An enquiry into some present-day attitudes in art education and their relationship to the current alienation of artist from society
- Authors: Rodger, John Neil
- Date: 1973
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:21146 , http://hdl.handle.net/10962/6574
- Description: From Introduction: "We can't teach these kids anything, man, they are so pure and unspoiled. Anything we show them or any discipline we impose upon them will only corrupt their purity. It's best if they just stay home and do their own thing”. "If your instructor says he knows what art is, watch out.” These two statements, the first by an instructor at a prominent New York art school, the second by one of America's respected critics, are the sort of talk one might expect to hear at any gathering of the avent-garde . To hear them said in and about the art school puts things in a different light. They are indicative -of the sort of thing that is preached and practised by a sufficient proportion of the art- educational force in the Western world to constitute a crisis unparalleled in the entire history of art education. Unopposed, such views must rapidly spell death for the institution. They must also, if they reached the proportions their authors appear to hope for, ensure a universal visual illiteracy unequalled in any other age. Of course statements like this, archly delivered by the very people who would suffer the most immediate loss at their implementation, are not at all true reflections of the whole state of art education in our time, or those people would simply not be in a position to make them. There are a great many people in the profession who would wholeheartedly reject such statements, and this faction is by no means confined to the older members.
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- Authors: Rodger, John Neil
- Date: 1973
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:21146 , http://hdl.handle.net/10962/6574
- Description: From Introduction: "We can't teach these kids anything, man, they are so pure and unspoiled. Anything we show them or any discipline we impose upon them will only corrupt their purity. It's best if they just stay home and do their own thing”. "If your instructor says he knows what art is, watch out.” These two statements, the first by an instructor at a prominent New York art school, the second by one of America's respected critics, are the sort of talk one might expect to hear at any gathering of the avent-garde . To hear them said in and about the art school puts things in a different light. They are indicative -of the sort of thing that is preached and practised by a sufficient proportion of the art- educational force in the Western world to constitute a crisis unparalleled in the entire history of art education. Unopposed, such views must rapidly spell death for the institution. They must also, if they reached the proportions their authors appear to hope for, ensure a universal visual illiteracy unequalled in any other age. Of course statements like this, archly delivered by the very people who would suffer the most immediate loss at their implementation, are not at all true reflections of the whole state of art education in our time, or those people would simply not be in a position to make them. There are a great many people in the profession who would wholeheartedly reject such statements, and this faction is by no means confined to the older members.
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Certain aspects of eroticism in twentieth century western painting
- Authors: Marais, Estelle
- Date: 1973
- Subjects: Erotic art , Painting, Modern -- 20th century
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2486 , http://hdl.handle.net/10962/d1012833
- Description: In this essay eroticism will be examined as it appears in some twentieth century representational styles. The decision to concentrate on the representational styles is based on the fact that eroticism is by nature incompatible with the non-representational or non-objective movements in art. This incompatibility is rooted in the knowledge that eroticism is intrinsically and fundamentally a human experience and could therefore find expression only in an art which is concerned with human experience, i.e. experiences which refer to man, his nature and his relation to Nature. It would be oversimplified and grossly inaccurate to equate the nonrepresentational with the abstract, abstraction being an element present in all art to a greater or lesser degree. However, when abstraction has reached the stage where it can define its aims, as, in the words of Kandinsky, "widening the separation between the domain of art and the domain of Nature", (Lake & Maillard: A Dictionary of Modern Painting, p. 1) then it may also approach the realm of the non-representational. When Michel Seupher states, "I call abstract art all art that does not recall or evoke reality", (Lake & Maillard: A Dictionary of Modern Painting, p. 136) abstract and nonrepresentational art becomes fused into an inseparable unity. Erotic expression will then be incompatible with this degree of abstraction. Intro., p. 1.
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- Authors: Marais, Estelle
- Date: 1973
- Subjects: Erotic art , Painting, Modern -- 20th century
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2486 , http://hdl.handle.net/10962/d1012833
- Description: In this essay eroticism will be examined as it appears in some twentieth century representational styles. The decision to concentrate on the representational styles is based on the fact that eroticism is by nature incompatible with the non-representational or non-objective movements in art. This incompatibility is rooted in the knowledge that eroticism is intrinsically and fundamentally a human experience and could therefore find expression only in an art which is concerned with human experience, i.e. experiences which refer to man, his nature and his relation to Nature. It would be oversimplified and grossly inaccurate to equate the nonrepresentational with the abstract, abstraction being an element present in all art to a greater or lesser degree. However, when abstraction has reached the stage where it can define its aims, as, in the words of Kandinsky, "widening the separation between the domain of art and the domain of Nature", (Lake & Maillard: A Dictionary of Modern Painting, p. 1) then it may also approach the realm of the non-representational. When Michel Seupher states, "I call abstract art all art that does not recall or evoke reality", (Lake & Maillard: A Dictionary of Modern Painting, p. 136) abstract and nonrepresentational art becomes fused into an inseparable unity. Erotic expression will then be incompatible with this degree of abstraction. Intro., p. 1.
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Metaphysical elements of nineteenth century romantic landscape painting
- Thomas, Christopher Kay Patric
- Authors: Thomas, Christopher Kay Patric
- Date: 1973
- Subjects: Romanticism in art , Landscapes in art , Landscape painting -- 19th century
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2495 , http://hdl.handle.net/10962/d1013307
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- Authors: Thomas, Christopher Kay Patric
- Date: 1973
- Subjects: Romanticism in art , Landscapes in art , Landscape painting -- 19th century
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2495 , http://hdl.handle.net/10962/d1013307
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