About Crafts


About Crafts

03-About Crafts

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Craft

 

Art (ärt)n. · Human effort to imitate, supplement, alter, or counteract the work of nature.· The conscious production or arrangement of sounds, colors, forms, movements, or other elements in a manner that affects the sense of beauty, specifically the production of the beautiful in a graphic or plastic medium.

 

Craft (kr ft)n.

 

· Skill in doing or making something, as in the arts; proficiency.

 

· To make by hand.

 

· To make or construct (something) in a manner suggesting great care or ingenuity.

 

Craft, the word has been with man for ages. There are unique mysteries in life that are usually provoking the true nature of reality, as us humans become aware of it. The genealogy of a man is equal to the idea that the term “craft” has evolved so beyond the understanding of the human mind. A skill in the form of an advanced, detailed, or progressive (movement) in the ability to perform with great skill in one view of behavioral science cannot be determined by meaning alone. It is a difficult word to be defined.

 

The term craft I would mainly determine to be defined as the assemblage of objects that has some sort of interconnection to art, but it depends on the complexity of what is being built. After doing the many projects in class I have many different views on how craft is defined. A good example that would sort of involves both, primitive art and art deco in a small sense. Some of the African statues that are carved would have some geometric designs, (which relates to the way in which the style of art deco slightly falls in) is that would sometimes mean something in its own way. A person who could be making it for any kind of reason would usually make these sculptures by hand. Using his or her tools to be cutting into the material so that they can successfully make something with such craftsmanship, worth looking at. That is craft. Something like a fireplace with a few different color tiles that make a minor design, I deeply hesitate to call art or craft because of the fact that it seems to be so simple and isn’t really hand crafted completely. That is just one example of art deco. When you look at the way some of the different buildings interior is made, in terms of the sculptures, paintings and furniture you may have a completely different view in what you think in your mind. Whatever technique they use to build the items with the different combination of colors etc. makes the final product look alluring to the eye. But with a mind creative enough it can done by anyone. Which makes me conclude my own opinion that art deco is not a craft that requires much skill.

 

Whether it is a plaster plate, a personal icon made of a cardboard tube, beading, or maybe even a mosaic pot. Art is to me the end result of an individual or a groups crafting. There are some numerous different ways of making crafts, and what we have covered in class is not a fraction of a percent of the contrasting types that is out there. Some people can have a tendency to take it more to heart then others, as well as get inspired from various kinds of things. Although some of the contrasting styles are old and ancient, the different styles are used across the world everywhere by the diverse artists that have a great competence in those areas. To people who have not yet fully explored the fundamentals of craft would not see most of the complexity that has to do with it. So they are not able to express their feelings and emotions through their work in what ever they may be making.

 

 

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How Art Can Be Good


How Art Can Be Good


10-How Art Can Be Good

 

 

I discovered an article over internet which I find it very interesting. I couldn’t find an email address to ask the permission from author, but I believe that if I quote few paragraphs and leave a link out for continuing reading the article, will be enough and honorable from me. The article is full rights reserved under the signature of ©Paul Graham

 

 

I grew up believing that taste is just a matter of personal preference. Each person has things they like, but no one’s preferences are any better than anyone else’s. There is no such thing as good taste.

 

Like a lot of things I grew up believing, this turns out to be false, and I’m going to try to explain why.

 

One problem with saying there’s no such thing as good taste is that it also means there’s no such thing as good art. If there were good art, then people who liked it would have better taste than people who didn’t. So if you discard taste, you also have to discard the idea of art being good, and artists being good at making it.

 

It was pulling on that thread that unravelled my childhood faith in relativism. When you’re trying to make things, taste becomes a practical matter. You have to decide what to do next. Would it make the painting better if I changed that part? If there’s no such thing as better, it doesn’t matter what you do. In fact, it doesn’t matter if you paint at all. You could just go out and buy a ready-made blank canvas. If there’s no such thing as good, that would be just as great an achievement as the ceiling of the Sistine Chapel. Less laborious, certainly, but if you can achieve the same level of performance with less effort, surely that’s more impressive, not less.”

 

“Humans have a lot more in common than this, of course. My goal is not to compile a complete list, just to show that there’s some solid ground here. People’s preferences aren’t random. So an artist working on a painting and trying to decide whether to change some part of it doesn’t have to think “Why bother? I might as well flip a coin.” Instead he can ask “What would make the painting more interesting to people?” And the reason you can’t equal Michelangelo by going out and buying a blank canvas is that the ceiling of the Sistine Chapel is more interesting to people.

 

A lot of philosophers have had a hard time believing it was possible for there to be objective standards for art. It seemed obvious that beauty, for example, was something that happened in the head of the observer, not something that was a property of objects. It was thus “subjective” rather than “objective.” But in fact if you narrow the definition of beauty to something that works a certain way on humans, and you observe how much humans have in common, it turns out to be a property of objects after all. You don’t have to choose between something being a property of the subject or the object if subjects all react similarly. Being good art is thus a property of objects as much as, say, being toxic to humans is: it’s good art if it consistently affects humans in a certain way.”

 

Those above were quoted from the original article. Please continue reading the full article here:

 

[Source Info:

http://www.paulgraham.com/goodart.html ]

 

Common Misconceptions Artists Have About Galleries


Common Misconceptions Artists Have About Galleries

 08-Common Misconceptions Artists Have About Galleries

 

I recently discovered a great article in which are explained some aspects of our beloved domain, ART. For the article, full rights reserved to ©Alan Bamberger .

In few lines, according with the permission to post a fragment from the article, I  quote:

 

In an ongoing effort to separate art world facts from fantasy, I contacted a number of gallery owners and asked whether they could relate some beliefs artists have about galleries and gallery owners that simply aren’t true. Successful artist/gallery relationships are built on trust, knowledge, cooperation and understanding, and the better and more informed artists are about how art galleries really work, the greater the chances that their gallery relationships will succeed and prosper. So are you ready to exorcise those erroneous notions?”

Please continue reading the article, discovering the common misconceptions and reality, here:

 

[Source Info:

http://www.artbusiness.com/misconceptions-artists-have-about-galleries.html  ]

 

A Guide to Writing about Art


A Guide to Writing about Art

 14-A Guide to Writing about Art

This is an article concerning our beloved domain – ART! I wish to express my greetings to a website which allowed me the right of sharing this article: Thank You! Also, you are invited to visit the website as you will find more interesting things; a website which contributes to development of art:

 The University of Iowa

 

[Source Info:

http://www.uiowa.edu/~writingc/writers/handouts/WritingAboutArt.shtml  ]

 

A Guide to Writing about Art

 

 

“When you analyze, you are seeking to account for your experience of the work.”

“An unanswered question is an essay topic in disguise.”

We write about art to clarify and to account for our responses to works that interest, excite, or frustrate us.  When writing a paper we not only look at what is in front of us, but what is within.  Here is a basic checklist to keep in mind when drafting a paper:

  1. Interesting title.
  2. Intro includes essential info.
  3. There is a point (thesis).
  4. The point is well supported with persuasive details.
  5. The needs of the audience have been addressed.
  6. The paper is well organized.
  7. Personal views are included.
  8. It satisfies the assignment.

How to begin:

There are three main considerations when writing about art:

  • subject matter
  • form
  • socio-historical context

Each of these affect the meaning or content you take away from a piece. In your analysis you might choose a single design element of the piece that illuminates your experience of it (i.e.: the scale of the piece, effect of gaze of the artist or viewer, the brushstrokes). When analyzing art, consider the following questions. After you answer each one remember to further ask yourself:

  1. Why the artist might have made that choice, and
  2. How does it affect the viewer’s reaction to, or relationship with, the piece?

General Questions:

  • What is the title?
  • Why was it made? What is its purpose?
  • If it’s a portrait – does it portray an individual or a social type? What aspect of the sitter’s personality is expressed?
  • If there is a figure, what is its gaze as it relates to the gaze of the artist or viewer?
  • What is the relationship between the parts?
  • What is the medium, color, scale?
  • What techniques did the artist use?
  • Where is it located?
  • Are there any connections with earlier art history – or history in general?
  •  Is there any symbolism?
  • What is the artist’s philosophy?
  • Does the piece appear as it was originally constructed?
  •  What is the size?
  • Where is the main subject in relation to the foreground, background and middle ground?

Drawing and Painting:

  • If it is a still life, what does the artist focus on, technique, composition?
  • In a landscape, is there any human interaction with the land? Whose view of the natural world might the artist have represented?

Sculpture:

  • Is there a pose? What does the pose suggest?
  • What does the clothing suggest? Is it heavy or light?
  • Is the piece geometric? Irregular? In silhouette?
  • If you are looking at a bust, note the truncation?
  • Why would the sculptor chose to stop there? Is there a base?
  • Is the sculpture carved or molded? What is its texture? Does it reflect the medium or the facture (the process of working on the medium)?

Photography:

  • Who was the photographer, an individual or a firm?
  • What is the overall focus?
  • What type of development process was used; what kind of paper?
  • On what material is the photograph printed?
  • Has it been tinted, retouched or cropped?
  • Was natural or artificial light used?
  • What is the range of light and dark?
  • What did the photographer chose for exposure time? Are there blurs or motions which indicate the passage of time?

Video Art:

  • What is the visual impact? (Consider the work as you would a sculpture.)
  • Is there sound?
  • What is the context? (Of the video, of the piece as a whole.)
  • Are there any political implications?

Architecture:

  • How is the structural system of a building/monument suited to its purpose?
  • What is the interior hierarchy of spaces?  Do they flow, connect well to the exterior?
  • What kind of statement does the building make about the thing it will house? (If it is a bank, what does it say about money? If it is a library, what does it say about knowledge?)
  • How do you approach the building and enter it?
  • Are there blueprints of the work? Do they change your impression of the building?

Please note: reproductions (in books or slides) offer little sense of the actual size and texture of the original. If possible, make an effort to see the work you are writing about or ask your professor to recommend a good book or website.

The information in this handout is excerpted from A Short Guide to Writing about Art (8th ed.), by Sylvan Barnet.

–The Writing Center thanks April Freely, Emma Rainey, and Emily Weirich for contributing this handout.

 

 

[for the article Full Rights Reserved ©The University of Iowa]