Suh Creativity: Cause And Effect

Outcome 1: Understand the concepts of creativity and creative learning and how these affect all aspects of young children’s learning and development.

The installation was part of an exhibition at Weston Art Gallery called: Unfunction. UnFunction was curated by writer Maria Seda-Reeder; she explored the functionality of an object and in what way that function is altered when added to realm of art. Sean T. Mullaney is a multimedia sculptor, who graduated from DAAP, majoring in industrial design and focusing in toy design. He worked as a toy designer and inventor 20 years. Since then he has transitioned into large scale kinetic sculptures. Recently he created a work that showcased in Weston’s exhibition “UnFunction.” The installation is the first work seen after entering the gallery. Its large scale consumes the first floor and the viewer. The work is positioned in the center of an open floor,

For the entirety of the fall semester, I took on a project to create a three-page layout for a fictional campaign in National Geographic magazine about endangered species. The goal was to create different content for my portfolio, challenging my skills in photography and photo-manipulation. I transformed people into animals and used gel lighting and Photoshop to create my artwork (see Appendix A figure 1 & 2). At the end of the semester, I reviewed my completed pieces and two theorists best fit my creative process, Julie Burstein, and Teresa Amabile. Julie Burstein discusses the best way to foster creativity is by ‘letting go’ she outlines this in four lessons (Campbell and Dubois, “Artist Best practices” 25). These lessons include experiences, challenges, limitations and loss (Campbell and Dubois, “Artist Best practices” 25). While Teresa Amabile discusses how the theory of creativity is fostered through her componential model of creativity (Campbell and Dubois, “On theories of” 14). These include domain-relevant skills, creative thinking skills and motivation (Campbell and Dubois, “On theories of” 14). Both of these theorists go hand in hand providing me with the framework for my best work. This essay will discuss how Amabile’s theory for intrinsic motivation and Burstein’s lesson of experience and loss, align in my creative process to be conducive to my work.

John Lehrer was caught in June 2012, plagiarizing himself by taking his old work from his blog and re-publishing it as new in The New Yorker. It was also discovered that Lehrer had also used previously published work for his book Imagine:How Creativity Works. Weeks later it was discovered that Lehrer also fabricated quotes that are attributed to musician Bob Dylan in this book. In the end Lehrer resigned from The New Yorker and his book was recalled for unsold copies of the book and e-book sales were suspended. All books that Lehrer had published where then place under internal review.

The other perception it could evoke is fragility. This is due to how slender and tall the sculpture is. The scale of the figure magnified places emphasis on the stance of the figure. It’s large feet appear to be dragging along the floor with no will to move forward, the sculpture seems to be looking towards the sky for hope or an answer to its problem. This demonstrates fragility as the sculpture seems to be weak and looking for help.

By working at the Wortendyke Studio and Gallery Kuhn was able to improve on his ceramics capabilities which then led to Kuhn enrolling at Indiana University of Pennsylvania in 2008. While in graduate school Kuhn’s sculptural had grown where he had practiced through trial and error which led to his success represented in Figure 1 and 3. “The artists that influenced my thesis work were Aline Favre, Toshiko Takeaezu, Claude Champy, Mark Luethold, and I am sure a few more.” When looking at the inspirations Daniel Kuhn has a passion to bring an oriental side to his craft, Kuhn’s pieces of work have both the side of craft and art seen in Figure 1,2,3, and 4. What is so interesting about Kuhn is how he brings together different styles in the mediums of ceramics and photography by bringing mental and physical forces to shape how he and others are human beings. One of the reasons of joy Kuhn has in practicing this skill is to tell a story through imagery of his photography and the canvas is the sculptural clay. The physical element of the clay is portrayed as rigid and rough, on the other hand, the imagery brings a smooth picture of what Kuhn’s experiences in the past and present. The strongest factor when looking at the sculpture has a hidden meaning of the physical roughness and approach of the imagery can only be described by the creator. Kuhn has described his work

The book Creativity. Inc. , by Ed Catmull with Amy Wallace, is the chronological journey of Ed Catmul and Pixar from the early days until today. The best part of reading Creativity, Inc is that you know that Ed Catmull isn’t just talking the talk, he’s walking the walk. This book is separated into 4 categories: Getting Started, Protecting The New, Building and Sustaining and Testing What We Know.

He took another mouthful without lifting his head and said, "Pepper's cool, but the ketchup knows how to get it done. Until dem eggs bleed, it isn’t happening. And you want it to happen. Otherwise, it isn’t real. It’s about your mouth watering, lips quivering, and taste buds vibrating with…” He chewed some more. “…a warm glow. You wanna be salivating for dem eggs. And once that’s happening, hey... the ketchup's work is done."

Our sculpture is titled Insensatez- meaning that acting with ignorance will only bring problems. After looking at a photo of an albatross that had its stomach cut open to reveal the insides are full of trash inspired us to create a sculpture representing the same effect that pollution in the ocean has on humans. We wanted to keep our sculpture as simplistic as possible so that the message of our sculpture would impact our audience much more. In order to emphasize the effect of bioaccumulation, in our sculpture, we began to paint the board of the sculpture black and using black plastic bags, as ripples, to represent an oil spill. Then we created a human, from the waist up, out of chicken wire and paper mache which we painted

Mattingly transformed personal belongings into sculptural forms that she later incorporates into photographs and performative actions. The sculpture is being pulled on the side walk by a woman who is facing down towards the sphere, while the people in the background is facing away from her, could suggest a lack of interest in her possessions being tugged across the floor, her face expression is relaxed yet her body expression shows she is struggling to move the sculpture. Mattingly is trying to show another path to having an ecologically sustainable future. She believes that humanity will survive only if we reduce our footprint on Earth. determined to live with just the essentials, she recording every object she owns and looking back as to why she had the objects from the beginning. Mattingly work is trying to show one’s obsession of a good life. How we exclude the human’s dependency. Showing that we had a responsibility that we don’t think highly of. we do not know that something is wrong until it had been

From the base of the arm climbing upward are third-dimensional sculptures of men, women, and children shaped in almost a skeletal like form. Each face is carefully crafted to project sadness, agony, or despair. Every expression tells their story.

Teaghan is very original, especially when it comes to drawing or art. On November 9th Teaghan was outside with Braydon drawing with chalk. Braydon asked her what they were making Teaghan leaned in and whispered it to him and they both started in drawing. A little while later Ms. Jessie came over and asked what Carter was making he told her a sail boat. When Ms. Jessie came over and asked the same question to Teaghan and Braydon they responded vacuum, so Teaghan told Braydon that she wanted to draw a vacuum. On November 13th Teaghan’s art works was observed hanging in the hall it was one of those abstract ‘what do you see pieces?’ She made hers and put on it that “I see dots” none

There it was, I was taking a little rest. With me being the membrane I shouldn't really rest, I mean, Iḿ basically the security around here. All day, everyday, letting organelles out, and others in. Tomorrow is the day that I need to write my report for Mr. Nucleus, last time I didn't and I got scolded for it.

The term creativity is used for the purpose of describing the ability that is concerned with the process of creating something new or valuable. This ability allows a person to surpass the rules, practices, methods, forms or similar kind of activities that the traditional society may be performing at that time. Creativity is one of the most important things that have allowed the people of the society to move forward and urge for development. All the development that has been made in various aspects of human life can be directly connected with the creativity. All the industry leaders of the world have secured this place because of the level of creativity and innovation that they showed. They used this creativity for creating something new that has allowed them to develop completely new methods for this purpose.

Throughout this creative arts class, I have learned much about creativity and how it fits in our world around us. I see myself as creative person and am so thankful that I understand and appreciate God’s gift of creativity given to us. We are to use our creativity to glorify God in all that we do. I appreciate all of God’s creation and use it to be more creative. My views of creativity have changed by learning more about how creativity has been valued over time in our cultures. Creativity is essential for sustainability in the future. I believe that creativity will continue to change over time. Werner (2000) sums this up, “I believe that as our lives and our global ideology of creativity evolve, we will acknowledge more clearly both how much lies beyond creativity, and how creativity is our human drive toward the beyond” (p. 270).