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Lesson Plans


Time to re-group LONG POST

[ Thread ][ Subject ][ Author ][ Date ]
Brian Foster (fozzie)
Sun, 29 Sep 1996 21:33:10 -0400


>Sidnie Miller wrote
>>
>> The University of Nevada is the college.......>> art instructors
>> have a giant prejudice against anything pretty. If you want a good review
>> or critique--your work had better be fairly violent and should contain a
>> liberal amount of vaginas and penises...... a
>> college thing or if professors just encourage it by making fun of anyone
>> who persues " pretty" art as being trite.?
>> sm>
>
and san d replied:
> if your "truth" lies with pretty then prove
>it. Most of the eternal "truths" lie with the "not so pretty",
>i.e.hunger, violence, death, love, pride, anger, etc.
san d
IM GOING TO JUMP INTO THIS ONE....(AND THEN RUN AND HIDE)

I think I have heard enough horror stories about weird goings on in the critique
department to get to the "meat" of this discussion. (whether it be filet
mignon or rotten hamburger with maggots crawling on it......or better yet a
fetus or sex organ served on a fancy dinner plate....and I'm sure if you try
you can come up with something even more disgusting...AHA I'VE GOT
IT......... a room full of starving illegal immigrants fighting and killing
each other for the seats closest to the table where the greedy capitalist
businessman is allowing bits and pieces of his meal of dead babies to fall
to the floor while in the background women and children are being .........
I think you catch my drift. As the art college faculties in general
attempted to celebrate their uniqueness (I believe the phrase AVANT GARDEsp
is considered trite), they tended to lose sight of their goal.....to produce
artists.
Instead they were (are?) more interested in amateur politics, philosophy
and eccentricity under the guise of creative expression{N.Y. School?).
The impressionists did not break away from the acadamie to paint penis's
but rather to be free to explore the "new" phenomenon of painting out of
doors and explore their new found "palette" (check references to the
invention of tube oil colors). This led to the sharing of ideas across
disciplines and a fresh new look overtook the art world Rodin and Monet were
playing to the same music. Other forms of "music"evolved from these roots.
Also let us be reminded that all of these artists studied with masters
of their
day and were quite capable of executing "traditional" fodder for their patrons.
In studying art history did we not notice that the human race is prone
to excesses: Renaissance to baroque to rococo, Impressionism to Fauvism,
Photo-realism to Pop-Art.;
....and design:--fins and chrome, to plastic bubbles and glass---
....and fashion: from painted-on Kalvin Clines, to relaxed-fit, to
falling-off-your- butt"droopy drawers"
I believe the university community has been in the
pop-rococo-fauvist-fins-droopy
drawers stage, not to mention the fact that hormonal drive + the freedom of the
collage campus tends to make many students and instructors look for
creativity in their underwear. Maybe if we all ran around naked there would
be a great interest in people with clothing...... Possibly an X-rated site
on the net....http:// www. black market com./Xdrawings/overcoats. naaaaaah
Throughout history PAINTERS, SCULPTURES, illustrators,COMPOSERS,
WRITERS and directors have had to master their CRAFT before they were
recognized as
such. painting, sculpture, printmaking etc. all required a certain amount of
apprenticeship and practice. Composers study music under tutelage and
practice others works over and over. One does not write screenplays or
direct movies without first spending many years learning their craft from
others perhaps as actors or script editors. Dancers do not become great by
immediately making up their own steps or movements nor do great
CHIROGRAPHERS the true fine artists of dance.
There are many craftsmen whom are very well accomplished but can not be
defined as true artists ,while they may have honed their skills to
perfection, they produce no original work, mainly different versions of a
few general themes which have proven track records with the public. Many
in the "art fair circuit" choose to remain in this category, this is what my
art instructors called "trite", most of those who do it call it "making a
living".
As in other areas of education, in our rush to "progress" and our
access to a zillion new possibilities we are encouraging experimentation but
tossing away traditional building blocks in the process.
What about DBAE, will that help?
DBAE is not anything new-(I hate acronyms!), it is a return to sanity !
We must
build a students art experiences on a strong foundation. That foundation
can only be
achieved by incorporating the critical evaluation of great artwork within
the culture and period in which it was created- involving history,
geography, science , mathematics and social studies and now-technology.
Leonardo's anatomy studies and
calculations(ca.1510) and the scientific pixilation of color by Seurat(1884)
as well as the geometry of della Frencesca(1455) or the rediscovery of
perspective by Duccio(1309) are all rooted in the sciences as well as having
historical and cultural significance
(why was the use of perspective lost for 900 years?)
There are many hundreds more such as: [physics and
megaliths], [religious art and mediaeval life and social structure],
[Bosch's futuristic nightmares(1500) (sort of like my imaginary scene) -and
Jules Verne or Leonardos submarine -future technology].. [Hogarth's biting
social
commentaries on the disparity between upper and lower classes(1745)]
[Durer's nature
prints and science(1503)] or[ Truman Brown's Fractal Painting(1995) =
Computers+ Math]
Students can practice scientific observation, reinforce math skills,
visit other times-places-cultures, while learning to draw, paint, sculpt
etc... The current buzzword is total immersion.
By the way, we have got to make this fun! It will be easy if You have
the foundation!
Any instructor who teaches that ALL art must have some significant
social message
must be related to a monkey's intestine (whose duty in life is to turn
perfectly beautiful, colorful, fine smelling fruits into brown foul smelling
offal). Henry Moore would have love that one.....by the way I use him in my
lesson on "Biomorphic" shapes and compare his sculptures to examples of
plasticity found in nature -from flowing lava and igneus rock to phylum
pseudopodia (amoeba).
What's the problem with "multi-cultural" in its current context of art
relating to racial and ethnic groups not belonging to the DWA (dead white
artists) group? Nothing!!!!
Culture is involved in every artwork in some way.
MY problem, and I guess I share it with many of you, is that my
background from
collage in art history consists mainly of DWA material.
There is hope-just 18 inches away . Fifteen minutes on the net yealded
many hundreds of pages on African-Afro-American ART And tons of stuff on
the art of Mexico and Mexican Americans.....Yes there is more than Diego
Rivera. Asian sites are filled with good things. Even my infopedia 2.0
(softkey) has many pages on multicultural art
I copied part of the intro to African Art:


The arts of Africa illuminate the rich histories, philosophies, religions,
and societies of the inhabitants of this vast continent. African artworks,
in addition to their inherent significance to the peoples who produced them,
also have inspired some of the most important artistic traditions emerging
in Europe and America in the modern era ( see Modern Art and Architecture ).
Western artists of this century have admired both the African artists'
emphasis on abstraction and their freedom from naturalism.
The history of art in Africa covers many centuries. Among the most ancient
of these arts are the rock paintings and engravings from Tassili and Ennedi
in the Sahara (6000 bc -1st cent. ad ). Other examples of early arts include
the terra-cotta sculptures modeled by Nok artists in northern Nigeria
between 500 bc and ad 200, the decorative bronze works of Igbo Ukwu
(9th-10th cent. ad ), and the extraordinary bronze and terracotta sculptures
from Ife (12th-15th cent. ad ). The technical expertise and naturalistic
qualities of these latter arts led early viewers to assume erroneously that
they must have been of classical Greek inspiration. Today rich African
traditions continue, ...........

So let's get together and make the Net work! NETWORK!!!!!!!There is
power in numbers----great art feeds off itself! As do GREAT art teachers!
I'm still not one yet!
BF