Nov 6, 2017 in Art Category

Art Historical Journal Articles

Learning the Standard for the Arts

            This article displays the need for participatory forms of acquisition of art for perfection. This implies that practicing art is influential in shaping the standards while disability is not inability. The essence of this statement is a reflection of art as being universal, while its acquisition depends on daily practice. The major forms of participation in art include song and dance, where it elucidates my notions in the mind over the recent visit to the museum in New Jersey gave the real definition of how practice makes perfect. In this state of the art amenity, art is highly appreciated as a tool for preservation of culture, putting the requirement for its support and findings (Diane, 38).

            The NJ/NY/PE area museum depicted the real understanding of artefacts and preservation of culture while the affair in itself provided the sense of how government participation through programs of aid scenic sites is fundamental in keeping with the standards of art. This fascinating program identifies art as a signatory element for revelation of the rich culture among nations, while the funding system is a form of maintaining the prevalence of the art of generations to come. The facility allows free entry to the auditorium where there is education on the prehistoric artefacts. Moreover, the federal program of National endowment for arts has transformed the understanding of art where participants get the necessary support to keep art to the brim of preservation of aesthetic value. The complexity of this program depends on frequent participation, where forms of practice include the exhibition of paintings, sculpture and other forms of paperwork. This form of depicting art through displays, with emphasis of sponsorship from the federal government has encouraged enlightenment of talent from various practitioners to enable passage of information from one generation to the other. The element of co-linearity between continued support and exhibitions is a form of appreciation of the artistic minds residing to the proximity of the museum.

The Science of Art

In the synthesis of the historical journal; “The science of art- a neurological theory of aesthetic experience” by V.S Ramachandran, there is an evident scenario that the humanistic art is mediated by the neural system. In response to this article the nature of any article depends on the perceptions of the viewer, which implies that the authenticity of any art relies on the final conclusions that depend on the past experiences. Art is relatively a nature of understanding the nature of an object although the quality of any item lies in the previous encounters with the same object.

The knowledge of observable features like colour is a from the general knowledge, while some distinctive features that define the coarseness or smoothness of a plane depends on the sense of touch.  These artistic shapes also create the lingual disparities among the people with the different forms of appreciation of the artistic features through naming. The basic knowledge of objects forming the universe is also as a result of interpretation from neurons, which mediate perceptions into reality for efficient communication. The general form of understanding of artistic features is that they titillate the visual aides in the brain resulting in the peak shift, which is a point of obtaining the specific elements that the eyes can appreciate in art (Sartwell, 76).

            This form of creating lines of discrepancy in artwork is not only a form of appreciation to the whole endeavour, but also a source of inflicting the sense of automated judgement on the aesthetic value of objects in view. This form of appreciation of art on the basis of neuron aides is applicable in assisting children in war torn areas, where artists use pictures on the ground depicting the war torn environment against another contrasting picture depicting political stability. The comparison in these two situations aids in addressing change since the disparity in pictures depict a point of concern. This situation is depicted through Photovoice, where a casual observer illustrates what is seen in picture to what happens on the ground. This culminates in a voice for change for better since such situations call for address systems from the policy makers (Katy, 37).

Art and politics

             Consequently, in the prologue of “Art and politics “elucidated by Crispin Sartwell shows creation of the perception of huge masses of followers through art. This is a mode used by politicians to gather the favours of the electorate through revealing their intentions in form of pictures and calligraphy. The first perception of the viewer is to follow the ingredients of the artistic work in order to aid in decision making over the ambitions of the aspirant. If art shapes the consciousness of any population, then it must be in the political arena, where there exist all forms of propaganda to influence the conscience of the people. The form of choice of colours for distinction of one political affiliation from the other synthesises the aspect of aesthetic value, where the electorate gets attraction for colours that depict change (Sartwell, 24).

This form of display of art is influential towards generating the platform for contests, where the most appreciated communication through art wins, while the loser lives with the fairy tale of having had the emblem of influence through the symbol used. This has also shaped the historical alignment of politics in major countries. A poster hanging on the wall arouses political hysteria among nations especially if it depicts the face of a prominent politician. Such a form of communication also enhances a mood for a contest between the supporters of any rivalry group, which forms the battle that art can cause politically. Such an incident would lead to the battle for supremacy, knowing that the will to form alliances to some candidate is aroused by the aesthetic value the object of the contender. This implies that art can be a form of swaying the decision in the notions of the mind, where it can shape the mind into preference to the most familiar environment.

Towards A Sustainable Arts Society and Culture

            The relationship between art and economy does not reflect sustainability due to the low resource capabilities oriented to art. This implies that there is scanty correlation between art and economic sustainability in the sense that the economic requirement from art is not in equivalence with the economic outcome, which synthesises the need for a mode of creation of sustainability. Sustainability is a situation where the economic returns from art is able to concur with the cost of production, thus eliminating chances of subsidy in the running of art amenities. In relation to the “Rethinking cultural philanthropy towards more sustainable arts and culture sector” by Diane Ragsdale, it is evident that the society needs to change into viewing art as a tool that can provide both aesthetic value and generate income since these two works retrospectively (Allman, 98).

            As in the previous suggestion of aiding costs through programs like the federal aid is only geared towards sustaining educational programs at the museum exhibitions. This shows that there is a positive shift towards realisation of benefits from art since more dependence on aid is more of increased production costs. In real sense and with the advancement in technology where some videos of artistic models on social networks like YouTube could generate many currencies fro individuals. This is in contradiction with the requirement of aids and grants needed to hold free exhibitions. The intermingling sense of reality is that there should be a enormous move towards generation of income from art, which is most probable for a sustainable coexistence between art and income. The natural formation is that the expenses of any form of action should not supersede the limits of no return such that the endeavour is only a liability.

Art of War

            The discrepancy between a loss and a victory in war comes about as a result of artistic influences placed in any form of war zones. This is from the fact that the nature of ammunitions and their level of performance depends on artistic thinking. The practical aspect of war is in itself art, where body language communication depends on the training that the participants have prior to the battlefield. The correlation of what happens in a battlefield is what vehemently describes art in the sense that the movements are collinear to the commands are made. The fact that there was primitive art does not mean that there was no appreciation. Most of the participants of this form of primitive thinking were also the icons of formation of revolutions against the colonisers. The aspects of modern art come about as a result of the revolutionary systems created to aid nations into independence. Consequently, modernisation has led to use of sophisticated weapons due to advancement in technology that has led to the loss of lives. This implies that art might interpreted through this means is a destructive form of art, which brings about the idea of consideration of preference to the forms of art. This in emphasis puts the need of predetermining the kind of innovations in the mind, while pre-judgemental analysis is critical in aiding to the preference of better forms of art. The essence of sophistication in ammunitions is not only protective but also destructive (Barlow, 85).

Art of Failure

            The action of winning a competition is what most competitors covet. In this stance, awards to the winner depict the value of performance and a form of retaliation to the resources vested towards participation. Some forms of art like the song and dance are career opportunities, while the impact of exposure of talent is the factor that determines the end in terms of rank. The value placed to the highest performer is always depicted to the kind of trophy that one acquires after the whole endeavour (Gladwell, 23). Consequently, participation in such events includes attributes of communication of brands for corporate sponsors of such events, where the dressing code of participants might be geared towards advertisement of the commodities in the market (Gladwell, 12).

            This implies that art is a tool for display of the nature of resources vested towards competition, while it could be the factor of influence to the extent of proficiency. This is from the price category that such participants get in relation to the position acquired. Consequently, the nature of these prices is entirely conned art, where there is designation of all forms of artistic shapes to symbolise the position achieved. The fate of losers in such competitions is not regarded, bringing about the ideology of art failure. Moreover, the corporate organisations that do not get involved in such aides to trade are affected in terms of recognition. Recognition is through the emblem and logo signifying the company, where the more the corporate sponsorship, the more it gains recognition while the converse is also true.

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