Some Thoughts About Art America And Jumping Off The Cliff Analysis

How would you feel if one of your favorite subjects was cut from school? You would feel disappointed or sad right? That is how I would feel if fine arts programs were cut from my school. For me, the arts are an outlet of my soul where I can explore my passion, and express my creativity. There are some school officials that say cutting arts funding would save money that could go towards better funding, but some neuroscientists say cutting arts funding might be a bad idea, since the arts have some very important benefits such as, improved motor skills and better language development. Also with cut funding, we would have more unemployed workers since all the teachers who taught those programs would be laid off and would lose their jobs. There are many disadvantages and advantages of cutting the arts, but I believe fine arts programs should not be cut from schools.

The art industry is still a lively and spirited field, but it faces challenges in today’s society unseen in its past specifically regarding to who is participating in the arts. Currently, today’s art audiences are mostly likely to be composed of older, richer individuals and women as well. Research has shown that younger, less wealthy and ethic individuals are shown to have lost interest in the arts and are less likely to participate (Tepper & Gao, 2008). This change in demographics posed an important question for researchers – were these individuals simply no longer interested in the arts or was the current definition of participation no longer applicable to how these audiences participated in the arts? In conclusion, today’s changing demographics reflect how individuals may be participating in the arts in ways that are not known to be measured or may

In the contemplation of art, or rather the conceptually intangible definition it currently possess, it is imperative to be mindful that “art” has been utilized as a promotional device, ceremonial item, aesthetically purposed article or perhaps none of these or all. It is because of this vague term that Carolyn Dean, in her text, “The Trouble with (The Term) Art”, makes a case for the consequences of applying the term “art” in societies that lacked such a notion which also accounts for the Western-centric lens the field intrinsically utilizes when viewing non-Western art. The claim is deftly supported by the utilization of expert accounts in the subject, alternative perspectives for what is considered the current norm, and self-examining questions,

“Art is a nation's most precious heritage. For it is in our works of art that we reveal to ourselves, and to others, the inner vision which guides us as a Nation. And where there is no vision, the people perish,” (Johnson). President Johnson’s speech before signing the Arts and Humanities Bill, which began the National Endowment for the Arts (“Lyndon B.”), was inspiring to artists in all merits. The National Endowment for the Arts (NEA) is a federal program that provides grants to art programs, ranging from dance to music to visual art (“About the NEA”). Numerous Americans believe federal funding to the arts is not important, while countless organizations depend on the grants given. Individuals against the NEA believe that the benefits of the

All living things relate to one another through fear. As humans, we are surrounded by things that cause our hearts to race and our palms to sweat. In fact, the most viewed movies and televisions series are those that cause such reactions. One could say we thrive on fear. When we watched The End of America in class, my eyes were opened to the corruption of our government. I knew that our nation had its problems but I never realized how deep they ran. The more I saw in the documentary the more flaws I saw in the “perfect façade” concocted by our government. The one thing that seemed most prominent to me was the manipulation of peoples’ fears. That made me wonder that if our fears are being manipulated, how far has our government gone with its

In “the Cult of the Best”, Bourne criticizes the acquisitive nature in American education and culture. Bourne argued that such habit of acquisition has led Americans to understand artistic appreciation merely as “the acquiring of a familiarity with ‘good works of art’ and with the historical fields of the different arts, rather than as the cultivating of spontaneous taste” (193). Influenced by this shallow and inaccurate understanding, American art education almost solely emphasized on what is “good”, the

American art, and its countless mediums, evolved equally with the capitalist country. This is a visual medium and a form of self-expression, where an artists is free to turn a canvas into anything he or she would like. They are not bound by grammar, words or other aspects of written communication and could freely As the old saying goes, "A picture is worth a thousand words”; and in America, their work served as mirrors of the social and political climate. The many painters, architects, and photographers themselves could be considered the archivists that shaped the “all-American” identity.

State and federal governments wrestle with the many questions that come with the funding of public art. People wonder whether or not government has a legitimate role in the arts and if they do, whether or not the arts should be given funds when so many other needs are present in our society. I believe that art provides many benefits and that if policymakers would begin to understand these benefits that the arts have on government and citizens, then they would find a way to support the arts even through difficult financial situations. “Arts and culture are consistent sources of economic growth, during both good and difficult economic times. Specifically, arts and culture policies and programs increase economic development in states by attracting

He started his article, “How African-American Artists Fought to Diversify Museums”, with an overview of the history of the issue. The article stated the importance of the initial attempts to mollify black artists and how the attempts sparked more outrage by displaying the blatant disproportion of diversity. It concluded that all of these events built up and provoked a movement to include more art as seen to this day. It focuses on how museums are still guilty of conforming to social and political views, as seen by the types of art displayed and who created them. The article then turns into an interview with author, Susan Cahan, to discuss political influences in museums throughout history and what effect it has on the art world today concerning black artists. Unlike the New York Times article, this story went into excessive detail of how the movement to include more African American artists started and the progress that has been achieved throughout the years. It granted the reader a more thorough understanding about the movement and why it has been (and still is) a serious issue today. The comparisons it brings up from the very first attempt to include black artists in an exhibit—“Harlem on My Mind”—to the exhibits today document the remarkable progress made as well as the excessive amount of protesting that accompanied it. Both articles were great sources of information for people looking into the history of black artists exhibition, but the critical difference between the two was the tone: the first article viewing the situation to be long-overdue but hopeful, while the second article spoke of the situation from the perspective of an author who felt the museums should be ashamed of their lack of effort throughout the

"The NEA was established to nurture American creativity, to elevate the nation's culture and to sustain and preserve the country's many artistic traditions" (NEA History, 1). The American culture is the customs, the music, even the food we eat; it's our beloved traditions we cherish and share with other diverse cultures through art. In fourth grade, my art class had a painting project for the Houston Rodeo at a museum to represent our love for Texas. My painting was a blonde girl with an orange hat and a blue shirt to stand out in front of a dirt field surrounded by a fence on a sunny day, which got me into the finals and win the competition. I felt so warm and energetic receiving firm handshakes and smiles from adults, I wanted the feeling to last forever, that's when I knew I want to do art for the rest of my life. Art is important for our society, because it's what brings us hope and connections with other people through visual arts, dance, music, literature, theater and much

Over three decades, art programs have been on the decline, because of budget cuts and the general thought of art being a privilege and not a necessity when it comes to the classroom. (Smith.) In fact, it has almost set a chain of continuous reaction. The children in the 1970s and 80s who were not exposed to art during class time are now adults who probably do not appreciate art today. And, if they themselves are involved in the education system, do not see art as an importance to the education of children today. In the article Why Arts Education Is Crucial, and Who 's Doing It Best Sandra Ruppert, Director of the Arts Education Partnership (AEP), a national coalition of arts, business, education, philanthropic, and government

The monk is not happy with his title or spiritually satisfied by becoming one (Voltaire 146). Basically he is saying that he is just a man who is preaching words that he don’t understand the meaning behind (Voltaire

Meredith Monk is an American composer, performer, director, vocalist, filmmaker and choreographer. Monk was born on November 20th, 1942 in New York, NY. She was exposed to music and dance at an early age simply because on both sides of her family there were musical people. Later, her mother enrolled her in Dalcroze Eurhythmics classes which are courses that taught movement through music. These courses heavily impacted Monk because since then she has always thought of those two concepts as one unified subject. She is identified as one of the most distinctive and influential artists. in addition, she was one of the first enterprises of extended vocal techniques (an advanced way of utilizing singing to create precise sounds that are unusual to singing domains). Likewise, Meredith also, was one of the first enterprises of Interdisciplinary performance, which are performances that are combined with at least one other regulation in a way that affects them respectively and forms a compound. Furthermore, Monk assembled her reputation by the stretching of her voice, enthusiasm, raps (speaking in a harsh sounding voice), and primitive wordless yowls. Her musical background and reputation gives her

Originally, I planned to write a more theoretical approach to my Monk essay, that dealt with the myths that encompassed his whole life which both hindered and promoted his music. I had written the outline and the general thesis and conclusion and was left with a fill in the gap essay. However, since the audience changed, Dr. Robinson to a communal function, I decided that my original approach would be a difficult essay to interpret and deconstruct without any prior knowledge of Thelonious. With that said this is the reasoning for my essay in its present state as a way to help everyone who is not familiar with Monk and his compositions to better understand his way of life, circumstances, compositions, and the lasting effects he had on people.

A majority of the nation, up until recent visual and performance art legislation was proposed in congress, hadn't been made aware that they, the taxpayers, were supporting any form of art. It wasn't until the recent attacks on the NEA, an agency designed to fund grants to certain projects, that taxpayers paid attention. The government's funding of the arts is a highly controversial issue that argues some of the most basic philosophical questions regarding the subjective and objective views of aesthetic value.