?
I should now begin to seek answers to all these questions, and then try to explore the nature and types of human arts; for upon the answers to such questions would depend what I would contend to be, a clear definition of art.
COPY NATURE
Art is not the human activity which aims at the creation of beautiful things. By this, I do not exclude elements of beauty, or "beauty" itself, from the qualities which a work of art must embody; but such a hypothesis bridges the gap between art, as a reality, which is not visible nor tangible, and art as a human activity, the product of which we know as a work of art.
When critics of art discuss the subjects of art, they generally do not talk how clever the artist is, how he has copied nature or imitated her, nor even how nearer to nature the colours in a painting are. They, the critics of art, talk about artistic qualities which do not necessarily recall to mind what had been seen before; that is, those eternal qualities which know neither time nor space.
TOLSTOY SPEAKS
"To value a work of art," says Tolstoy, "by the degree of realism or by the accuracy of the details is as strange as to judge of the nutritive quality of food by its external appearance. "When we appraise a work of art according to its realism, we only show that we are talking, not of art, but of its counterfeit."
Most people admire what recalls things of sentimental value, or expect to find such things in a work of art; and when such things do not exist in a work of art, they think that the work of art is either crude or not even art at all.
Others expect to find in a work of art and the function it performs, records of history and great deeds. It is in fact, one of the functions of art to record history: to tell the story of man's intellectual and mental development in time and space, but such stories which a work of art does tell, are but its "descriptive" qualities, which must be subjected to greater qualities that are aesthetic in essence. Eugene Delacroix once said to Baudelaire:
The visible world is only a shop full of images and signs to which imagination gives relative value and place. It is a kind of pasture – land which imagination should order and transform. All the faculties of human soul should be subordinated to the imagination which uses them simultaneously.
A genius creates his own method; he has no other; a true artist is born to pick and choose, and group with intelligence, elements in nature, so that the result may be as beautiful as the musicians gathers his notes and forms his chords, until he brings forth from chaos, glorious harmony. To know what art is, one must know the human mind.
ART LOVERS
Most art lovers do not like to feel that beauty is not automatically implied when the word "ART" is mentioned. So that to them, it would seem quite aesthetically incoherent to call what seem an "ugly" object of art, beautiful. Unlike the Hellenic standards up to, and after the Renaissance, the classic theory of beauty conformed to realism and photographic verisimilitude. It is the meaning of art, and the purpose for which it exists, that justifies shapes, colours, or designs in a work of art.
Unless the meaning of a thing is understood, it is difficult to appreciate that thing in any reasonable sense. It is easy to misunderstand it, or take it for granted. One of the qualities which a work of art has, is its power to attract attention and to make an appeal. By this means, what the artist has communicated or had expressed, and the significance of his interpretations, become part and parcel of his medium or material, which is merely a means by which ART is born.
ACTIVITY OF MAN
Art is therefore not a quality of things, but an activity of man. Beautiful lines in a drawing, or beautiful colours in painting or beautiful shapes in a piece of sculpture, are not at all ART. Art does not imply good colours, lines and shapes, not do these make up Art.
DEFINITIONS
Thinkers, philosophers, and artists, have offered varied definitions of art, its manifestations and its functions. Apart from the fact that art gives pleasure, it also fulfils other functions which are as important as living itself.
Art elevates the human mind, sublimates his base emotions, and cultivates his sense to be more sensitive to the finer things of life. Art gives peace and vitality to the human mind and soul; and as children are to women of whom they are born, so is art to its creator, the artistic genius. To cultivate ones mind so that art may "speak," is to raise oneself above the level of the animal kingdom; it is to give freedom to man's spirit which is the real joy of life.
VERNON'S VIEW
But I am limiting art to painting and sculpture in the sense as Vernon would contend, that art is essentially the expression of emotion. Great music cannot exist if it does not express emotion. And in painting, it does not matter if colours are not rich and "harmonious." Degas, the impressionist and Cezanne, both painted in entirely different styles. Degas' colours were rich and characteristic of the impressionist school; whereas, Cezanne sometimes, and quite often used dirty muddy colours; but the unity, and vitality which his work conveys, are what critics call art in its entirety. Thus a work of art is complete, and nothing is left out, if even the absence of luscious colours predominate.
HUMAN EMOTION
Tolstoy's definition of art emphasises the transmission of the human emotion as the essence of art. Here, there is justification for the interpretations and the ideas which artists like Mark Ernst, Paul Klee, Duchamp, and others of the "DADAIST" group show in their works. Although the platonic theories of art, as the Imitative and the Representational, or the Aristotelian speculations on the mimetic impulse have prevailed, other theories like Schiller or Karl Groos whose views are equally acceptable, have added to man's aesthetic discoveries. While Plato and Aristotle upheld the view that art must represent what the eyes have seen, and this idea prevailed throughout the immense period of art history, and was used to a very great extent by the Greeks and the Europeans, Schiller's play theory of art has explored other aspects of art, which had never occurred to philosophers of his time and before.
FREE EMOTION
"The imagination of man," says Schiller, "like his corporeal organs has also its free emotion and its material play, in which it merely enjoys its native power and liberty without reference to shape or colour." This play of the imagination consists in a free, unconstrained flow of images, which, because of the absence of form, is not yet aesthetic. But from this free play of ideas, "the imagination" makes, at length, a leap to aesthetic play. An entirely new power comes here into requisition; for the directing spirit at first interfering in the operations of blind instinct, subjects the arbitrary process of the imagination to its immutable eternal quality. Art, in other words, is born when taste, asserting itself, imposes upon the products of the free play of man's imagination.
Schiller's analogy of the manifestations of art in the human imagination pre- supposes an answer to the question "What is Art?" From this point, the essential features of art begin to show themselves in positive terms. At this, I should contend that art, in the broadcast sense of the terms, is the human activity which is consciously so controlled as to produce a result satisfying some specified condition. I use the term "specified" in the sense that the artist/s free play of imagination helps, or does not hinder the ultimate creation of a desired "effect" which is the aim of Art; be that effect one of "fear," or "joy," of the mysterious, or even of "death" and "horrors" – so long as the artist had been impulsed to infuse an effect into his image-making propensity.
In this sense, also, it would be reasonable to state that the germ of artistic creativity is that which differentiates man's artistic expressions from the dim adumbrations of animal art. It follows, as the trend of art history has shown, that in its entirety, Art has been produced by man from the pre-historic times to the present; and that there can be no logical argument denying the fact that what man had produced when he lived under primitive conditions, inspired by fear or imbued with taboo and superstition, is still great, if it was acknowledged so to be when compared with "Art" which he now produces as a civilized or cultivated man.
ARTISTIC CREATION
The capacity for artistic creation of the early man whose environment differs from ours is no less inducive to the production of great art as that of the man of the middle ages, or man of the Renaissance, and even modern man. It is only the treatment of the material which the artist employs as an agent, that is different; itself, a product of science or industry or of nature, but not of Art – is a matter of studies and experience. The telic activities which I have stated can be classified in such positive terms so as to state quite categorically the extent to which the effect a world of Art has is a direct result of the manifestation of Art in the human imagination and vice versa.
SPECIES OF ART
I should divide Art into two species – the "Ectotelic" and the "Endotelic." "Ectotelic" art may be defined as utilitarian or skilled work; and "Endotelic" Art which is skilled self-objectifictation is the one with which I am essentially concerned. What the positive end of endotelic Art seeks is objectification of the artist's beliefs, his feelings, meanings or significances, and volitions. The Art which is endotelic consists in conscious or subconscious, critically controlled, objectification of self; or equivalently, in consciously objective self-expression.
OBJECTIFICATION
It does not imply that the feeling, meaning, or significance and volition, which may be expressed in a material that the artist uses, or call it his medium which renders observation and admiration by the artist and others possible, is meant when "objectification" is addressed to artistic creativity. Objectification is usually mentioned in "personal stuff" but it plays its role in Art in distinct image-stuff; that is to say, the interplay of both material and thought, is the result of a conscious creative activity of the artist. In this sense, self-objectification remains private to the artist. It is easy to see that the image stuff has a limit, where it meets with the realm of perpetual-stuff. The latter is what objectification denotes. However, the image-stuff as a medium of artistic creativity or expression, remains empirical.
IMAGE-STUFF
Theoretically, image-stuff is possible stuff for self-objectification in so far as it does not encroach upon perceptual objectivity. Let me be more explicit – the expression in a work of Art which is a quality, is creative of something i.e. capable of being contemplated by the artist and others as well. But this is not the meaning of "self-objectification."
The expression, as objective is such that in contemplation of some quality in a world of Art, it yields back to the artist's feeling, meaning, or significance and volition, of which it was the attempted expression. Thus, an artist paints a picture or carves a figure; and in desolation or dissatisfaction, destroys the work he has done because he knows that he has failed to express what he wanted. He would say, on contemplating his work, "Yes, that is what I meant," or sometimes, "No, that is not what I meant," if on the contrary, according as the extent to which self- objectification has manifested itself in terms of expression.
The artist may get rid of the impulse to express something, but that "something" may not rid him of it by objectifying it. Unsuccessful attempts at objective self-expression can only be noted, by contemplating the products – the works of Art. By obtaining back to the observer of the work, or by the artist, of what has been attempted to express, is the only proof as to the meaning of self- objectification. Objectification is a means and not an end; but it is also the meaning of a work of Art, otherwise creative Art would be essentially not endotelic but ectotelic.
SELF-EXPRESSION
Artistic creativity is the act of self-expression. The act of self-expression is blind to accuracy or definite form unless it has been tutored – that is to say, the expression which the work thus produced possesses, is bound to be native, whenever expression is something original or new unless the technique is good enough. This does not deny the fact of its power or its vitality. The point I am trying to make is that when a child draws something, self-objectification remains a matter of guesswork, and in most cases, never occurs. Until he has learnt the Art and the craft, he cannot develop a sense of critical analysis. So it is with a clever draughtsman on the other hand, whose technique is superior to his capacity for self-expression, and self-objectification. Such blind acts never pass objectivity in the sense of that term, for the work produced would have no purpose except that which is purely biological or utilitarian.
DYNAMIC FORCES
Art is not merely self-expression but objective self-expression in the act of which it must be a conscious effort, only permissible of un-self consciousness in cases of primeval Art when self-objectification has been canalised into some definite purpose, categorized in various, though interrelated mechanisms as part and parcel of other dynamic forces that exist in the human society. I speak of the so-called "primitive" Art of which some critics of Art have described as "unconscious self- objectification." Primitive Art is self-conscious, because the artist, either before or during the act of its creation, was conscious of certain elements which were to play a role in the artist's creations; he was aware of being aware, that certain elements were playing a part; the question of the time when such elements became a part of the work produced is irrelevant.
Every artist, no matter what race, country, or epoch has been endowed with gifts such as capacity for artistic contemplation in word, that thing which he creates yields back to his feeling, meaning or significance and volition of which the work was the attempted expression.
PASSING THE TEST
Art is not only capable of passing the test of "conscious objectivity" but must have passed it before successful work is done. This means that a work of art is finished before it begun. The artist must have conceived an image of a thing before actually making it a concrete thing – a work of art. Consciousness of the act is gained by contemplation of the product, i.e. judgment as to whether or not the work truly mirrors back what Wassily Kandisky calls "the inner klang."
The conscious objectification of the artist's feeling belongs to the realm of aesthetics. Here the reason for calling Art "Fine Art" which is an ambiguous term crops up. The implication which the term "Fine Art" carries has implied, on many occasions, that Art so referred to, is an activity essentially concerned with the production of something beautiful. This, of course, is false and a wrong view of the nature of Art, as has already been pointed out in the earlier part of this article. Any activity of which the deliberate and ultimate aim is to produce something beautiful is "Ectotelic Art" i.e. skilled work, crafts. A craft work may be beautiful or lovely but that is its ultimate aim; it does not reveal the maker's imagination to question. As long as the eye beholds is as something attractive and `fine' or beautiful, it has performed its function.
ENDOTELIC ART
The definition of Endotelic Art or Aesthetic Art is wholly independent of the notion of "the beautiful." This does not mean that its product must or must not lack beautiful lines, and beautiful colours, and beautiful forms. It only means that "Art" the products of which are things pre-conceived, is true to the precepts of the images thus created in concrete form.
The word aesthetic is used at random and is applied even to the emotion which an American saloon can evoke on the mind – the steam lines! Sometimes the workd is used in its etymological sense – meaning perceptible. When the etymological sense of the word is conjoined with ethnography, the word is used to standardize works produced by man living under primitive conditions or else the work of the pre-historic man.
PURE REASON
Kant's first part of his "Critique of Pure Reason" dealt with aesthetics as if it has only to do with perception. Thus the word as I have stated above has been used to make all sorts of distinct enquiries such as the philosophy of beauty; and empirical investigations of the characters and qualities which objects of art should possess, and then judged by standards established by society, based on beautiful things or persons, correct angles or rectangles, and anatomical proportions and so on.
Some Art critics have not resisted the temptation to judge some works of Art on such basis. But great critics of Art like John Ruskin, Herbert Read, Morris Collis and Eric Newton, would judge Art from a wider angle according as Art has satisfied all aesthetic canons. Any object may be called beautiful when, or in so far as, the feelings which one obtained in the aesthetic contemplation of it are pleasurable feelings. A beautiful object therefore may be, but need not be, a work of Art; and a work of art may be, but need not be, beautiful. Beauty, being purely a matter of the sort of feeling that an object gives us in contemplation, remains wholly independent of the manner (whether artificial or natural) in which the object itself came into existence. On the other hand, a work of Aesthetic Art, being simply the consciously achieved objectification of a feeling, will not be beautiful unless the feeling objectified in it and reflected by it in contemplation, is a pleasurable feeling.
A mask can be a work of art if it is a successful attempt to imprison an idea or express an idea in terms of wood, and if it reflects such ideals or ideas by the effect of its shape, be they repellent or pleasurable to the onlooker. If the mask represents a goddess it could be a model of beauty in so far as the same ideal and the ideas that made the perpetual stuff possible of achievement, is triumphant. A realistic painting could be beautiful, but not a work of Art. The masks created by our ancestors are not only beautiful, but are highly sophisticated "masterpieces."
Chasing The Hare
Aleaah KouryHISTORY & BACKGROUND
Aleah has created works in which whimsical and geometric forms, reminiscent, of Paul Klee or Joan Miro, float across multi-layered backgrounds impregnated with a dazzling array of materials. The Iris/Giclée process has proved to be the perfect means for translating these extraordinary works into print form because it is capable of capturing fine gradations of tone and color as well as the varied textures and surfaces of the original pieces. “I have had fun creating a visual vocabulary that speaks in a variety of ways. I am inventing unique shapes meant to provoke a response from the viewer.” Color is always key in Koury’s work. “I believe a color gains importance because of the color placed next to it. I feel this created visual electricity is always unique and stimulating.” ‘Playful’ and ‘powerful’ are words that symbolize Koury’s bold approach. Aleah Koury has participated in numerous one man and group shows across the United States. Xerox Corporation, Varian, Kaiser Permanente and Eastman Kodak as well as those in Japan, Hong Kong, France and Germany are among the many corporations that have included his work in their collections.
Last Nights Talk
I agree with the professor. It was a disaster!!!
I was lost through the talk. I didn't know what they were talking about.
I think Danto didn't prepare for this talk, since there were times that he took a long pause and came back with some sort of brain storming that didn't make any sense to me. How can he come to a talk without being prepare?? Having so many people there trying to understand what he is talking about... Making the public more confused.
The word "Beauty" is new to me. They don't even know what to call beauty?
I think Art in general is beautiful! even if is not beautiful to our eyes it is beautiful to the one who create it! That is why is called "Art"
I was lost through the talk. I didn't know what they were talking about.
I think Danto didn't prepare for this talk, since there were times that he took a long pause and came back with some sort of brain storming that didn't make any sense to me. How can he come to a talk without being prepare?? Having so many people there trying to understand what he is talking about... Making the public more confused.
The word "Beauty" is new to me. They don't even know what to call beauty?
I think Art in general is beautiful! even if is not beautiful to our eyes it is beautiful to the one who create it! That is why is called "Art"
Museum Market Research
Museum market research has been around for two decades, but gathering data about visitors has never been as important or as sophisticated as it is now.we wonder how long visitors spend at each exhibit. Curators at the Detroit Institute of Arts used research to find out. People might visit a museum to see a Monet or a Toaster or a Textile display. What's important is it's getting them in the door.
As museums expand, they need more paying customers with local shopping malls, movie theaters, even grocery stores.
Focus, groups, exit surveys and mail-in questionnaires. Museum are exploring new ways to learn what visitors want.
Which I think is great, because if we don't have any interest, we wont enjoy the exhibition.
Wednesday, March 5, 2008
Funny Art Video
I loved the video!!!!
It is so funny how they used animals to talk about art....
Art could be anything just like they said.
Not matter what the artist puts together. It could be a chair on a top of a desk and he will call it art.
It is so funny how they used animals to talk about art....
Art could be anything just like they said.
Not matter what the artist puts together. It could be a chair on a top of a desk and he will call it art.
Contemporary Art
Contemporary art can be defined variously as art produced at this present point in time or art produced since World War II. The definition of the word contemporary would support the first view, but museums of contemporary would support the first view, but museums of contemporary art commonly define their collections as consisting of art produced since World War II.
Contemporary art is exhibited by commercial contemporary art galleries, private collectors, corporations, publicly funded arts organizations, contemporary art museums or by artists themselves in artis-run spaces. Contemporary artists are supported by grants, awards and prizes as well as by direct sales of their work.
A common concern since the early part of the 20th century is the question of what constitutes art. This concern can be seen running through the "modern" and "postmodern" periods.
Contemporary art is exhibited by commercial contemporary art galleries, private collectors, corporations, publicly funded arts organizations, contemporary art museums or by artists themselves in artis-run spaces. Contemporary artists are supported by grants, awards and prizes as well as by direct sales of their work.
A common concern since the early part of the 20th century is the question of what constitutes art. This concern can be seen running through the "modern" and "postmodern" periods.
ITALIAN CINEMA
Italian film industry began in the early 20th century and developed several styles of its own such as Neorealism and Spaghetti Westerns to name a few.
The Italian movie-making started around 1903 and 1908 with the main organization located in Milan, Rome, Turin, Naples. Some of the movies produced in these studios will soon be seen around the world. In 1993, during the fascist era under Benito Mussolini, Cinecitta is born and begins large scale productions including american movies such as Ben-Hur and later on some Federico Fellini's masterpieces.
The late 1950's saw a change in the mood of movie making and also because of the strong economic growth and post war peace, Italians wanted to be entertained by happier and romantic movies and so the Italian comedy came to life.
The Italian movie-making started around 1903 and 1908 with the main organization located in Milan, Rome, Turin, Naples. Some of the movies produced in these studios will soon be seen around the world. In 1993, during the fascist era under Benito Mussolini, Cinecitta is born and begins large scale productions including american movies such as Ben-Hur and later on some Federico Fellini's masterpieces.
The late 1950's saw a change in the mood of movie making and also because of the strong economic growth and post war peace, Italians wanted to be entertained by happier and romantic movies and so the Italian comedy came to life.
Tuesday, February 12, 2008
Pierre Pinoncelli's
Many people, including the writer who covered this story in the New York Times, consider Pinoncelli as nothing more than an attention-seeking old man. In 1993, when he was on trial for attacking the same Duchamp piece by urinating into it before striking it with hammer in Nimes, the presiding judge gave the Frenchman a relatively lenient sentence because it was thought that he only wanted to " hijack the fame of the original artist" rather than actually destroy anything . Despite such opinions, those who understand the Dada movement can see that pinoncelli's apparent madness is based in exactly the same place the Duchamp's primary principle artist was, all those year ago when the majority of the art world called him crazy. Fountain was after all, rejected from an exhibition in New York when the artist presented it for the first time in 1917.
I see Pierre Pinoncelli as a perfomance artist specialising in outradgeous "happenings" or artistic provocations. How can he dressed up as Santa Claus and empty his bag in front of children and smash the toys into pieces. Just because he wants to protest against the commercialisation.
Tuesday, February 5, 2008
What is Modern Art ?
Many people are shocked when they go to an art gallery and see a few paints splattered on a canvas given the same status as an "Old Master". The role of art in western culture has change over the years. Technical skill and realism, predominant since the 15th century, are now less relevant. Yet most people still regard such qualities as the hallmarks of good art.
Characteristics of Modern Art
Characteristics of Modern Art
- It isn't lifelike: Even the most realistic work of art is just a visual illusion. Just consider what a strange thing it is to try to create the illusion of a three-dimensional scene by putting paint on a flat surface. Now that photos, film, T.V. and video can do the job so well, shouln't painting be concerned with a different sort of reality?
- Anyone can do it: Many people judge a work of art by the apparent technical skill of the artist. They look for features such as "correct " perspective and subtle shading, which create the illusion of three dimensions. Many modern artists have felt that overemphasizing technique can stifle the imagination.
- There are multiple interpretations: There is never just one interpretation of a work of art.Your own personal response is as valid as a critic's, specially if you look carefully and think about what you see.
- Patterns are important: The rhythmic pattern across the picture surface can conjure up different emotions in the viewer, just as music evokes different moods in the listener.
- Energy is visible: The boldness and density (or lack thereof) show the energy with which the artist has painted it.
- It inspires: Some people think it inspires the viewer to look beyond the world or recognizble objects, to a more spiritual or imaginative plane.
Historical Origin of Modern Art
The invention of photography in the 1830s encouraged artists to attempt even greater realism in their paintings in effort to compete with it. But as the 19th century wore on, some artists began to question the need for art to refer to the outside world at all. This led to the development of abstract art.
A second factor was the decline of patronage - the system whereby the church, royalty and the artistocracy commisioned works of art. By the 19th century art dealers had begun to sell uncommissioned art to a wider public. This gave artists more freedom to paint what and how they liked.
Source for text:
Bohm-Duchen & Cook. "Understanding Modern Art."
Saturday, January 26, 2008
The Hand of God - Michaelangelo Buonarroti
" The Hand of God" is perhaps the most enduring of Michelangelo's paintings. Almost five centuries later this image remains prevalent and is still being used in advering and on posters and T-shirts. This is particularly true of the detail that shows the two hands as they reach towards each other, tantalizingly close, almost touching. The panel illustrates the moment when life is instilled in Adam by God. Michaelangelo has placed the central focus upon the hands of God and of Adam, not just by the placement of the figures, but also by the two outstretched arms. Adam, who is only half-sitting up against the mountainside, seems weak and lanquid, with his arm restin upon one bent knee as if if is too heavy for him to hold up without some support. The hand is limp, the fingers are drooping as if they are without energy, awaiting the vital spark of life.Michelangelo Buonarroti
As sculptor, painter, architect, poet and engineer. Michelangelo stands as the archetype of the Renaissance genius, with a talent that transcends time and continues to influence and inspire contemporay artists. Michelangelo began his career in Florence in 1488, as an apprentice in the studio of Domenico Ghirlandaio. He quickly moved to the Medici Court of Florence where he gained an appreciation for classical sculpture and humanist philosophy that shaped and influence his work. After the death of his patron, Lorenzo de Medici, the artist traveled to Bologna and Rome, continually refining his brilliant technique and establishing his reputation as a dominant force in the arts.
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