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About Me
- Fatjona Lubonja
- Northfield, New Jersey, United States
- Education Researcher Dr. Education Leadership (2010 graduation) Grad Student Arts & Humanities @ Columbia University New York Universal Design in Education Spec. certif. @ Harvard University, Cambridge Area of research interest: 1. self-authorship creativity on child development; 2. Art & Aesthetic.
High art. Disscutions
ReplyDeleteHigh art exist and continue placed in different cultures. Cont...
I went to see the movie The Hurt Locker of Oscar winner Kathryn Bigelow. In my opinion the entire movie was based on image emotion effect on a realistic documentarry type of style. Very heavy, emotional, and some realistic (unfortunately this hapend in the world).
ReplyDeleteAccording to the NYtimes “The Hurt Locker,” directed by Kathryn Bigelow from a script by Mark Boal, "is the best nondocumentary American feature made yet about the war in Iraq. This may sound like faint praise and also like a commercial death sentence, since movies about that war have not exactly galvanized audiences or risen to the level of art"
The movie uses the images to address emotion to the extreme points. The movies also make a conection between individual and society.
Ann Kibbey’s Theory of the Image is based on a concept of the image as a dynamic relation rather than a thing. In three essays Kibbey contends that the image itself is an ideological construct.
Just read Adolf Loos's "Ornament and Crime". A very intrested piece.What he wrote was based on some key principals such as: The embryo passes through the stages of the development of animals and the child through the stages of development of mankind, at which point he becomes aware of the color violet which wasn’t known before the 18th century as some of today’s colors will not be recognized until the future.
ReplyDeleteThe child, is amoral but not criminal, whereas a modern man who ate his enemies would be. The urge to ornament one’s face and other things is the origin of fine art. All art is erotic. The first artwork was to rid the artist of natural excesses. Horizontal and vertical lines represented male penetration, and the creative joy was the same as that of Beethoven.
Objects without ornament in the past were carelessly thrown away, and any rubbish with the smallest ornament was collected and displayed. Every period had a style, which meant ornament. Our period however does not: it is important because it cannot produce new ornament, has out-grown ornament. The streets will now glow like white walls.
There was a publication referring to the Gombrich's The Story of the Art in the British Journal of Aesthetics, Vol. 36, No. 3, July 1996.
ReplyDeleteWoodlield, R. (1996), argued that according to Gombrich the entire history of art may be matched against an illusionist ideal. At this point the term of the word "relative" was used as the aversion to the doctrine of the absolute relativism. The answer is given to the first sentence in the introduction of the book "There really in no such a things as Art. There are only Artists" (Gombrich, 1995, p. i). At the Metropolitan Museum of Art in New York he said that aeverything implies to the theoretical position of art. He also proposed to back to the early usage of the word "Art" that signified any skill or mastery. (September 1995, Phadon Press).