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VISUAL ARTS "The physical impossibility of death in the mind of someone living" By Damien Hirst (photo courtesy of the saatchi collection) When I first saw this exhibit I.
VISUAL ARTS "The physical impossibility of death in the mind of someone living" By Damien Hirst (photo courtesy of the saatchi collection) When I first saw this exhibit I didn�t know what to think, luckily David Bowie (the audio instructor on my denon headset) helped me understand the work. Intrigued by this particular work I found it quite interesting when I first viewed the piece. The shark was well preserved in it�s tank and no decay or tear could
Introduction to the Visual Arts
Throughout history art has played an intricate role in society's perception of life. Art is used as form of expressionism be it physical or emotional, religious or the mockery.
be found on its body. The museum had other exhibits similar to this, example: Bovine art with cows cut into four pieces, but none struck me with such an impact as Damien Hirst�s tiger shark when entering the museum. Damien Hirst, one of England's best known artists of this generation, whose works were included in the Brooklyn Museum�s exhibit of S E N S A T I O N, is recognized throughout the world for his art preserved and
Before the twentieth century, art was recognized as an imitation of nature. Paintings and portraits were made to look as realistic and three-dimensional as possible, as if seen through a.
presented in sealed, formaldehyde filled glass containers. This is certainly one of the most unique ideas to hit the world art scene in a long time. It's great because it makes us stretch our thinking, and consider art beyond the canvas or traditional sculpture techniques. It is always important that we take new methods of expression under consideration, after all, the world is a very big place that holds infinite possibilities we have yet to understand.
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Please log in to add your comment.Transcript of Oppression in: A Long Way Gone
Oppression in: A Long Way Gone
"These days I live in three worlds: my dreams and the experiences of my new life, which trigger memories from the past." (Beah c. 2 p. 11)
"Sometimes we were asked to leave for war in the middle of a movie. We would come back hours later after killing many people and continue the movie as if we had just returned from intermission. We were always either at the front lines, watching a war movie, or doing drugs. There was no time to be alone or to think." (Beah c. 14 p.19)
"My squad was my family, my gun was my provider and protector and my rule was to kill or be killed." (Beah c. 15 p. 2)
"One of them lay on his stomach, and his eyes were wide open still; his insides were spilling onto the ground. I turned away, and my eyes caught the smashed head of another man" (Beah c. 12 p. 3)
"At night, some of us would wake up from nightmares, sweating, screaming, and punching our own heads to drive out the images that continue to torment us even when we are no longer asleep." (Beah c. 16 p. 66)
"We had run so far away from the war, only to be caught back in it. There was nowhere to go from here." (Beah c. 21 p. 38)
"We must strive to be like the moon." (Beah c. 1 p. 69)
"I ran toward the fire but the cassettes had already started to melt. Tears formed in my eyes and my lips shook as I turned away." (Beah c. 12 p. 63)
"Images - Google Search." Copyright Free Images - Google Search. Web. 28 July 2015. <https://www.google.ca/search?q=images&rlz=1T4ACAW_enCA530CA531&biw=1438&bih=675&source=lnms&tbm=isch&sa=X&ved=0CAYQ_AUoAWoVChMIpqTQyPT9xgIVTBuSCh0eeAWb&dpr=0.95#q=images&tbs=sur:fc,ic:gray&tbm=isch>.
*Beah, Ishmael. A Long Way Gone: Memoirs of a Boy Soldier. New York: Farrar, Straus and Giroux, 2007. Print.
*I used a kobo ereader to read this book, it doesn't give an overall page total, it just gives page numbers by chapters. I cited a print but my in text citations are given as follows; (author last name, chapter, page number within chapter)
1 - https://www.google.ca/search?q=copyright+free+images&rlz=1T4ACAW_enCA530CA531&source=lnms&tbm=isch&sa=X&ved=0CAcQ_AUoAWoVChMI_NyNrYT8xgIV0YuSCh03IAG6&biw=1366&bih=641#tbs=sur:fc%2Cic:gray&tbm=isch&q=war&imgrc=_kxEiUqvcwSCbM%3A
I recently ran across an essay on the Arts and Opinion website by John Gordon on the state of the arts as relates to painting from perception. John Gordon. a Wisconsin painter who runs a private school, Gordon School of Art.
He makes many compelling argument for returning to perceptual based training in drawing and painting as a means measuring artistic growth and to return to the roots of art making. He states in his opening statement that;
“After nearly a century, modern and postmodern artists, critics and art educators have so liberated the term art from its traditional meanings and applications that in both the popular and professional senses of the term, it has lost its capacity to function as a word – that is it can no longer distinguish itself from what it is not. In both theory and practice, art is anything one chooses to make it; an artist is anyone who makes the claim. The lack of focus of the visual arts is due not only to its theoretical ambiguity but to its related lack of instructional coherence and measurability. It can be safely stated that art education is the only performance-based field of study that has neither a viable system of standards nor an established technical foundation. It is a field with no clearly defined, generally accepted goals, no established methodologies and no meaningful way to measure the progress of its students.”
He makes many interesting points some I agree with more than others. The article is a great point of departure for conversation for the comments section here. In an email he told me he is more of a purist on the subject of perceptual painting. I’m no purist for sure but lean closer to this than another direction. I also believe that perceptual painting doesn’t necessarily mean just painting from strict observation – that the process of perception also includes filtering vision through one’s personality and creative concerns. So when ten painters all paint a subject at same time you will invariably have ten completely different paintings. I mention this because sometimes painters in their efforts to paint the perfect apple forget that most people already know what apples look like and are far more interested in how the painter might see and what new thing is possible to say about this apple.
John Gordon, in a way, says something similar in his paragraph:
“The common assumption that creativity is exclusively a function of the imagination fails to take into account the superior and more fundamental creativity of perception. Researchers in the perceptual sciences — like Charles Solley and Gardner Murphy (Development of the Perceptual World, 2006, Kessinger Publishing, 2006) — are in general agreement that seeing is not, as commonly assumed, a straight-forward, purely receptive process. We do not see and then think about and have feelings about what we saw. Thinking and feeling are part of the perceptual process. What we actually experience as a result of looking at a tree or an apple on a plate is not the tree or the apple, but a percept, a picture in our own brains. This picture is formed in the visual cortex at the back of the brain, and is only partially composed of retinal data (which is already pre-filtered to admit only a portion of what is actually out there). This remaining retinal data is combined with the memories of past perceptual, intellectual and emotional experiences into an image that we mistakenly assume to represent the outside world. In fact, it is a composite of two worlds: the external and the internal, the present and the past. So to abstract — to willfully distort or ignore the images of direct experience — is to depart, not only from the world at large, but from ourselves as individuals. Thus it can be argued against the self-expressive assertions of abstractionism that the most creative human function is seeing and the most self-expressive artistic act is painting truthfully what one sees.”
Copying nature without a good painting idea is can be just as boring as copying a photograph or painting abstractly without a good painting idea. For me, it’s more what winds up on the finished painting that is key, all is fair if the painting is has rich visual intelligence and emotional power. Many times, great painters working from observation are able to lose their self-consciousness through the intense scrutiny of their motif resulting in a less formalistic or mannered style and find their unique response to the subject. Some worry that painting is dead, it has all been done before and what’s the point if nothing new is possible. I like to think that every painter can make his or her unique mark, like our voice prints and fingerprints. Of course, you could say people are dead too but that’s a different matter… 😉
In the coming years it will be increasingly important to keep painting alive, to promote the admiration and support for strong traditional observation-based training as well as in the arts as a whole.
I hope people will go to the Arts and Opinion website and read this fine essay when you get a chance. Please return here and let us know your thoughts if you can.Donate to Painting Perceptions
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Autor: people • August 24, 2011 • Essay • 1,979 Words (8 Pages) • 260 Views
Francisco Goya, The Third of May, 1808 p.327
A.Line-There are actual lines in this painting from the rifles toward the man holding his hands up. When looking at this painting you view quickly from the right to the left and can almost feel the inevitable execution. There is also a line in the sand separating the light from the dark. Seems to be imply between the good of the Spaniards who are about to be executed, from the evil hooded men who are shooting.
I believe that there is an implied line between the end of the gun and the man with his arms up. It is giving an action that you can almost feel the gunshot from the barrel executing the man. Especially how when looking from right to left it goes from dark to light, like the gun has been fired.
B.)Shape-The geometric shape of the lantern stands out to me right away. Its rectangular shape and the triangle shape of the light which it creates draw my eye in this painting. It seems to paint a positive light on the people that are about to be executed. There are many more geometric shapes in this painting than organic.
The organic shapes that I see are the rounded hill in the background and the contours that are created in the sand. These two in the painting are good examples of biomorphic shapes.
C.)Mass-The mass is implied here and is created by the forms of the captives. They seem to go in all directions here with their arms and the way each is bent. It really creates urgency that they are about to be shot.
There is no actual mass in this painting as this is seen in 3-dimensional art. It is the physical bulk of a solid body of material. You can only consider the paint and the canvas as actual mass here.
D.)Space-This is the most difficult to convey for an artist. The two-dimensional space here is the painting surface with its height and width.
The implied depth here is the hill in the background creating the feeling that the men cannot escape their impeding death. Then you also see the town in the background giving reference that the men are on the beach away from town.
There is overlapping of the men in front of the hill and the hill in front of the town. This gives us the impression of depth that the men are much closer than the town is.
I also see vertical placement by the men lying on the ground dying in the bottom right and how he appears to be closer than anyone else. By placing him low he seems to be much closer than the town much higher on the plane.
I also see diminishing size in the soldiers that are about to execute the men. The man closest to the viewer is the biggest and they gradually diminish in size as they move up the plane. It gives me the sense of increasing distance between them.
Perspective- I see linear perspective with the vanishing point in the background where the land and the sky meet. I also see a vanishing point where the hill meets the men that are witnessing the execution. There is one more vanishing point where the sand meets the hill. Goya does a good job in this painting of creating a one-point perspective. Everything seems to get smaller as you look up the painting.
I see some atmospheric/aerial perspective in this painting in the background with the hill, town, and the sky. There is a diminished color quality between them and the contrast between light and dark is reduced in the background compared with the foreground.
E.) Time and Motion- Here Goya represented this in the fact that the soldiers are about to fire on the men. You get the feeling that they are going to be shot which is in the present. Others are nearby who will be shot in the future. There are also the men lying around that have already been shot given the impression of the past.
The implied motion is the man who is praying, the man throwing his hands up in defiance, and the man with his hands placed in his face. All of these imply that they are about to be shot any moment.
I do not see any examples of actual motion within this painting.
F.)Light- Here Goya did a great job and this was a very important aspect of his painting. He uses the lantern as the source of light and the core of this painting. It is a dark night and this creates the inhuman horror of what is about to happen. The lantern lights up the faces of the victims and shows the emotions of the men that are about to be shot. He uses value in the darkness of the soldiers to symbolize the evil which they are about to commit. Then the tone is shown in white of the bravery of the man who defiantly puts his hands up before he is shot. We can really feel the massacre that is about to unfold.
Goya choice of light and the intensity of it affect our mood and how we view this painting. The dark colors and lack of light on the soldiers really makes us dislike them as we see the sinister act they are about to commit. There are shadows within this painting where Goya has used light as a medium.
G.)Color- I believe that color is important in this piece. They are mostly earth tones in this painting. The lantern is white and is beaming light toward the victims about to be shot. The man raising his
A lot of people don’t realise or don’t acknowledge it, but the Visual Arts HSC curriculum is actually pretty tricky! Having to balance a major work with theoretical study, as well as all your other subjects, can quickly become overwhelming. That leaves too many students going into the Visual Arts HSC exam, and specifically the extended response portion, totally blind.
But it doesn’t need to be as daunting, and confusing, as a lot of students make it! By learning how to write a strong extended response and practicing these skills, you’ll be ready for that Band 6 response in no time.What Makes a Band 6?
In order to write a Band 6 response you’ll need to know what one looks like, which we can do in two ways. The first is to read a band 6 response, which you can find here .
The other, more effective way is to read over the HSC syllabus and find out exactly what criteria you need to fulfil to receive a band 6. This way you know exactly what markers are looking for and what you need to include in your own writing in order to get the marks you want.
Though the individual questions of the HSC paper aren’t graded in bands, we’ll take the highest mark range (A) as being equal to band 6. This is the criteria we have to meet in order to place in that mark range;
Let’s break it down into simpler terms.
Essentially this means that in order to get high marks, your response has to focus on one central idea (usually given in the question) by looking at different ways of exploring the idea. You also have to make sure to reference artists and artworks (at least 2 artists, at least 2 artworks each) to act as ‘evidence’ of whatever points you make.
It’s also important to remember that, like any essay, you have to remember your English skills – structure, sophisticated language, sentence flow, etc. are all important. Your response is focussed on visual arts, but any essay should be written as if you’re trying to impress an English teacher.Step 1: Choose Your Artists
The most important thing you have to bring to any visual arts extended response is your own knowledge of key artists and some of their artworks. This means you’ll have to do a bit of research in class or in your own time to make sure your knowledge of these artists and works is in-depth and complex – you can’t just know that Van Gogh painted “that one picture of some stars and stuff”.
To write a strong extended response, you’ll need to write about at least 2 artists and at least 2 of each of their artworks (4 artworks all up). Essentially 1 paragraph per artwork, per artist. This helps you structure your response, but is also central to making it a “complex” essay with “evidence/cases” as examples. It’s much easier to write about what you care about, so go ahead and choose artists you like (but make sure they’re good, well-documented artists too).
The goal is that by the end of the year you’ll know at least 2 artists and 4 artworks well enough to write about totally on-the-fly.
It’s also important to remember that you’ll be comparing and contrasting these artists, so choose two that share some similarities but are also different, and/or who come from different contexts. A good idea is the “Idea vs. Practice” rule: if you want to focus on two artists who explore similar ideas, choose ones with very different practices, or vice versa. This way you’ll always have something to compare and contrast.
“Frida Kahlo and Del Kathryn Barton are two female artists who look closely at the notions of womanhood and femininity, though in totally different ways. While Kahlo’s realistic oil paintings give a glimpse into her specific experience of womanhood, Barton’s decorative mixed-media works look closer at the shared experiences of women in modern society.”
When studying artists, consider their artworks, practice, ideas and context.
This not only helps you understand the artist better, it also gives you a quick way to link everything back to the frames! Artworks and practice are the structural frame, ideas are the subjective frame and context is the cultural frame. This way you’re looking for information that will specifically help you write extended responses without falling into the trap of just grabbing whatever info looks most interesting and hoping for the best.
To break down specific artworks, simply use the frames as you know them.
Try to choose artworks that set the artists apart in some way – if they were known for a particular style or practice, focus on that. Be careful not to choose an artist’s most famous or popular work, as markers tend not to be impressed by obvious or ‘easy’ artworks. Also remember to choose two artworks that are different for each artist – don’t choose two self-portraits by Picasso because they won’t give a “complex insight” into his work as an artist.
These two artworks by Henri di Toulouse-Lautrec show his focus on creating art of French women, specifically dancers at the Moulin Rouge, but two very different styles he used to explore the idea.
One of the best ways to build up your knowledge of important artists and artworks you may want to use in your responses is to fill out one of these cheatsheets whenever you learn about a new artist. Obviously you’ll have to go into more detail if you want to write a strong response, but this is a good way to condense your information for quick recall!
Step 2: Choose a Question
In the HSC you’ll be given six questions to choose from when it comes to writing your extended response, but you only have to answer one.
I’ll be completely honest with you; the frames based questions are always the easiest.
You know the frames well and have been talking about them since Year 7, making them by far the easiest to answer, but also the most popular questions. If you choose to answer one of them you’ll most likely be choosing the same question as thousands of other students, which is fine so long as you can produce and awesome extended response!
The conceptual framework questions are trickier, because you have to really understand the framework to answer them fully. Of course, you won’t have as much competition here, so if you study the framework hard in the lead up to the HSC you can easily pull off a great answer to an essay question here.
Practice questions tend to trip people up the most because they forget that they have to be focussed on the practice. rather than the artwork itself. This means you have to know the nitty-gritty details of exactly how the artist makes their artworks, specifically the works you’ve chosen to write about, but if you know the technical stuff you can smash these questions out of the park.
Unfortunately that’s where the predictions end, because every question is different and asks you to respond in a different way. This means that you’ll need to be able to break down questions in order to know exactly how to answer them. Let’s grab an example from the past paper above.
By pulling out key phrases and words we can quickly break down exactly what the question is asking and what marker will want to see.
“With reference to this statement”
Whenever you’re given a quote, USE IT! Stick it at the end of your paragraphs as a link back to the question, quote it in your idea statements, relate it to the artists and artworks you’re writing about. The quickest way to lose marks is to forget to use/mention the quote in your response.
These are the ideas you’ll be exploring in your response – how your artists/artworks do something (e.g. through symbolism, use of colour, mixed media, etc.) and why they do something (e.g. to get audience reactions, to create emotion, to raise awareness, etc.). Make sure to discuss both the how and the why.
“Approaches other than realism”
This is what you’re going to be analysing the how and why of – styles other than realism (e.g. cubism, surrealism, caricatures, etc.). This doesn’t mean you can’t talk about realism, just that you need to talk about other styles too! For example, you may discuss how one artist uses realism to reflect real world issues, while another artist uses surrealist imagery to do the same thing. This is why it’s so important to choose artists who have difference, as it’s highly unlikely you would have chosen two artists who both work in a realistic style.
When it comes to actually answering the question you simply need to go through each artist and artwork one by one, looking at how they individually relate to the question and to each other. For example, you may discuss how “Artwork A shows the value of realism, which contrasts Artwork B’s use of a cartoonist style to the same end, showing that ‘Art does not need to imitate life’ but it often does anyway.”
The best way to set yourself up for a Band 6 is to choose the question you can answer best. This means not going for the hard or impressive questions, or necessarily the easiest ones, but whichever one your artists, artworks and own writing style best suit.
Naturally, the only way to figure this is out is to write practise essays. It sounds daunting, but practice essays are the only sure-fire way to;
By writing a whole bunch of practice essays (or essay plans) you’re able to really prepare yourself for writing a real extended response, and that way work out all the little issues you may end up having on the day. Plus, repetition is the best way to memorise, so by the time you’ve written a few practice responses you’ll know your artists and artworks inside out!Step 3: Consider the Frames and Conceptual Framework
Once you know what the question is asking and what artists + artworks you’ll use to answer it, you need to start thinking about what evidence you’ll use. Whatever opinion, idea or argument you put forward in your response, everything you say needs to be backed up with artistic evidence, just like using quotes from texts in English essays.
The easiest way to find evidence? The frames and conceptual framework.
For a refresher on what each of these are and what they look at check out this article. but the chart and mind map below basically sum it up.The Frames
“What does it look like?”Conceptual Framework
To provide evidence for a point, all you need to do is talk about how it relates to one of the frames or the conceptual framework, then link it back to the question. This means that any time you reference the materials used to make an artwork, how the artwork makes audiences feel, what time the artists lived in and how the artwork reflects the world around it you’re basically giving evidence!Example (from earlier example question)
“Del Kathryn Barton’s use of thin, jagged lines in her work ‘She appeared as a lover might’ create a sense of fragility and brittleness, while also being reminiscent of the jagged edges of broken glass. This gives audiences a sense of something that has been damaged, the use of such line work on the figure of a young, forlorn looking girl making audiences question if the damage done to her is external or of a more emotional nature. Through this Barton shows that ‘Art doesn’t have to imitate life’, but that does not stop audiences from relating even non-realistic works to real-life experiences.”
This example references a few key points that link back to the frames, the conceptual framework, and the question.
These are only small tidbits that link to the frames and conceptual framework, but by building them up throughout a full extended response you’re able to pack a whole lot of evidence into an essay!Step 4: STEEL
Here’s where your English know-how comes into major play – it’s time to actually write your response! Think of it as being just like an English essay, only instead of a text you’re looking at an artwork, and instead of literary techniques you’re using artistic ones!
Introduce what your paragraph is about. This should include which artwork and artist you’re discussing, as well as how you’re relating them back to the topic/question. You may also want to include the year the artwork was made, its materials or other relevant information.
Now’s the time to mention what artistic techniques, materials or process have been used and start bringing in some of your evidence. You may reference specific elements and principles of design. the frames, the conceptual framework, etc. If it’s a practice-based questions (or you’re talking about practice) you can focus more on the materials used, how they were used, what styles and processes were used in the work, etc.
This is where you go into artwork specifics and give your evidence of how the techniques is used by the artist in their artwork. For example, if your technique was colour, talk exactly about how the artist has used colour – are the colours bright or muted? Are the complimentary or analogous? Is there colour symbolism involved?
Staying specific, this is the ‘why’ of your paragraph – basically telling us why all of the stuff you’ve already said is important. Talk about how the techniques used in the artwork impact the artwork’s meaning, how audiences view it, etc. Make sure to keep this section on-topic and focus on how all of these ‘effects’ tie back to the idea/topic presented in the original question.
Finally, link everything you’ve said to the other artworks/artists you have talked about/will talk about, and then link it all back to the question.Paragraph Example
Question: “’If I could say it in words, there would be no reason to paint.’ – Edward Hopper. Discuss this statement with reference to how artists communicate concepts using a visual language.”
“Barbara Kruger is an artist who can “say it in words”, and it has become her signature to do so, using text in her works such as Untitled (Pro-life for the born/pro-death for the unborn). In the image Kruger uses colour and appropriation to visually support her use of the text, which reads “Pro-life for the born” and “Pro-death for the unborn” over a black and white photograph of American President George W Bush. Kruger specifically uses bold white text on a red background, a trademark of her art style, not only to add contrast and visual appeal to the work, but also to play on colour symbolism; red linking to violence and death, while white is used to symbolise purity and truth. This implies that the abortion-themed message of the text, though backed by themes of pain, violence and bloodshed (in the eyes of some), is the honest and painful truth, as stark as it is white – and Bush is to blame. At the same time, Kruger uses an image sourced directly from mass media and appropriates it to completely recontextualise it, turning President Bush from a top American figurehead into the prime suspect of the crime her text accuses. In mixing colour symbolism and the appropriation of an image not sourced from the world of art, Kruger is able to make a political statement textually while supporting it with visual language. Thus the works shows how artists are able to communicate concepts with both visual and textual language.”What Next?
So there you have it – a step by step guide to an awesome HSC Visual Arts extended response! We’ve given you all the elements you need to succeed, but now it’s up to you to get to work and start honing your skills. Rome wasn’t built in a day, and neither will your response writing skills be, so you’ll need to grab a few past paper questions and start trying out the skill you’ve learned here.
By adding all these elements together and editing your work to make sure it flows smoothly and sounds sophisticated you’ll have a band 6 response ready to go in no time!
So here’s a question for the road; choose your favourite artists, some awesome artworks and get writing!
Maddison Leach completed her HSC in 2014, achieving an ATAR of 98.00 and Band 6 in all her subjects. Having tutored privately for two years before joining Art of Smart, she enjoys helping students through the academic and other aspects of school life, even though it sometimes makes her feel old. Maddison has had a passion for writing since her early teens, having had several short stories published before joining the world of blogging. She’s currently studying a Bachelor of Design at the University of Technology Sydney and spends most of her time trying not to get caught sketching people on trains.