Installational Art

Art that is or has been installed — arranged in a place — either by the artist or as specified by the artist. It might be either site-specific or not, and either indoors or out. The term became widely used in the 1970s and 1980s, and continues to be employed by many people. Installations may be temporary or permanent, but most will be known to posterity through documentation. As a consequence, one aspect of installations is often the difficulty with which they can be commodified. Artists identified with installations include Walter De Maria (American, 1938-), Nancy Holt (American, 1938-) and Mary Miss (American, 1944-).

Abstract Expressionism

Abstract Expressionism

Abstract Expressionism is a modern art movement that flowered in America after the Second World War and held sway until the dawn of Pop Art in the 1960's. With this movement New York replaced Paris as the center of the art world.

Abstract Expressionism has its roots in other earlier 20th century art movements such as Cubism and Surrealism that promoted abstraction rather than representation. The psychoanalytic theories of Sigmund Freud and Carl Jung provided the intellectual context in this quest for new subject matter.

The major players in Abstract Expression were:
Jackson Pollock,Willem de Kooning, Clyfford Still, Arshile Gorky, Franz Kline, Robert Motherwell, Mark Rothko, Barnett Newman, Philip Guston, Lee Krasner, Ad Reinhardt and sculptor David Smith. These artists formed what is known as The New York School. Some were Americans by birth, but others came from Europe to the United States as a result of pre-war & wartime upheavals.

The Abstract Expressionists' goal was a raw and impulsive art. What mattered were the qualities of the paint itself and the act of painting itself.

Concrete Art

Theo van Doesburg: "A work of art does not derive from nature but is an autonomous reality composed of colour and form, an object for intellectual and spiritual use."...Art "should receive nothing from nature's formal properties or from sensulaity or sentimentality. We want to exclude lyricism, dramaticism, symbolism..."“

The concept concrete art,” or in French, “art concret,” was brought into language about art consciously in 1924 by Theo van Doesburg as the opposite of “abstract art”.

“Concrete art” does not of course mean figurative art; by the term “concrete” is meant rather an art that is not abstract in the sense that that it does not abstract or distort natural models. In this way, concrete art differentiates between abstract and immaterial art. Concrete art means much more an art that is based on lines, surfaces and colors and that for the most part follows a clear geometric principle. For this reason, important art-historical preconditions were de Stijl and Bauhaus. Concrete art materializes the mental, but does not have any kind of symbolic meaning. "Painting is a means of realizing thoughts in an optical way," is how Doesburg explained it. Max Bill wrote in 1947: "The goal of concrete art is to develop objects for mental use, the same way people make objects for material use. (...) Concrete art, as a last consequence, the pure expression of harmonious measure and law." In addition to the group, van Doesburg published the journal Art concret in 1930. Concrete art had an important influence on Colour Field Painting and on Op Art.

Rococo Art

Rococo art is art produced in the Rococo style, a style of artistic expression which emerged in France in the early 18th century; people also refer to this as “French style” art, in a reference to its nation of origin. Rococo art and architecture are characterized by very ornate, fanciful themes and a light air which sets this work apart from earlier pieces produced in the Baroque period, which was both ornate and heavy. Rococo art gave way to the neo-classical school, and many critics of that school dismissed Rococo art as frivolous work without depth, which explains why some people use “Rococo” as a derogatory word for frivolous artwork and architecture today.

The term is a portmanteau of rocaille, the French word for “shell,” and barocco, the Italian word for “Baroque.” Rococo artwork is characterized by very ornate curves and shell-like shapes on a wide range of scales from ballrooms to side tables. Rococo art also typically includes elaborate foliage, animal figures, scrolls, and fanciful design elements. In a marked contrast with the dark, heavy colors of Baroque art, Rococo art and architecture featured a lot of pastels, gilding, and other elements which made works from this period very light and lacy.

Like most schools of art, Rococo has ardent fans as well as die-hard detractors. Detractors often dismiss Rococo art as being light and fluffy, without depth or texture, despite the fact that this is clearly belied by the complexity of Baroque homes, which featured immensely detailed and ornate interior design. Like art from earlier periods, Rococo art integrates many symbolic plants, animals, and themes, as someone who takes the time to closely examine Rococo art will learn.

While Rococo originated in France, it spread to other parts of Europe, and was adopted with great enthusiasm in Germany, where some excellent examples of Rococo art and architecture can be found today. Many religious structures incorporated Rococo elements in their architecture as well. The playful art and design which distinguishes Rococo art was often used on a smaller scale, in things like individual pieces of furniture and paintings.

The flourishing of the Rococo period was brief, as social critics pointed to Rococo art as an example of the general degeneration of art and society. The more staid Neo-classical style certainly integrated Rococo elements, however, and in some parts of Europe Rococo fashions endured into the late 1800s, especially in England.

Anti Graffiti

The list of arguments for and against graffiti is endless.Graffiti protesters include numerous authority figures, politicians (such NYC mayor Giuliani and Chicago mayor Daley), web based groups (such as nograffiti.com), and various community members. Dissidents claim that graffiti in public areas disrupts and visually pollutes communities. Graffiti opposers claim that graffiti related vandalism costs the public millions of dollars per year to clean and control. People that oppose graffiti have started a wide chain of petitions to get bills turned into laws, and to say that it is a gateway crime.

The nograffiti.com website clearer states its mission statement: The NoGraf Network is an anti-graffiti company that is to contribute to the creation of safe and clean communities, the healthy development of youth, the improvement of quality of life, and the prevention of graffiti vandalism. Using web-based technologies, NoGraf will enable information exchange between individuals and groups involved in supporting these goals. Building upon the experience of NoGraf members, the Network will identify best practices, current issues, challenges, best graffiti removal techniques and courses of action, by facilitating and harnessing dialogue amongst professionals from the fields of law enforcement, prosecution, community-based organizations, abatement practitioners, educators, and vendors. NoGraf will promote civic participation as a dynamic and meaningful experience derived from focused participation in reducing the blight of graffiti vandalism, Thereby improving the quality of life for all citizens.

Graffiti vandals believe their actions harm no one. The reality is graffiti hurts everyone�homeowners, communities, businesses, schools, and you. And, those who practice it risk personal injury, violence, and arrest. "Graffiti contributes to lost revenue associated with reduced ridership on transit systems, reduced retail sales and declines in property value. In addition, graffiti generates the perception of blight and heightens fear of gang activity" reports the U.S. Department of Justice. The appearance of graffiti is often perceived by residents and passers-by as a sign that a downward spiral has begun, even though this may not be true. Patrons of buildings, parks, or public facilities where graffiti vandalism has occurred may feel that if graffiti is tolerated, then other more serious crimes, such as theft and assault, may also go unchallenged. In schools, 52% of public high schools and 47% of middle schools reported incidents of vandalism during the 1996-1997 school years. Data shows little difference between cities, towns, and rural areas. Additionally, about 36% of students saw hate-related graffiti at school. Although the cost of graffiti vandalism in the U.S. has yet to be definitively documented, for many communities, private property owners, and public agencies the cost is rising each year. Figures from a variety of cities across the U.S. suggest that graffiti cleanup alone costs taxpayers about $1-3 per person each year. For smaller communities the amount dedicated to graffiti cleanup annually may be less than $1 per person. A 2006 survey of the 88 cities, Caltrans and Metro in Los Angeles County on graffiti removal found the cost was about $28 million. With a population of close to 10 million, the per capita cost is about $2.80.With a population of just under one million, the City of San Jose, CA spent approximately $2 million in 2006 fighting graffiti. For communities with smaller populations, per capita costs are typically under $1.00. Pittsburgh, PA (population just over 300,000) spends around $350,000 annually for graffiti clean up. Omaha, NE spends about $100,000 a year on graffiti removal (population just over 400,000). In 2006, the Tennessee Department of Transportation spent more than $240,000 on removing graffiti along its roads and bridges.Denver, CO and Milwaukee, WI, with similar populations-just over 550,000-each spend about $1 million annually. This is a per capita cost of about $1.80. In Houston, TX (population just over 2 million), the city earmarked $2.2 million for cleanup of existing graffiti in 2006. Chicago, IL budgeted $6.5 million in 2006 for graffiti removal and Graffiti Blasters, the city's removal program (population a little over 2.8 million).This is a per capita cost of around $2.30. Las Vegas, NV with a population of about 1.7 million spends more than $3 million each year cleaning up graffiti.

In the UK, it is considered an Anti Social Behaviour (ASB) and subsequently is associated with crimes like mugging, begging, drunken disorder and criminal damage. This has created an idea in the public mind that graffiti is dangerous. The Home Office claim that people feel unsafe in areas covered with graffiti, one official described it as "visual mugging". The irony here is that most areas that have a high concentration of graffiti, usually lack the funds to clean it up and are typically places where there is already a high level of crime. It is also important to note that it was born in areas of New York and Philadelphia that were already very delapidated and dangerous; its practitioners usually poor and frustrated youth. Surely graffiti was artistist expression carried out by kids who had no other means to do such things.

Graffiti: Art or Crime?

When someone say they do they graffiti, they quickly add the word art to the end. Is it because they have a passion in their talent or because they know what they are doing is illegal? In the label-loving society we live in we commonly hear how graffiti is a crime. If you write (or destroy) on something that does not belong to you then it is called vandalism. When we see "graffiti art" it is commonly on something that is seen daily by the public, ie a building or on the sidewalk. It is kind of like the saying, "beauty is in the eye olf the beholder;" we cannot say something is not art because we do not appreciate it.

Suppose that Leonardo, Monet, Picasso, or any of the recognized artisans of Western European culture were alive in the present day. Then, suppose that one of these famous artists decided to paint a masterpiece on the side of your house or on your front door or on a wall in your neighborhood. Would Picasso or Monet's markings be graffiti or art or vandalism or graffiti art? The answer may vary across people, but I would claim that those markings are art in the form of graffiti. Their markings would qualify as vandalism only if they appeared on private or public property without permission. The same answer holds for the present day, genre of graffiti known as graffiti art.

However, it is not readily accepted as being art like those works that are found in a gallery or a museum. It is not strictly denied the status of genuine art because of a lack of form or other base aesthetic elements. Most of the opposition to graffiti art is due to its location and bold, unexpected, and unconventional presentation, but its presentation and often illegal location does not necessarily disqualify it as art. In this paper, I elucidate how some forms of graffiti can be accepted as art. This type of graffiti is known as graffiti art, subway art, or spraycan art. The arguments of vandalism and unconventional presentation as negating the ability of some graffiti to be art is usurped by an explanation of those properties apparent in some forms of graffiti that do qualify it, aesthetically, as art.

Both the tag or individual mark have little or no aesthetic appeal. While they might suggest a flair or style of writing, these forms fail to qualify as example of superb graffiti art because of a lack of aesthetic qualities and inability to produce a maximal aesthetic feeling in the viewer. In fact, the tag or individual mark is not produced for artistic purposes. It is basically a means to indicate the writer's presence, i.e., the age old statement of "I was here." Gang markings of territory also fit the definition of graffiti, and they mainly consists of tags and messages that provide "news" of happenings in the neighborhood. Murals for community enhancement and beautification are also a form of graffiti even though they are not usually thought of this way because most murals are commissioned. These are more colorful and complex. They take considerable amount of skill to complete, and murals can be done in a graffiti art style or a traditional pictorial scene. The last form of graffiti is graffiti art which is the creative use of spraypaint to produce an artwork that is graffiti or done in a graffiti-like style, and this the is the concern of this discussion

Political Graffiti

When you think of graffiti and street art, politics is probably one of the last things that comes to mind. There seems to be a complete disconnect between the two realms.

Because of the illicit nature of graffiti, a can of paint and a brush are impractical while spatial considerations may make a pen or pencil ineffective. To accomodate the need for size, visibility, speed, and convenience, the ideal vehicle is the sray-can, which combines medium and applicator into one relatively small parcel that is easily concealed, transportable, easy to use; spray-paint may be applied to most surfaces. Different sized nozzles are used to achieve various effects, for example, a thin line as opposed to a wide band of paint. Where spray paint is not used or available, almost anything may serve as substitute: the aforementioned pen, pencil, paint and brush, as well as chisels, knives, felt-tip markers, blood, or even a finger on a dirty wall or window. Most media used for etching, sketching, painting, marking or writing can be adapted to such a purpose.

Because it is impossible to limit or regulate the resources that are available, graffiti as an art form and expressive medium is expandable, flexible, and difficult to control. The graffiti medium constitutes an open channel for its users to manipulate and mould to suit their needs. It represents a type of discontinuous communicative strategy through which people can engage in a visual dialogue which does not rely on face-to-face interaction or necessary knowledge of the writers' identities.

Individualized or popular graffiti include bathroom wall marking (latrinalia), signatures, proclamations of love, witty comments in response to advertisements, and any number of individual, political, or social commentary (folk epigraphy). In general these graffiti have no affiliation beyond the scope of the individual. It is close to impossible to locate their source.

Communities that produce graffiti (as opposed to the individual "scribbler") may target cryptic messages toward their own closed community, producing a seemingly confusing and unreadable product. The writers may not sign their real names; they instead employ the use of nicknames, codes, and symbols within stylized aesthetic systems. This type of graffiti is geared toward people who already understand the messages and may act to enhance group solidarity. Such graffiti can easily be elevated to the category of "art form" because the symbolic codes, generalized content, and aesthetic features of community-based graffiti usually outlast the duration of an individual's membership within the community. If a community's ideological focus is geared toward the larger society or the politics of the larger state, graffiti messages usually lack cryptic symbolism, make use of the national language, and retain a more straightforward aesthetic style.

An example of this cross-culturally prevalent genre of graffiti, political graffiti may combine with other artistic and expressive forms, such as poster and comic book production, mural painting, newspaper and pamphlet production, and political art exhibitions. The marks may represent the work of unrecognized or underground political groups, radical student movements, or simply dissatisfied individuals. Political graffiti may also arise from sudden emergency situations (e.g. riots) or in response to concurrent political legislation and party politics. Although concerned with state politics, the groups that produce this type of graffiti generally comprise some"subcultural" elements and may make wide use of symbols to further internally relevant quests for power and solidarity.

Women Graffiti Artist

Graffiti has existed since people first drew images on cave walls. Some researchers view graffiti as “a form of communication that is both personal and free of everyday social restraints.” Others call it “part childish prank, part adult insult.” To many, it is simply vandalism. But whatever you call it, graffiti attracts the attention of linguists, art critics, anthropologists and gender experts.

Graffiti, which originated in Philadelphia, is a global phenomenon. In his book, Graffiti Women: Street Art from Five Continents, Nicholas Ganz shares the work of women artists from South America to Australia, South Africa to Sweden, Europe to Asia. The preface to over 1,000 images is telling. “Unlike a girl, a male writer’s reputation or identity rests upon his graffiti, not his sexual activities, his demonstrations of masculinity, not his passive physicality. At the end of the day, he occupies a sphere that grants him a presence, a competitive force and an opportunity to be recognized. That sphere would seem to be a much harder place for a woman to occupy,” writes Nancy Macdonald, author of The Graffiti Subculture.

Graffiti researchers have often found themselves in restrooms, where women feel free and safe to write. “It’s the ultimate place to purge,” notes one researcher. But most people interested in graffiti, like documentary filmmaker Jon Reiss, have focused on surfaces outside of public restrooms. His 2007 film “Bomb It” explored the explosion of graffiti culture throughout the world and raised critical questions about public space and “the war being waged for it.”

Lady Pink now works with schools teaching young artists. Her work appears in gallery and museum shows. “The purpose of graffiti,” she says, “is to maintain the spirit of rebellion in society. It’s important that young artists are questioning the status quo and thinking outside the box. Who says art belongs inside galleries and must be seen in silence? Why not on the street where everyone can do it?”

There is greater gender balance and increased tolerance for street art today. Women feel safer and there appear to be fewer legal implications, although some argue that sanctions are still tough. Still, says Lady Pink, writers seek the thrill and excitement that comes with writing on forbidden spaces. “To decriminalize it would take all the fun out of it!”

Graffiti

When riding the light rail to the Univeristy of Colorado's Auraria campus, you will pass at least thirty signs of graffiti. Grafitti is the name for images or lettering scratched, scrawled, painted or marked in any manner on property. Graffiti is any type of public markings that may appear in the forms of simple written words to elaborate wall paintings.

This form of art has existed since ancient times, with examples dating back to Ancient Greece and the Roman Empire. In modern times, spray paint, normal paint and markers have become the most commonly used materials. In most countries, defacing property with graffiti without the property owner's consent is considered vandalism, which is punishable by law. Sometimes graffiti is employed to communicate social and political messages. To some, it is an art form worthy of display in galleries and exhibitions; to others it is merely vandalism. Graffiti has since evolved into a pop culture existence often related to underground hip hop music and b-boying creating a lifestyle that remains hidden from the general public. Graffiti is used as a gang signal to mark territory or to serve as an indicator or 'tag' for gang-related activity.

The controversies that surround graffiti continue to create disagreement amongst city officials/ law enforcement and graffitists looking to display their work in public locations. There are many different types and styles of graffiti and it is a rapidly developing artform whose value is highly contested, being reviled by many authorities while also subject to protection, sometimes within the same jurisdiction." One of the most famous pictures of our new president was made from graffiti in his home town. The author was not shoned upon but praised for capturing the beauty of the president.

Graffiti is not always "bad" or always "pretty". Like an other art form, graffiti is coming from the heart, the core of the artist. Some graffiti expresses what the artist has went through, or what they are going through Like music, they want their art to relate to their art. On the light rail you see "End the War." It is their way of freedom of speech just on YOUR property.

One of the most unqiue forms of graffiti is the illusion. Illusions can be made anywhere but having a graffiti illusion in your face is unlike anything you have ever seen before. They can show you near a fall, an animal eating a baby, almost anything imaginable!

Beauty is in the Eye of the Beholder

In art and in society, we commonly hear that beauty is in the eye of the beholder. Ugly artwork may show that we do not want to see, or what is not common for us to see in everyday; ie a woman a mustache. It can be callde ugly if we do not understand it or it is not easily intepreted.

For a long time critics of modern and postmodern art have relied on the 'Isn't that disgusting' strategy. By that I mean the strategy of pointing out that given works of art are ugly, trivial, or in bad taste, that 'a five-year-old could have made them,' and so on. And they have mostly left it at that. The points have often been true, but they have also been tiresome and unconvincing—and the art world has been entirely unmoved. Of course, the major works of the twentieth-century art world are ugly. Of course, many are offensive. Of course, a five-year old could in many cases have made an indistinguishable product. Those points are not arguable—and they are entirely beside the main question. The important question is: Why has the art world of the twentieth-century adopted the ugly and the offensive? Why has it poured its creative energies and cleverness into the trivial and the self-proclaimedly meaningless?

It is easy to point out the psychologically disturbed or cynical players who learn to manipulate the system to get their fifteen minutes or a nice big check from a foundation, or the hangers-on who play the game in order to get invited to the right parties. But every human field of endeavor has its hangers-on, its disturbed and cynical members, and they are never the ones who drive the scene. The question is: Why did cynicism and ugliness come to be the game you had to play to make it in the world of art?"

Artist Quotes

"All true artists, whether they know it or not, create from a place of no-mind, from inner stillness.
::: Eckhart Tolle :::
I'm painting an idea not an ideal. Basically I'm trying to paint a structured painting full of controlled, and therefore potent, emotion.
::: Euan Uglow :::
I've never believed in God, but I believe in Picasso.
::: Diego Rivera :::
I dream a lot. I do more painting when I'm not painting. It's in the subconscious.
::: Andrew Wyeth :::
At moments of great enthusiasm it seems to me that no one in the world has ever made something this beautiful and important.
::: M.C. Escher :::
I am essentially a painter of the kind of still life composition that communicates a sense of tranquillity and privacy, moods which I have always valued above all else.
::: Giorgio Morandi :::
A sincere artist is not one who makes a faithful attempt to put on to canvas what is in front of him, but one who tries to create something which is, in itself, a living thing.
::: William Dobell :::
The holy grail is to spend less time making the picture than it takes people to look at it.
::: Banksy :::
To become truly immortal, a work of art must escape all human limits: logic and common sense will only interfere. But once these barriers are broken, it will enter the realms of childhood visions and dreams.
::: Giorgio de Chirico :::
Our society is run by insane people for insane objectives. I think we're being run by maniacs for maniacal ends and I think I'm liable to be put away as insane for expressing that. That's what's insane about it.
::: John Lennon :::"

Bob Ross

Ross was the host of the public television series The Joy of Painting, which ran from 1983 to 1994 and still[update] appears in reruns in many broadcast areas. During each half-hour segment, Ross would instruct viewers in the art of oil painting using a quick-study technique that kept colors to a minimum and broke paintings down into simple steps that virtually anyone could follow.[4] Art critic Mira Schor compared him to another PBS television host, noting that the softness of Ross's voice and the slow pace of his speech was similar to Mr. Rogers.
Ross later founded his own successful line of art supplies and how-to books, and also offered painting classes taught by instructors trained in the 'Bob Ross method.' In a 1990 interview, Ross mentioned that all his programs were donated free of charge to PBS stations and that his earnings came instead from sales of his 20 books and 100 videotapes (the total to that date), as well as profits from some 150 Bob Ross-trained teachers and a line of art materials sold through a national supplier. Ross also mentioned on the show 'Towering Glacier' (#2341) that he donated all the paintings made on the show to PBS stations around the country to 'help them out.'
Ross also filmed wildlife footage, squirrels in particular, usually from his own garden. Small animals often appeared on his show, even during some of his trickier works, as he would often take in injured or abandoned squirrels and other assorted wildlife and look after them.
The show can be seen on the PBS oriented Create."

http://www.bobross.com/news.cfm

Body Worlds 2

Body Worlds 2 BEYONDbones: "Dr. Gunther von Hagens invented Plastination—the groundbreaking method of preserving anatomical specimens for study. His BODY WORLDS exhibits are a museum sensation that has brought the post-mortal body to the attention of more than 25 million people worldwide. Beginning Sept. 12, visitors to the Houston Museum of Natural Science have the chance to see his newest exhibit: Gunther von Hagens’ BODY WORLDS 2 & The BRAIN – Our Three Pound Gem: The Original Exhibition of Real Human Bodies.

The Body: Visual AIDS Day With(out) Art 2006

The Body: Visual AIDS Day With(out) Art 2006: "Visual AIDS Day With(out) Art
Day Without Art (DWA) began on December 1st 1989 as the national day of action and mourning in response to the AIDS crisis. To make the public aware that AIDS can touch everyone, and inspire positive action, some 800 U.S. art and AIDS groups participated in the first Day Without Art, shutting down museums, sending staff to volunteer at AIDS services, or sponsoring special exhibitions of work about AIDS. Since then, Day With(out) Art has grown into a collaborative project in which an estimated 8,000 national and international museums, galleries, art centers, AIDS Service Organizations, libraries, high schools and colleges take part.
In the past, Visual AIDS initiated public actions and programs, published an annual poster and copyright-free broadsides, and acted as press coordinator and clearing house for projects for Day Without Art/World AIDS Day. In 1997 we suggested Day Without Art become a Day WITH Art, to recognize and promote increased programming of cultural events that draw attention to the continuing pandemic. Though 'the name was retained as a metaphor for the chilling possibility of a future day without art or artists', we added parentheses to the program title, Day With(out) Art, to highlight the proactive programming of art projects by artists living with HIV/AIDS, and art about AIDS, that were taking place around the world. It had become clear that active interventions within the annual program were far more effective than actions to negate or reduce the programs of cultural centers."

Leon McManus, my cousin

He was born in Baton Rouge, Louisiana on August 22, 1986. He is an alumni of Southern Univeristy A&M College in Baton Rouge, Louisiana. He majored in Visual Arts. He calls himself LoveNeatness. Love is for his love of art and neatness goes with his composition.

This is a picture he drew for our Grandma's 80th birthday.

This is a picture of my Grandson and my cousin campaigning for the release of the Jena 6.

This is a picture of his sister looking back to the past and forward to the future.

Kerry James Washington

Kerry James Washington was born October 17, 1955, in Birmingham, Alabama, Kerry James Marshall realized he wanted to be an artist at a very early age. Inspired by pictures in a book, Marshall decided he wanted to be a visual artist.

Themes and ideas present in Marshall's work reflect the complex web of personal and social issues that have been instrumental in molding his life. When Marshall was eight, his family moved to the Watts community in Los Angeles. As the epicenter of intense struggle for civil rights, including a riot in 1969 and a confrontation between city police officers and the Black Panthers, Watts and its imagery have dramatically influenced the form and content of Marshall's work. His celebrated series, 'The Garden Project', critiqued low-income housing projects whose names denoted an idyllic Eden-like world, camouflaging the poverty and violence within.

Marshall received his training from the incomparable Charles White while enrolled at the Otis Art Institute in Los Angeles. Best known for his stylized, large-scale paintings depicting the beauty and complexity of African American life, Marshall also designs sculpture and has served as a production designer for such films as Daughters of the Dust (1989) and the Hendrix Project (1991).

With groundbreaking shows at the Art Institute of Chicago, the Berlinische Galerie in Berlin and the Jack Shainman Gallery in New York City, Marshall's childhood dreams have been realized. He recently was named the recipient of the prestigious MacArthur 'Genius Award' and his work has been incorporated into the permanent collections of many museums across the nation. Marshall is currently an art professor at the University of Illinois, Chicago."

Surrealism

"Surrealism was developed by the 20th-century literary and artistic movement. The surrealist movement of visual art and literature, flourished in Europe between World Wars I and II. Surrealism grew principally out of the earlier Dada movement, which before World War I produced works of anti-art that deliberately defied reason; but Surrealism emphasis was not on negation but on positive expression. The movement represented a reaction against what its members saw as the destruction wrought by the 'rationalism' that had guided European culture and politics in the past and had culminated in the horrors of World War I. According to the major spokesman of the movement, the poet and critic André Breton, who published 'The Surrealist Manifesto' in 1924, Surrealism was a means of reuniting conscious and unconscious realms of experience so completely, that the world of dream and fantasy would be joined to the everyday rational world in 'an absolute reality, a surreality.' Drawing heavily on theories adapted from Sigmund Freud, Breton saw the unconscious as the wellspring of the imagination. He defined genius in terms of accessibility to this normally untapped realm, which, he believed, could be attained by poets and painters alike. This movement continues to flourish at all ends of the earth. Continued thought processes and investigations into the mind produce today some of the best art ever seen."

Week 1 - January 20, 2010

Why take Art Appreciation?
Because it is in my core curriculum.

What is art?
There is no such thing as art. There is only artist.

Why make art?
To express yourself.

How to make art?
Whatever comes to your mind. Music, poetry, cermanics, painting, etc.