The Media Relations Consultant For The President Of The United States

Leo Steinberg’s Other Criteria focuses on how America’s view on art differs from that of other Countries and many of the problems that ensue when artists create art in America. Also, how critics and viewers of art should perceive different pieces and how to cope with differing views. Steinberg later goes on to discuss the problems with how certain groups of people can perceive an art piece negatively, when it might not be a negative piece.

Regarding the wide aspect of art, Georgia O’Keeffe, an American artist, said “filling a space in a beautiful way. That's what art means to me.” I think this means that anything that is beautiful to someone can be art; but something one person finds beautiful may not be to someone else. This is what causes art to be such a wide and distinct topic; everything depends on the person. Something I find beautiful and consider art could be unattractive to someone else. Although I do agree with the quotation said by Georgia O’Keeffe, I do not think a piece has to be attractive to be art. Many artists have purposely created an art piece to not be beautiful. To me, art is a way of expressing emotions in a way you think is unique and original. It is not

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.

Just like everything else in life, art has its critics. Art criticism is the expression used to describe the act of making selective judgments, both positive and negative, about an art piece. Just as art is so diversely expressed and interpreted, those who critique it also have various methods and use various standards when criticizing an art piece. There are many theories critics use to evaluate art but there are three basic theories most commonly put to use by professionals. The three basic theories are: formal theories, contextual theories, and expressive theories. Formal theories focus on the formalities of art. Critics using formal theories pay close attention to the making of a piece, how each section of the art piece works to form a visual experience that may or may not attract the attention of those who come across it. Formalists’ attention is centered on the formal organization rather than the themes, which they deem irrelevant. Contextualists, on the other hand, value the theme and its relevance to the times in which the artwork was created. The contextual theories deal with the context in which an art piece is used; what it symbolizes concerning the culture and values of the environment. Lastly, there are the expressive theories. Expressionists are more concerned with the artist and the personal expression put into the work. Also, because art is a method of communication, expressive theories

In an article by Laura Caseley for “Little Things”, pictures are displayed above brief descriptions to show how beauty standards have changed over time, from the Edwardian Era’s “tousled hair” to the 1980s’ “big hair”. So, if fashion and visual styles are considered forms of art, doesn’t that mean our perception of beautiful art has altered over the years? People and their opinions are bound to change. A lackluster magic act might be impressive in one’s adolescence, but at an older age, it might be easier to spot and criticize the flaws in the act. I think this idea is applicable to people’s perceptions of high-quality art throughout time. As technology continues to simplify the fine-tuning process for creating art, people can deem what was impressive during the

In the chapter entitled “The Public Presidency Communications and Media,” Matthew Eshbaugh-soha argues that media coverage is extremely essential for presidential governance. However, it is challenging to control and adjust to serve presidential purposes, for it is driven by different motives. A president’s goal is to increase coverage surrounding him to obtain support for his policies, while the media wants to sell the best headlines to increase their profit. Eshbaugh-soha argues that even though presidents have developed different tactics to maximize their media coverage, they often face failures in doing so. In this chapter, Eshbaugh-soha analyzes the different mythologies, through which presidents attempt to increase their

Don Norman highlights the idea about the three levels of human intersections related to how human perceives beauty. He is focusing on the idea of how emotion and beauty are strongly bond. The three levels are visceral, behavioral, and reflective which they establish how emotion changes when we perceive beauty in different ways. For examples, in visceral level, we subconsciously dislike things such as loud sound or bitter taste. In behavioral level, we subconsciously like things that make us feel safe and comfortable. In reflective level, we like things that are fancy and help us get attention. In the end, Don Norman makes a statement that beautiful things tend to work better. However, I am not completely agree with his perspective. To some

Scandal is a prime-time telivision show about a lawyer who works in Washington D.C, at times

Reflective judgement requires taking into account Kant’s four factors of beauty: quality, necessity, universality, and purposiveness. When applying judgement to an object, a person must first inspect the quality of the object. Whether or not an object is able to instill the feeling of pleasure or displeasure on the observer. However, the pleasure one acquires from an object must not be limited to the observer's personal desires. That is, he must not secretly crave the objects.

George Dickie and I on the Aesthetic Attitude Does the term “aesthetic attitude” have a true definition, or is it just a crafted myth charged with freeing the Aesthetic theory from an obsessive concern with beauty? Is the idea of the aesthetic attitude a misleading way of understanding the aesthetic experience? George Dickie tackles these tough questions in his critique of the aesthetic attitude titled, “The Myth of Aesthetic Attitude” (which will from now on be referred to as TMAA). In this essay I will discuss Dickies critique of the aesthetic attitude. In the first half I will consider the three main ways Dickie characterizes the aesthetic attitude and explain why he considers it to be a myth.

Beauty transcends the eye of the beholder because whatever is, “objectively true and noble and right” (Groothuis 256) embodies beauty according to God’s standard. Although postmodernist view aesthetic beauty through the lens of subjectivity God expects Christians to discern beauty through objectivity. In other words, we attribute beauty (moral and aesthetic) to expressions and characters that reflect God’s glory according to his values identified in scripture. Postmodernist views argue, “the meaning of an artwork need not be fixed or even discernible” (246) so the nature of expressions is aimless. While Christian, objective standards for aesthetics, “…esteem art as a medium for truth and beauty…”. In fact, C.S Lewis, Christian author and philosopher,

Just because something follows all the criteria for beauty, does not mean it will appeal to a certain persons taste.

Olivia Pope and Associates has a team whom Olivia calls ‘The Gladiators’. They are like her own superheroes they get done whatever she asks of them no questions asked. They all come from different backgrounds and they are all

In our philosophy of art class we have looked at many different classical views on art and beauty. Such ideals as Plato’s criticisms on art, Aristotle’s idea of exemplary beauty and Plotinus’ splendor were discussed in class, and now we look at different philosophers and their attempt to create a theory that holds true for all previous philosophies and more modern ideals; modern ideals such as taste, aesthetics, and imagination. The philosopher that I think did this very well incorporating not only classical philosophers such as Aristotle and Plato but also modern concepts such as imagination and aesthetics is Nietzsche.

In 1790, Immanuel Kant created a piece of work known as the Critique of Judgement. In his work, the Critique of Judgement, Immanuel Kant moves his attention to focusing on aesthetics and what truly makes a piece of art beautiful and pleasing to the eye. Up until around the 1780s Immanuel Kant did not particularly worry or concern himself with aesthetics and how that judges an object or piece of art. It was only in the 1780s that Kant started to take an interest in the aesthetic value of objects and pieces of art. According to Kant, for an object to truly be called beautiful there are four “Moments” in which that particular object must go through. In the book, The Routledge Companion to Aesthetics, Crawford tells us, “It is divided into four “Moments,” corresponding to the headings of the table of judgements in the Critique of Pure Reason: quantity, quality, relation and modality” (Crawford 52). Kant’s theory of these four moments that an object must go through in order for it to be called beautiful are a very elaborate but quite easy concept to understand. Crawford does his very best throughout this particular reading to try and make the theory as easily understandable as possible due to the somewhat hard to read language Kant uses in his original work. Immanuel Kant’s four “Moments” of quantity, quality, relation and modality, do an exceptional job of explaining what makes an object beautiful.