Use his or her own ideas in creatingworks of visual art

art—defi ned as “the way,” “the manner”—locating art not at the level of the fi nished object but in its trajectory (s

This will mean opening thought beyond its articulation in language towards “the movement of thought,” 4engaging it at the immanent limit where it is still fully in the act.

Most of the lessons and techniques you need will be picked up as you practice. Try to draw something from life every day. If you’re new it’ll be pretty bad. But take time to study your work and examine why it’s bad. Great artists eventually learn to teach themselves through self-analysis.

Realism is about seeing accurately and copying without judgement. This involves a lot of looking and measuring to triple and quadruple check your work for mistakes. It can be tedious, especially if you don’t want to create realist art. But the more you practice rendering the better you’ll get. Try not to concern yourself too much with either method at first. The best thing for a beginner is to just draw. As you improve you’ll run into more specific roadblocks and should deal with them as they arise.

How does someone practice both of these techniques? Well the constructionist route is taught well by Proko and Vilppu. The realist route is primarily the domain of ateliers and classical schools, but you can teach yourself with a lot of life drawing and patience.

Writers choose modes of communication for every text they create.

A red hand stencil. A series of lines that look like a ladder. A collection of red dots.

music and art were important in helping those early modern humans forge a sense of group identity and mutual trust that enabled them to become so successful.

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the Sunken Cities exhibition opened this week at the St. Louis Art Museum.

This minimal, yet poignant presence is reflected in the brick work—Kafka’s novel showcasing how a small idea can have a monumental presence.

Chiang: There’s a passage in Annie Dillard’s The Writing Life where she’s telling her neighbor that she hates writing and would rather do anything else, and her neighbor says, “That’s like a guy who works in a factory all day, and hates it.” Writing is so difficult for me that I have often wondered whether I’m actually suited for it, and I’ve had experiences with the publishing industry that made me quit writing for years. But I keep coming back to it because, I suppose, writing is an essential part of who I am. As for advice to slow writers, I’d say that writing is not a race. This isn’t a situation where only the most prolific writers get an audience; publish your story when you’re ready, and it will find readers.

After winning the Forward prize, Vuong told the Guardian that he suspected dyslexia runs in his family, but felt it had positively affected his writing: “I think perhaps the disability helped me a bit, because I write very slowly and see words as objects. I’m always trying to look for words inside words. It’s so beautiful to me that the word laughter is inside slaughter.”

Vuong, who now lives in Massachusetts and works as an assistant professor in the MFA Program for Poets and Writers at the University of Massachusetts, Amherst, only gained a taste for poetry in his 20s

Born in Saigon, Vuong spent a year in a refugee camp as a baby and migrated to America when he was two years old, where he was raised by his mother, grandmother and aunt. Two aspects of Vuong’s life – his sexuality and the absence of his father – recur in his work

I am the vision. There are no limits to painting; that's why I am involved i

It feels like being on another planet and I want to explore immediat

The history of painting is full of graphic violence and narratives that don’t necessarily belong to the artists own life

the desponding view that the condition of man cannot be ameliorated, that what has been, must ever be,

the erection, preservation & repair of the buildings, the care of the grounds & appurtenances and of the interests of the university generally

they are of opinion that it should consist of distinct houses or pavilions, arranged at proper distances on each side of a lawn of a proper breadth, & of indefinite extent in one direction at least

mathematical and physical sciences which advance the arts & administer to the health, the subsistence & comforts of human life:

Rhetoric

Anglo-Saxon

It will form the first link in the Chain of an historical review of our language through all its successive changes to the present day, will constitute the foundation of that critical instruction in it, which ought to be found in a Seminary of general learning

To enlighten them with mathematical and physical sciences which advance the arts & administer to the health, the subsistence & comforts of human life:

4. The best mode of government for youth in large collections, is certainly a desideratum not yet attained with us. It may well be questioned whether fear, after a certain age, is the motive to which we should have ordinary recourse. The human character is susceptible of other incitements to correct conduct, more worthy of employ, and of better effect. Pride of character, laudable ambition, & moral dispositions are innate correctives of the indiscretions of that lively age; and when strengthened by habitual appeal & exercise, have a happier effect on future character, than the degrading motive of fear; hardening them to disgrace, to corporal punishments, and servile humiliations, cannot be the best process for producing erect character. The affectionate deportment between father & son offers, in truth, the best example for that of tutor & pupil;

Education, in like manner engrafts a new man on the native stock, & improves what in his nature was vicious & perverse, into qualities of virtue and social worth; and it cannot be but that each generation succeeding to the knowledge acquired by all those who preceded it, adding to it their own acquisitions & discoveries, and handing the mass down for successive & constant accumulation, must advance the knowledge & well-being of mankind

To develope the reasoning faculties of our youth, enlarge their minds cultivate their morals, & instil into them the precepts of virtue & order

The tender age at which this part of education commences, generaly about the tenth year, would weigh heavily with parents in sending their sons to a school so distant as the Central establishment would be from most of them

When I am out of school I like to go take pictures

ẢNH HƯỞNG CỦA MỸ THUẬT TRUYỀN THỐNG TRONG MỸ THUẬT HIỆN ĐẠI

Những họa sĩ nổi tiếng của Việt Nam

And above all I find it a very worrying matter that you believe you have to study in order to write. No, my dear little sister, learn to dance or fall in love with one or more notary’s clerks, officers, in short whoever’s within your reach; rather, much rather commit any number of follies than study in Holland, it serves absolutely no purpose other than to make someone dull, and so I won’t hear of it. For my part, I still continually have the most impossible and highly unsuitable love affairs from which, as a rule, I emerge only with shame and disgrace.13 And in this I’m absolutely right, in my own view, because I tell myself that in earlier years, when I should have been in love, I immersed myself in religious and socialist affairs and considered art more sacred, more than now. Why are religion or law or art so sacred? People who do nothing other than be in love are perhaps more serious and holier than those who sacrifice their love and their heart to an idea. Be this as it may, to write a book, to perform a deed, to make a painting with life in it, one must be a living person oneself. And so for you, unless you never want to progress, studying is very much a side issue. Enjoy yourself as much as you can and have as many distractions as you can, and be aware that what people want in art nowadays has to be very lively, with strong colour, very intense. So intensify your own health and strength and life a little, that’s the best study.

Researchers say creativity should be taken out of the art room and put into homeroom. The argument that we can’t teach creativity because kids already have too much to learn is a false trade-off. Creativity isn’t about freedom from concrete facts. Rather, fact-finding and deep research are vital stages in the creative process. Scholars argue that current curriculum standards can still be met, if taught in a different way.

Sara Berman’s Closet opened in the American wing at the Metropolitan Museum of Art. Installed in a niche next to the gallery’s period rooms, the closet was recreated by Sara’s daughter, Maira Kalman, and her grandson, Alex Kalman, based on the actual closet in Sara Berman’s studio apartment on Horatio Street, where she lived between 1982 and 2004.

Each pixel you see was placed by hand. Each icon, each flag, each meme created painstakingly by millions of people who had nothing in common except an Internet connection.

Is Getting an MFA Worth the Price?

" I want there to be a continuum, a narrative, that tracks the history of people disseminating, collecting, sharing data.

I have a consistent impression that the broad resource of analogy, metaphor, and figuration is favored by those of a poetic and imaginative cast of mind.

'10 ........... ~ k-w ~r..J (!)00 a,,-..&,w1 +-l;lw ... 1111 OV\.b~ eo~u( ~ saying clearly what one wishes to say when there is an abundance of material; and conversation will seldom attain even the level of an intellectual pas-time if adequate methods of Interpretation are not also available.

Law and custom were of course largely re-sponsible for these strange intermissions of si-lence and speech. When a woman was liable, as she was in the fifteenth century, to be beaten and flung about the room if she did not marry the man of her parents' choice, the spiritual atmos-phere was not favourable to the production of works of art

riting as an art, not as a method of self-expression.

Part V. Connexion of Place

Some or the new instruments or science arc, ./ """\ \ themselves, sciences; others arc arts; still others, c\v,W{' . producL'i of either art or nature

doze

if we were to introduce into educational processes the activities which appeal to those whose dominant interest is to do and to make, we should find the hold of the school upon its members to be more vital, more prolonged, containing more of culture.

Drained late last century by declining tax revenue and selective civic neglect, Oakland boasts a constellation of seemingly derelict warehouses, storefronts, and churches. Within many of their shabby exteriors, however, are places of creative invention and possibility. These homes and venues—known by cryptic names rarely recorded in the press—cradle scenes that slip between categories; they’re where as-yet-unnamed subcultures gestate. For non-conforming bodies harassed and abused at other clubs, they’re sanctuaries.

The realities that art constructs take us out of our existing frames of perception

Mexico's renowned Oaxacan painter, Rufino Tamayo (1899–1991), became internationally recognized for his abstract, expressive, and personal paintings, using a vibrant palette of colors

Colombian arts were heavily influenced by the Roman Catholic Church

I stopped being precious with everything, and I’m applying that to my life and the music that I make and the comics that I make. I don’t believe anymore in the hype machine or the strategy. I believe that you make something and then you share it. There’s no reason to wait.

I think I’m trying my best to rip off good movies and put it in comics.

There was a culture then, almost a requirement, that one needed to build platforms and contexts (social or political) to support one’s thesis, and then material practice would follow. These issues were pressing, because by this time I had begun to teach at Cooper Union. I was negotiating between promoting a rigorous painting model and a new context—conversations with students and colleagues about contemporary art issues and institutional critique. So it was a very complicated time for me as an educator, to figure out how to insist on a conversation about painting rigor in relation to contemporary art. I continued to go the way that I needed to with my own work, both protecting it from the institutional framework and furthering my ideas about painting in school and in the studio—it was a tough, amazing time.

a conceptualisation relevant to all cultural endeavours

It’s just up to making sure you work as well with the art as you can, and with the story, to build up the right amount of emotions that people should be feeling.

But with certain contrasts, like pushing the background back, and then, through blood, basically bringing you through from panel to panel, and then maybe putting blue in the background or something of another panel, you’re really flowing through the violence of the scene by using these key colors, these narrative colors that are very, very instrumental

I'm not really attracted to art that is "good" because of the artist's technical prowess. That might be because, at this point, it's just too easy to buy good equipment and make a really aesthetically sound portrait of someone or capture a beautiful landscape. I think we're kind of saturated with well-crafted photography and well-crafted writing, so sometimes the stuff that's really good but lacks craftsmanship is actually the most interesting, refreshing, and powerful.

a provocation particularly suited to unreal estate

In Latin America, filmmakers have found a political conscience, and with it, touched a nerve at the box office. Films that deal with government and police corruption, corporate irresponsibility and economic inequality are hitting theaters, as well as bubbling up internationally at festivals

it is not art itself that people are turning from. People are turning away “from the traditional delivery mechanisms” (Cohen, 2013)

When you write something, you never know who it is going to affect, or how it could help someone who’s struggling and feeling alone, or how in a low moment in their life, desperately searching on Google for answers, they will come upon your words when they need them most. And despite what our culture will have us believe—that metrics and stats matter above all else, that the number of clicks tells the whole story—somehow, in some calculation, impacting one human being has got to be worth more than all the unique page views and Shares and Likes in the world.

Maybe digital history is at the midway point on the continuum between art and science

In the part of Disney World called the Animal Kingdom

And though I was grateful to James for calling them out, I wasn’t even challenging anyone’s access to making money. I just made humorous remarks about some books and some dead writers’ characters. These guys were apparently so upset and so convinced that the existence of my opinions and voice menaced others’ rights. Guys: censorship is when the authorities repress a work of art, not when someone dislikes it.

art can also help us fail at empathy if it sequesters us in the Boring Old Fortress of Magnificent Me.

“Everyone is wondering how the transition will affect the authenticity of Cuban heritage, tradition, music, values,” they said. “Will it be transformed, will it melt or mix? There are many ways to think about those pieces in relation to the larger state of the world.”

“El Güegüense o el Macho Ratón” is one of the oldest of the handful of literary works from popular indigenous culture that have survived from Latin America's European dominated colonial era. Essentially a piece of street theater conceived in the indigenous Nahualt language, it combines music, dance, dialogue and masquerade portraying the interaction of an indigenous merchant with a Spanish colonial official.

The confrontation with technology at the level of creation is what distinguishes electronic literature from, for example, e-books, digitized versions of print works, and other products of print authors “going digital.” Electronic literature often intersects with conceptual and sound arts, but reading and writing remain central to the literary arts. These activities, unbound by pages and the printed book, now move freely through galleries, performance spaces, and museums. Electronic literature does not reside in any single medium or institution.

Spain will return 74 colonial and 49 pre-Columbian works of art to Ecuador on Wednesday, 22 years after the former were handed to a museum for restoration and 12 years after Madrid police found the latter during a raid undertaken as part of a money laundering and drug trafficking case.

Similar to the art renaissance that encompassed southern neighbor Brazil 10 years ago — which was bolstered by a blossoming economy and growing middle class, Colombia’s artistically fertile environment has art dealers, curators, academics and the artists themselves fostering a creative conscience.Within Colombia's boom, street art has emerged as a popular medium.

These historic details resonated with the late President Nestor Kirchner, for whom the cultural center is now named, and for his widow, Cristina Fernandez de Kirchner, who succeeded him as president. They're from the Peronist party, and like Juan and Eva Peron, who founded that party, as well as such cultural institutions as the Argentine National Symphony, the arts are baked into their worldview, says Culture Minister Teresa Parodi.

Pop was an ethos more than a movement, and it morphed as it migrated across borders and oceans. But nowhere was it more engaged than in Brazil, where artists opposed both American hegemony and their own country’s military regime.

She was one of the few remaining legends of the nineteen-sixties and seventies, when a new crop of writers from Latin America announced themselves to the world, with her help, and changed Spanish-language publishing forever.

Puerto Rico sufre 500 años de racismo Existe en la Isla a nivel individual e institucional

Of course, the story of fruit in Latin America is also the story of exploitation. To many Brazilians of the time, Carmen Miranda's empty lyrics and her massive fruit headdress was an offensive symbol of the way foreigners perceived Latin American women: as objects to be consumed and discarded like a piece of fruit.

bienalización

Hispanic culture

As art is a very applicable manner of expressing oneself, the work by Alejandro Diaz and ADAL that I explored was very personal, poignant, and had extreme societal-implications.

THE ART OF

The drive toward the formation of metaphors is the fundamental human drive, which one cannot for a single instant dispense with in thought, for one would thereby dispense with man himself. This drive is not truly vanquished and scarcely subdued by the fact that a regular and rigid new world is constructed as its prison from its own ephemeral products, the concepts. It seeks a new realm and another channel for its activity, and it finds this in myth and in art generally.

He thinks rhetoric is one of the liberal arts, not in fact a common art, and yet at the same time he deems rhetoric to be an art, a science, and a virtue

each man should practice the art which he knows.

I shall not object to your opinion that moral virtue is undoubtedly useful and suitable for the use of all arts, but in no way shall I admit that any art is a moral virtue.

I con-sider the subject matters of the arts to be distinct and separate.

We shall distinguish the art of rhetoric from the other arts, and make it a single one of the liberal arts, not a confused mixture of all art

But this material of oratory, as we define it, that is, the subjects that come before it, some have at one time stigmatized as indefinite, at another as not belonging to oratory, and have called it, as thus characterized, an ars circumcurrens, an infinitely discursive art, as discoursing on any kind of subject.

But the other sort of speakers call that force which ought rather to be called violence.

But this talent requires maintenance with no less practice than it is acquired. An art, indeed, once thoroughly learned, is never wholly lost.

But that it is an art may be proved in a very few words, for whether, as Cleanthes maintained, an art is a power working its effects by a course, that is by method, no man will doubt that there is a certain course and method in oratory; or whether that definition, approved by almost everybody, that an art consists of perception consenting and cooperating to some end useful to life, be adopted also by us, we have already shown that everything to which this definition applies is to be found in oratory

be called an active or a practical art, for the one term is of the same signification as the other.

Others consist of action, the object of which lies in the act and is fulfilled in it, leaving nothing produced from it, a sort of art which is called πρακτική (praktikē), as dancing.

Rhetoric, then, (for we shall henceforth use this term without dread of sarcastic objections) will be best divided, in my opinion, in such a manner that we may speak first of the art, next of the artist, and then of the work.

Both ways being possible, the subject can plainly be handled systematically, for it is possible to inquire the reason why some speakers succeed through practice and others spontaneously; and every one will at once agree that such an inquiry is the function of an art.

It is clear, then, that rhetoric is not bound up with a single definite class of subjects, but is as universal as dialectic; it is clear, also, that it is useful. It is clear, further, that its function is not simply to succeed in persuading, but rather to discover the means of coming as near such success as the circumstances of each particular case allow. In this it resembles all other arts. For example, it is not the function of medicine simply to make a man quite healthy, but to put him as far as may be on the road to health; it is possible to give excellent treatment even to those who can never enjoy sound health.

The modes of persuasion are the only true constituents of the art: everything else is merely accessory.

Both ways being possible, the subject can plainly be handled systematically, for it is possible to inquire the reason why some speakers succeed through practice and others spontaneously; and every one will at once agree that such an inquiry is the function of an art.

The modes of persuasion are the only true constituents of the art

Of the modes of persuasion some belong strictly to the art of rhetoric and some do not.

the arts are made great, not by those who are without scruple in boasting about them, but by those who are able to discover all of the resources which each art affords

For, excepting these teachers, who does not know that the art of using letters remains fixed and unchanged, so that we continually and invariably use the same letters for the same purposes, while exactly the reverse is true of the art of discourse?

But I marvel when I observe these men setting themselves up as instructors of youth who cannot see that they are applying the analogy of an art with hard and fast rules to a creative process.

Because, Socrates, the knowledge of the other arts has only to do with some sort of external action, as of the hand; but there is no such action of the hand in rhetoric which works and takes effect only through the medium of discourse. And therefore I am justified in saying that rhetoric treats of discourse.

Very good, Callicles; but will he answer our questions? for I want to hear from him what is the nature of his art, and what it is which he professes and teaches

Then why, if you call rhetoric the art which treats of discourse, and all the other arts treat of discourse, do you not call them arts of rhetoric?

power and art have to be provided in order that we may do no injustic