Expressionism In Pink Panther

In a world that has become immune to accepting all types of art, Marya Mannes believes we have lost our standards and ability to identify something as “good” or “bad”. In her essay, “How Do You Know It’s Good”, she discusses society’s tendency to accept everything out of fear of wrongly labelling something as being good or bad. She touches on various criteria to judge art, such as the artist’s purpose, skill and craftsmanship, originality, timelessness, as well as unity within a piece rather than chaos. She says that an individual must decide if something is good “on the basis of instinct, experience, and association” (Mannes). I believe that by using standards and the process of association, we will be able to judge what makes an art piece good in comparison to others. However, Mannes forces me to consider the difference between what may be appealing versus what is actually good, and when deciding which art we should accept, which is truly more important. I believe that “good” and “bad” are two ends of a large, subjective spectrum of grey area. It is possible for a piece of art to be good in some areas and bad in others, and if something does not live up to all of our standards, it does not necessarily mean it should be dismissed. Thus, I believe my personal standards for judging art are based on which my standards are largely based on the personal reaction evoked from a piece of art. Though I agree with Mannes’ standards to an extent, I believe that certain standards, such as evoking a personal response, can be more telling of if a piece of art is good as opposed to its timelessness, or the level of experience of an artist in his/her craft.

The idea of art being a unique interpretation of what an artist’s feels towards a particular thing has always been a given when talking about art. However, where is the line drawn on what art truly is and what it means to its audience? To do this, the idea of what art means must be applied to the idea of what art is. In Dorothy Allison’s This is Our World, the author touches on points of what art is and what it means to its viewers. These points and supporting stories point to the idea that art is subjective, personal, and provocative. This allows Allison to draw her conclusion that arts purpose is to depict the deeper meaning into situations and incidents that occur in our world. In Dorothy Allison’s journal, one can see how the author effectively conveys the ideas of art being personal and subjective, but fails at detailing how art can be subjective.

On a trip to the Nelson-Atkins Museum of Art, my boyfriend, David, and I strolled through the museum while I, being an art history major, recited to him all that I knew about certain pieces. We observed sculptures by Auguste Rodin, works painted by Georgia O’Keeffe, and busts of Roman leaders. David was enjoying all the artwork until we reached the Contemporary art gallery upon where viewing Mark Rothko’s Untitled No. 11 made in 1963, he shook his head in anger at what he thought was a painting far from a masterpiece. His comment was one I’m sure many have said about this particular piece and many other modern pieces of art, “I could have painted that.” I couldn’t help to reply, “Yeah, but you didn’t.” David’s sudden reaction upon viewing the

The innovative and passionate presence in both Jackson Pollock’s and Wassily Kandinsky avant-garde paintings exemplifies the redefinition of boundaries throughout their art making practices. Both artists challenged traditions both materially and conceptually using innovative and diverse approaches to materials and techniques when painting. Wassily Kandinsky goes against traditions and academies to create vivid, sensual and symbolic large-scale semi abstract expressionist oil paintings in a heightened state of mind. Many artworks of his convey bright and cheerful spontaneous colours that make the audience fully consumed within his works due to hypnotic and distorted semi realist shapes. Consequently, Jackson Pollock also goes against

This shows a feminine quality that men should not have. On the clothing, there is an implied overlapping with the pieces of cloth in the front shown by the layering effect. Also, on the clothing there are implied lines that seem to curve around the statue. They all seem to be drawn to an unseen focal point near the top of the sash, creating movement. This implies that the clothing is wrinkled giving it a different texture then the rest of the statue which is smooth.

Art has evolved and regenerated itself many times during our human existence. These differences are defined through changes in styles under various theories. During the nineteenth and early twentieth century, a style known as Expressionism became popular. During this movement the artists were trying to use their artwork as a tool of expression toward life. It was mainly dominant in the nonrepresentational arts, such as abstract visual arts and music. It also was probably one of the most difficult movements to understand because the whole point of the piece lay within the artist. Not only was it a movement, it defined the act of art as a whole. From the beginning of time, each work of art, excluding replicas, show a way of expressing

Philosopher Arthur Danto, author of “The Artworld,” an artistic criticism, states that “to see something as art requires something that the eye cannot descry—an atmosphere of artistic theory, a knowledge of the history of art: an artworld” (201). Artistic theory, according to Danto, requires the presence of a subject, style, rhetorical ellipses, and that of historical context. Danto is capable of developing this view on art with the aid of an imaginary character, Testadura. Testadura, however, makes mistakes, as well as corrections, about the objects before him.

What makes an artist so powerful? Is it their upbringing? Their family background? The struggles they faced in their life? Two highly influential artist of the twenty first century can attest to the statement that although many artists depict their lives and struggles in their works, the most fundamental quality that makes an artist achieve a international status is being able to revolutionize art, by creating their own unique style. Keith Haring and Jean- Michel Basquiat’s works are both considered revolutionary because as youths both artists applied their knowledge of art to creating new styles of art. These works would soon become known their trademark styles.

Arthur C. Danto in “The Artworld” provides us with the argument that, “To see something as art requires something that the eye cannot descry-an atmosphere of artistic theory, a knowledge of the history of art: an artworld.” Danto shows us the importance of the artworld in order to know that a work of art is more than just what we can plainly see. Danto provides two theories he calls the “IT” (Imitation theory) and the “RT” (Reality theory). With these two theories, Danto explains how we can define art and why “The Artworld” is needed to help understand art, because after all, “these days one might not be aware he was on artistic terrain without an artistic theory to tell him so.”

Art is all around us. There are many different forms of art. It can be something created, captured, or it can be already existent. Not a single person is to say what makes something art because there is a different definition for everyone. However, there are a couple factors that come into mind whenever someone decides to declare something as art. In this essay I will be comparing and contrasting four different pieces of art. I will be discussing each art piece’s form, time period of creation, intention or purpose, and value. These four pieces of art are Michelangelo’s Pieta, Fountain by Marcel Duchamp, Mark Rothko’s No.61, and the “Oyster Dress” by Alexander McQueen. These works of art come in all different shapes and sizes but they are valued

Abstract Expressionism is making its comeback within the art world. Coined as an artist movement in the 1940’s and 1950’s, at the New York School, American Abstract Expressionist began to express many ideas relevant to humanity and the world around human civilization. However, the subject matters, contributing to artists, were not meant to represent the ever-changing world around them. Rather, how the world around them affected the artist themselves. The works swayed by such worldly influences, become an important article within the artists’ pieces. Subjectively, looking inward to express the artist psyche, artists within the Abstract Expressionism movement became a part of their paintings. Making the paintings more of a representation

In 1953, Robert Rauschenberg had the idea of adding drawing to his All White Series. However, drawing on these paintings, or anywhere, would defeat the purpose of this series, and so he came to the conclusion that the only way he could achieve this would be through erasure. He began experimenting with his own drawings, but still being a young artist it he didn’t think it would be considered art. For his idea to work, he thought, it had to be art that he erased. Having admiration and respect for artist Willem de Kooning, Rauschenberg decided to buy a bottle of Jack Daniels, and go to his house. Rauschenberg explained to de Kooning his idea, and asked if he could use a drawing of his. Reluctant, de Kooning agreed, only because he understood the idea. After looking through his portfolios, de Kooning handed Rauschenberg a drawing that he would miss, and that was almost impossible to erase. A month later, Rauschenberg successfully erased de Kooning’s drawing, and with the help of Jasper Johns, titled the piece in ink, and framed it. Robert Rauschenberg’s Erased de Kooning Drawing can be seen as either a minimalist piece or conceptual piece. Through a clearer understanding of both movements, the aim of this essay is to show how this piece could be seen as a minimal piece or a conceptual piece, and to see which movement it leans more towards.

As we know it for the most part, visual art today completely differs from the kinds that had been made before the twentieth century in an indirect way. Realistic depictions of the reality surrounding us has basically surrendered its place for endeavors to truly pass on the craftsman's internal world straightforwardly through the assorted variety of colors, shapes, and the means of visual depiction, which is generally significant. In this manner, the inquiry emerges: in what capacity would it be advisable for one to truly assess bits of present day workmanship given that customary criteria of evaluation do not make a difference for this situation? Unlike traditional art, where one can make judgments and accusations about an artist’s skills, composition, and the scene. Present day art ought to explicitly be assessed in a somewhat unique way.

“Painting today is pure intuition and luck and taking advantage of what happens when you splash the stuff down. “- Francis Bacon. However when I learnt more about history of art and the way each movement and happenings in the world inspired artist to make new works, I was able to see much more than just a canvas with random paints and sketches. The interesting part about this concept is that each piece of art could be interpreted in many different ways. In contemporary art there isn’t right and wrong, each of us view and find different meanings and connections with artworks.

The area of art is popularly known for heightening emotions, challenging stereotypes, and ultimately providing insights into how individuals view the surrounding world. The artist and the observer time and time again see pieces in overwhelmingly different ways. Individuals may wonder why this is so. What could possibly create such a drastic change from one perspective to another? When it comes down to it, experiences are the answer. The artist and the observer have different