Chapter One Lecture Notes

Key terms to know:

• Aesthetics: branch of philosophy that deals with the nature, beauty and meaning of art, and our response to it

• Megalith: a large, massive stone

• Genre: art that depicts casual moments of everyday life and its surroundings

• Vanitas: (vanity) fleeting nature of earthly life

Chapter Outline

Chapter 1. Living with Art

Constantin Brancusi’s studio, reconstruction

Constantin Brancusi, Bird in Space

THE IMPULSE FOR ART

“Lion Panel,” Chauvet cave

Stonehenge

Stemmed vessel, Longshan culture

WHAT DO ARTISTS DO?

Maya Lin, Vietnam Veterans Memorial

Kente cloth, Ghana

Manohar, Jahangir Receives a Cup from Khusrau

Shiva Nataraja, India

Vincent van Gogh, The Starry Night

Ernst Haas, Peeling Paint on Iron Bench, Kyoto, 1981

CREATING AND CREATIVITY

Tim Hawkinson, Emoter

LOOKING AND RESPONDING

Juan de Valdés Leal, Vanitas

Audrey Flack, Wheel of Fortune (Vanitas)

Jim Hodges, Every Touch

Artists: Maya Lin

Artists: Vincent van Gogh

To understand art we must use our imagination and intelligence.

To appreciate and understand art, to allow it to help you see things in a new way, you must understand something about art. That is the focus of this course. While we focus on the Western tradition, we must also understand the impact of non-Western traditions.

Aesthetic philosophy: What is art? How and why does it affect us? Artists debate passionately about “good art” and beauty. Is it serious or light-hearted, beautiful or shocking, realistic or innovative, personal or objective? We will look at a wide range of approaches in the next pictures.

Abstraction

It allows for universal ideas.

It gives the essence or pure form of a concept like: birth, kiss, flight, dream.

Figure 1.2 Brancusi’s Bird in Space, 1928-30.

Figure 1.1 Brancusi’s studio, as reconstructed 1977-90

“Selective perception” or a “defensive grid” allows us to categorize quickly and make assumptions. It is necessary in an over-stimulating environment, such as this, or in our own fast-paced lives. It also forces us to miss details, and have preconceived ideas. You would have to move slowly through this room to appreciate each of these works on its own merit, without categorizing. When interpreting art, it is important to look long enough to ask questions and find visual clues. Your first impression will change if you spend time contemplating these works. Movies have 2 hours to impact viewers; a novel has chapters; a sculpture or canvas has only the time the viewer is willing to give. Pictured are versions of Endless Column and Fish and Bird in Space. Brancusi does not depict particular details, but the essence of their existence. He states that the work represents “the soul liberated from matter.”

The Impulse for Art

Building & Aesthetics:

Figure 13.35 Frank Lloyd Wright, Fallingwater, 1936

Art is all around us, but we often take it for granted. Architects consider aesthetics and their impact on human emotions. Buildings are designed for visual appeal as well as practical ends.

Art in the House:

Art and aesthetics are part of your everyday life, though we are often unaware, due to selective vision and familiarity. Art plays a part in the decisions we make in furnishing our homes, choosing cars, clothing, jewelry, and other functional items.

Figure 1.5 Stemmed Vessel, c. 2000 B.C.E.

This particular piece of pottery from China, dated from 2000 BCE, shows the artist’s innate need to combine function and aesthetics. In fact, aesthetics were considered more than function, as the section that holds the liquid is proportionally small and top heavy. It could have been made for ceremonial purposes and the socially elite. In your home you probably have functional items

displayed that you rarely use because they are special to you.

The Impulse for Art

The impulse to create and communicate has existed since at least 30,000 BCE. Many times, we are only knowledgeable of a people’s existence because of the discovery of their art. The discovery of this cave pushed back our history of art by several thousand years. What compelled man to create visual records? In this case there are several theories: to decorate his dwelling space, to “pray” for magic and success of hunts, to educate hunters as to the movement and nature of prey. Often hunters needed to be close to the kill and would cover themselves with a hide. Their movement would need to mimic the animal in order to succeed. Artists have an innate need to express themselves.

Figure 1.3 Chauvet cave, Lion panel, c. 25,000-17,000 B.C.E.

Megalith: Massive stones

Figure 1.4 Stonehenge, c. 2000-1500 B.C.E., Salisbury Plain, England; concentric circles of megaliths

Sometimes, knowing about the culture, its history, and its innovations adds to your appreciation. This is known as “context.” Archeologists have argued over theories about why these massive megaliths were quarried, carved by hand, moved and raised over centuries, beginning around 3100 BCE. Some of the stones weigh 50 tons each. Upon closer study, it was theorized that the solstice, seasons, and astrological movements were accurately recorded in this structure. Others feel it was a place for rituals and worship. In this case, man had an intrinsic need to make sense of his world.

What Do Artists Do?

The Need for Art:

• To create places for human purpose

• To create extra-ordinary versions of ordinary objects

• To record and commemorate

• To give tangible form to the unknown

• To give tangible form to feelings and ideas

• To refresh our vision and see the world in a new way

These functions would be difficult to achieve without the arts. Most of us prefer books with images to allow us to relate to the words.

To create places for human purpose

Figure 1.6 Maya Lin, Vietnam Veterans Memorial, 1982

Stonehenge represented the needs of a particular society and purpose. While the theme of this image is the same, the purpose is for a different need by a different society. Her task was to create a memorial that honored the human sacrifice of war, while neither glorifying nor condemning the controversial war itself. The V-shaped wall of granite is inscribed with 58,000 names of the missing, captured, and dead. The polished surface reflects the Washington Monument and the visitors themselves. As viewers enter, they are on level ground, which represents the barely noted

beginning of the war. As viewers continue their descent the wall grows taller until it towers overhead, with names multiplying. As the corner is turned, the wall begins to diminish, and viewers are directed toward the Washington Monument or Lincoln Memorial. It is a journey downward to reflect on death, then upward toward hope, healing and reconciliation. Like Stonehenge, it is meant to draw a community together.

Create extra-ordinary versions of ordinary objects

Figure 1.7 Kente cloth, Ghana, mid-20th century.

The Neolithic Stemmed Vessel is more than a cup. Likewise, this West African textile woven by the Asante people is more than a garment. Each of the hundreds of patterns bears its own name, history and symbolism. A king would choose a new pattern to be used for ceremonial purposes, which distinguished him as an extra-ordinary version of an ordinary human being.

Record and commemorate

Figure 1.8 Manohar, Jahangir Receives a Cup from Khusrau, 1605-06.

Function of artists: Art can provide a record that is often more insightful than history books.

Manohar depicts a reconciliation between a ruler of the Mughal dynasty in India and his son. This 17th century artist depicted a moment that would not last, as the son eventually staged a rebellion and dethroned his father. This past leader will be immortalized through painting. How did the artist emphasize him in this group of people (centralized, contrast, pointers, size)?

Give tangible form to the unknown

Figure 1.9 Shiva Nataraja, anonymous, India, 10th century C.E.

Functions of art: Man has always been intrigued with personal images from spiritual motivations. We might admire the grace of this bronze casting, but unless we knew something about the symbolism & context, we might miss clues. This is a sculptor’s depiction of the Hindu god Shiva in his guise as Nataraja, the Lord of the Dance. The ring symbolizes the end of a cycle of time and the beginning of the next cycle, or rebirth and destruction in an endless circle of flames. What are the hands symbolizing? The upper right hand holds the drum to summon creation. The left holds the flame of destruction. One hand points to the foot beneath which worshipers may

seek refuge. The fourth raises its palm in a gesture known to mean “fear not.”

Give tangible form to feeling

Figure 1.10 Vincent van Gogh, Starry Night,

Functions of art: This artist attempted to express his personal feelings. Van Gogh was intrigued by a thought that people journey to a star after death. Nature seems to be alive and have an urgent presence, while the village and those on earth sleep.

Refresh our vision and see the world in new ways

Figure 1.11 Ernst Haas, Peeling Paint on Iron Bench, Kyoto, 1981, 1981.

We often gravitate to familiar ways of viewing things due to selective vision and familiarity. This photograph zooms in on a small detail from an ordinary day we would take for granted (genre). Haas forces us to stop and see the composition through his eyes: bold contrast of colors, positive & negative shapes, textures. There is beauty even in the most mundane.

Creating & Creativity

Creative people tend to possess certain traits:

1. Sensitivity: heightened awareness

2. Flexibility: adapt to new possibilities

3. Originality: problem solve creatively

4. Playfulness: humor & experimentation

5. Productivity: ability to generate ideas

6. Fluency: free flow of ideas

7. Analytical skill: exploring problems and finding how things work

8. Organizational skill: putting things together in a coherent order

These traits, attributed to creative individuals, are sought after by managers in all upper-level employees. Most professionals are valued according to these traits: doctors, professors, scientists. All of these attributes are fostered by the arts. Can a person become more creative? Almost certainly, if you become

comfortable with an open mind, and release rigid notions of what has been or should be.

Compare the creative traits in the previous pictures with this installation. Sensors link changes in the artist’s face, which moves continuously in response to the signals from the monitor. An artist is expected to be creative, but is this a trait you think is unimportant for yourself as a student? Creativity can be cultivated, but only if one is motivated to disregard easy answers and to trust your experiences.

Figure 1.12 Tim Hawkinson, Emoter, 2002.

Looking and Responding

Compare these two versions portraying the fleeting nature of earthly life and happiness, a subject that was popular in the 17th century. “Selective perception” or a “defensive grid” allows each of us to take away meaning according to our past experiences and present needs. We may take away different insights on any given day depending on our mood. Leal’s almost overwhelming still life takes time to sort out. Ask questions and invite interpretation to exemplify the variety of personal perceptions. Include questions about the timepiece, flowers, bubble, globe and painting (The Last Judgment).

Figure 1.13 Juan de Valdés Leal, Vanitas, 1660.

Audrey Flack referenced this theme with modern day symbols. Ask students to point them out (photo in place of painting, hourglass, makeup, tarot card). Both messages speak of the passage of time, the meaning of life and immortality.

Figure 1.14 Audrey Flack, Wheel of Fortune (Vanitas), 1977-78.