Multisensory Art In Contemporary Visual Culture

Each painting is unique, with a tactile presence, which reveals the hand of the artist. The image, which was the product of a split second drive by photo, now takes on substance through both the physicality of the paint, and through the contemplation of place and time. In this, the paintings come to represent more of a testament to her experience than the photographs. In the essay An Art That Eats Its Own Head – Painting in the Age of Images Barry Schwabgley acknowledges photographs place in contemporary art while also confirming the significance of painting, “ Although it was

Our perceptions change with our evolving experiences, and in a dynamic and fast-changing world, the distinctively visual offers a unique insight into how we discover and form our identities. Ang Lee’s 2000 Chinese-American martial arts film ‘Crouching Tiger Hidden Dragon’, explores many manifestations of the distinctly visual in shaping our perceptions and values through the prism of Confucian, Daoist and other philosophies and cultures.   Likewise, Mark Osborne’s animated short film, visually targets a range of audiences, to also explore freedom of expression in the pursuit of happiness. Thus while in vastly different mediums, both texts employ an array of visual techniques, illustrating the powerful effects of the distinctively visual to convey

In this unit, we further explored the definition of meaning. Meaning can be described as the interaction between author and reader. It is the intended message that the author is trying to communicate with his audience. However, the meaning is not set. It is specifically based on the author and the reader's perspective of the work.

While reading “The Trouble with (the Term) Art,” written by Carolyn Dean in the summer of 2006, we are taken through an array of different scenarios that lead us to questions what art really is. Dean explores the idea that the word “art” is used far too often and too habitually, and that as we study the non-Western cultures we need to use much more discretion regarding what we call the different pieces of their culture. Throughout the essay, Dean supports her thesis that we too often categorize non-Western pieces as art by using different examples of how certain non-art pieces were deemed as art throughout the course of their history. Dean does this by using four key examples of how these ancient pieces are inappropriately called art to successfully support her thesis and avoid biases.

In this book, Efland explains the objective of the arts is to comprehend how teaching the arts contribute to social and cultural perspectives that each individual inhabits. He suggests the concept of cognitive mapping to explore the possibilities of developing knowledge, understanding and using the imagination in visual arts. Efland argues cognitive flexibility is a level of the mind that

Merleau-Ponty, the French philosopher, writes that philosophy is “not the reflection of a pre-existing truth, but, like art, the act of bringing truth into being.” (Merleau-Ponty, 1969) Betensky (1995) wrote "phenomenology offers an answer to a long needed unbiased approach to art therapy in all its spheres: theory, training, and professional practice.” She articulates the importance of 'seeing ' and suggests that this is art therapy 's most important contribution to general therapy and even to phenomenology itself, because art therapy pays attention to the authentic experience in two ways. First of all there is the direct experience of creating art and second of all there is the direct experience of looking at the art. The second direct experience requires some help to learn how to look in order to see all that can be seen in their art expression (Betensky,

In the Louvre, hangs a portrait with a curious smile and piercing eyes which follow one’s every step as they walks across the room. The woman in the portrait has vexed art critics and tourists for centuries. Often pictures are described as alive, as having wants and desires. Why is she smiling? Why did he cut his ear off?

Created Through the Eye Why do we all have different interpretations of art? Because we all are different in some way, our identity defines us and how we look at the world while our actions shape us and world around us. The works of Wenda Gu and Gordon Bennett both reflect aspects of their identity, whether that be personal, spiritual, cultural or psychological. Both artist are similar in many ways, notably for their reflection on personal experiences as cultural minorities. Gordon Bennett successfully portrays his personal experiences as well as the cultural influences in his artworks.

Because outsiders' works are hard to categorize within a traditional art historical contexts, critics and viewers have had a tendency to strip the art from the artist. The works are viewed primarily as found art objects – and often they actually

John Wolseley and Andy Goldsworthy are two contemporary artist, displaying similarities as well as differences between their artworks, in particular, Wolseley’s artwork ‘Camel Gate, Border Track’ and Goldsworthy’s ‘Rowan Leaves’. Both the artists have their own style to present their artwork but still while analysing the two artworks, not only differences but also similarities, such as those in the structural frame, materials, and processes of production along with symbolism of their works, are clearly visible. Both the artists have valued the natural environment from ecological as well as philosophical angle. ‘In every work of art, the artist himself is present’ (Christian Morgenstern). John Wolseley artwork has been influenced by the Australian

Therefore, in the perspective of understanding materialist art history by the discussion focused on the labor of the production line, different forms of arts then no longer refer to the product labeled and produced by the so-called ‘artistic genius’, but a product of complex relationship between social, economic and political sphere. (Klingender, 1943) To be more specific, the relationship between materialist art history and Marxist art history is demonstrated with the practice of artwork in relation to society, economy or politics, with detailed and specific analysis in the context of social cultures and the idea of class in the capitalist society. (D’Alleva, 2005) In a particular cultural environment, we can realize the outgrowth of the interactions between patrons and artists in a more complicated way.

From being a strictly specialist subject catering for a small elite, contemporary art has entered the cultural mainstream in an unprecedented way. This is, perhaps, where one can draw a line between ‘collecting art’ and simply ‘buying art’. Regardless of the motivation, a collector has a serious, eclectic and discernible approach to accumulating art whereas, in comparison, a plain buyer is a sporadic customer for who the value of art may not be the prime consideration while picking up art arbitrarily. Artists are given celebrity status, and in New York City it is a widely quoted fact that more people visited Imran Qureshi’s in situ artwork on the Met’s rooftop than attended Michael Jackson’s concert at Madison Square Garden.

“Visual Arts cultivate thinking, innovation and collaboration.” As I write this paper today, I realized how each of us analyse everything in our lives without even meaning to do so. The museum that I decided to visit virtually was the Offizi Gallery in Italy. Located in Florence, this gallery included numerous paintings, sculptures and ceramics. The art piece that I have decided to write an analysis on today is The Birth of Venus by Sandro Botticelli.

1. Introduction ‘When any civilization is dust and ashes,’ [Jimmy] said, ‘art is all that’s left over. Images, words, music. Imaginative structures. Meaning – human meaning, that is – is defined by them.

Before I explain further, here is a question, “What is visual art”? Visual arts are art forms that are primarily visual in nature, such as painting, photography, printmaking, computer art, and filmmaking. Though “Visual arts” are two-dimensional things. Architecture and sculpture come in separate. In a similar manner, visual works of art stay in one place, unmoving, while it’s being observed.