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    Art Appreciation A (Final Exam Review) Flashcards

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    Art Appreciation A (Final Exam Review)

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    1 Intro to Art: The Nature of Art

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    Art is often controversial because __________________

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    c. artists and observers have varying ideas of what art is.

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    Terms in this set (15)

    1 Intro to Art: The Nature of Art

    ...

    Art is often controversial because __________________

    c. artists and observers have varying ideas of what art is.

    Proportion is ________________

    b. the relative size of an object as compared to another, or as compared to the other elements in the piece.

    The artist who painted this piece of modern art focused mainly on __________ and __________.

    a. balance; design

    ___________ provides both equilibrium and aesthetics to a piece of art.

    a. Balance

    Choose the word to fill in the blank, which best completes the sentence.

    When we see something that exists in real life, there are many different ways to display imagery and importance using art. What the artist _____________ depends on what he/she wants to communicate.

    a. emphasizes

    What is the most common purpose for composition in art?

    c. It provides an understanding of, and agreement among, all the elements.

    Which of the following statements best describes James Auduborn's intentions when he painted, Wild Turkey?

    Not B, Not D

    Which of the following statements does not define what art is?

    b. Art is appreciated by all individuals when examined carefully.

    __________ is best defined as the all-encompassing reproduction of a person or thing.

    c. Imagery

    Brancusi's well-known sculpture of a bird was intended to ____________

    d. emphasize the graceful qualities of a bird.

    Forms of art depend upon _____________________

    b. the artist's tastes and the message the artist wants to convey

    The court case Constantin Brancusi v. United States determined that ____________ was a piece of art, and not a kitchen utensil as U.S. customs believed it to be.

    d. Bird in Space

    When we see something that exists in real life, there are many different ways to display imagery and importance using art. What the artist _____________ depends on what he/she wants to communicate.

    a. emphasizes

    2 Intro to Art: Artistic Inspiration

    ...

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    Related questions

    QUESTION

    Johan Vipper, Wired magazine, no. 3.02 1995

    3 answers QUESTION

    an art movement focused on basic geometric forms, such as circles, squares, lines, and rectangles, painted in a limited range of colors. It was founded by Kazimir Malevich in Russia, around 1913.

    2 answers QUESTION

    Considered the leader of the Fauvist movement, this artist's painting The Joy of Life embodies all its ideals:

    2 answers QUESTION

    The National Standards for Arts Education were developed in 1994 by the:

    3 answers 1/4

    Source : quizlet.com

    Art and Interpretation

    Internet Encyclopedia of Philosophy

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    Art and Interpretation

    Interpretation in art refers to the attribution of meaning to a work. A point on which people often disagree is whether the artist’s or author’s intention is relevant to the interpretation of the work. In the Anglo-American analytic philosophy of art, views about interpretation branch into two major camps: intentionalism and anti-intentionalism, with an initial focus on one art, namely literature.

    The anti-intentionalist maintains that a work’s meaning is entirely determined by linguistic and literary conventions, thereby rejecting the relevance of the author’s intention. The underlying assumption of this position is that a work enjoys autonomy with respect to meaning and other aesthetically relevant properties. Extra-textual factors, such as the author’s intention, are neither necessary nor sufficient for meaning determination. This early position in the analytic tradition is often called conventionalism because of its strong emphasis on convention. Anti-intentionalism gradually went out of favor at the end of the 20th century, but it has seen a revival in the so-called value-maximizing theory, which recommends that the interpreter seek value-maximizing interpretations constrained by convention and, according to a different version of the theory, by the relevant contextual factors at the time of the work’s production.

    By contrast, the initial brand of intentionalism—actual intentionalism—holds that interpreters should concern themselves with the author’s intention, for a work’s meaning is affected by such intention. There are at least three versions of actual intentionalism. The absolute version identifies a work’s meaning fully with the author’s intention, therefore allowing that an author can intend her work to mean whatever she wants it to mean. The extreme version acknowledges that the possible meanings a work can sustain have to be constrained by convention. According to this version, the author’s intention picks the correct meaning of the work as long as it fits one of the possible meanings; otherwise, the work ends up being meaningless. The moderate version claims that when the author’s intention does not match any of the possible meanings, meaning is fixed instead by convention and perhaps also context.

    A second brand of intentionalism, which finds a middle course between actual intentionalism and anti-intentionalism, is hypothetical intentionalism. According to this position, a work’s meaning is the appropriate audience’s best hypothesis about the author’s intention based on publicly available information about the author and her work at the time of the piece’s production. A variation on this position attributes the intention to a hypothetical author who is postulated by the interpreter and who is constituted by work features. Such authors are sometimes said to be fictional because they, being purely conceptual, differ decisively from flesh-and-blood authors.

    This article elaborates on these theories of interpretation and considers their notable objections. The debate about interpretation covers other art forms in addition to literature. The theories of interpretation are also extended across many of the arts. This broad outlook is assumed throughout the article, although nothing said is affected even if a narrow focus on literature is adopted.

    Table of Contents

    Key Concepts: Intention, Meaning, and Interpretation

    Anti-Intentionalism

    The Intentional Fallacy

    Beardsley’s Speech Act Theory of Literature

    Notable Objections and Replies

    Value-Maximizing Theory

    Overview

    Notable Objections and Replies

    Actual Intentionalism

    Absolute Version Extreme Version Moderate Version

    Objections to Actual Intentionalism

    Hypothetical Intentionalism

    Overview

    Notable Objections and Replies

    Hypothetical Intentionalism and the Hypothetical Artist

    Overview

    Notable Objections and Replies

    Conclusion

    References and Further Reading

    1. Key Concepts: Intention, Meaning, and Interpretation

    It is common for us to ask questions about works of art due to puzzlement or curiosity. Sometimes we do not understand the point of the work. What is the point of, for example, Metamorphosis by Kafka or Duchamp’s Fountain? Sometimes there is ambiguity in a work and we want it resolved. For example, is the final sequence of Christopher Nolan’s film Inception reality or another dream? Or do ghosts really exist in Henry James’s The Turn of the Screw? Sometimes we make hypotheses about details in a work. For instance, does the woman in white in Raphael’s The School of Athens represent Hypatia? Is the conch in William Golding’s Lord of the Flies a symbol for civilization and democracy?

    What these questions have in common is that all of them seek after things that go beyond what the work literally presents or says. They are all concerned with the implicit contents of the work or, for simplicity, with the meanings of a work. A distinction can be drawn between two kinds of meaning in terms of scope. Meaning can be global in the sense that it concerns the work’s theme, thesis, or point. For example, an audience first encountering Duchamp’s Fountain would want to know Duchamp’s point in producing this readymade or, put otherwise, what the work as a whole is made to convey. The same goes for Kafka’s Metamorphosis, which contains so bizarre a plot as to make the reader wonder what the story is all about. Meaning can also be local insofar as it is about what a part of a work conveys. Inquiries into the meaning of a particular sequence in Christopher Nolan’s film, the woman in Raphael’s fresco, or the conch in William Golding’s Lord of the Flies are directed at only part of the work.

    Source : iep.utm.edu

    To what extent do people believe that art can contribute to positive change?

    Read 338 answers by scientists to the question asked by Jade Catherine Wildy on Oct 15, 2012

    Question

    Asked 15th Oct, 2012

    Jade Catherine Wildy

    University of South Australia

    To what extent do people believe that art can contribute to positive change?

    Art has moved away from the decorative purpose to involve social engagement and political motives. What are peoples opinions of art's ability to affect change?

    Art Art and Science Arts Research Contemporary Art Social Anthropology

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    Most recent answer

    23rd Mar, 2013 Mallory Oconnor Santa Fe College

    Stephen, I have to take issue with that last statement: "Rather than arts being more effective at positive change today, we have actually kind of lost these basic pro-social functions." While I agree that traditional art in early societies helped promote well-being and social cohesion (think songs, dances, story-telling, images of archetypal ancestors), art today is still performing the same function albeit with different mechanisms. I just organized an art exhibit about the Fountain of Youth as part of the Quincentennial commemoration of Ponce de Leon's landing in Florida in 1513. The mythology of the Fountain legend has been embedded in Florida's cultural identity for centuries and has informed the idea of Florida as a place for recreation, enjoyment and good health. Retirees come to Florida to reinvent themselves and enjoy a "second childhood." I asked Florida artists to create works of art that would speak to the issue of how the Fountain story has impacted Florida's development over time. The exhibit has 60 wonderful examples of the artist's interpretations of the Fountain narrative from historical documentation of maps, navigational tools and "then and now" images of the environmental impact of development to mythic symbols for eternal life and future technologies that explore the idea of "virtual immortality" through medical intervention. This blending of art with history and science is where many artists are working today, often as teams who can explore various aspects of a complicated subject. (One Florida group, Florida Research Ensemble, uses interactive video and computer-generated imagery to discuss controversial topics in medicine, popular culture and the environment.) I think that whereas artists may not be using "art making" in the same way as traditional societies, they are still using art to explore and define the parameters of our world today and to promote dialogue and positive action on both group and individual levels.

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    Popular Answers (1)

    14th Mar, 2013

    Jean MacKenzie Ward Colson

    The assumption that art (making images) was once decorative and is now communicative of social and political ideas is not accurate. Art has not gone through a lineal process from simple to complex.

    Human's have always made images for many reasons: decorative and communicative , emotional, etc. Human beings must communicate to each other.

    What some people call making art (drawing, painting, etc. ) is a 'subset' of making images. We use images for a wide spectrum of purposes mainly because we have eyes to see. Humans must communicate with each other. Express their thoughts and reactions.

    Art uses visual shapes/forms, colours, lines, to create meaning. Sometimes these 'meanings' are shallow..that is, the image is lacking in conceptual complexity.

    Humans vary in the meanings that they are able to attribute to these forms..all depends on what humans know about them.

    Art has not moved from decorative to 'communicative' This in not 'recent'.

    Humans have used always used their abilities to create images for social engagement and political motives from the beginning of their existence. Some people just call that activity art.

    Making images were never used solely for decorative purposes. Making images were also used to communicate ideas.

    After all, what is writing?

    Writing are small often beautiful shapes that are designed to codify meaning.

    The more beautiful examples of writing is called calligraphy.

    Before humans taught themselves how to read, they used images to tell themselves stories, to teach their histories, to teach the past.

    Nor do I think one 'has to be educated' to appreciate art.

    Art is not merely an appreciation of form and content coupled to a sense of esthetics.

    Human beings have been creating visual things from the times that they began to draw. What these images mean depend on the context in which image is created, for what purpose it is created, by whom it is created, and for whom it is created.

    Human beings associate various levels of meaning with some shapes...Letters and symbols are smaller examples of this process.

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    All Answers (338)

    1 2 3 4 16th Oct, 2012 Gudrun Bielz

    University of Reading

    Art was not that decorative when Bauhaus was around (early 20th century). There was a rather good exhibition at the Barbican in London. What about artists around the Russian Revolution, art was part of the political renewal (Eisenstein, Malevich). There are so many artists and art movements that were part of bigger societal ideas, and helped forming them. In a more unfortunate way, the Futurists (Marinetti et al in Italy), whose political movement was incorporated by Mussolini's Fascist party. In the 1960s and 70s, there was "political art" in Europe and the USA (going together with 1968) -- to name a few: Kelley, McCarthy, EXPORT .... What about Gerhard Richter's Stammheim Chamber, artists like Hans Haacke, Cosey Fanny Tutti and Gustav Metzger here in the UK (1970s), Terry Atkinson, Victor Burgin ...... and so many more. So, which time frame do you have in mind? The question is slightly too general ....

    Source : www.researchgate.net

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