RESPONSES TO CHAPTERS 8-11:Jennifer PRINCE - 2.24.09
CHAPTER 8 - Style tells us about the artist, and form tells us their beliefs. Is "real" art defined by how well it mirrors its maker, and how he/she sees life?
There probably is no such thing as a piece of art that is said to not be art. But, I believe that there is such a thing as good art and bad art, and technique is not the major participant in it.
A good artist can see and show us what is "not seen" beyond what "is seen".
A bad artist cannot see or paint passed his own nose; a bad artist only paints exactly what he sees, and doesn't try to unfold a new perspective in the beholder's mind.
CHAPTER 9 - I feel like people look at art as something that you just do, whether it looks good or bad. Great deals of Americans have lost the sense of the makings of great pieces of art. People have become apathetic about it, and say certain pieces are or are not art, when they don't understand it. The modern philosophy is, "If it works for you, then it is good and moral." Or, "You should do the 'correct' thing (as to what people think you should do), rather than the 'right' thing." But what they don't realize is that you cannot bend the direction of true principle, or you end up going in the wrong direction. True principles never move.
"The object of art is the particular that contains the universal." ~Shopenhauer
CHAPTER 10 -
"Art is greater than science, because the latter proceeds by laborious accumulation and cautious reasoning, while the former reaches it's goal at once by intuition and presentation; science can get along with talent, but art requires genius." ~Shopenhauer
CHAPTER 11 -
Don't create "empty pictures". Be as simple as a child, just stick with the principles, see how they look in form and movement, then create the "unseen". Show people a new way of looking at things, and life. Here's a quote that I found from Alexander Cadler,
"How can art be realized? Out of volumes, motion, spaces bound by the great space, the universe.
Out of different masses, tight, heavy, middling--indicated by variations of size or color--directional line--vectors which represent speeds, velocities, accelerations, forces, etc. . . these directions making between them meaningful angles, and senses, together defining one big conclusion or many. Spaces, volumes, suggested by the smallest means in contrast to their mass, or even including them, juxtaposed, pierced by vectors, crossed by speeds.
Nothing at all of this is fixed.
Each element is able to move, to stir, to oscillate, to come and go in its relationships with the other elements in its universe.
It must not be just a fleeting moment but a physical bond between the varying events in life.
Not extractions,
But abstractions
Abstractions that are like nothing in life, except in their manner of reacting."
