Analysis Of Allan Kaprow's Work

In Michael Lambek’s Toward an Ethics of the Act, Lambek discusses the ethics of performance and practice rituals through perlocution and illocution. Anthony Gidden’s talks about the duality of agency (action) and structure and argues that that’s two cannot exist without each other. These two compare and contrast in analyzing social actions.

Within the curiosity of the human mind lies a variety of occurrences that have plagued philosophers, scientists, and skeptics alike. What is the part, we as a society, play in the study of the material world? Although, many have theorized, experts are only just now scratching the surface of the mental and behavioral processes of the human mind. However, within the minute distance that examiners have travelled through the world of psychology, scientists have discovered and developed a plethora of concepts, approaches, ideas, and principles that have now become relevant to our growth. Within this context, the analysis will center on the progressive history of psychology, including some of psychology’s primary contributors and their concepts. Furthermore, the major psychological approaches, and how they pertain to, and influence, society as we view it today.

Kaprow (1958) states how Pollock loses all sense of spatial awareness; how the art is not just the canvas but the energy and movement and how it is portrayed, thus allowing it ‘to entangle and assault us’ Kaprow (1958: 05). I can draw comparisons to my experimentation here, when trying to consume space, with materials, moving past their basic functions to create installations where the audience has to engage with the subject matter and materials that create the work.

How can art make an audience listen? Sonny Assu sets a prime example of getting a viewer 's attention, in his piece “The Away Teams Beams Down to What Appears to be Unlimited Planet,”2016 displayed at the Vancouver Art Gallery. The following writing will talk about Sonny Assu as an artist and the social historical context of the work.

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.

Mr. Kovach was far from the most liked teacher at Fort Osage High School. In fact, before joining one of his classes my senior year, I remember a friend of mine telling me, “I had him last semester. It was a really hard class.” Still, having been told to not give in to “senioritis,” I entered into his college credit english class with a determined mindset. I still remember the first day: him standing imposingly across the hall from his domain, seemingly trying to weed out the poor unfortunates that may wander into his trap of a classroom. When the door closes behind him after passing time, so did my means of escape.

In her short story “People-Watching” from 2014, Julia Gray tells the story of Kajsa and Paul, two students who are both taking the Introduction to Drawing module at the art school of UC London. In connection with their studies they have been sent out to do some people-watching.

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,

As art slowly develops through the twentieth century, moving past voyeurism and historical art where it promotes passive spectatorial consumption, the role of the audience has evolved too. From the traditional historical passive visitor in perspective and panoptic spaces, art has gradually evolved into turning the spectator into an active contributor who not only engages with the work but also becomes the co-author in its creation and completion. Claire Bishop points out, “art must be directed against spectatorship, against the passivity of the masses paralysed by the spectacle of modern life”. This not only applies to art but to objects, image, stories, films etc.

When it comes to the aspect of human nature, it can be concluded that as creatures of action, often propelled by personal emotion, it is without a doubt that human beings have continued to shift away from society’s initial and original values, which in turn, results in society’s formation of a biased judgment as they are keeping away from what they consider to different or dissimilar. Over the course of the past decades, it has become increasingly unchallenging for human beings to stray from traditional beliefs. Furthermore, it has become apparent that humans have been very easily motivated by and are often fueled by selfish desires. As human beings continue to be blinded by their overriding emotions and allow themselves to be greatly affected

The purpose of this assignment is to record your life for one day and critically discuss how you are an actor in society; how you affect your social surroundings; and, how your daily life is shaped and constrained by society. This will allow you engage with many of the sociological concepts reviewed to-date including newer concepts such as impression management, stage theory and emotional labor.

Erik Almas grew up in Trondheim, Norway. Trondheim is a big city by Norwegian standards but barely a blip on the map with its population of 150,000 people. He moved at the age of 22 to the united states to study photography he flew over the bay area at night. He attended the Academy of Art University for four years. When he graduated the academy gave him an Honorary Degree of Outstanding Alumnus in 2004. He was inspired by Jim Ericsson because he assisted him for three years and helped him succeed on his own. He lived in San Francisco for thirteen years.

This chapter, deals with inaction in art and the ways in which this works upon the audience. Although both artists in this chapter, Cornelia Parker and Chris Jordan, believe that change needs to happen, I will be looking at how their work could actually be feeding the beautiful souls’ inactive state, discussed in chapter one. Both of these artists are important in answering my research question of how can art influence the audience to make positive environmental change, because they are addressing concepts of art and environmental science. They also work with the idea that the comprehension of their work can allow people to make an emotional response to the subject which they believe can lead to taking action, and I will be looking at how realistic and useful that could be.

He proposes that all human relationships and interactions can be understood through a pentad that illustrates observations as a way to understand the motives behind language and action (Burke, 1968). The pentad consists of an act or the occurrence, an agent or the performer, a scene or setting, agency or motives, purpose that explains why the agent acts for a specific reason. Conversely, Goffman (1959) claims that the performer knows their role and adjusts their role accordingly in comparison to the other performers in a given group who may or may not deploy different fronts or roles. Discernibly, Burke (1968) differentiates the observations between individuals acting in a scene-act or agent-act ratios trying to create a reasonable understanding between whether the context or scene is what drives the actor or performer to act, or if it is the agent, or actor, processes the scene in order to act. Simply put, does the ceremony existing as a performing scene affect the way in which the act of the entire ceremony occurs? Or does the actor come prepared to perform in a certain way because of the roles they are used to playing as immigrant, citizenship-applicants? Thus, the entire ceremony is an intricately calculated process, every detail, every chair, every American flag, placed

Not much has been written about the use of expressive arts in existential practice. “Pat Allen, one of the founders of the open studio approach to art therapy… decided to experiment with having people make art alongside each other and be of service to each other during the process, hence the Open Studio Approach” (Story, 2007). This approach is based upon three elements; intention, attention and witness (Story, 2007).