On this blog, we will explore several major aesthetic theories from realism to postmodernism and engage in a dialogue about the very nature of art. Key contemporary artists will be explored in depth as each theory is unpacked and examined.
Each response should be between 150-250 words in length. These are due on the date listed at the top of each entry,
Wednesday, September 19, 2012
Expressive Art
Choose a piece from the new CFAM show to interpret using elements of our discussion about Collingwood's expressive theory of art. Due Monday September 24th.
Collingwood writes, “Every utterance and every gesture that each one of us makes is a work of art.” We are always making art and engaged in expression, whether we are running in the rain or, like the author of the essay points out, eating an orange. I believe that life is a work of art itself, and according to Collingwood’s theory the action of living is art. Yet, our thoughts and our life are fleeting. We are here in physical form, along with our thoughts and actions, and like how they (our thoughts and actions) go away quickly if not documented, we pass away. When we pass away our presence isn’t in the same physical form—despite any religious/non-religious preferences this is true—and unless we are documented in some way, we are fleeting. In the same breath, this is what I interpreted from Miller & Shellabarger’s work “Pink Tube.” They are documenting their life, their artwork, as it occurs and when one passes away, the other will unravel the knitted tube.
"Pink Tube" by Miller and Shellabarger stands as a physical representation of the couple's life together. The work functions as a performance piece; the meaning resonates more in the process than the end result. The couple crochets the tube only in public places with each man at opposite ends, sharing the intimacy of their relationship with strangers. Currently spanning 60 feet, this work is the product of nine years, and the artists plan to continue until one is unable. As Nikki said, "when one passes away, the other will [symbolically] unravel the knitted tube." Thus, the work will grow in concordance with their relationship and fall apart when the relationship meets its inevitable end.
"Pink Tube" is a wonderful example of Collingwood's theory of art. Collingwood believes that "every intentional mental act is in some sense an act of an expressive imagination." Everything we consciously do is an expression of our inner self and potentially could be considered a work of art. The reading suggests that life is "full of 'artworks,' but they are mostly shallow, unworthy of comment." In this line of thought, "Pink Tube" is objectively the result of two men knitting pink yarn. Yet, Collingwood's theory goes onto explain that the consciousness can settle upon a something that is an instance of imaginative expressionism. Collingwood believes that these expressions can easily be lost and remain unnoteworthy unless documented. Therefore, the work of Miller and Shellabarger is a meaningful work of art because it is the result of a conscious, mental act that manifests itself in a physical expression of the artists' inner emotions.
I thought the bathroom scene showed the border of the discussion of craft and art. I was a great depiction of an art form that you would usually see as a craft. You think of yarn as a craft that you use to create a great scarf with a clear notion of what you wanted. but the scene he created was so raw and could bring out so many emotions. there is no clear notion of what he wanted each person could see a different reason for the piece. I think that he had a clear idea for what he wanted to show but i saw something totally different. I really enjoyed the discussion of what is a craft vrs what is art i think that we just scratched the surface and i am excited to see waht we talk about in class.
In viewing L.J. Robert’s "We Couldn’t Get In. We Couldn’t Get Out." in relation to Collingwood’s theory, I think Roberts has done her job as artist in terms of preserving an emotion. Collingwood theorizes that we, as humans, are constantly creating works of art through our everyday speech, gestures, or little tunes hummed under our breath. However, the reason why the human population is not considered a conglomeration of “artists” is our inability to save these compositions borne out of whatever emotion we may be feeling at the time. An artist, in Collingwood’s theory, “is one who has these experiences of consciousness more deeply than the average person, and who has mastered the practice of preserving them” (14). In "We Couldn’t Get In. We Couldn’t Get Out.", Roberts has taken such feelings as claustrophobia, inequality, and entrapment and manifested them as an imposing “barbed wire” fence rendered in hot pink yarn. By taking these feelings and emotions and giving them tangibility, Roberts has saved them and allowed them to reach others. Her initial emotion or inspiration now bears permanence and in this transformation from emotion to object, Roberts has fulfilled her duty as artist according to Collingwood.
Collingwood suggest that art is “the stimulation of preconceived emotion”. Angela Ellsworth is an American multidisciplinary artist who’s work explores the female body in its various contexts and constraints. In Ellsworth’s Seer Bonnets: A Continuing Offense, she references the Mormon heritage. Ellsworth describes the bonnets as representing “the multiple wives from particularly high-profile male prophets of the Mormon Church in the 1800s.” These bonnets are delicately made and have a stunning beauty that sharply contrast with the dangerous pins that line the inside of the bonnet.
When I first saw these bonnets I did not know what they represented, only that they were quite beautiful and interesting. They made me feel happy and yet uncomfortable at the same time. Collinwood would describe this experience as the first point in art as expression when one “becomes conscious of an emotion.” They may not know what that emotion is or why they feel it, but they acknowledge it all the same. After spending some time with the pieces I felt that they were a representation of all the things women are pressured to do to themselves, regardless of the physical and emotional pain it causes, to achieve society’s idea of beauty. The bonnets are meticulously decorated and gorgeous on the outside, but on the inside they are jagged, rough, and capable of inflicting great pain.
Ellsworth’s work is hauntingly beautiful and creates a mix emotions for the viewer when they interact with the piece. The contrasting emotions and the viewer’s experience to figure out why they feel that way makes the pieces not only art proper but ‘good art’.
I agree with Mike, Locker Room by Nathan Vincent grabbed my attention from the moment we walked into the museum. Like Mike said, it may be interpreted in several different ways, for example I was stuck on the soft materials and their use to create hard surfaces. However, the artist's intention was to convey a message regarding gender rules and society's definitions regarding these. Collingwood felt that the viewer should be able to grasp the specific meaning behind the piece, however for most art works the interpretation is different for each viewer. I agree with many of Collingwood's rules, except for some of his strict rules regarding the distinction between art and craft. Vincent's piece uses craft materials and the artist most likely had a set vision for his work when he began to knit, but although Collingwood may argue his work is craft, I feel it is art. There is great depth behind Locker Room and the ability for the viewer to physically engage within the scene is the most interesting part of the scene to me.
Nikki really hit the nail on the head with this blog entry. As she stated, “Every utterance and every gesture that each one of us makes is a work of art... yet, our thoughts and our life are fleeting. We are here in physical form, along with our thoughts and actions, and if we don't document them, they will pass away." This is a concept that I feel strongly in my day to day life and the main reason why I connected to Lauren DiCioccio's work so deeply. She meticulously memorializes everyday objects that most people disregard--tapes, pens and pencils, instruments, Nat Geo magazines (shame on them)--and concretes their importance to her in her memory by skillfully recreating them in her knitting. Unlike billions of other people who have let electronics completely take over their life, DiCioccio has learned the craft of slowing down, enjoying the simpler things in life, and creating memorable art through documentation. In this case, I would argue that her work is both a craft and an art form.
The CFAM show got me very emotional. I could not articulate my anger, which Collins says makes the viewer feel oppressed (I agree). When we cannot speak and show our emptions than we become helpless. Imagination is an individual experience, and the pink barbed wire installation sparked that. Imagination and intention are linked together which made the pink feel feminine. Collins says the interpretation of art creates the experience that we have with the work. Since I have seen a barbed wire fence, I know the texture and significance. Even though it is an image, we bring in other sensory feelings. We distinguish thinking from feeling, from thoughts that are true and false. Sensors are things that happen to you and they are gone because the conscience takes them and turns them into the unconscious. Simply the inner language cannot be put with the physical. The artist was successful because if the viewer does not feel, than the artist has failed. If he artist makes a serene piece and the viewer does not feel so, than the artist has not done his job; intention is abstract until be become imaginative. I unknowingly felt trapped and angered by the work; it made me feel confined, vulnerable. It is an everyday object of life that cannot be articulated by people who are not artists. Since I am not an artist (since I can not take beauty from everyday extremes) I could not interpret my emotions. I when Collins said that everyone is walking throughout the day making art, yet they do not know it. The artist knows they are making art and preserving the moment. The work had an effect on my everyday imagery of confined spaces. I am very closerfobic, which played a role in the collaboration where the audience plays a role and makes emotions that are mutually experienced.
"Locker Room" by Nathan Vincent really stuck with me as a former athlete. Until viewing that work, I never questioned the masculinity of a locker room. For me, the locker room represents the testosterone dominated place where anything feminine is left behind. Collingwood's idea that art can be craft, but craft can't be art is exemplified within this work. It surely takes a high skill in knitting to be able to create a locker room out of yarn. However, since the work offers so many questions about the masculinity of the locker room, the art form over takes the craft. Not only is Vincent creating the work of art, but in Collingwood's opinion, the viewer is also making art by interpreting the work. The thoughts and questions I'm having about the work are then an art form in itself, and Vincent is not only an artist, but a creator of potential artists, if I was to then take my thoughts and turn them into a work of my own.
Collingwood writes, “Every utterance and every gesture that each one of us makes is a work of art.” We are always making art and engaged in expression, whether we are running in the rain or, like the author of the essay points out, eating an orange. I believe that life is a work of art itself, and according to Collingwood’s theory the action of living is art. Yet, our thoughts and our life are fleeting. We are here in physical form, along with our thoughts and actions, and like how they (our thoughts and actions) go away quickly if not documented, we pass away. When we pass away our presence isn’t in the same physical form—despite any religious/non-religious preferences this is true—and unless we are documented in some way, we are fleeting. In the same breath, this is what I interpreted from Miller & Shellabarger’s work “Pink Tube.” They are documenting their life, their artwork, as it occurs and when one passes away, the other will unravel the knitted tube.
ReplyDelete"Pink Tube" by Miller and Shellabarger stands as a physical representation of the couple's life together. The work functions as a performance piece; the meaning resonates more in the process than the end result. The couple crochets the tube only in public places with each man at opposite ends, sharing the intimacy of their relationship with strangers. Currently spanning 60 feet, this work is the product of nine years, and the artists plan to continue until one is unable. As Nikki said, "when one passes away, the other will [symbolically] unravel the knitted tube." Thus, the work will grow in concordance with their relationship and fall apart when the relationship meets its inevitable end.
ReplyDelete"Pink Tube" is a wonderful example of Collingwood's theory of art. Collingwood believes that "every intentional mental act is in some sense an act of an expressive imagination." Everything we consciously do is an expression of our inner self and potentially could be considered a work of art. The reading suggests that life is "full of 'artworks,' but they are mostly shallow, unworthy of comment." In this line of thought, "Pink Tube" is objectively the result of two men knitting pink yarn. Yet, Collingwood's theory goes onto explain that the consciousness can settle upon a something that is an instance of imaginative expressionism. Collingwood believes that these expressions can easily be lost and remain unnoteworthy unless documented. Therefore, the work of Miller and Shellabarger is a meaningful work of art because it is the result of a conscious, mental act that manifests itself in a physical expression of the artists' inner emotions.
I thought the bathroom scene showed the border of the discussion of craft and art. I was a great depiction of an art form that you would usually see as a craft. You think of yarn as a craft that you use to create a great scarf with a clear notion of what you wanted. but the scene he created was so raw and could bring out so many emotions. there is no clear notion of what he wanted each person could see a different reason for the piece. I think that he had a clear idea for what he wanted to show but i saw something totally different. I really enjoyed the discussion of what is a craft vrs what is art i think that we just scratched the surface and i am excited to see waht we talk about in class.
ReplyDeleteIn viewing L.J. Robert’s "We Couldn’t Get In. We Couldn’t Get Out." in relation to Collingwood’s theory, I think Roberts has done her job as artist in terms of preserving an emotion. Collingwood theorizes that we, as humans, are constantly creating works of art through our everyday speech, gestures, or little tunes hummed under our breath. However, the reason why the human population is not considered a conglomeration of “artists” is our inability to save these compositions borne out of whatever emotion we may be feeling at the time. An artist, in Collingwood’s theory, “is one who has these experiences of consciousness more deeply than the average person, and who has mastered the practice of preserving them” (14). In "We Couldn’t Get In. We Couldn’t Get Out.", Roberts has taken such feelings as claustrophobia, inequality, and entrapment and manifested them as an imposing “barbed wire” fence rendered in hot pink yarn. By taking these feelings and emotions and giving them tangibility, Roberts has saved them and allowed them to reach others. Her initial emotion or inspiration now bears permanence and in this transformation from emotion to object, Roberts has fulfilled her duty as artist according to Collingwood.
ReplyDeleteCollingwood suggest that art is “the stimulation of preconceived emotion”. Angela Ellsworth is an American multidisciplinary artist who’s work explores the female body in its various contexts and constraints. In Ellsworth’s Seer Bonnets: A Continuing Offense, she references the Mormon heritage. Ellsworth describes the bonnets as representing “the multiple wives from particularly high-profile male prophets of the Mormon Church in the 1800s.” These bonnets are delicately made and have a stunning beauty that sharply contrast with the dangerous pins that line the inside of the bonnet.
ReplyDeleteWhen I first saw these bonnets I did not know what they represented, only that they were quite beautiful and interesting. They made me feel happy and yet uncomfortable at the same time. Collinwood would describe this experience as the first point in art as expression when one “becomes conscious of an emotion.” They may not know what that emotion is or why they feel it, but they acknowledge it all the same. After spending some time with the pieces I felt that they were a representation of all the things women are pressured to do to themselves, regardless of the physical and emotional pain it causes, to achieve society’s idea of beauty. The bonnets are meticulously decorated and gorgeous on the outside, but on the inside they are jagged, rough, and capable of inflicting great pain.
Ellsworth’s work is hauntingly beautiful and creates a mix emotions for the viewer when they interact with the piece. The contrasting emotions and the viewer’s experience to figure out why they feel that way makes the pieces not only art proper but ‘good art’.
I agree with Mike, Locker Room by Nathan Vincent grabbed my attention from the moment we walked into the museum. Like Mike said, it may be interpreted in several different ways, for example I was stuck on the soft materials and their use to create hard surfaces. However, the artist's intention was to convey a message regarding gender rules and society's definitions regarding these. Collingwood felt that the viewer should be able to grasp the specific meaning behind the piece, however for most art works the interpretation is different for each viewer. I agree with many of Collingwood's rules, except for some of his strict rules regarding the distinction between art and craft. Vincent's piece uses craft materials and the artist most likely had a set vision for his work when he began to knit, but although Collingwood may argue his work is craft, I feel it is art. There is great depth behind Locker Room and the ability for the viewer to physically engage within the scene is the most interesting part of the scene to me.
ReplyDeleteNikki really hit the nail on the head with this blog entry. As she stated, “Every utterance and every gesture that each one of us makes is a work of art... yet, our thoughts and our life are fleeting. We are here in physical form, along with our thoughts and actions, and if we don't document them, they will pass away." This is a concept that I feel strongly in my day to day life and the main reason why I connected to Lauren DiCioccio's work so deeply. She meticulously memorializes everyday objects that most people disregard--tapes, pens and pencils, instruments, Nat Geo magazines (shame on them)--and concretes their importance to her in her memory by skillfully recreating them in her knitting. Unlike billions of other people who have let electronics completely take over their life, DiCioccio has learned the craft of slowing down, enjoying the simpler things in life, and creating memorable art through documentation. In this case, I would argue that her work is both a craft and an art form.
ReplyDeleteThe CFAM show got me very emotional. I could not articulate my anger, which Collins says makes the viewer feel oppressed (I agree). When we cannot speak and show our emptions than we become helpless. Imagination is an individual experience, and the pink barbed wire installation sparked that. Imagination and intention are linked together which made the pink feel feminine. Collins says the interpretation of art creates the experience that we have with the work. Since I have seen a barbed wire fence, I know the texture and significance. Even though it is an image, we bring in other sensory feelings. We distinguish thinking from feeling, from thoughts that are true and false. Sensors are things that happen to you and they are gone because the conscience takes them and turns them into the unconscious. Simply the inner language cannot be put with the physical. The artist was successful because if the viewer does not feel, than the artist has failed. If he artist makes a serene piece and the viewer does not feel so, than the artist has not done his job; intention is abstract until be become imaginative. I unknowingly felt trapped and angered by the work; it made me feel confined, vulnerable. It is an everyday object of life that cannot be articulated by people who are not artists. Since I am not an artist (since I can not take beauty from everyday extremes) I could not interpret my emotions. I when Collins said that everyone is walking throughout the day making art, yet they do not know it. The artist knows they are making art and preserving the moment. The work had an effect on my everyday imagery of confined spaces. I am very closerfobic, which played a role in the collaboration where the audience plays a role and makes emotions that are mutually experienced.
ReplyDelete"Locker Room" by Nathan Vincent really stuck with me as a former athlete. Until viewing that work, I never questioned the masculinity of a locker room. For me, the locker room represents the testosterone dominated place where anything feminine is left behind. Collingwood's idea that art can be craft, but craft can't be art is exemplified within this work. It surely takes a high skill in knitting to be able to create a locker room out of yarn. However, since the work offers so many questions about the masculinity of the locker room, the art form over takes the craft. Not only is Vincent creating the work of art, but in Collingwood's opinion, the viewer is also making art by interpreting the work. The thoughts and questions I'm having about the work are then an art form in itself, and Vincent is not only an artist, but a creator of potential artists, if I was to then take my thoughts and turn them into a work of my own.
ReplyDelete