Especially when art is under so much scrutiny as to discover its meaning and origins, why it was created, and what the message trying to be conveyed really is.

From a religious point of view, art is something that glorifies God, and makes people more aware of the goodness and powerful loving nature of God. To these religious types, art is simply a means of expressing God and spreading the news, nothing else and these works of art are ‘true’ art because of the substance they contain and the pure love beauty and truth that form the lifeblood of the art work itself, no matter which form it takes, sculpture, poems, songs, pictures ect.

It is likened to a poet writing a technically perfect prose but not meaning a single word he has written, this makes the art work false.

Quote “Superficiality in art is the beginning of falsity; and all falsity is fundamentally ugly. When the poet deeply feels and understands what he is trying to represent it becomes beautiful. Beauty thus conceived is fundamentally moral. If it is not moral, it is not true beauty, and any part that is not moral will likewise not be beautiful.”

Here is an example of how an individuals opinion of art and what it really is, can be so different from others opinions and can create friction. The boundaries in art in relation to morality and reality shift and change so dramatically that the ideals one holds on to can be worthless to another and prove irrelevant in the argument of what art ‘can’ and ‘should’ consist of.. There cannot be one standard for what is acceptable to be art and what is not.
If people are to be considered equal in all their differences and diversities then their opinions are to be respected likewise, but having said this, it makes art a touchy subject that has had to be open and free from solid boundaries and lines that restrict movement and creativity. Otherwise it would be closed off to some people who didn’t fit the criteria, such as extremists, and minority groups.

Then there is the issue not only of what art ‘IS’ but what can be included IN art, as well as the meaning behind it all. The issue of nudity has had some controversy because, not only is it considered rude and inappropriate by some, it has been blamed to have lead the way to pornography being accepted in art and resulting in the art becoming evil as it were. Its as though the ‘safe’ and beautiful nudity has made way for the experiments with These issues that are raised due to clashes in arts boundaries also have an effect on society, if the art world, which contains much of the public entertainment scene, is tampered with and allows such morally wrong substances into it, then this in turn will give society the idea that such things are ok.

Gradually over time this can make ‘bad’ things ‘ok’ and it continues until the whole of our society is living in filth. Art certainly has a much greater effect than its given credit.
More questions are raised by art than are answered, and these questions are not all about the art work in question. It’s more to do with what can and cannot be art, how and where we ought to draw the line between art and crap and what’s beautiful and what is not.

If art is really meant to be an enjoyable pastime and means of personal expression, coupled with communication. Then as a society we have lost that view and have turned on art and deformed it into a monstrosity that does more harm and causes more conflict than good.

Many art school essays will be developed for entrance into college. These particular types of essays must include your skills, your knowledge, and your passions. When you work specifically on essays designed for college entrance, you will need to share your passion through developing an art school essay that tells a story. The story may show how you have learned something special about art, what has inspired you to become an art student, or any other specific aspects that have lead you to apply for the art college. In addition, your art school essay will be very successful if you are able to share your own personal experiences using related knowledge that includes your talent with words.

Art is very similar to writing, imagine that you are painting a picture or storyboard of what has happened or the concept and topic you wish to share. Write the description and develop the paragraphs to have a single topic sentence that has supportive sentences in each paragraph. Your writing can be excellent, simply write, edit, and read aloud each essay you develop as this will assist you in evaluating your writing to be more effective and communicate more successfully with your readers.

It is my intention in this essay to concentrate on feminist art, in particular, the art of Judy Chicago and Annie Sprinkle.

Feminist thinking today is influenced by the theories of postmodernism, in particular, that of the rejection of a social structure based on bi-polar gender stereotypes rooted in biology with a strong leaning towards patriarchy.

It must be understood that feminism is not one thing; it’s a catch-all description of a range of issues, theories and behavioural patterns. Feminism is also split into two main camps: The radical/political which claims equal rights with men on the basis that women are equal and can do anything men can do, given the chance, and a kind of spiritual/earth mother approach which claims that women are different from, and better than, men because they are life givers and in touch with the natural.

There have always been independent feminists as far back as the 6th century where Sappho wrote lesbian poetry, but the main problem for feminists in art was that the art world was massively dominated by men. Indeed, it must be remembered that for much of the last century the most influential guides for art theorists were; Karl Marx, Friedrich Nietzsche and Sigmund Freud, all born in the 19th Century and all with 19th century attitudes towards women.

Jacques Lacan once said of women:
The place assigned women is one absence, of ‘otherness.’ Lacking the penis, which signifies phallic power in patriarchal society and provides a speaking position for the male child, woman also lacks access to the symbolic order that structures language and meaning. The role of women is to be spoken at rather than to speak.’

With male attitudes like this it was a long, hard climb for women to be accepted as artists, or feminist artists.

‘From its beginnings, feminist art confronted inherent contradictions. Feminists of colour, and lesbian feminists challenged attempts to identify an inclusive “female imagery” or female experience, arguing that such attempts collapsed female identity into a universalised category that was, in reality, heterosexual and white, not to mention middle class.’

It is the intention of the two artists that I have chosen to alter this anomaly and to give women their rightful place in the art world, that is, on equal terms with men.

Annie Sprinkle Ph.D. is a prostitute/porn star turned performance artist/ sexologist. For the last thirty years she has explored every kind of sexual form, producing films, photography, sexual workshops and college lectures. She obtained her Ph.D. in Human Sexuality in San Francisco in this year and won the Firecracker Alternative Book Award this year for her book, Hardcore from the Heart; The Pleasures, Profits and Politics of Sex in Performance.

Her art includes a touring performance whereby she shows her cervix to members of the audience with the use of a speculum and a torch. She has now designed a cervix web site so that more people than ever can view her cervix, something she calls the doorway to life itself.

In the film ‘Sluts and Goddesses’ Sprinkle takes the audience on a tour of sexuality, introducing female masturbation, female ejaculation and a female orgasm that is charted and graphed for it’s intensity that lasts for five minutes and ten seconds. She acts as host for 7 ‘sexual facilitators’ who are transformed into sacred prostitutes with the aid of make up, masks, wigs, body jewellery, body piercing, new names, sexual exercises and sex.

In her touring show, ‘Post-Porn Modernist’ she traces her own evolution from a shy, introverted Ellen Steinberg through porn star, prostitute and sexual adventurer to Anya, sex educator, holistic healer and Aids awareness spokesperson.

In her film ‘Deep Inside Annie Sprinkle’ there is a scene where Annie fingers a man’s anus whist describing to the camera what she is doing. This could be argued to represent subverting the ‘normal’ heterosexual idea of the male being the penetrator in sex and claiming a woman’s equality by role reversal.

‘It is possible to see this as simple table turning; the objectified woman fragments and objectifies the male body in turn. But perhaps more challenging to the conventional porno form is the fact that Annie maintains the first person address to a hypothetical client, speaking to the camera and thus raising new questions about the gendered nature of her address.’

The danger of pornography as art is in the fact that it begs the question, ‘is this art confronting male society with it’s feminism or is it just further degrading women?

‘Her work engages multiple discourses form pornography, feminism, art, spirituality, sex education, advertising, political activism, performance art, body play and the self-help health, prostitutes rights and safe sex movements.’

As feminism must be an ever-expanding discourse that responds to critical self-reflection and continuing political debate then it can be argued that Annie Sprinkle blurs boundaries of art and pornography, seduces deconstruction, reverses traditional subject/object viewing positions, demystifies sexiness and challenges the hegemonic categories of heterosexual males.

Judy Chicago uses feminist art in a totally different way to Annie Sprinkle. She is probably the foremost feminist artist in the world today producing a prodigious amount of work most of which is controversial and challenging to the male dominated industry.

Chicago is a foremost exponent of feminism in the world today, she taught at the first ever feminist art course at Freshno State College back as long ago as 1971. She is an artist, feminist, educator and intellectual and is teaching at Indiana University where she received a Presidential Appointment in Art and Gender Studies.

Chicago, like Sprinkle, is not afraid to use the imagery of woman’s sexual organs in her work, but whereas Sprinkle sees this as a demystifying of the sex of woman, Chicago sees it more as a challenge to subvert the patriarchal obsession with phallic forms and has developed an art using ‘active vaginal forms.’ A central core imagery using many layers producing what some critics called ‘literal vagina depictions’ rather than metaphoric celebrations of female power.

In fact British feminists Griselda Pollock and Roszika Parker argued:
‘The iconography of Judy Chicago’s Dinner Party, specifically for its vaginal imagery is retrograde because it sets itself up for exploration: It is easily retrieved and co-opted by a male culture because it does not rupture radically meanings and connotations of women in art as body, as sexual, as nature, as object for male possession.’

Her ‘Red Flag’, a photographic representation of a woman removing a bloody tampon was the first work of art to show this commonplace, although controversial, event in women’s lives. Chicago was amazed to find that many people did not know what the red object was; some thought it a bloody penis, showing how unwilling many women, and men, are to look at personal, but everyday functions, or in her own words, ‘a testament to the damage done to our perceptual powers by the absence of images of female reality.’

Probably her most famous, and notorious, piece of work is ‘The Dinner Party,’ a monumental testament to women’s historical and cultural contributions. It is a work of art, triangular in configuration, 48 feet on each side combining ceramics, china painting and needlework. An immense table covered with fine white cloths and set with 39 place settings, thirteen on each side, commemorating a goddess, a historic personage or an important woman. On the porcelain surfaced confined with the boundaries of the triangular table the names of 999 other women from history are inscribed.

One of the criticisms aim at this work was the use of needlework, china painting and such which some critics viewed as ‘craft’ not art. In her defence Chicago claims that women have traditionally used such techniques to achieve their art, with sewing, piercing, hooking, cutting, appliqu?ing and the like, activities also engaged in by men but assigned in history to women.

‘Chicago’s work is sometimes criticized as being inherently kitsch, an accusation that springs largely from her use of decorative elements, which are an anathema to modernist critical doctrine. In fact, she employs these supposedly kitsch elements for complex reasons. Like Jeff Koons, she manipulates our feelings about demotic artefacts. In addition, and far more often, she uses imagery that may be thought of as kitsch simply because they are appropriate-the most direct way of saying what she wants to say. If she has a grievance against what she thinks of as ‘masculinist’ art, it is to be found in its denial of basic human emotions.’

This piece of art has engendered probably more responses than any other piece of work in feminist history, as many against it as for it. It has been criticised as smacking of Renaissance workshops where one master artist and countless anonymous helpers produce the art. Chicago counters this by listing all the names of the helpers at the entrance to the gallery.

What most clearly distinguishes The Dinner Party from other postmodernist, feminist works is the visionary element, and it is this that it’s detractors, both antifeminist and feminist, find offensive. ‘How dare a woman try to set society to rights? How dare she claim that she knows truths that we don’t? How dare she be so insistent about her right to tell them? These are hanging-or burning-offences well beyond the boundaries of the art world.’

In conclusion, although some feminists define pornography as the graphic sexual explicit subordination of women in which women are dehumanised sexual objects it can be argued that Annie Sprinkle, with her postmodernist art, not only attempts to break down barriers among people but also challenges the boundaries, both assumed and arbitrary, between pornography, art and everyday experience. She amplifies woman’s insistence on defining their own normal social and sexual categories refusing to absorb into models of heterosexuality.

Judy Chicago uses her art in an attempt to re-write art history, to counter the objectification of woman and her aim appears to use the power of art as a vehicle for intellectual transformation and social change.

It could be argued that today, postmodernist issues have usurped the feminists standpoint and that everyone is searching for ‘self’, not just women, but the reality is that society is still dominated by men and the need for feminist artists like Sprinkle and Chicago is paramount if feminist art is to stand equally alongside that of the masculine.

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Research does not have to be overly complicated for the art critical essay because you can simply look the library for art magazines and gather sources of expert advice or other studies reviewing the same things you are reviewing. Remember, as you seek out sources for use in your essay, you should refer back to your topic sentence. Your topic sentence is the single line that defines what you will write for your essay. An example of a single topic sentence could be “The use of technology to uncover hidden art beneath the surface of other works, may lead to the destruction of current works in order to preserve older pieces.” This may have supporters or it may have other groups that disagree. In addition, there may even be a number of studies reviewing the value of art - you must check your library to define the scope of the available research before you develop your topic. After you have defined the scope, selecting the appropriate research will be less of a challenge.

Consider that related art research can be on many different subjects and topics. Every topic you select has particular implications of how you have learned your course materials and your ability to located related research information. You are writing a research paper to share your ideas but also to apply your learning. You will need to find a topic that combines your learning materials with the research you have gathered. Start with a simple idea – a topic that is rather large – “Relationships between art and society” and then define it based on the information you gather. Such as changing your topic or idea to be more refined, today’s art is reflective of society in that the current informational overload has expanded a number of different art forms.

You may decide to do a great art research paper on how museums are currently suffering lower incomes due to lack of interest in the art in the museums and may suggest a way that may improve this problem. Whatever idea you select be sure you are able to gather supporting evidence, even if some of the evidence is from peer-reviewed sources in other fields.

As you consider what to write for your art essay, consider your course and what you have studied. If you are currently studying art history, you may not want to select to write exclusively about the current state of events, but rather demonstrate times that other related events have occurred. For example, in history other writers and artists have had work stolen or republished under a different name, are there disadvantages that are worse now or is the current state of communication a downfall that is worse than the inability of artists and writers to defend their works in the past?

If your course is focusing predominately on techniques, you may decide to examine how current changes in technology have redefined how techniques are relative to the art world. What of the 3D models found in Poser and being taught in even high schools around the US. Are these art forms changing the way the world sees art as a technique, style, and talent based industry? We hope these good Art essay writing ideas helped you very much.

Here are some quick pointers for Art thesis research – you can check on Wikipedia or Ask.com. For example, you may want to develop a thesis regarding applications of green technology into art heavy fields; however, you may only have the idea of implementing more computer-based technology – such as drawing boards. It is essential to know if organizations are still using paper-based work, if there are better technologies to reduce the waste of products creating art, or you may discover that the biggest waste problem in the arts is unused sets that cannot be donated or sold. Once you have gained new ideas from the internet sources, use the keywords gathered to research these same items in your university library databases.

Next, you must always consider what arguments will be present from your audience when they read your thesis, a good art thesis will answer those arguments in the paper to prevent losing audience interest. Work a little each day, and your paper will go faster without feeling as if you are buried in research. We hope we have already provided you with all neccessary tips on writing a good Art thesis for your Undergraduate, Master’s or Ph.D. academic level. Good luck!

Moore looked at the female figure as a landscape and it is possible to see the similarities between the rolling lines of the figures in his sculptures and the moors where he grew up.

One of Moore’s favoured subject matters is the reclining figure. He has several works depicting the reclining female form done in a variety of techniques and materials. To name a few examples the Reclining Figure is carved out of elmwood, while Recumbent Figure is a stone sculpture. Recumbent figure is also a good example of how Moore was able to synthesise the subject matter of the woman and make the sculpture quite abstract without losing the strong sense of the human form.

The Recumbent figure features a hole in its centre which is not uncommon in Moore’s work. He likes to focus on negative spaces as he finds them just as important a part of the rest of the sculpture. The void spaces in the sculptures also add a touch of mystery to his work which is the central theme in his bronze Double Oval. Double Oval is also good example of a typical piece of Moore’s work in that it focuses on the undulating lines that are often in his works, and it is also simplistic, dominant and quite monumental. It is also intended, like many of his sculpture to sit outdoors.

Another such outdoor sculpture is Moore’s King and Queen. The two were specially designed to sit outside on a weather beaten Scottish moor. In this sculpture Moore has taken advantage of the weather blasted location to use the patina technique. He once said that ‘I use patina the opposite of the way a woman uses face powder, to amplify contours rather than minimise them.’ This is precisely what he has done in King and Queen which depicts two tall, proud figures, a king and queen, sitting bolt upright in their thrones overlooking the landscape before them.

Moore also gets the contoured look mentioned above by leaving his chisel marks, an inspiration he may have got from the much admired unfinished works of Michaelangelo. Another source of inspiration in Moore’s work is Masaccio, a Renaissance painter who managed to do very well in capturing the third dimension in his paintings which gave his figures weight. This admiration is reflected in Moore’s sculptures as they concentrate on the weight of the bodies he depicts.

Other culture’s art such as Aztec, Celtic and African work also are reflected in some of his sculptures. He liked the African’s simple style in particular. The Aztecs also used a lot of stone in their sculptures, stone being one of Moore’s favoured materials along with wood and plaster.

Henry Moore as you can see has developed a very distinctive style. He has collected influences for this style from various sources from other cultures to landscapes to his own life. This makes his work uniquely his and I think this is a strong aspect that draws people to his work.

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The essence of the cubists is to portray what objects really are instead of images which normal people see. Consequently, the images look distort from the original shape. Riviere analyzes the cubism transformation concepts in two functions including eliminating lighting and perspective. The cubists replace all these qualities by plastic values. They believe that lighting effects change the true senses of things. They reject the concept and nature of lighting and substitute to the equal and subtle distribution. The shade that normally place on some parts of object, are dispensed into a small portion to every part of object by placing it near the edge of surface, in order to divide and mark successive inclination of the parts of object. Therefore, the geometrical forms benefit them to unleash from the lighting rule. The advantage of this procedure is the unity and the separation function simultaneously.

Perspective is another thing that cubists remove because it conceals the true form of an object, as it will change every single time when we move the position. Therefore, the plastic image is used to represent all aspects of the object in only one sight. It sometimes reveals the exaggerate image that normally it is impossible to see at one position. Basically, perspective gives the depth of an object but the cubists think the depth is not only expressed by perspective. Perspective does not indicate depth by itself; instead the outlining profile implies it. The artist manipulates depth by the solid form and subtle object accompaniment. The advantage of this process is to mark the difference and relation between objects.

Then Riviere examines the mistakes of the cubists in several ways. First, from cubism concept, revealing every face of an object by placing side by side that give up its volume. Thus, it makes the image of the object flat like an unfolded map. Second, the cubists eliminate lighting and perspective because they don’t want to unequally value between objects or parts of them. Perspective and lighting suggest the point of interest and the arrangement of the objects and picture, but they reject subordination causes so that their works fall back to the confusion and disorder things. The last, the cubism procedure represent the depth for the only purpose to set apart an object from another. The artist prolongs every direction of object and fills up the space between object by walls. Riviere claims that it useless and does away from their aims by the effects. Yet, it messes up their works and makes their works doubtful.

The cubists found a new principle by taking away of individual object meaning, in order to share the equal value to all together or the unity. They leave out the volume of the object to erase its component. And they represent solid forms instead of the depth by which separate an object to another. However, Riviere thinks that from the cubism rules make their works look
nonsensical and confusing.
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Attention! Free sample Art essays and Art essay examples can be used in instructional purposes only as all free Art essays you can find online are 100% plagiarized. If you want to order your custom Art essay, Art research paper, Art term paper or Art thesis/dissertation written by highly qualified writers - you should contact professional writing services which are committed to provide high-quality custom papers in Art. You can find top custom writing companies listed rightside at our blogroll side-bar.