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Feminist interpretive theories include approaches that are bothcompeting and complementary, and they represent some of the samerivalries that are present in contemporary philosophy, broadlyconstrued. Adaptations of psychoanalytic theory have an especiallylarge presence in the interpretation of performance, literature, filmand visual arts. Some feminists employ the discourse of Jacques Lacan,whose concept of the symbolic order has been widely applied tounderstand the power of patriarchy embedded in cultural forms of everykind (Copjec 2002). Julia Kristeva, who analyzes the artisticexperience of “abjection” as a threat to self arising fromboth the allure and the horror of self-disintegration and reabsorptioninto the body of the mother, has been especially provocative forunderstanding the aesthetic arousal of disgust and the strong sexualand gendered elements of horror (Kristeva 1982; Creed 1993). Far froma mere application of a theory to aesthetics, the feminist uses ofabjection have explored and enlarged the concept in order tounderstand not only the psychological development of individuals butalso the construction of social and political relations (Chanter2008).

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Compare methods to teach children how to learn to come up with their own ideas for art. 2.

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What are the diverse roles of science in these forms of artistic research? In particular, how does tree-planting-as-contemporary-art challenge, expand, and re-enforce broader art movements such as,

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One point of inquiry is provided by Claire Bishop’s 2012 note that, “Beuys drew a conceptual line between his output as a sculptor and his discursive / pedagogic work” (page 245), the latter including his tree planting. But if cultivation is more of a conceptual disruptor and teaching opportunity than part of artistic production to produce an art work, why does the aesthetic importance of trees for interventions in public space continue to increase? A more problematic and indefinite set of questions derive from the divergent and shifting uses of tree planting in contemporary culture. For example, there is no sign that the 1982 intervention in Kassel was intended to contribute to carbon sequestration or to conserve local habitat and species, or to build community through sharing fruit as in the recent tree planting work in Los Angeles of Fallen Fruit. Today, it would be difficult to plant a tree, as a contemporary art work, without professed relationships to countering climate change, gentrification, and homelessness and contributing to carbon sequestration, food security, and social equity. So like painting, drawing, and sculpture, the basic ‘materials’ of tree planting, however organic, are infinitely pliable — as long as respective organisms and ecosystems can survive and be part of public space. There is an implicit aesthetic of survival.

No matter what form art chooses it will leave a lasting impression on those considering it.
People stopped following the traditional art forms or styles of performing.

Art and society essays in marxist aesthetics

In his last article on the Soviet cinema in the Dwight Macdonald points out that kitsch has in thelast ten years become the dominant culture in Soviet Russia. Forthis he blames the political regime -- not only for the fact thatkitsch is the official culture, but also that it is actually thedominant, most popular culture, and he quotes the following fromKurt London's : ". . . the attitudeof the masses both to the old and new art styles probably remainsessentially dependent on the nature of the education affordedthem by their respective states." Macdonald goes on to say:"Why after all should ignorant peasants prefer Repin (a leadingexponent of Russian academic kitsch in painting) to Picasso, whoseabstract technique is at least as relevant to their own primitivefolk art as is the former's realistic style? No, if the massescrowd into the Tretyakov (Moscow's museum of contemporary Russianart: kitsch), it is largely because they have been conditionedto shun 'formalism' and to admire 'socialist realism.'"

Claude Monet, known as the “Master Impressionist” varied the themes in his artwork more than any other artist did.

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All values are human values, relative values, in art as wellas elsewhere. Yet there does seem to have been more or less ofa general agreement among the cultivated of mankind over the agesas to what is good art and what bad. Taste has varied, but notbeyond certain limits; contemporary connoisseurs agree with theeighteenth-century Japanese that Hokusai was one of the greatestartists of his time; we even agree with the ancient Egyptiansthat Third and Fourth Dynasty art was the most worthy of beingselected as their paragon by those who came after. We may havecome to prefer Giotto to Raphael, but we still do not deny thatRaphael was one of the best painters of his time. There has beenan agreement then, and this agreement rests, I believe, on a fairlyconstant distinction made between those values only to be foundin art and the values which can be found elsewhere. Kitsch, byvirtue of a rationalized technique that draws on science and industry,has erased this distinction in practice.

For example, Japaneseadolescents can be seen spending hours of their spare time trying tocreate animated art, otherwise known as “manga”.

Art and society essays in marxism aesthetics training

The third assumption is that art consists of two categories,the larger of which subsumes the smaller. Tolstoy speaks first of art in thebroad sense, by which he means all art. This general category may be defined ascontaining all communications of feeling. Among Tolstoy’s examples areprocessions and jests. A procession may be art in that it expresses the feelingsof solemnity and grandeur and impresses these feelings on those who behold it. Ajest may be art in that it expresses a feeling of levity which is imparted tothose who hear it.