Relational Aesthetics : Relational And The Historical Context Surrounding The Theory Of Relational Cognition

Vanessa Beecroft is an Italian performance artist who is considered part of the movement called relational aesthetics. In relational art, the viewer is the stimulant for the work, but not the focus; the work is not truly interactive, but the viewer feels like they are a part of it. Relational aesthetics artwork typically involves large installations in a space, but Beecroft’s work primarily uses female models and human forms as the artwork, both clothed and nude, giving her work as a whole a very feminine touch. She uses these female models, especially when they are nude, to make a provocative statement, and push the area in between art and fashion, or lack of clothing.

"Exploring Art: A Global, Thematic Approach, 5th Edition. "Exploring Art: A Global, Thematic Approach: Margaret Lazzari, Dona Schlesier: 9781285858166: Amazon.com: Books. N.p., n.d. Web. 11 July

The entire interview was intended to a specific audience – artists. Thus, ethos was a vital technique to establish the speakers’ credibility in their commentary about the art industry. Both Wiley and M.I.A are recognized artists in their particular fields. At the onset, their credibility as artists and thus, critics of the industry are well established throughout the interview. By narrating a wealth of experience in working with different artists from different countries, their thesis about the death of art in New York is strengthened. By reputation, both artists are multi-awarded. Wiley is a Yale educated portrait painter whose work has been cited for its unique fusion-style rendering of African-American men in heroic poses. He is recipient of the Artist of the Year Award from

Since the beginning of time, artists have labored extensively to find innovative ways to convey sentiment, passion, and feeling. Telling stories and trying to unlock the minds of people through different avenues of artistic labors. Art touches and affects people in unique ways; it can have special or unusual meaning on the person depending on how one views it. Artists’ rendering of their art is interpreted in numerous ways by others who view it unless it is explained by the artist on its meaning giving a clear example of what they are portraying. Two people looking at the same painting, sculpture, portrait, or photo may come to different views on the arts meaning even though they are looking

Students through the process of art appreciation will build connections through the exploration of textures, lines, colour and shape when describing, analysing, interpreting and judging the artworks before them (3 chosen images). They are asked to describe what they see, the artist’s use of colour, lines, shapes and texture. They then move onto analysing; what catches their eye, is the composition balanced and do the paintings look flat or do they have depth. The discussion then progresses onto interpretation where students are able to express what type of emotion they feel when looking at the pictures, perhaps the kind of sounds they might hear if they could step into it, and why they think the artist chose this particular subject to paint and what may have inspired the artist.

In John Berger’s essay “Ways of Seeing,” he shares his view on how he feels art is seen. Mr. Berger explores how the views of people are original and how art is seen very differently. By comparing certain photographs, he goes on to let his Audience, which is represented as the academic, witness for themselves how art may come across as something specific and it can mean something completely different depending on who is studying the art. The author goes into details of why images were first used, how we used to analyze art vs how we do today, and the rarity of arts. He is able to effectively pass on his message by using the strategies of Rhetoric, which include Logos, Pathos, and Ethos.

It showcases the dense, extensive and delicate connections in the artist’s experimental practices, which includes performance, installations, prints, photographs, films and paintings. The show reveals the transgression with the thematically structured six main galleries with an impressive display of Parr’s diaries in the foyer, films in the theatre and the artist’s archive, ‘Information Centre’. According to Parr, he said, “But in the foyer, I must say, there’s this rather beautiful pop-up space, which is nearly confined entirely to language pieces, and outside this space on the curved wall we’ve got 40 beautiful vitrines..and I’ve displayed 45 years of diaries. So the foyer’s got all of this text, and it’s very intimate.” The diaries were a very clever idea that gave a lot of help to the audience in terms of better understanding of the

In this case, it revealing the process where the audience as co-producers of the work itself. (Yerebakan, 2016) This important intent of the artwork is clearly not an object but a process, what is important to conserve here, for the future display of the work, is the participative intent of the work, in which case, then the very nature of what is documented about exhibitions becomes particularly important. (The People Speak 2012) (Graham, 2013)

My experiences at LandWorks were enriching; it empowered me to question how art therapy allows emotions to be vocalised through art, the importance of artistic and therapeutic techniques, and the significance to implement art therapy into everyday life; allowing one to find one’s self. I wanted to investigate how each prisoner copes with showing emotion, the importance of time and how their use of their time has changed. Also, what the prisoners learnt throughout their journey, and what helps to motivate the prisoners to undertake a more positive outlook. Does art facilitate the viewer to have an experience? Does it explores the viewer’s perceptual capabilities, so they can develop their own meaning behind the work? Dewey (2005:36) discusses the experiences felt by viewers,

Exhibition that draw most of my attention was Poetics of Relation that was available from May 29th until October 18th this year. This exhibition was inspired by the writings of philosopher and author Edouard Glisant. This

2. de-contextualization. "as abstract, quantitatively conceptualized space became more interesting to the artist than the qualitatively differentiated subjects painted within it, the rendering of the scene became and end in itself."

Despite the years of training and involvement an artist must have whilst learning the proper techniques and developing “an understanding vision,” the artist may claim no responsibility for the work itself. For, throughout the process, the artist must have placed distance between themself and their work. Never fully interacting with the materials, the artist’s role rests as that of an acutely perceptive spectator. Witnessing colour interactions and rendering them, the artist acts as a mere vessel for the subject

Each generation presents us with the different varieties of artistic expression. The prevalence of art impacting society has always been constant. With the many forms of artistic expression that exist, it is also easy to see how an individual can test out the different options available to them until finding a specific form that suits their tastes. When this happens, the artist and viewer create a special mutually beneficial relationship. This is evident in the article, “Memory, Money and Persistence: Theater Of Social Change in Context” written by Arlene Goldbard. . Goldbard used her article to expose the concept of social awareness and performances that are relevant to and can even change the open world outside of the arts. This is evident

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.”

Being of the Marxist persuasion, John Berger believed in the socialist concept of property being equally shared among the people. He points out that, historically, art has been reserved for those in power, possessing wealth and the societal position that have always allowed them to acquire and view art at their leisure. According to Berger, under this context, art is not an asset which should be adamantly concealed from the general public on account of personal circumstances. With his aforesaid statement on the lack of freedom resulting from missing history, he ultimately points out that being excluded from art, something that so beautifully reflects our human history, can be approximated to dehumanizing those who have been placed into a lower class. The incessant nature of this phenomenon is to suggest that the majority is utterly incapable of understanding and interpreting art. Moreover, it is preventive of their very attempt. In the essay, John Berger makes the following statement, "We only see what we look at. To look is an act of choice. As a result of this act, what we see is brought within our reach — though not necessarily within arm’s reach. To touch something is to situate oneself in relation to it. (Close your eyes, move round the room and notice how the faculty of touch is like a static, limited form of sight.) We never look at just one thing; we are always looking at the relation between things and ourselves." (Berger, 1972) This statement, in essence, is to