art as expression essay

Essay on Art

500 words essay on art.

Each morning we see the sunshine outside and relax while some draw it to feel relaxed. Thus, you see that art is everywhere and anywhere if we look closely. In other words, everything in life is artwork. The essay on art will help us go through the importance of art and its meaning for a better understanding.

What is Art?

For as long as humanity has existed, art has been part of our lives. For many years, people have been creating and enjoying art. It expresses emotions or expression of life. It is one such creation that enables interpretation of any kind.

It is a skill that applies to music, painting, poetry, dance and more. Moreover, nature is no less than art. For instance, if nature creates something unique, it is also art. Artists use their artwork for passing along their feelings.

Thus, art and artists bring value to society and have been doing so throughout history. Art gives us an innovative way to view the world or society around us. Most important thing is that it lets us interpret it on our own individual experiences and associations.

Art is similar to live which has many definitions and examples. What is constant is that art is not perfect or does not revolve around perfection. It is something that continues growing and developing to express emotions, thoughts and human capacities.

Importance of Art

Art comes in many different forms which include audios, visuals and more. Audios comprise songs, music, poems and more whereas visuals include painting, photography, movies and more.

You will notice that we consume a lot of audio art in the form of music, songs and more. It is because they help us to relax our mind. Moreover, it also has the ability to change our mood and brighten it up.

After that, it also motivates us and strengthens our emotions. Poetries are audio arts that help the author express their feelings in writings. We also have music that requires musical instruments to create a piece of art.

Other than that, visual arts help artists communicate with the viewer. It also allows the viewer to interpret the art in their own way. Thus, it invokes a variety of emotions among us. Thus, you see how essential art is for humankind.

Without art, the world would be a dull place. Take the recent pandemic, for example, it was not the sports or news which kept us entertained but the artists. Their work of arts in the form of shows, songs, music and more added meaning to our boring lives.

Therefore, art adds happiness and colours to our lives and save us from the boring monotony of daily life.

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Conclusion of the Essay on Art

All in all, art is universal and can be found everywhere. It is not only for people who exercise work art but for those who consume it. If there were no art, we wouldn’t have been able to see the beauty in things. In other words, art helps us feel relaxed and forget about our problems.

FAQ of Essay on Art

Question 1: How can art help us?

Answer 1: Art can help us in a lot of ways. It can stimulate the release of dopamine in your bodies. This will in turn lower the feelings of depression and increase the feeling of confidence. Moreover, it makes us feel better about ourselves.

Question 2: What is the importance of art?

Answer 2: Art is essential as it covers all the developmental domains in child development. Moreover, it helps in physical development and enhancing gross and motor skills. For example, playing with dough can fine-tune your muscle control in your fingers.

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Emotion Theory in Art: The Affective Power of Artistic Expression

Table of Contents

Have you ever found yourself moved by a painting, or felt a surge of emotion while listening to a piece of music? Art has a mysterious power to evoke feelings within us, a phenomenon that philosophers and aesthetic ians have sought to understand for centuries. One compelling explanation is the Emotion Theory of art , which suggests that the primary function of art is to express and elicit emotions. Let’s dive into this fascinating concept and explore how art becomes a bridge between the artist’s internal world and our own emotional experiences.

Art as the language of emotions

At the heart of the Emotion Theory is the idea that art is fundamentally a means of communication, but instead of conveying facts or information, it communicates feelings. The artist embeds their emotional experiences into their creations, which are then ‘decoded’ by the viewer through their own emotional responses. This process can forge a deep, invisible connection between the creator and the audience, often transcending words and direct interactions.

The historical roots of Emotion Theory

The notion that art is intimately linked with emotion is not new. Philosophers like Benedetto Croce and R\.G\. Collingwood placed significant emphasis on this relationship. Croce believed that art is the intuitive expression of human emotions, while Collingwood saw art as the outward expression of the artist’s emotional life. Their thoughts laid the groundwork for understanding why art can have such a profound impact on us, emotionally speaking.

Understanding the artist’s perspective

From the artist’s point of view, creating art is often a cathartic experience. It is a way for them to process and externalize their internal emotional states. When an artist feels joy, sorrow, anger, or love, these emotions can be channeled into their work—through brushstrokes, melodies, or the rhythm of words. As audiences, we may not know the specific circumstances that gave rise to these emotions, but we can feel their intensity and sincerity in the finished piece.

Expressionism and beyond

The Expressionist movement in art vividly illustrates the Emotion Theory. Expressionist artists sought to depict not the reality of the external world, but rather the subjective emotions and responses that objects and events evoke within a person. However, emotional expression in art is not confined to any single movement—it is a thread that runs through all forms of artistic endeavor, from classical music to contemporary installations.

The audience’s emotional journey

As viewers or listeners, we bring our own emotional histories to our encounters with art. This personal context can shape our interpretations and emotional reactions. A song might remind you of a loved one, or a painting could evoke a sense of nostalgia for a place you’ve never been. These personal connections are what make art so universally powerful yet individually unique in its impact.

Emotional contagion in art

One fascinating aspect of the Emotion Theory is the concept of emotional contagion —whereby the emotions conveyed by a work of art can ‘infect’ the viewer. This phenomenon can occur even when the emotion expressed is not directly related to the viewer’s personal experience. It is a testament to the universal language of emotions that art so effectively speaks.

Art, emotion, and empathy

Engaging with art can also foster empathy. By immersing ourselves in the emotional world of another—be it the artist or a character in a story—we expand our own capacity for understanding and compassion. Art encourages us to step into the shoes of others and view the world from perspectives other than our own.

The therapeutic potential of art

Given its emotional potency, art can be used therapeutically. Art therapy is a field that harnesses the expressive and emotive aspects of art-making to help individuals explore and manage their feelings. It’s a testament to the power of art to not only reflect emotions but also to aid in healing them.

Challenges to the Emotion Theory

While the Emotion Theory offers a compelling lens through which to view art, it is not without its critics. Some argue that reducing art to mere emotional expression oversimplifies the rich complexity of artistic creation and experience. Others point out that art can also serve intellectual , moral, or social functions that are not primarily emotional in nature.

A multifaceted understanding of art

Indeed, art is multifaceted and can be appreciated on many levels—emotional, intellectual, aesthetic, and more. It’s important to recognize that while emotion may be a central aspect of many artistic experiences, it is not the sole purpose or function of all art.

The Emotion Theory of art underscores the idea that art is a deeply human endeavor, tied intrinsically to our emotional lives. Whether as a creator or a spectator, our engagement with art is often a dance of feelings—a complex interplay between the emotions embedded in the work and those it evokes within us.

What do you think? Have you ever experienced a strong emotional reaction to a piece of art? Do you believe that the primary purpose of art should be to evoke emotions, or is there more to the story? Share your thoughts and let’s explore the affective power of artistic expression together.

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1 Philosophy of Art

A Unified Experience
Existential Possibilities
Relation Between Art and Epistemology
Enjoyment of Beauty in Art
Beauty as Meant by Different Thinkers

2 Rasa – Definition, Nature and Scope

Poetry as Emotive Meaning
The Validity of Rasa as a Theoretical Concept

3 Aesthetics – Definition, Nature and Scope

Definition of Aesthetics
Nature of Aesthetics
Three Approaches to Aesthetics
The Aesthetic Recipient
The Aesthetic Experience
Scope of Aesthetics

4 Aesthetic Objects

Aesthetics in Ancient Greek
Indian Aesthetics
Aesthetics in Medieval Period
Eighteenth Century German Aesthetics
Aesthetics Judgment

5 Bharata on Rasa

The Natyasastra – a Curtain Raiser
The term Rasa
The Rasa Sutra
The Key Concepts of Rasa Theory
Bharata’s Rasa Theory

6 Theories of Rasa

Bhatta Lollata and his Utpattivada
Sri Sankuka and his Anumitivada
Bhatta Nayaka and his Bhuktivada
Sadharnikarana

7 Indian Aestheticians

Concerns of Indian Aestheticians
Bharata’s Contribution
Abhinavagupta’s Contribution
The Concept of Dhvani

8 Abhinavagupta’s Philosophy of Rasa

Rasa as Sui generis
Rasa Dhvani
Alaukika Rasa

9 Ancient Theory of Aesthetics

Pre-Socratic Artists
Socrates on Art and Artists
Plato’s Theory of Imitation
Aristotle’s Doctrine of Katharsis
Plotinus on Intellectual Beauty

10 Medieval Theory of Aesthetics

St. Augustine and Pseudo-Dionysius
St. Thomas Aquinas
Renaissance Movement
Transition – Rene Descartes

11 Modern Theory of Aesthetics

Earl of Shaftesbury (1671-1713)
Joseph Addison (1672-1719)
Hutcheson (1694-1747)
David Hume (1711-1776)
Edmund Burke (1729-1797)

12 Postmodern Theory of Aesthetics

Immanuel Kant (1724-1804)
Hegel (1770-1831)
Aesthetic Thought: A Historical Summary
Benedetto Croce (1866-1952)

13 Ontology of Art

Etymological Meaning of ‘Ontology’ and ‘Art’
Art as Process
Mimetic Theory of Art
Emotion Theory
Intuitionist Theory of Art
Physicality / Content Theory
Triptych Theory of Art
Performance Theory of Art
Institutional Theory of Art
Formalistic Theory of Art
Representation Theory
Art as Interpretation

14 Applied Rasa – Indian Persepctive

Rasa in Tradition
Rasa in Classical Indian Aesthetics
Rasa in Contemporary Thinking
Categories of Rasas

15 Applied Aesthetics – Western Perspective

World of Music/ Applied Aesthetics of Musicology
Applied Aesthetics in Mathematical Domains
Application of Aesthetics in Information Field
Applied Aesthetics related to Digital Art and a Host of varied fields
Application of Aesthetics in Other Fields

16 Art Experience

Hiriyanna on ‘Art Experience’
Rasa Theory as Art Experience: In Context of Poetry
Art Experience: A Practical Approach
Art Experience in Vedantic Context
Art Experience and Samkhya
Art Contemplation
Art Experience and Morality

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Turning Thoughts and Feelings into Art

Artists are primarily thought of as makers. And yes, of course we make stuff. But we are also thinkers and feelers. We think. And we feel. Deeply . And I believe the thinking and feeling are the most important parts of an artist. More important than the making. Because our thinking and feeling is what spurs the making and leads to what we make.

That’s why I write these essays and that’s why I draw in my sketchbook. I have all these thoughts and feelings swirling around in my mind, constantly bumping into each other and trying to connect with other things. It can be overwhelming if we don’t have an outlet for all those thoughts and feelings.

Seeing Our Thoughts + Feelings

Often, as artists, our thinking can run over the other aspects of being human; actually, it can run over all the other aspects of being human. It can run over the being part. We can get so focused on doing, on making, on thinking, that we lose our awareness of what’s going on. I’ve realized now that art (for me, and maybe for you), is the key to becoming aware.

Making art isn’t a direct way to change our thinking or change ourselves. Art is a way of seeing ourselves. A way of seeing our inner world—our thoughts and beliefs, our feelings and emotions, our loves and aversions. Through making art we can learn about our inner world.

Sometimes we’ll discover mundane or silly thoughts like, ‘hey, mushrooms are interesting’. Other times we’ll discover something profound, like thought patterns inside us that we never knew were there. Sometimes those thought patterns are destructive, narrow-minded, and so habitual that we were unaware of them for years. Art can illuminate this inner side of us, and make us more aware of ourselves.

Turning Thoughts + Feelings into Art

The thoughts and feelings in our minds are constantly flowing and surging. It can be exhausting, and sometimes we get swept away. But making art allows us to stand, even for a brief moment, in the middle of that river and see what’s flowing around us.

And that seeing is key. If we’re able to see these inner thought patterns, they can begin to change. We can weed out destructive beliefs and habits to bring in more acceptance and love. We can see our thoughts as just thoughts, and we can use those feelings to make art, instead of allowing them to set up camp in our brains and take over.

Drawing each day, looking into ourselves each day, we can see those parts inside we may have otherwise not noticed. We can become familiar with how our mind works and how our hands create from it. And this process leads to satisfaction in our art and more acceptance and confidence in ourselves.

A Real Life Example

Yesterday, I went through this entire process, unknowingly and perhaps unwillingly. I had been feeling off all day but didn’t really realize it. I was just floating through my day in a general state of “meh”. I tried to break out of the funk: I took a nap, went on a walk, ate a snack… nothing worked. The funk was still there. It was one of those times when you just don’t want to do anything—not even draw. The only thing I could put my finger on was that I felt “meh”, and nothing more specific than that. I was floating in a river of thoughts and feelings but completely unaware of what I was thinking or why I was feeling this way.

And so, not wanting to do anything else, I sat down to draw. The theme for #MightCouldDrawToday this week, chosen this morning by me, is Villains. That choice should have given me a little clue to how I was feeling that day, but ya know… unaware. So I sat down on the couch with my Posca markers and sketchbooks, and within a few minutes of considering what to draw, it came to me—Cruella De Vil. Something about that character clicked and I instantly went from not wanting to draw at all, to a deep desire to draw this character.

And so, for the next good while, I lost myself in drawing. I dropped out of the outer world and dropped into my sketchbook.

As I was drawing Cruella’s facial expression, it dawned on me. This is how I feel. I feel like Cruella de Vil right now. And not just any Cruella de Vil, because there are many sides of every villain—I feel like THIS one. This one that I just drew. And suddenly, it was as if I had seen what was inside me. All the vague feelings of “meh” and the thoughts swirling so fast I couldn’t catch them… everything came into focus.

I now had an awareness of how I was really feeling in that moment.

To be clear, art isn’t magic. My Cruella mood didn’t immediately transform into happy-puppy-mood just because I became aware of it. Awareness doesn’t solve all our problems unfortunately. But the drawing gave me a breather from the rush of thoughts and feelings, a moment of clarity, and a step in the right direction. Like people speak about meditation, I believe experiencing awareness of our thoughts over and over can lead to big changes, both in our art and in our lives.

Try it Yourself

The next time you feel down, discouraged, or “meh”, try using art to look inside. Take some time to draw your thoughts and feelings, if only for a few minutes. Don’t go in with expectations of a revelation and don’t judge your drawing as it goes along. Maybe you’ll realize something profound, and maybe you’ll just realize you’re grumpy.

Whatever it is, just draw. And let it all come out just the way it is.

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Question of the Month

What is art and/or what is beauty, the following answers to this artful question each win a random book..

Art is something we do, a verb. Art is an expression of our thoughts, emotions, intuitions, and desires, but it is even more personal than that: it’s about sharing the way we experience the world, which for many is an extension of personality. It is the communication of intimate concepts that cannot be faithfully portrayed by words alone. And because words alone are not enough, we must find some other vehicle to carry our intent. But the content that we instill on or in our chosen media is not in itself the art. Art is to be found in how the media is used, the way in which the content is expressed.

What then is beauty? Beauty is much more than cosmetic: it is not about prettiness. There are plenty of pretty pictures available at the neighborhood home furnishing store; but these we might not refer to as beautiful; and it is not difficult to find works of artistic expression that we might agree are beautiful that are not necessarily pretty. Beauty is rather a measure of affect, a measure of emotion. In the context of art, beauty is the gauge of successful communication between participants – the conveyance of a concept between the artist and the perceiver. Beautiful art is successful in portraying the artist’s most profound intended emotions, the desired concepts, whether they be pretty and bright, or dark and sinister. But neither the artist nor the observer can be certain of successful communication in the end. So beauty in art is eternally subjective.

Wm. Joseph Nieters, Lake Ozark, Missouri

Works of art may elicit a sense of wonder or cynicism, hope or despair, adoration or spite; the work of art may be direct or complex, subtle or explicit, intelligible or obscure; and the subjects and approaches to the creation of art are bounded only by the imagination of the artist. Consequently, I believe that defining art based upon its content is a doomed enterprise.

Now a theme in aesthetics, the study of art, is the claim that there is a detachment or distance between works of art and the flow of everyday life. Thus, works of art rise like islands from a current of more pragmatic concerns. When you step out of a river and onto an island, you’ve reached your destination. Similarly, the aesthetic attitude requires you to treat artistic experience as an end-in-itself : art asks us to arrive empty of preconceptions and attend to the way in which we experience the work of art. And although a person can have an ‘aesthetic experience’ of a natural scene, flavor or texture, art is different in that it is produced . Therefore, art is the intentional communication of an experience as an end-in-itself . The content of that experience in its cultural context may determine whether the artwork is popular or ridiculed, significant or trivial, but it is art either way.

One of the initial reactions to this approach may be that it seems overly broad. An older brother who sneaks up behind his younger sibling and shouts “Booo!” can be said to be creating art. But isn’t the difference between this and a Freddy Krueger movie just one of degree? On the other hand, my definition would exclude graphics used in advertising or political propaganda, as they are created as a means to an end and not for their own sakes. Furthermore, ‘communication’ is not the best word for what I have in mind because it implies an unwarranted intention about the content represented. Aesthetic responses are often underdetermined by the artist’s intentions.

Mike Mallory, Everett, WA

The fundamental difference between art and beauty is that art is about who has produced it, whereas beauty depends on who’s looking.

Of course there are standards of beauty – that which is seen as ‘traditionally’ beautiful. The game changers – the square pegs, so to speak – are those who saw traditional standards of beauty and decided specifically to go against them, perhaps just to prove a point. Take Picasso, Munch, Schoenberg, to name just three. They have made a stand against these norms in their art. Otherwise their art is like all other art: its only function is to be experienced, appraised, and understood (or not).

Art is a means to state an opinion or a feeling, or else to create a different view of the world, whether it be inspired by the work of other people or something invented that’s entirely new. Beauty is whatever aspect of that or anything else that makes an individual feel positive or grateful. Beauty alone is not art, but art can be made of, about or for beautiful things. Beauty can be found in a snowy mountain scene: art is the photograph of it shown to family, the oil interpretation of it hung in a gallery, or the music score recreating the scene in crotchets and quavers.

However, art is not necessarily positive: it can be deliberately hurtful or displeasing: it can make you think about or consider things that you would rather not. But if it evokes an emotion in you, then it is art.

Chiara Leonardi, Reading, Berks

Art is a way of grasping the world. Not merely the physical world, which is what science attempts to do; but the whole world, and specifically, the human world, the world of society and spiritual experience.

Art emerged around 50,000 years ago, long before cities and civilisation, yet in forms to which we can still directly relate. The wall paintings in the Lascaux caves, which so startled Picasso, have been carbon-dated at around 17,000 years old. Now, following the invention of photography and the devastating attack made by Duchamp on the self-appointed Art Establishment [see Brief Lives this issue], art cannot be simply defined on the basis of concrete tests like ‘fidelity of representation’ or vague abstract concepts like ‘beauty’. So how can we define art in terms applying to both cave-dwellers and modern city sophisticates? To do this we need to ask: What does art do ? And the answer is surely that it provokes an emotional, rather than a simply cognitive response. One way of approaching the problem of defining art, then, could be to say: Art consists of shareable ideas that have a shareable emotional impact. Art need not produce beautiful objects or events, since a great piece of art could validly arouse emotions other than those aroused by beauty, such as terror, anxiety, or laughter. Yet to derive an acceptable philosophical theory of art from this understanding means tackling the concept of ‘emotion’ head on, and philosophers have been notoriously reluctant to do this. But not all of them: Robert Solomon’s book The Passions (1993) has made an excellent start, and this seems to me to be the way to go.

It won’t be easy. Poor old Richard Rorty was jumped on from a very great height when all he said was that literature, poetry, patriotism, love and stuff like that were philosophically important. Art is vitally important to maintaining broad standards in civilisation. Its pedigree long predates philosophy, which is only 3,000 years old, and science, which is a mere 500 years old. Art deserves much more attention from philosophers.

Alistair MacFarlane, Gwynedd

Some years ago I went looking for art. To begin my journey I went to an art gallery. At that stage art to me was whatever I found in an art gallery. I found paintings, mostly, and because they were in the gallery I recognised them as art. A particular Rothko painting was one colour and large. I observed a further piece that did not have an obvious label. It was also of one colour – white – and gigantically large, occupying one complete wall of the very high and spacious room and standing on small roller wheels. On closer inspection I saw that it was a moveable wall, not a piece of art. Why could one piece of work be considered ‘art’ and the other not?

The answer to the question could, perhaps, be found in the criteria of Berys Gaut to decide if some artefact is, indeed, art – that art pieces function only as pieces of art, just as their creators intended.

But were they beautiful? Did they evoke an emotional response in me? Beauty is frequently associated with art. There is sometimes an expectation of encountering a ‘beautiful’ object when going to see a work of art, be it painting, sculpture, book or performance. Of course, that expectation quickly changes as one widens the range of installations encountered. The classic example is Duchamp’s Fountain (1917), a rather un-beautiful urinal.

Can we define beauty? Let me try by suggesting that beauty is the capacity of an artefact to evoke a pleasurable emotional response. This might be categorised as the ‘like’ response.

I definitely did not like Fountain at the initial level of appreciation. There was skill, of course, in its construction. But what was the skill in its presentation as art?

So I began to reach a definition of art. A work of art is that which asks a question which a non-art object such as a wall does not: What am I? What am I communicating? The responses, both of the creator artist and of the recipient audience, vary, but they invariably involve a judgement, a response to the invitation to answer. The answer, too, goes towards deciphering that deeper question – the ‘Who am I?’ which goes towards defining humanity.

Neil Hallinan, Maynooth, Co. Kildare

‘Art’ is where we make meaning beyond language. Art consists in the making of meaning through intelligent agency, eliciting an aesthetic response. It’s a means of communication where language is not sufficient to explain or describe its content. Art can render visible and known what was previously unspoken. Because what art expresses and evokes is in part ineffable, we find it difficult to define and delineate it. It is known through the experience of the audience as well as the intention and expression of the artist. The meaning is made by all the participants, and so can never be fully known. It is multifarious and on-going. Even a disagreement is a tension which is itself an expression of something.

Art drives the development of a civilisation, both supporting the establishment and also preventing subversive messages from being silenced – art leads, mirrors and reveals change in politics and morality. Art plays a central part in the creation of culture, and is an outpouring of thought and ideas from it, and so it cannot be fully understood in isolation from its context. Paradoxically, however, art can communicate beyond language and time, appealing to our common humanity and linking disparate communities. Perhaps if wider audiences engaged with a greater variety of the world’s artistic traditions it could engender increased tolerance and mutual respect.

Another inescapable facet of art is that it is a commodity. This fact feeds the creative process, whether motivating the artist to form an item of monetary value, or to avoid creating one, or to artistically commodify the aesthetic experience. The commodification of art also affects who is considered qualified to create art, comment on it, and even define it, as those who benefit most strive to keep the value of ‘art objects’ high. These influences must feed into a culture’s understanding of what art is at any time, making thoughts about art culturally dependent. However, this commodification and the consequent closely-guarded role of the art critic also gives rise to a counter culture within art culture, often expressed through the creation of art that cannot be sold. The stratification of art by value and the resultant tension also adds to its meaning, and the meaning of art to society.

Catherine Bosley, Monk Soham, Suffolk

First of all we must recognize the obvious. ‘Art’ is a word, and words and concepts are organic and change their meaning through time. So in the olden days, art meant craft. It was something you could excel at through practise and hard work. You learnt how to paint or sculpt, and you learnt the special symbolism of your era. Through Romanticism and the birth of individualism, art came to mean originality. To do something new and never-heard-of defined the artist. His or her personality became essentially as important as the artwork itself. During the era of Modernism, the search for originality led artists to reevaluate art. What could art do? What could it represent? Could you paint movement (Cubism, Futurism)? Could you paint the non-material (Abstract Expressionism)? Fundamentally: could anything be regarded as art? A way of trying to solve this problem was to look beyond the work itself, and focus on the art world: art was that which the institution of art – artists, critics, art historians, etc – was prepared to regard as art, and which was made public through the institution, e.g. galleries. That’s Institutionalism – made famous through Marcel Duchamp’s ready-mades.

Institutionalism has been the prevailing notion through the later part of the twentieth century, at least in academia, and I would say it still holds a firm grip on our conceptions. One example is the Swedish artist Anna Odell. Her film sequence Unknown woman 2009-349701 , for which she faked psychosis to be admitted to a psychiatric hospital, was widely debated, and by many was not regarded as art. But because it was debated by the art world, it succeeded in breaking into the art world, and is today regarded as art, and Odell is regarded an artist.

Of course there are those who try and break out of this hegemony, for example by refusing to play by the art world’s unwritten rules. Andy Warhol with his Factory was one, even though he is today totally embraced by the art world. Another example is Damien Hirst, who, much like Warhol, pays people to create the physical manifestations of his ideas. He doesn’t use galleries and other art world-approved arenas to advertise, and instead sells his objects directly to private individuals. This liberal approach to capitalism is one way of attacking the hegemony of the art world.

What does all this teach us about art? Probably that art is a fleeting and chimeric concept. We will always have art, but for the most part we will only really learn in retrospect what the art of our era was.

Tommy Törnsten, Linköping, Sweden

Art periods such as Classical, Byzantine, neo-Classical, Romantic, Modern and post-Modern reflect the changing nature of art in social and cultural contexts; and shifting values are evident in varying content, forms and styles. These changes are encompassed, more or less in sequence, by Imitationalist, Emotionalist, Expressivist, Formalist and Institutionalist theories of art. In The Transfiguration of the Commonplace (1981), Arthur Danto claims a distinctiveness for art that inextricably links its instances with acts of observation, without which all that could exist are ‘material counterparts’ or ‘mere real things’ rather than artworks. Notwithstanding the competing theories, works of art can be seen to possess ‘family resemblances’ or ‘strands of resemblance’ linking very different instances as art. Identifying instances of art is relatively straightforward, but a definition of art that includes all possible cases is elusive. Consequently, art has been claimed to be an ‘open’ concept.

According to Raymond Williams’ Keywords (1976), capitalised ‘Art’ appears in general use in the nineteenth century, with ‘Fine Art’; whereas ‘art’ has a history of previous applications, such as in music, poetry, comedy, tragedy and dance; and we should also mention literature, media arts, even gardening, which for David Cooper in A Philosophy of Gardens (2006) can provide “epiphanies of co-dependence”. Art, then, is perhaps “anything presented for our aesthetic contemplation” – a phrase coined by John Davies, former tutor at the School of Art Education, Birmingham, in 1971 – although ‘anything’ may seem too inclusive. Gaining our aesthetic interest is at least a necessary requirement of art. Sufficiency for something to be art requires significance to art appreciators which endures as long as tokens or types of the artwork persist. Paradoxically, such significance is sometimes attributed to objects neither intended as art, nor especially intended to be perceived aesthetically – for instance, votive, devotional, commemorative or utilitarian artefacts. Furthermore, aesthetic interests can be eclipsed by dubious investment practices and social kudos. When combined with celebrity and harmful forms of narcissism, they can egregiously affect artistic authenticity. These interests can be overriding, and spawn products masquerading as art. Then it’s up to discerning observers to spot any Fads, Fakes and Fantasies (Sjoerd Hannema, 1970).

Colin Brookes, Loughborough, Leicestershire

For me art is nothing more and nothing less than the creative ability of individuals to express their understanding of some aspect of private or public life, like love, conflict, fear, or pain. As I read a war poem by Edward Thomas, enjoy a Mozart piano concerto, or contemplate a M.C. Escher drawing, I am often emotionally inspired by the moment and intellectually stimulated by the thought-process that follows. At this moment of discovery I humbly realize my views may be those shared by thousands, even millions across the globe. This is due in large part to the mass media’s ability to control and exploit our emotions. The commercial success of a performance or production becomes the metric by which art is now almost exclusively gauged: quality in art has been sadly reduced to equating great art with sale of books, number of views, or the downloading of recordings. Too bad if personal sensibilities about a particular piece of art are lost in the greater rush for immediate acceptance.

So where does that leave the subjective notion that beauty can still be found in art? If beauty is the outcome of a process by which art gives pleasure to our senses, then it should remain a matter of personal discernment, even if outside forces clamour to take control of it. In other words, nobody, including the art critic, should be able to tell the individual what is beautiful and what is not. The world of art is one of a constant tension between preserving individual tastes and promoting popular acceptance.

Ian Malcomson, Victoria, British Columbia

What we perceive as beautiful does not offend us on any level. It is a personal judgement, a subjective opinion. A memory from once we gazed upon something beautiful, a sight ever so pleasing to the senses or to the eye, oft time stays with us forever. I shall never forget walking into Balzac’s house in France: the scent of lilies was so overwhelming that I had a numinous moment. The intensity of the emotion evoked may not be possible to explain. I don’t feel it’s important to debate why I think a flower, painting, sunset or how the light streaming through a stained-glass window is beautiful. The power of the sights create an emotional reaction in me. I don’t expect or concern myself that others will agree with me or not. Can all agree that an act of kindness is beautiful?

A thing of beauty is a whole; elements coming together making it so. A single brush stroke of a painting does not alone create the impact of beauty, but all together, it becomes beautiful. A perfect flower is beautiful, when all of the petals together form its perfection; a pleasant, intoxicating scent is also part of the beauty.

In thinking about the question, ‘What is beauty?’, I’ve simply come away with the idea that I am the beholder whose eye it is in. Suffice it to say, my private assessment of what strikes me as beautiful is all I need to know.

Cheryl Anderson, Kenilworth, Illinois

Stendhal said, “Beauty is the promise of happiness”, but this didn’t get to the heart of the matter. Whose beauty are we talking about? Whose happiness?

Consider if a snake made art. What would it believe to be beautiful? What would it deign to make? Snakes have poor eyesight and detect the world largely through a chemosensory organ, the Jacobson’s organ, or through heat-sensing pits. Would a movie in its human form even make sense to a snake? So their art, their beauty, would be entirely alien to ours: it would not be visual, and even if they had songs they would be foreign; after all, snakes do not have ears, they sense vibrations. So fine art would be sensed, and songs would be felt, if it is even possible to conceive that idea.

From this perspective – a view low to the ground – we can see that beauty is truly in the eye of the beholder. It may cross our lips to speak of the nature of beauty in billowy language, but we do so entirely with a forked tongue if we do so seriously. The aesthetics of representing beauty ought not to fool us into thinking beauty, as some abstract concept, truly exists. It requires a viewer and a context, and the value we place on certain combinations of colors or sounds over others speaks of nothing more than preference. Our desire for pictures, moving or otherwise, is because our organs developed in such a way. A snake would have no use for the visual world.

I am thankful to have human art over snake art, but I would no doubt be amazed at serpentine art. It would require an intellectual sloughing of many conceptions we take for granted. For that, considering the possibility of this extreme thought is worthwhile: if snakes could write poetry, what would it be?

Derek Halm, Portland, Oregon

[A: Sssibilance and sussssuration – Ed.]

The questions, ‘What is art?’ and ‘What is beauty?’ are different types and shouldn’t be conflated.

With boring predictability, almost all contemporary discussers of art lapse into a ‘relative-off’, whereby they go to annoying lengths to demonstrate how open-minded they are and how ineluctably loose the concept of art is. If art is just whatever you want it to be, can we not just end the conversation there? It’s a done deal. I’ll throw playdough on to a canvas, and we can pretend to display our modern credentials of acceptance and insight. This just doesn’t work, and we all know it. If art is to mean anything , there has to be some working definition of what it is. If art can be anything to anybody at anytime, then there ends the discussion. What makes art special – and worth discussing – is that it stands above or outside everyday things, such as everyday food, paintwork, or sounds. Art comprises special or exceptional dishes, paintings, and music.

So what, then, is my definition of art? Briefly, I believe there must be at least two considerations to label something as ‘art’. The first is that there must be something recognizable in the way of ‘author-to-audience reception’. I mean to say, there must be the recognition that something was made for an audience of some kind to receive, discuss or enjoy. Implicit in this point is the evident recognizability of what the art actually is – in other words, the author doesn’t have to tell you it’s art when you otherwise wouldn’t have any idea. The second point is simply the recognition of skill: some obvious skill has to be involved in making art. This, in my view, would be the minimum requirements – or definition – of art. Even if you disagree with the particulars, some definition is required to make anything at all art. Otherwise, what are we even discussing? I’m breaking the mold and ask for brass tacks.

Brannon McConkey, Tennessee Author of Student of Life: Why Becoming Engaged in Life, Art, and Philosophy Can Lead to a Happier Existence

Human beings appear to have a compulsion to categorize, to organize and define. We seek to impose order on a welter of sense-impressions and memories, seeing regularities and patterns in repetitions and associations, always on the lookout for correlations, eager to determine cause and effect, so that we might give sense to what might otherwise seem random and inconsequential. However, particularly in the last century, we have also learned to take pleasure in the reflection of unstructured perceptions; our artistic ways of seeing and listening have expanded to encompass disharmony and irregularity. This has meant that culturally, an ever-widening gap has grown between the attitudes and opinions of the majority, who continue to define art in traditional ways, having to do with order, harmony, representation; and the minority, who look for originality, who try to see the world anew, and strive for difference, and whose critical practice is rooted in abstraction. In between there are many who abjure both extremes, and who both find and give pleasure both in defining a personal vision and in practising craftsmanship.

There will always be a challenge to traditional concepts of art from the shock of the new, and tensions around the appropriateness of our understanding. That is how things should be, as innovators push at the boundaries. At the same time, we will continue to take pleasure in the beauty of a mathematical equation, a finely-tuned machine, a successful scientific experiment, the technology of landing a probe on a comet, an accomplished poem, a striking portrait, the sound-world of a symphony. We apportion significance and meaning to what we find of value and wish to share with our fellows. Our art and our definitions of beauty reflect our human nature and the multiplicity of our creative efforts.

In the end, because of our individuality and our varied histories and traditions, our debates will always be inconclusive. If we are wise, we will look and listen with an open spirit, and sometimes with a wry smile, always celebrating the diversity of human imaginings and achievements.

David Howard, Church Stretton, Shropshire

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Arts Academy

in the Woods

The Importance of Expressing Emotion through Art

The world is a strange place right now. Downright surreal even. And it’s hard to deny that there are a lot of emotions at play.

Interestingly enough, the Latin roots of the word emotion are e (out) + movere (move). In an ideal world, emotions create feelings that flow naturally. But oftentimes they get dammed up.

Whatever you’re feeling these days, it can be a lot to carry. Expressing emotion through art is an incredible way to release those feelings before they get too deep and begin to create other problems .

It Is Crucial to Release Emotions

It would seem as though they have the inside scoop on the research.

Because studies show that whenever we repress, deny, or disallow an emotion to be what it needs to be, our network pathways get blocked. Pretty soon, they’re gumming up the works and the vital feel-good unifying chemicals that dictate both our biology and behavior are unable to flow.

Nobody wants that.

Expressing Emotion through Art

Sometimes simply stating what you’re experiencing isn’t in enough.

In order for emotions to move through us freely, they must be accepted and expressed. Doing so enlivens us and fuels our creativity. Fortunately, experiencing emotions directly through art is fairly simple – if you allow for the process.

This could be done drawing, painting, sculpting, music, movement, writing, drama, whatever creative means allows you to open up and bare your soul. You needn’t be talented or skilled at any of these either. They are simply a means for expressing yourself.

And each time you create a work of art, you’re sharing new ideas, as well as different ways to express yourself. This can certainly serve as motivation for others.

Steps toward Self-Expression

Sometimes getting started can be the toughest part. You don’t need to create an original masterpiece though. You’re just finding a way to let emotions flow.

Pablo Picasso once said, “Art is theft.” So while each piece of art is different, the inspirations are shared. At Arts Academy in the Woods (AAW), we encourage the following as you attempt to express emotions through art:

1. Do Not Hold Back

Whether it’s painting or poetry, music or mixed media, it’s easy to start feeling stifled when facing a creative medium. You may feel you don’t understand “the rules” associated with that medium.

Forget about the rules. You’re trying to create something that’s a reflection of you – not striving to attain technical mastery of the medium. Just allow yourself to feel. Fully and completely.

Allow your emotions to guide you on how you create the art. You will feel cathartic as you utilize the art to let go of damaging emotions that have been bottled up for too long.

One of the single biggest obstacles is fear of failure. It can cause you to give up before you even start. But the true failure is not trying in the first place.

At AAW, we remind students that failure is one of the best ways to learn. Of course, we’re not encouraging intentional failing. But everyone makes mistakes when creating art. View it as a learning experience and keep going. What’s important is that you’re letting your creativity flow.

If you’re obsessing over staying “safe” with art or worried about what others think your art should be, you will end up not revealing much about yourself. So just keep in mind that when creating self-expressive art, you can be comfortable in taking risks. You want the art to mean something to you – regardless of what others think.

3. Question Your Actions

When engaged with self-expressive art, you have to be brave and dig deep. Ask yourself why you behave in certain ways. Even if you don’t like the answers. Doing so is going to allow you to release the emotions around those behaviors while also giving you insight into your thoughts and actions.

4. Be Spontaneous

Spontaneous art is incredibly liberating. It’s one of the best ways to release emotions. So be impulsive. Throw some paint on a canvas Jackson Pollock style. Or explore some experimental sounds on music tracks like Björk. You don’t have to rely on preexisting art forms. Give it a try. You might be surprised at how free you feel.

Don’t put a bunch of pressure on yourself. And certainly don’t let other’s pressure you. Stress and tension will harsh your creativity buzz. And they’ll just create more negative emotions – which is counterintuitive to the whole process.

Art As a Necessary Part of the Curriculum

Art educators understand the importance of learning through art. At arts-integrated schools, they even teach math, science, and social studies through art . Beyond that though, you learn a lot about yourself through art too.

Self-expressive art helps you find new depths to your thinking you may not have realized were there. And you can apply this to so many other areas of your life. That’s what makes art such an important part of education.

Art allows students to release stress in a healthy way. It gives them an alternative way to express themselves – either through a shared experience, or one that’s more private. Yet stripping funding for the arts in place of STEM subjects continues to happen.

And it’s a true disservice to students – and future adults – everywhere.

Want to Find out More about Expressing Emotion through Art?

At an arts academy middle school/high school like AAW, students are encouraged to grow and flourish by expressing emotion through art in a safe environment.

They learn the value of art and how it applies to every aspect of life. And most of all, they are taught to forget about the naysayers and overcome the obstacles when it comes to self-expression; to always move forward and do what they love.

If you feel like AAW could be the perfect place for your middle school or high school-aged child to thrive, contact us today to find out more. Expressing ourselves is more important now than ever.

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Modernisms 1900-1980

Course: modernisms 1900-1980 > unit 1.

Modern art and reality

Expression and modern art

Primitivism and Modern Art
Formalism I: Formal Harmony
Formalism II: Truth to Materials

Ex-pression as non-rational

The stereotype of the expressionist artist, not all modern art is about expression, want to join the conversation.

How Art Makes Us More Human: Why Being Creative is So Important in Life

Art is an important part of life, as it helps us to explore our creativity and express ourselves in unique ways. Art is more than just a form of expression - it’s a way of understanding the world and our place in it. In this blog post, we’ll discuss the psychological, social, and cognitive benefits of creating art and how it can bring joy and purpose to our lives.

What is art?

Art is a form of expression that values creativity and self-expression. It can take many forms, from paintings and sculptures to photography and even digital art. Art has the power to move us, to make us feel something, and to tell stories. Art can be used as a way of connecting with ourselves and with each other, and its power lies in its ability to inspire, create joy, and provoke thought. Art is an expression of the human experience, and its value lies in its ability to bring people together.

The connection between art and emotion

The value of art lies in its ability to evoke emotion. Whether you’re looking at a painting, watching a performance, or listening to music, art allows us to experience a range of emotions from joy to sorrow and everything in between. Art can help us make sense of our own emotions and gain a better understanding of how other people are feeling. It can even bring us closer together as it enables us to feel connected with the artist, even if we have never met them. When we interact with art, it can often spark a dialogue, creating a feeling of understanding and empathy within us.

One way in which art can be especially powerful is when it reflects our personal experiences and values. By connecting with a piece of art that speaks to our values, we can often feel a strong emotional connection with it, enabling us to recognize ourselves in the work and appreciate its beauty and meaning.

The link between art and mental health

Art can be an incredibly powerful tool in helping us to manage our mental health and well-being. Studies have found that art can reduce stress, increase self-esteem, and improve our ability to cope with difficult emotions. Art provides a safe space for us to express our thoughts and feelings, allowing us to connect with ourselves on a deeper level.

One of the main ways that art benefits mental health is through its ability to help us process and make sense of our emotions. Art enables us to externalize our inner struggles, allowing us to make sense of them in a new way. By engaging in creative activities, we can gain insight into our own feelings, giving us the opportunity to recognize patterns and reflect on them in a non-judgmental manner. This can help us to gain a better understanding of our emotions and allow us to find healthier ways of managing them.

Art can also help to decrease symptoms of depression and anxiety. Studies have found that engaging in creative activities such as painting, drawing, or sculpting can reduce symptoms of both depression and anxiety. It also can increase positive moods and overall life satisfaction. In addition, engaging in art can give us a sense of control over our lives, providing us with the opportunity to express ourselves without fear of judgment.

Finally, creating art can provide a sense of purpose and accomplishment, helping us to feel connected to something larger than ourselves. Art gives us a way to channel our energy into something meaningful, allowing us to have a tangible outcome at the end of our creative journey. The act of creation itself can be incredibly empowering, giving us the confidence to take on new challenges and set goals for ourselves.

Overall, engaging in art has been proven to have a positive impact on mental health. Through its ability to help us process emotions, decrease symptoms of depression and anxiety, and provide us with a sense of purpose and accomplishment, art has the power to truly transform our lives.

The benefits of creating art

Creating art can be an immensely rewarding experience that has both psychological and physical benefits. It can provide a sense of purpose, satisfaction, and accomplishment. Art can also help reduce stress, build self-confidence, and improve problem solving skills.

Art can be used to express feelings and emotions, helping to better understand and cope with difficult experiences. It can also be used to relieve anxiety, improve mental health, and enhance positive self-image. Additionally, engaging in creative activities encourages creative thinking, which can foster innovation and creativity in other areas of life.

Creating art can also improve physical well-being. It has been linked to reducing chronic pain and boosting the immune system. It can also help with motor coordination, providing relief for conditions such as carpal tunnel syndrome. Furthermore, it can help with hand-eye coordination, increasing dexterity and making everyday tasks easier.

Finally, creating art is a great way to relax and unwind after a long day. It can provide an outlet for pent-up emotions and help to restore a sense of balance and wellbeing. Even if your work is not immediately appreciated, it’s important to remember that art is subjective and it should be created for yourself, not for the approval of others.

The power of art in storytelling

Storytelling is a powerful tool for communication, and art is an important part of this process. Through art, we can express ourselves in ways that words alone cannot do justice to. Art allows us to show the emotion behind our stories, to add nuance and depth to our tales, and to create visuals that can leave a lasting impression.

Stories told through art have a special power. Whether it's through painting, drawing, sculpture, or even film, art has the potential to bring our stories to life in a way that words simply cannot do. With art, we can bring our characters and stories to life in vivid detail, making them more vivid and alive than if we were to tell the story with just words. We can also add layers of symbolism and meaning to our stories which can make them more meaningful and powerful.

Art has been used as a storytelling device for thousands of years. Ancient cultures used drawings and sculptures to tell their stories, and today, the tradition continues with all forms of visual arts. From street art to museum installations, art is used to tell stories of cultures, histories, beliefs, and emotions. By using art to tell stories, we can move people emotionally and capture their attention in a unique way.

In today's world, where we are bombarded with information from all sides, it can be hard to stand out. Art gives us the chance to do that in a powerful way. By creating art, we can tell stories that resonate with people, inspiring them and showing them something new. The power of storytelling through art is immense and should not be underestimated.

The importance of art in education

Art plays an important role in education, as it encourages creative thinking and provides a platform for students to express their feelings and ideas. It can also be used as a form of communication, allowing students to interpret and create meaning from what they observe. Additionally, the visual representation of art helps children to develop skills such as analyzing information, forming arguments, and making connections.

In the classroom, art can help to introduce new concepts, convey complex topics, and build relationships between students. By incorporating art into lesson plans, teachers are able to engage students in learning and make the material more interesting. Art also helps students to identify patterns and practice critical thinking skills by exploring how elements interact to create a bigger picture.

Furthermore, art allows for students to practice collaboration, problem-solving, and social interaction. Through group projects, students can work together to plan, organize, and execute a project from start to finish. This helps to teach kids essential teamwork skills while also giving them the opportunity to explore their individual strengths and weaknesses.

Overall, art is an integral part of education that helps students develop important skills and encourages creative expression. It is an important tool for teaching and can be used in various ways to make learning more engaging and meaningful.

The role of art in social change

The power of art in creating social change is undeniable. It has been used throughout history as a tool to inspire, educate, and challenge the status quo. Art can be used to bring attention to injustices, advocate for different perspectives, and to create positive cultural shifts.

One example of how art has been used to inspire social change is through protest art. This type of art is often seen at protests and marches, or used to create powerful visuals for political campaigns. Protest art can be anything from signs and banners to sculptures, graffiti, or public installations. It can also take the form of music, film, theater, and literature. By combining art and activism, people are able to communicate their message in an effective way that captures the attention of the public.

Another example of how art can be used to create social change is through digital media platforms such as Instagram and Twitter. These platforms allow anyone with an internet connection to share their creative works and connect with other like-minded individuals. Art has been used on these platforms to raise awareness about important issues, tell stories that inspire change, and even challenge oppressive systems.

Finally, art can be used to help those who are oppressed find strength and resilience. Art provides a platform for those who are marginalized to tell their stories and express their experiences in a safe space. Through art, people are able to connect with each other and find solidarity in the face of adversity.

Art plays an important role in social change and is an invaluable tool for anyone looking to create positive impact in the world. Whether it’s used to create powerful visuals for a protest or to tell stories that inspire action, art has the power to bring people together and spark meaningful conversations about important topics.

Art is essential for all our lives

No matter who you are or where you come from, art plays a vital role in helping us make sense of our lives and the world around us. Art helps us to express our emotions, to communicate our thoughts and feelings, and to explore the depths of our imaginations. By engaging with art, we can discover more about ourselves and the world around us, and cultivate empathy and understanding.

Cultivate News

Expression and modern art

Pablo Picasso, The Old Guitarist , 1903-04 oil on panel, 122.9 x 82.6 cm ( Art Institute of Chicago )

In his painting The Old Guitarist , Picasso made a series of choices to evoke feelings of pity. The guitarist is an old man, with gray hair. The fact that he is seated on the ground suggests that he is playing on the street for spare change. His emaciated state, torn clothes, and dejected posture show poverty and depression.

Furthermore, Picasso does not simply paint the old guitarist exactly as he would appear in real life; he deliberately distorts or exaggerates certain aspects of the scene in order to further intensify his intended expression. Most obviously, the entire work—except for the guitar—is in blue monochrome. This is clearly unrealistic, but it capitalizes on the melancholy emotional quality associated with that color.

Left: Edouard Manet, The Spanish Singer , 1860, oil on canvas, 58 x 45 cm ( The Metropolitan Museum of Art ); right: Pablo Picasso, The Old Guitarist , 1903-04 oil on panel, 122.9 x 82.6 cm ( Art Institute of Chicago )

When we compare Picasso’s painting to one of a very similar subject by Edouard Manet , we can see other strategic formal distortions. Picasso’s guitarist is in an improbable (if not impossible) pose that is cramped on all sides by the frame. He looks caged or trapped, where Manet’s guitarist, already in a more dynamic pose with his energy thrusting upward, has room to move within the frame. Also, where the form of Manet’s guitarist flows through organic, rounded curves, Picasso has exaggerated the hard angularity of his guitarist, who appears to be all jutting elbows, ankles, and tendons.

These two works exemplify the difference between naturalism and expression as artistic goals. One of Manet’s primary goals was an accurate depiction of the appearance of the guitarist, what art historians call naturalism. As to how to feel about him, we are left largely on our own: it is equally probable that a viewer could pity his evident poverty (examine his worn shoes, five o’clock shadow, and simple meal), or admire his bohemian freedom. Picasso, by contrast, paints his guitarist in an expressive manner, explicitly directing our feelings through his stylistic choices.

Left: Caravaggio, Deposition (or Entombment) , c. 1600-04, oil on canvas, 300 x 203 cm ( Vatican Museums ); right: J. M. W. Turner, T he Slave Ship , 1840, oil on canvas, 90.8 x 122.6 cm ( Museum of Fine Arts, Boston )

Picasso’s willingness to sacrifice naturalism in order to enhance the emotional impact of The Old Guitarist is what makes the painting exemplary of modern expression. Between the Renaissance and the nineteenth century (with some notable exceptions, such as El Greco ), artists would primarily evoke emotions in ways consistent with naturalism.

In his Deposition , the Baroque artist Caravaggio uses spotlighting, gritty earth colors, and body language to help express the emotional drama of the moment Christ’s body is laid in the tomb, but nothing is too distorted. The work remains naturalistic; you could see such a scene in real life. Romantic artist J. M. W. Turner pushes the boundaries more in his Slave Ship , with obviously painterly brushwork and very intense color, but the painting still looks plausibly like a storm at sea, with the whipping spray and blowing clouds backlit by the setting sun. The Baroque and Romantic periods both emphasized expression as an artistic goal, but both also largely stayed within the confines of naturalistic representation.

Left: Edvard Munch, The Scream , 1910, tempera on board, 66 x 83 cm ( The Munch Museum, Oslo ); right: Joan Mitchell, Rock Bottom , 1960-61, oil on canvas, 198.1 x 172.7 cm ( Blanton Museum, Austin, Texas )

Starting in the later nineteenth century, the expressionist art movements of the Modern period were increasingly willing to sacrifice naturalism in pursuit of more powerful expressive effects. Although Edvard Munch’s The Scream does include expressive body language in the foreground figure, the painting’s emotional charge is largely carried by its formal distortions. We react first of all to the expressive power of the work’s acrid color, vertiginous recession, and nauseatingly undulating composition, which have been exaggerated to the point where the depicted scene is no longer plausible. Expression has superseded naturalism as the main aesthetic goal. The Modern period saw an increasing recognition of the expressive power of form — color, line, shape, composition, and so on. It is no great conceptual leap from Munch to Joan Mitchell, for whom pure form conveys pure expression, as the name of the Abstract Expressionist movement suggests.

Ex-pression as non-rational

The prefix “ex” means “out,” so to ex-press literally means to push out, reconfirming the distinction between expression and representation or naturalism. In the latter, the motive for the work is out in the world, part of nature, and the artist just re-presents it. With ex-pression, the motive for the work is inside the artist, a mental or emotional state, and must be pushed out.

Expression in art history is generally associated with non-rational states of mind. It is not used to describe works that convey objective facts or for ideas arrived at through rational thought processes. In addition to emotions, the term expression is also used for works that convey spiritual content, such as Vasily Kandinsky’s apocalyptic paintings of the 1910s, and subconscious content, such as the Surrealist André Masson’s automatic drawings of the 1920s.

Left: Vasily Kandinsky, Small Pleasures , 1913, oil on canvas, 110.2 x 119.4 cm ( Solomon R. Guggenheim Museum, New York ); right: André Masson, Automatic Drawing , 1924, ink on paper, 23.5 x 20.6 cm ( MoMA )

Because it pertains to non-rational states of mind, expression is often associated with spontaneous or even involuntary creative processes, both mental and manual. While naturalistic art is generally acknowledged to require intensive training, the skills associated with expressionist art are often said to be innate. Correspondingly, rapid or unrefined execution is frequently taken as a sign of expressive intensity, as though the artist’s hand were responding in automatic synchronization with the outpourings of the emotions or unconscious. This is not a universal stylistic characteristic of modern expressionist art, but it is common, as the examples above of Turner, Munch, Mitchell, Masson, and Kandinsky all demonstrate.

The stereotype of the expressionist artist

There is a stereotype of the expressionist artist that — not coincidentally — matches the qualities associated with expressionist art: almost pathologically irrational, careless of social conventions, and spontaneous to the point of being out of control. It seems that in order to express intensely, the artist has to live intensely. Many analyses of The Old Guitarist begin with the story of Picasso’s own adversities at the time, when he was living in poverty in Paris and had just lost a close friend to suicide. Similar stories of the Post-Impressionist Vincent van Gogh ’s madness, the German Expressionist Ernst Ludwig Kirchner ’s wartime trauma, and the American Neo-Expressionist Jean-Michel Basquiat ’s life on the streets are often used to validate the expressive authenticity of their art.

Left: Vincent van Gogh, Self-Portrait with Bandaged Ear and Pipe , 1889, oil on canvas ( The Courtauld Gallery, London ); center: Ernst Ludwig Kirchner, Self-Portrait as a Soldier , 1915, oil on canvas, 69 x 61 cm ( Allen Memorial Art Museum ); right: Jean-Michel Basquiat, Self-Portrait , 1984, acrylic and lipstick on paper, 98.7 x 71.1 cm ( Gagosian )

We need to maintain a distinction between expression and self-expression, however. The term self-expression is reserved for works whose primary intent is to communicate something about the artist him- or herself. Most modern expressionist art had a broader goal than this. Even when modern artists drew from their own experiences, the intent was to create works that express something about the society or culture of their time, or about the wider human condition. Truly self-expressive works are of limited relevance to outside viewers; this is why art historians typically try to relate works to issues beyond the personal biography of the artists who created them.

Not all modern art is about expression

The concept of expression and the stereotype of the expressionist artist are probably the most commonly evoked justifications for modern art in the popular understanding. If the work does not look like reality, many people assume that it is because the artist was trying to express something, rather than depict something. However, expression of non-rational mental states is only one potential goal of art, and although it was a particularly prominent goal during the modern period, it is not the only motive for non-naturalistic art. We explore other broad answers to the question, ‘Why doesn’t modern art look like reality?’ in the essays The ambiguity of “realism” , Formalism I , and Formalism II .

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11 Expression in Art

Aaron Ridley is a professor in the Department of Philosophy at the University of Southampton in England.

Published: 02 September 2009
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It is natural to assign a significant role to artists in artistic expression, and perhaps to do so by extrapolating from the role we assign to people when they express themselves in everyday, non-artistic contexts. When, for instance, we say of someone's face that it expresses pleasure, we ordinarily take it that the pleasure revealed there is the person's own pleasure, and that the expression on their face is to be explained by the pleasure that they feel. In ordinary, non-artistic cases, then, we take the expression to reveal the state of the person, and the state of the person to explain the expression. The temptation is to suppose that the same must be true of artistic expression. The temptation, that is, is to suppose that a work of art expressing anguish both reveals and is to be explained by the artist's own anguish. But things may not be as straightforward as that.

1. Introduction

That the expression of emotion is among the principal purposes or points of art is a thought with a pedigree stretching back at least as far as the Ancient Greeks. Nor, so stated, is it a thought that many have wanted to oppose. Even the staunchest cognitivist or moral improver has granted that expression is one of the points of at least some art, however much he or she may have wanted to insist on the pre-eminence of other points. Serious disagreement arises only when an attempt is made to say what is actually meant by ‘expression’.

For the purposes of this essay, I want to set up an Everyman figure. He believes what I imagine more or less anyone would believe upon thinking about artistic expression for the first or second time. His view is this. As far as the artist is concerned, expressive art arises because the artist feels something. Perhaps he feels it now, at the moment of creation; or perhaps he creates out of ‘emotion recollected in tranquillity’, as Wordsworth put it; or perhaps he just feels an urge to give vent to something that he knows is ‘in there’ somewhere. Whichever of these it is, though, artistic expression expresses something about the way the artist feels. In expressing what he feels, the artist creates an object of a certain sort, a work of art—and this object shows in some way what that feeling is or was. It does this, perhaps, by describing the feeling; or perhaps it does it by evoking the occasion for the feeling—by being what T. S. Eliot called the ‘objective correlative’ of the feeling; or perhaps it does it by sharing some property or set of properties with the feeling. However it does it, though, the art object somehow indicates or exhibits what the artist felt. The object that the artist creates is then experienced by an audience. Often, the audience is moved or made to feel things by the object. Perhaps the audience's feelings are directed to the artist (in sympathy, say, or in admiration); or perhaps the audience feels what the artist felt—perhaps, in Leo Tolstoy's words, the audience is ‘infected’ by the artist's feeling; or perhaps the audience is stirred by the object into feelings entirely its own. Whichever way it is, the experience of an expressive work of art is standardly or frequently a moving one. Taken together, these thoughts capture Everyman's position, or proto-position, perfectly well: artistic expression involves an artist's feeling something, embodying it in his work, and often moving his audience as a result.

Everyman is entirely right, of course—even if his position as it stands is unacceptably vague. I'll try to suggest towards the end of this essay how his position should be taken. But first it will be useful to attribute to him a more problematic way of understanding his view, a way that has a good deal in common, to put it no higher, with at least one canonical position in the literature. Leo Tolstoy, in militantly Christian retirement from writing two of the greatest novels of the nineteenth century, defended the following claim in his short book, What Is Art?

To evoke in oneself a feeling one has once experienced and… then by means of movements, lines, colours, sounds, or forms expressed in words, so to transmit that feeling so that others experience the same feeling—this is the activity of art… Art is a human activity consisting in this, that one man consciously by means of certain external signs, hands on to others feelings he has lived through, and that others are infected by these feelings and also experience them… Art is [thus] a means of union among men joining them together in the same feelings … (Tolstoy 1996 : 51)

Tolstoy's statement here is flat and apparently unambiguous. The function of art is to transmit feelings from artist to audience; the role of the artwork is simply that of a conduit through which the artist's feelings, as it were, flow. Elsewhere in What Is Art? there are indications that Tolstoy might have had something rather subtler than this in mind, and there are passages in the book that barely make sense except on the assumption that he did have. But for present purposes these details can be put aside. Let us simply take it that Tolstoy did indeed mean what, in the quoted passage, he appears to say.

This way of understanding expression—call it the transmission model—is clearly consistent with Everyman's main intuitions. But he may find on reflection that it offends, or at least grates against, some of his other intuitions. As it stands, the transmission model construes the work of art as a mere vehicle for the feeling transmitted through it, as no more than a means to the end of getting the feeling from the artist to the audience. In principle, then, the work of art could be replaced by anything else that got the feeling through as effectively. If Edvard Munch had been a gifted chemist, for instance, he might, instead of painting The Scream , have concocted a drug which produced in those who took it feelings identical to the ones expressed in the picture: The Scream need never have been painted.

Everyman's intuitions should begin to rebel at this point, for several reasons. First, the present way of describing things leaves one with no reason at all to value The Scream for itself, as a painting. Second, it strikes one as odd to think that any other painting, let alone a drug, could possibly have made available the exact experience to be had from looking at The Scream . And third, when one looks at The Scream , the anguish one sees is the anguish of that face, of that figure, captured in just those lines and colours. To think of the anguish as being somehow detachable from what Munch painted would surely be to falsify at least one important aspect of the experience that his picture offers. In each of these respects, it seems, the transmission model construes the relation between the artwork and the feeling it expresses in far too extrinsic and contingent a manner, a thought sometimes put by saying that one cannot, in the end, understand or do justice to a work of art if one insists on treating it simply as an instrument of some kind—for instance, an instrument for conveying feelings from artist to audience.

The transmission model is to be resisted, then. But its shortcomings are instructive, and they tell us quite a lot about what an acceptable way of cashing out Everyman's intuitions would have to look like. Above all, they tell us that an acceptable account of artistic expression must relate the work of art to the feelings expressed in such a way as to make the work's role in expressing those feelings an essential rather than an incidental feature of the sort of communication between artist and audience that artistic expression consists in. In the next three sections I shall attempt to spell out that constraint by considering, first, the relation of artist to expressive artwork, second, the relation of audience to expressive artwork, and third and most briefly, the artwork itself.

Here is a commonly offered reason why the temptation should be resisted, stated by Peter Kivy in the context of musical expression:

many, and perhaps most, of our emotive descriptions of music are logically independent of the states of mind of the composers of that music, whereas whether my clenched fist is or is not an expression of anger is logically dependent upon whether or not I am angry. It is unthinkable that I should amend my characterization of the opening bars of Mozart's G-minor Symphony (K.550) as somber, brooding, and melancholy, if I were to discover evidence of Mozart's happiness… during its composition. But that [on the present hypothesis] is exactly what I would have to do, just as I must cease to characterize a clenched fist as an expression of anger if I discover that the fist clencher is not angry. This is a matter of logic. (Kivy 1980 : 14–15)

Kivy's point here (following Tormey 1971 : 39–62) is partly to distinguish between something's express ing an emotion and its being expressive of that emotion: in the former case, the expression stands to the state of the person whose expression it is in the kind of relation I sketched out above (it reveals it, and is explained by it), whereas in the second case it does not. In the second case, where something is expressive of an emotion (Kivy invites us to think of the sad face of a St Bernard dog), the characterization we offer is ‘logically independent’ of the state of mind of the person (or dog) whose expression it is. The fact that he would not withdraw his description of the opening bars of Mozart's 40th Symphony upon discovering that its composer was happy when he wrote it, any more than he would withdraw his description of the St Bernard's face as ‘sad’ upon finding that the dog was cheerful, is taken by Kivy to indicate that musical expression—and artistic expression more generally—must standardly be of this latter, ‘logically independent’, sort: that such expression is not, in other words, to be understood by simply extrapolating from ordinary, non-artistic cases of expression.

By itself, this argument is hard to assess, since it is unclear how strong the conclusion is meant to be. Specifically, it is unclear what Kivy's talk of logical independence is supposed to amount to. The argument can be read in either of two ways: a weaker, which claims only that artistic expression is sometimes ‘logically independent’ of the state of the artist, and a stronger, which claims that artistic expression is essentially , or in its paradigm cases, logically independent of the state of the artist. Let's take the weak reading first (perhaps encouraged by Kivy's remark that it is only ‘many, perhaps most’, cases that exhibit the logical independence that he has in mind).

Imagine someone who successfully feigns a sombre expression upon hearing of a not wholly unwelcome death. To say that his pretence is successful is to say, first, that his expression does not reveal what he feels, but suggests something else instead, and second, that his expression, although perhaps to be explained by what he feels (by his reluctance to appear callous, say), is not to be explained by his being in the sombre state that his expression indicates. Thus, while his face is certainly expressive of sombreness, it does not express any sombreness of his, since he feels none. Here one might say that his expression is ‘logically independent’ of his state of mind, and decline to withdraw one's characterization of his face as ‘sombre’ even once his pretence has been discovered. In saying this, however, one would certainly not be saying that sombre facial expressions are, in general, logically independent of the states of mind of their owners. For what makes pretence of this sort possible is the background of genuine instances of expression against which it takes place. It is only because genuinely sombre people genuinely do look sombre that a feigned sombre expression can be mistaken for one genuinely expressing sombreness. In the present case, then, we are dealing with a thoroughly parasitical, atypical instance—one that is atypical precisely in exhibiting a disjunction between facial expression and state of mind. So, whatever degree of logical independence this instance shows, it shows also a background of logical dependence that is both more extensive and logically prior: it shows, that is, that people's expressions are not typically or standardly independent of their states of mind. The question for Kivy is now this: why prefer to assimilate Mozart's G-minor Symphony to a dog than to a person? Why understand the sombre expression of the symphony as analogous to a ‘sad’ St Bernard's face rather than as analogous to the ‘sombre’ face of a person who feigns melancholy? Why not suppose, in other words, that the sombreness of the Mozart symphony as written by a happy Mozart points up and exploits a background of sombre music written by sombre composers in exactly the way that the sombre face of the feigner points up and exploits a background of sombre people looking sombre? Kivy offers no reason for his preference. He therefore gives no grounds to believe that musical or artistic expression is ‘logically independent’ of the states of mind of artists, except, perhaps, in atypical, parasitic cases. The weak reading, then, fails to yield a conclusion of any general significance at all; and it is certainly far too weak to establish the impossibility of understanding artistic expression by extrapolating from ordinary, non-artistic cases of expression.

Despite claiming that it is only ‘many, perhaps most’, cases that exhibit a ‘logical independence’ of expression from the artist, it is clear that Kivy really has in mind the stronger reading of his argument: in the remainder of his book he treats ‘logical independence’ as standard or paradigmatic. It is also clear that, to have a chance of going through, the stronger reading must somehow circumvent the difficulty posed by the expressive feigner. What the stronger reading needs to establish is this: that a happy Mozart could have written a sombre G-minor Symphony even if no sombre music had ever been written by a sombre composer. If this can be established, there will be no warrant for supposing, as one must suppose in the feigning case, that any apparent instance of ‘logical independence’ really trades for its point on a deeper and logically prior background of dependence. Kivy himself, as I have already said, gives us nothing to go on here. But the claim that there could be sombre art even if none had ever been created by a sombre artist does have a certain prima facie plausibility that any corresponding claim made of feigned facial expressions would, at least on the face of it, lack. It is worth asking why that might be.

The answer, I think, is this. A feigned facial expression of gloom depends upon a background of genuine facial expressions of gloom, where a ‘genuine’ expression is one that someone wears because he feels gloomy (his expression both reveals his gloom and is explained by it). That much is surely true. But it is easy to move from this thought to a second: that a feigned facial expression depends upon a background, not merely of genuine facial expressions, but of natural facial expressions—a slippage, if it is one, perhaps facilitated by the fact that the ‘artificial’ is opposed to both the ‘natural’ and the ‘genuine’. It is this second thought, which may or may not be true, that is responsible for making it seem as if artistic and everyday expression must be radically different in kind. For art—unlike a person's face, one might say, or its configurations—is artificial, heavily dependent upon convention, and so not, one might think, a ‘natural’ mode of expression at all. To the extent, then, that expressive feigning depends upon a background of expressive ‘naturalness’, feigned artistic expression, unlike feigned facial expression, would appear to be impossible; it would therefore also appear—unlike, say, the face of a St Bernard dog—to be of no use in an explanation of how an artist, feeling one thing, might create a work of art expressive of something else. Which seems to put us quite close to the claim made by the strong reading, that artistic expression is essentially, or in its paradigm cases, ‘logically independent’ of the feelings of artists, and so to the more general claim that artistic expression cannot be understood by extrapolating from ordinary, everyday cases of non-artistic expression.

None of this, in my view, is at all persuasive. If the move from the genuine to the natural is, as I suspect, unwarranted—if, that is, there is no reason to think that expressive feigning depends upon a background of, as it were, naturally genuine expression rather than (merely) genuine expression—then we are no closer than before to the conclusion required by the strong reading. But even if the move is warranted—and suppose for a moment that it is—it still could not secure the required conclusion without major additional argumentation. Two things would have to be shown: first, that every kind of ordinary, non-artistic expression that can be feigned is, in the relevant sense, natural; and, second, that no paradigm or standard case of artistic expression is natural in that sense. I strongly doubt that either, and still less both together, could be shown in a non-vacuous way. The first argument, for instance, would have to account for the fact that a good deal of ordinary, everyday—and eminently feignable—expression is linguistic, leaving it to the second argument, presumably, to explain why, if the conventions that define a spoken language are indeed, and despite appearances, ‘natural’ in the relevant sense, those governing artistic expression are not. Or, to put the point the other way round, if the second argument were to succeed in showing that artistic conventions are somehow conventional ‘all the way down’, the first argument would have to have shown that no feignable piece of everyday expression is conventional except within certain, permissibly natural, limits. It isn't hard to see how such arguments are bound to degenerate into circular, question-begging exercises in stipulation: the ordinary just is the natural; the artistic just is the conventional; and so on.

There is nothing in any of this, I suggest, to offer the smallest hope of rescue to the strong reading of Kivy's position. There is nothing, in other words, to encourage the thought that what a work of art expresses is, in the standard or paradigm case, ‘logically independent’ of the state of the artist. I have laboured this point for a number of reasons, but chief among them has been a concern to head off the idea that, because artistic expression is a special case of expression, it must be a very special case indeed, perhaps even sui generis . Nothing in the discussion so far suggests that that is true. And certainly, the mere fact that, as Kivy puts it, ‘It is unthinkable that I should amend my characterization of the opening bars of Mozart's G-minor Symphony… as somber… if I were to discover evidence of Mozart's happiness… during its composition’ has no such extravagant consequence. Nor, except for the purpose of defusing talk of logical independence, need that fact drive one to wonder whether Mozart might not have been feigning. For the truth is that there is a perfectly ordinary, everyday explanation for Kivy's (quite rightly) declining to withdraw his characterization: that the evidence of the symphony itself trumps whatever imaginary evidence Kivy thinks of himself as discovering—just as, for instance, the publicly manifest evidence of Hitler's megalomania would trump any imagined ‘discovery’ about his modest, self-effacing nature in private. And, just as no discovery about Hitler's private life would make one think that his megalomania was somehow ‘logically independent’ of him, so there is no sort of discovery about Mozart—and what could it be? a letter? a diary entry?—that would make plausible the radical splitting off of him from the expressive properties of his work. What Kivy has overlooked, in short, is the homely possibility that an artwork itself may be evidence—and perhaps the best sort of evidence there is—of what an artist really felt (or of what emotional/imaginative state he was in).

The reason that Kivy doesn't take up this possibility, I suspect, is not any deep desire to assimilate Mozart's symphony to a dog's face. It is, rather, a wariness about deflecting appreciative and critical attention away from the work of art, where it belongs, and on to the historical person of the artist. The worry, crudely, is that if one takes a work of art to express—to reveal and to be explained by—an artist's state of mind, then the question ‘What is expressed here?’ may look as if it has to be answered in the light of evidence about the artist's state of mind, which might have nothing whatever to do with the work of art that he has actually produced. And this worry is fuelled by some of the things that artists have said about what they do. Tolstoy, as we have seen, talks of art as a set of ‘external signs’ intended to convey to an audience feelings that the artist ‘has lived through’, so encouraging the thought that the question ‘What do these external signs stand for?’ is best settled by asking what feelings the artist has, as a matter of fact, lived through. And here is Wordsworth, in the preface to Lyrical Ballads : poetry, he says,

takes its origin from emotion recollected in tranquillity: the emotion is contemplated till, by a species of reaction, the tranquillity gradually disappears, and an emotion, kindred to that which was before the subject of contemplation, is gradually produced, and does itself actually exist in the mind. In this mood successful composition generally begins…. (Wordsworth 1995 : 23)

And T. S. Eliot in his essay on Hamlet :

The only way of expressing emotion in the form of art is by finding an ‘objective correlative’; in other words, a set of objects, a situation, a chain of events which shall be the formula of that particular emotion; such that when the external facts, which must terminate in sensory experience, are given, the emotion is immediately evoked. (Eliot 1932 : 145)

If Wordsworth tempts one to ask not what a poem expresses, but what emotion existed ‘in the mind’ of the poet before composition of the poem began, then Eliot, in much the same way, tempts one to ask just what the ‘particular emotion’ was, for which the artist may or may not have succeeded in finding an ‘objective correlative’. Like Tolstoy, Wordsworth and Eliot are here deep inside transmission territory, and so are both in real danger of minimizing or misconstruing the role of the work of art in artistic expression.

To this extent, Kivy is right to be wary of the role assigned in expression to the artist. But what is needed to keep the artist in his place, as it were, is a good deal less than—indeed, just about the opposite of—a demonstration of the logical independence of what a work of art expresses from what an artist felt. What is needed, as we have seen, is simply a reminder of the ordinary, everyday fact that actions speak louder than words—that what one does, how one behaves, reveals how one feels in a way that nothing else can. From the fact that the making of a work of art is standardly a peculiarly rich, reflective and elaborate sort of action, therefore, one should conclude that, standardly, a work of art offers the best possible (‘logical’) evidence of an artist's state, and so that, standardly, what a work of art expresses reveals that state, and is to be explained by it. This conclusion places the following constraint on any attempt to cash out Everyman's intuitions in a plausible way: that the artist must be seen as present in his work, much as a person must be seen as present in his behaviour, rather than as separate from it, behind it, or, above all, as ‘logically independent’ of it.

3. Audiences

Everyman's proto-position envisages artistic expression as involving an audience's being moved in some way. There is at least one thing that he had better not mean by this. He had better not mean that a work of art expresses whatever it makes its audience feel. Many considerations point to this prohibition, but the following is the simplest and most direct: a work of art can make one feel X precisely because one recognizes that it expresses Y, where X and Y are different. Suppose I feel an odd sense of uplift upon looking at The Scream (things could be worse); nothing in this makes The Scream expressive of such uplift. No more than in an ordinary, everyday case of expression, then, is what is felt by a witness of an expression to be taken, automatically, as what is expressed. (Your expression of gladness might sadden me, after all.) If an audience's feelings are indeed involved in artistic expression, then their involvement is going to have to be accounted for in some more subtle way than this.

It is possible, of course, that the proper response to the role of audiences' feelings in artistic expression is one of scepticism. One might acknowledge that people are, as a matter of fact, frequently moved by the experience of expressive art, and yet still deny that this has any significance for an understanding of artistic expression. It may be, for instance, that what a person feels upon experiencing a particular work of art is determined in some way by the associations that that work has for him: so, for example, Beethoven's 6th Symphony makes someone feel vulnerable because it reminds him of his nanny, while Apocalypse Now makes him smirk because he remembers what went on in the back row when he first saw it. In cases such as this, it is clear that the person's responses, however significant they may be for him, are altogether extrinsic to any issues concerning the expressive characteristics of the works that occasion them, and so are irrelevant to any attempt to understand artistic expression.

The same may be true, if somewhat less obviously, in a different kind of example. It may be the case, as a number of people have argued (see e.g. Feagin 1996 ), that, unless one's experience of a given work of art is coloured and informed by one's emotional responses to it, one will not be in a position fully to understand it. So, for instance, it might plausibly be suggested that a person at a good performance of King Lear who was not appalled by Gloucester's blinding would have failed to appreciate the true character of the events portrayed. If this is right, it would suggest that a certain kind of emotional engagement may be essential to some kinds of aesthetic appreciation. But nothing in the example shows that such engagement or response need have any bearing on expression specifically. It may well be, in other words, that audiences are moved in a host of diverse and valuable ways by expressive works of art without that fact being such as to contribute to an understanding of artistic expression. To the extent that that is the case, Everyman's intuitions about audiences will have to be set aside.

How, then, might a place be secured in an account of expression for an audience's responses? The foregoing suggests this: what an audience feels will be relevant to an account of artistic expression, first, if what it feels is related in some intrinsic way to what a work of art expresses, and, second, if its feeling that way is essential to its grasping the feeling expressed by the work. The first requirement rules out the second and third of the cases just discussed. Not only are responses based on private association not intrinsically related to what works of art express, they are not intrinsically related to works of art in any way at all; while responses that help one to see what a work is about, although related in the right sort of way to the work of art, need not be related to it as an expressive object. The second requirement serves, among other things, to rule out the example discussed at the beginning of this section. My imagined response of uplift is certainly intrinsically related to The Scream 's expression of anguish: but I need not feel uplifted in order to grasp the anguish expressed there. But the second requirement is also meant to do more. It is meant to rule out the following kind of possibility.

Suppose that whenever I experience an expressive work of art I feel the feelings it expresses. I feel anguish whenever I look at The Scream , for example, and am seized by a sombre, brooding melancholy whenever I listen to the opening bars of Mozart's G-minor Symphony. I am, in fact, exactly the sort of person that Tolstoy has in mind: I am invariably ‘infected’ by the feelings that works of art express. There is no question here that my responses satisfy the first requirement. I feel what I feel because of the feelings expressed in the works. But nothing in the example as it stands suggests that this fact about me, however much it might make my aesthetic experiences interesting or intense, is integral to an analysis of artistic expression. There are two reasons for this. First, my response may be peculiar to me; it may, in the end, be no less idiosyncratic to respond in this way than to respond on the basis of private association. So no conclusions of a general sort about expression can be drawn from the fact that that is how my responses are. Second, there is no reason to think that someone who responded differently, or who did not respond by feeling at all, would be missing anything. Their experience of expressive art would not be the same as mine, but that shows nothing about their capacity to notice or appreciate the features of artworks to which I respond by feeling what they express. This example, therefore, fails to satisfy the second requirement set out above—that what an audience feels must be essential to its grasping what an artwork expresses.

The only way in which an audience's responses can possibly be integral to an analysis of artistic expression, therefore, is if at least some of those responses are integral to grasping at least some of what, or at least some aspects of what, works of art can express. This is effectively to envisage a corollary of the position outlined in the previous section: a kind of response that (i) reveals the expressive properties of a work for what they are, and (ii) is explained by the work's having those properties. The idea here is close to something John Dewey once said:

Bare recognition is satisfied when a proper tag or label is attached, ‘proper’ signifying one that serves a purpose outside the act of recognition—as a salesman identifies wares by a sample. It involves no stir of the organism, no inner commotion. But an act of perception proceeds by waves that extend serially throughout the entire organism. There is, therefore, no such thing in perception as seeing or hearing plus emotion. The perceived object or scene is emotionally pervaded throughout. (Dewey 1980 : 55–6)

To respond without feeling might be to ‘recognize’ certain of a work's expressive properties; but to grasp those properties in their full richness and particularity is to ‘perceive’ them. A position of this general sort has been gestured towards recently by a number of writers, most often perhaps in the context of musical expression. So, for instance, Malcolm Budd has suggested that an imaginative engagement with music can enable ‘the listener to experience imaginatively (or really) the inner nature of emotional states in a peculiarly vivid, satisfying and poignant form’ (Budd 1995 : 154); Jerrold Levinson has remarked that perceiving ‘emotion in music and experiencing emotion from music may not be as separable in principle as one might have liked. If this is so, the suggestion that in aesthetic appreciation of music we simply cognize emotional attributes without feeling anything corresponding to them may be conceptually problematic as well as empirically incredible’ (Levinson 1982 : 335); and Roger Scruton has pointed out that ‘there may be a sense of “what it is like”… When I see a gesture from the first person point of view then I do not only see it as an expression; I grasp the completeness of the state of mind that is intimated through it’ (Scruton 1983 : 96, 99) (see also Ridley 1995 : 120–45, and Walton 1997 : 57–82).

There is little consensus in the current literature about the significance, or even the possibility, of such responses. Many prefer to regard an audience's feeling as essentially independent of the feelings expressed by artworks, and so as incidental to any account of artistic expression. The discussion in the present section suggests that that position is considerably more plausible than its analogue concerning the feelings of artists. For what it's worth, though, I want to cleave to Everyman's position. Just as I may sometimes have to put myself in your shoes—try to feel the expression on your face from the inside, as it were—in order to grasp how things really are with you, so, it seems to me, I sometimes get the full expressive point of a work of art only by responding emotionally to it—by resonating with it, even. Again, then, I am inclined to think that extrapolation from ordinary, everyday cases of expression is the most promising way of attempting to understand artistic expression.

4. Artworks

I argued in the introductory section that an acceptable account of artistic expression must relate a work of art to the feelings expressed there in such a way as to make the work's role in expressing those feelings an essential rather than an incidental feature of the transaction between artist and audience. With respect to the artist, this comes to the thought that, in standard cases, the expressive properties of a work of art both reveal the artist's state and are to be explained by it. With respect to the audience the position is perhaps less clear, but I have suggested that, in certain cases at least, the expressive properties of a work of art are both revealed by, and explanatory of, the responses of an audience.

These considerations give us a good overall indication of what is required in order to make Everyman's position a plausible account of artistic expression. They also, of course, tell us the kinds of things that need to be said about artworks in such an account, namely, that artworks must be understood as objects having expressive properties capable of revealing and of being explained by the feelings of artists and (perhaps) of explaining and of being revealed by the feelings of audiences. Beyond that, however, there is very little of a general nature to be said. The various forms of art differ hugely from one another in the kinds of resources they make available for artistic manipulation, and so differ hugely from one another in the kinds of property that, in one context or another, can be expressive, and in what way. At this point, then, the attempt to arrive at a full understanding of artistic expression must devolve on to the theories of the individual arts, where, for instance, one might give an account of the expressive nature of dance by relating the gestures it contains to the gestures of human beings when they express their feelings; or one might give an account of the expressive nature of certain paintings by appealing to atmosphere or ambience—to features that have an expressive charge whether in or out of art; or one might give an account of the expressive nature of music by relating its movements to the movements of people in the grip of this or that feeling—for example rapid, violent music for frenzy or for rage; or one might give an account of the expressive nature of poetry by highlighting locutions or rhythms that are characteristic of ordinary, spoken expressions of feeling; and so on. The problems and possible solutions are quite distinct for each of the various arts, even if, with respect to each of them, one is essentially trying to answer the same questions: in virtue of what features is this artwork expressive? And: what is it that someone might attend to, recognize, or perceive in a work of this kind that would lead him to characterize it in expressive terms?

5. Expression Proper

So how, finally, might Everyman's proto-position be filled out so as to give a satisfactory—and suitably general—account of artistic expression? The answer, it seems to me, lies in R. G. Collingwood's treatment of the issue in his wonderful, though wonderfully uneven, book, The Principles of Art .

Collingwood's basic claim is that what is involved in artistic expression is nothing more than what is involved in ordinary, everyday instances of expression. Indeed, he goes so far at one point as to say that ‘Every utterance and every gesture that each one of us makes is a work of art’ (1938: 285); and this, while surely overstating the case, is indicative of the seriousness with which he takes the continuity between the artistic and the non-artistic. For him, the purpose of expression—in or out of art—is self-knowledge. One finds out what one thinks or feels by giving expression to it. At the beginning of the process of expression, Collingwood holds, the artist knows almost nothing of what he feels:

all he is conscious of is a perturbation or excitement, which he feels going on within him, but of whose nature he is ignorant. While in this state, all he can say about his emotion is ‘I feel… I don't know what I feel.’ From this helpless and oppressed condition he extricates himself by doing something which we call expressing himself. (Collingwood 1938 : 109)

The artist attempts to extricate himself from his ‘helpless and oppressed condition’, then, by trying to answer the question ‘What is it I feel?’ When he first asks this question, there is no answer to be given: his state is inchoate, and nothing specific can be said about it. If he is successful in his efforts, however, the question eventually receives its answer, and this is given in the expression that the artist produces. The feeling that the artist expresses, therefore, is both clarified and transformed in the process of being expressed, so that ‘Until a man has expressed his emotion, he does not yet know what emotion it is’ (Collingwood 1938 : 111); which is why ‘the expression of emotion is not [something] made to fit an emotion already existing, but is an activity without which the experience of emotion cannot exist’ (1938: 244). On this account, then, an emotion is not so much revealed for what it is by receiving expression: it becomes what it is by receiving expression.

The emotion becomes what it is through being given form, through being developed into something specific. In this way, the fully formed emotion and the expression it receives are indistinguishable from one another—indeed, they are one and the same: it is in virtue of having been given that form that the emotion is the emotion it is. It follows from this that the identity of an emotion expressed in a work of art is inextricably linked to the identity of the work of art. There is no possibility, in other words, of regarding the emotion expressed as something essentially detachable from the work in which it is manifest; there is no possibility, that is, of thinking of the emotion expressed as something that might just as well have been expressed in some other way or in some other work of art (or captured, indeed, in some chemist's cocktail).

Collingwood's insistence on this point marks his position off in the strongest way from that of the transmission theorists (with whom he has been oddly often confused); and he develops the point further: ‘Some people have thought,’ he says, that

a poet who wishes to express a great variety of subtly differentiated emotions might be hampered by the lack of a vocabulary rich in words referring to the distinctions between them… This is the opposite of the truth. The poet needs no such words at all… To describe a thing is to call it a thing of such and such a kind: to bring it under a conception, to classify it. Expression, on the contrary, individualises. (Collingwood 1938 : 112)

Expression, then, distinguishes between feelings that might be described in exactly the same terms as one another, and transforms them into the highly particularized feelings we encounter in successful works of art:

The artist proper is a person who, grappling with the problem of expressing a certain emotion, says, ‘I want to get this clear.’ It is of no use to him to get something else clear, however like it this other thing may be. He does not want a thing of a certain kind, he wants a certain thing. (Collingwood 1938 : 114)

Description, by contrast, would yield only ‘a thing of a certain kind’. The distinction between expression and description, therefore, between arriving at ‘a certain thing’ and arriving at ‘a thing of a certain kind’, serves both to make a point that is important in itself and also to emphasize the distance between Collingwood's conception of what an artist expresses and the conceptions suggested in the remarks of Tolstoy, Wordsworth, and Eliot considered earlier. Tolstoy's ‘feeling’ that an artist ‘has lived through’, Wordsworth's emotion ‘actually exist[ing] in the mind’, and Eliot's ‘particular emotion’ are each, because construed as graspable independently of the work of art in which they are to be expressed, the stuff of description; not one of them is more than ‘a thing of a certain kind’.

On Collingwood's account, the artist arrives at self-knowledge in the relevant sense when he succeeds in transforming an unformed jumble of unclarified feeling into ‘a certain thing’. The fact that he does not—cannot—specify in advance what that thing is to be is not an indication that the business of expressing oneself is somehow random or accidental:

There is certainly here a directed process: an effort, that is, directed upon a certain end; but the end is not something foreseen and preconceived, to which an appropriate means can be thought in the light of our knowledge of its special character. (Collingwood 1938 : 111)

Knowledge of its ‘special character’ is precisely the end upon which that process is directed. The artist feels his way; he says to himself ‘This line won't do’ (Collingwood 1938 : 283), until, at last, he gets it right, and can say ‘There—that's it! That's what I was after.’ Nor is this kind of ‘directed process’ an unusual one, special in some way to the creative artist. It is an entirely familiar and everyday sort of process. Anyone who struggles to say clearly what he means, for example, is engaged in it: the struggle is directed to the end of clarifying a thought; but until the struggle has been won, no one, including the person doing the struggling, can say what, precisely, that thought is—if he could say what it was, the process of expression would already have been completed (an insight that Collingwood owes to Croce, 1922 ). This is perhaps the most significant of the ways in which Collingwood regards artistic expression as continuous with ordinary, everyday acts of expression: both may be deliberate, yet neither aims at an independently specifiable goal.

It will be apparent that Collingwood's account as I have sketched it here exactly satisfies the requirements outlined in the above section on artists. It is because the artist has succeeded in expressing himself that the work of art has the expressive character it does have; and the artist's emotion is revealed, uniquely, for the ‘certain thing’ it is by the expressive character of the work he produces. Collingwood also intends to satisfy the requirements relating to audiences, although his efforts here are expectedly more equivocal. He insists, for instance, that artists and audiences are in ‘collaboration’ with one another: the artist treats ‘himself and his audience in the same kind of way; he is making his emotions clear to his audience, and that is what he is doing to himself.’ And he cites approvingly Coleridge's remark that ‘we know a man for a poet by the fact that he makes us poets’, suggesting that when ‘someone reads and understands a poem, he is not merely understanding the poet's expression of his, the poet's, emotions, he is expressing emotions of his own in the poet's words, which have thus become his own words’ (Collingwood 1938 : 118). These thoughts culminate in the following passage: no man, he says, is ‘a self-contained and self-sufficient creative power’. Rather, ‘in his art as in everything else’,

[man] is a finite being. Everything that he does is done in relation to others like himself. As artist, he is a speaker; but a man speaks as he has been taught; he speaks the tongue in which he was born… The child learning his mother tongue… learns simultaneously to be a speaker and to be a listener; he listens to others speaking and speaks to others listening. It is the same with artists. They become poets or painters or musicians not by some process of development from within, as they grow beards; but by living in a society where these languages are current. Like other speakers, they speak to those who understand. (Collingwood 1938 : 316–17)

If these comments, taken together, do not quite add up to a picture in which an audience's feelings reveal and are to be explained by the expressive character of the artwork that prompts them, they do at least come close; and it is certainly consistent with Collingwood's overall account that he should have endorsed such a picture. It is hard, after all, to see what else he might have had in mind when he said that someone might express ‘emotions of his own in [a] poet's words, which have thus become his own words’.

Collingwood's account of artistic expression represents a rather full working out of Everyman's proto-position within the constraints that I have outlined. The expressive artist is indeed seen as present in his work, rather than as standing, complete with his independently specifiable feelings, behind his work; and the responsive audience, in discovering what Collingwood calls ‘the secrets of their own hearts’ in his work (1938: 336), are plausibly to be construed as feeling what they feel because of the work, and as grasping what the work expresses because of those feelings. Consistently with the generality of his account, moreover, Collingwood has very little to say in addition about artworks and their specific expressive properties. A defence of his reticence on this score has been provided in Section 4 above.

6. Conclusion

It has sometimes been claimed that expression is definitive of art, usually by a band of so-called Expression Theorists, discussed under that label in the secondary literature. Tolstoy is one of these, and so is Collingwood. The secondary literature standardly goes on to refute the ‘Expression Theory’ allegedly espoused by marshalling a set of counter-examples to show that something can be a work of art without being in the least expressive. It is possible that this tactic is effective against Tolstoy. He certainly appears to think that art can be defined as expression, and to think so, the ambiguities of his position notwithstanding, in a way that makes him at least apparently vulnerable to the sort of counter-example usually offered. Collingwood, however, is immune to this tactic. He does identify art with expression: ‘art proper’, as he calls it, simply is expression. But when one recalls that what he means by this is that ‘art proper’ is the clarification of an artist's thoughts and feelings—that a work of ‘art proper’ is ‘a certain thing’ rather than ‘a thing of a certain kind’—the character of his position becomes plain. What works of ‘art proper’ have in common is that they are indeed expressions: but this is just to say that their common feature is that each one is, uniquely, what it is—and beyond that, if the position outlined here is right, there is nothing more of a general character to be said. That this conclusion follows from Collingwood's version of Everyman's account of expression in art strikes me as yet another reason to think very highly of it.

See also : Art and Emotion ; Art and Knowledge ; Value in Art ; Music .

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Art as Reflection: Searching for New Ways of Expression Essay (Critical Writing)

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Art is a truly unique phenomenon that affects how people interpret life and what lens they take to the environment and people around them. Therefore, producing art could be represented both as a creative and therapeutic process, as well as an attempt at creating a unique conversation with millions of people. In the collection of art pieces discussed below, a combination of a personal narrative and the sociopolitical, sociocultural, and socioeconomic changes observed in the present-day world has been incorporated. By integrating traditional means of artistic expression with some of the more recent ones, the art pieces in question communicate crucial social issues in a new and unusual way, inviting observers to thin and engage in the conversation about the subject at hand.

The artworks represented below have been arranged in groups of three, which helps to introduce a sense of cohesion. As a result, each of the sets establishes a part of the greater narrative and allows viewing them as the extension of a persona story. Thus, the perspective of an individual is combined with the larger critical lens, utilizing the form and the expression tools such as the medium, shape, and color, to offer criticism regarding some of the current events.

The first art piece to consider is a set of three images portraying a skeleton with his eyes, ears, and mouth covered in each picture separately. Representing a variation of the famous three wise monkeys, namely, the creatures that represent the unwillingness to see, hear, or speak evil, the specified triptych pushes the idea further by introducing new elements such as the face mask to it. As a result, the problem of transparency in the current political strategies of governments toward the people that they have sworn to protect and represent is discussed. Moreover, the pictures in question raise the issue of death, which is usually seen as a taboo subject in social discussions. Although the image in question is admittedly provocative, outlining the current conflict regarding the measures undertaken by state authorities to shield people from the disease, it encourages viewers to consider their current stance on the issue critically. Thus, the picture allows viewers to reconcile with their own mortality and confront the related fears.

Inspired by the concept of the life wheel, the art piece in question draws the audience’s looks to it due to the unusual and appealing color palette, as well as the smooth shapes that have a most calming effect. The image captures the floating and fluctuating nature of life in general. Specifically, the image is represented primarily by wavy shapes and lines that tend not to take any easily recognizable form and, instead, encourage the audience to see their imagination in order to decipher the intended manning of the art piece. Additionally, the choice of the color palette also inspires the viewer to embrace the complexity of life. Namely, in the image, the calm and soothing colors of purple and pink are set against the vibrant lime green. As a result, the image incorporates the complexity of life and the ways in which it manifests itself and the calm., soothing lines and colors, thus, creating conflict, attracting the attention of the audience and introducing a mystery into the general artistic narrative.

Next, the image referring to the picturesque landscapes of Saudi deserts is introduced. The painting uses traditional medium of oil to represent the conflict between nature and nurture in the context of the present-day setting. Specifically, the green contrasting gates placed amidst a desert illustrate the progress of the humankind in its conquering of nature as the ongoing urbanization process. Similarly, the contrast between the colors of the gates and the landscape is called to emphasize the end to introduce an immediate action to keep the Saudi residents safe from the threat. The paining also communicates its troubling message by introducing the contrast between nature and the humankind. Namely, in the painting, a human portrayed in it is shown as infinitely minuscule, epically compared to the vast horizon. Thus, the conflict between the humankind and nature is depicted quite accurately and in a very nuanced way. Specifically, instead of drawing the viewer’s attention immediately to the idea in question, the artist allows the audience to adjust their vision to the art piece and its delicate color palette, only to denote the jarring difference between the portrayal of the human as a minuscule element compared to the remaining gigantic items in the scene.

The next set of images might seem to be two pictures placed next to each other entirely by mistake. Demonstrating complete disagreement in styles and color schemes, the paintings encourage the audience to consider the issue of vaccination and the implications of refusing to accept it. Namely, the phenomenon of immunization in the context of the coronavirus has gained quite close attention of the media and the press, as well as the general audiences. The painting in question introduces the topic in question in a slightly different light, pointing to the fact that the concept of immunization has been politicized to the point where it has lost lots meaning completely. Indicating complexity of the issues at hand, the painting depicts a literal hand with a clock in it. Apart from rendering the topic of nature versus nurture mentioned above, the image in question outlines the unstable and fluctuating nature of time. The portrayal of the ocean in the first image in the picture supports the specified interpretation, allowing it to shine among the rest of the paintings and attracting the artist particularly well.

The next set of paintings represents a rather unusual theme since it allows shifting the narrative toward the concept of historical drawings and help to represent the multifaceted concept of contemporary art as the notion that may mask a range of threats, including the one of failing to make art represent the sociocultural context in which it was produced. Therefore, the opportunity to portray some of the more recent political and social issues occurring in Middle East presently. Specifically, the final set of three paintings in the specified part of the exhibition is supposed to reflect the terrors of Beirut bombings of 2020. The choice of the contrasting red color is deliberate in these paintings since it allows reflecting the menacing nature of the attack and the deaths of multiple civilians. Thus, while represented in a simplistic form, the Beirut catastrophe gains a new meaning in this set of three paintings.

Therefore, the painting under analysis shows the mysterious nature of the universe and the world around by depicting the images that emphasize the striking contrast between the world of people and that one of nature. Arguably, the first painting allows viewing the two worlds, thus creating a rather unsettling and unusual feeling. Finally, being miniature paintings themselves, stamps could be seen as miniscule art pieces, which renders the image in question the painting of a painting. As a result, the perspective that the artwork lends narrowed down, helping the audience to appreciate the painting in its unadulterated simplicity.

The paintings drawn during my high school period also reflect an important phase in my development as an artist. Specifically, the artworks in question illustrate the role of spiritual development in perceiving the world around us. Specifically, the role of spirituality and, particularly, religion is examined through the lens of the pandemic. The inscriptions from Quran on the paintings in the image under analysis allow encompassing the wisdom of the Muslim religion. Specifically, the first and the last paintings in this set represent the idea of searching for a means of resolving the issue, with the final painting symbolizing the light at the end of the tunnel as an important metaphor in the Muslim culture. Embodying the concepts of trust and hoe as the central pillars of spiritual development in Islam, the paintings under analysis serve as the backbone for the entire exhibition, promoting the significance of life in its form and shapes.

Finally, the last set of artworks entices the viewer immediately with its unique color palette, which sets it apart from other paintings. Namely, the black-and-while color scheme, which imbues the pictures in question with a substantial portion of realism, injects a plethora of hidden layers of meaning into the picture. Specifically, the color scheme in question, combined with the realistic portrayal of key details, creates the theme of a documentary, thus, placing the picture set in question in a very narrow and quite rigid set of standards.

Moreover, the painting under analysis, while being seemingly simple, contains quite a number of nuances that make their understanding quite tricky. Specifically, representing a study of complex architectural forms in drawing, these pencil drafts allow examining the remarkable beauty of geometry and the role of symmetry and evenness as the markers of artificial items. Indeed, while often being captivating in its complexity, the geometrical correctness of shapes and the accuracy of lines is mostly akin to artificially created objects, whereas nature is usually represented by a variety of magnificently inaccurate and uneven forms. Therefore, the drawing under analysis represents the fragile and often unnatural accuracy of architectural symmetry, therefore, creating an ode to the magnificence of artificial structures.

Therefore, apart from their immediate meaning, the artworks in question allow examining different perspectives and philosophies, including that one of the Muslim religion. However, despite incorporating the symbolic elements of the Islamic culture, these paintings and art pieces offer the viewer an artistic shorthand for understanding the intended meaning without the profound knowledge of the culture that has produced it. As a result, opportunities for cultural exchange and the promotion of the dialogue that encourages diversity become possible. In this context, art becomes not only a reflection on the events that have shaped the life of an artist but also an invitation to interpret them for multiple audiences, thus, adding their experience to the general picture.

Consequently, the idea of transforming one’s art as an attempt at depicting personal development and the attempts at making an improvement remains an important part of the set in question. In fact, stretching the specified notion, one could argue that every painting in the described range of sets examines the specified concept of undergoing change as a necessary and unavoidable part of life. Therefore, gaining additional philosophical depth, the set in question serves as the art piece that completes the entire composition, serving as the idea that may have given the initial push to the creation of this exhibition and the concluding thought that summarizes its intended meaning. Therefore, the artworks in question have served their purpose of demonstrating the evolution of thought and matter.

A unique combination of artistic tools and techniques, as well as sociocultural ad sociopolitical themes, in the art pieces represented above, helps to offer a new perspective on current issues and raises a crucial discussion about the current states of the global community. Namely, the issues of openness, diversity, and the importance of personal and professional evolution are tackled in this exhibition. With every item being represented as a part of a three-element sets, the painting under analysis represent the crucial idea of change as a vital part of the human life. The richness of colors, types of expression, form, shape, and materials used in the paintings allows mimicking the complexity of life itself, thus, bringing the entire art piece to its completion. Thus, incorporating high thematic richness and introducing the viewer to the notions of the cross-cultural dialogue, flexibility of time, and the role of personal development, the paintings under analysis demonstrate the significance of diversity as the foundation for the very existence of art.

A History of the World in the 100 Objects Exhibition
The Hide/Seek Exhibition in Brooklyn Museum of Art
Angelus - The painting by Jean-François Millet
Culture in Ruling Class and Spiritual Experience
Contemporary Visual Cultures on Learnodo Newtonic
Tradition and Art in "Why Do I Make Art?" by Briët
Digital Curation: Perception of Video Information Seeking
Tattoo Conventions and Foucault’s Principles of Heterotopia
Chicago (A-D)
Chicago (N-B)

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The Skyline View

Art as a form of expression

Cristina Macz and Maria Isabel Del Castillo Schmidhuber | May 18, 2018

In the generations of art, it has served and continues to serve as a form of communication and expression, allowing artists to tell stories and spark revolutions through canvas, or a blank space.

While some artists use their tools as a means to showcase their ancestral roots, others use art as a response to political issues — this is known as art as activism or simply, artivism.

History of art as a form of expression

Across multiple platforms, including, but not limited to social media, the news, and text, artivism is a mix of art and activism.

Art as activism can be traced back to many historic events. One of its most expressive eras was the 1960s, in which many responded to the Vietnam War and civil rights movement through their music and art. This movement inspired young people of all backgrounds to speak up and has continued to do so in the present.

Whether it is through music, dance, art or physical murals, all different types of artists are forming a voice through their passions.

The stories of local artists

Globally, San Francisco is recognized for its street art. For some, these streets are a space for local artists to take their art beyond paper. These talented artists all have different stories to tell, and different expressions to share. Locally, we see artists express themselves in a number of ways.

One of the many well known areas in San Francisco is the Mission District, commonly referred to as the Mission, which is recognized for its vivid and colorful murals that embrace the Hispanic/Latino culture of the neighborhood’s people. The art has become a part of the community and adds an additional layer of personality. Many of the Mission’s art can be found in the Balmy and Clarion Alleys. Additionally, there are notable murals spread throughout the city, on places from businesses to schools.

Carlos Gonzalez

Carlos Gonzalez is a Bay Area-based muralist who shares his stories and life experiences as an artist. Throughout his lifetime, and during his career, Gonzalez has painted multiple pieces throughout San Francisco. Gonzalez identifies his art as broadly photorealism combined with impressionistic and geometric styles.

As a troubled young man, Gonzalez ended up on probation. During that time he was mentored by a teacher who helped him apply his skills into art as a form of expression. Because Gonzalez was inspired by so many people who did not give up on him, he continues to mentor youth as a prohibition officer, while also hoping to inspire them as an artist.

“I have led my life as a probation officer to see where a kid has a niche,” Gonzalez said. “Because a lot of these young delinquents that would get in trouble, some of them were good rappers, some were good at poetry, some were good artists, others had other talents.”

Gonzalez tries to acknowledge that people make mistakes, but for young artists, sometimes it is about putting that aside and moving forward. By inspiring others, Gonzalez is passing down the torch while at the same time teaching youth about “hustling.” Gonzalez considers the art industry a hustle because it ties back to the people you know and how you use the connects.

“You are going to navigate through who you can trust, who you can’t, who can help you versus who can’t and will bring you down, all that, you just got to learn that in life, in general,” Gonzalez said.

Now retired, Gonzalez does commercial art, incorporating different themes into his art. A prevalent theme in his pieces includes the stories of La Raza, or “The Race”, showcasing the cultural identity of his community.

“You could do whatever you want, and art could outrage people,” Gonzalez said. “Art can be controversial to where some people just love it and want the freedom to express themselves, and others wanna censor it because it offends. Art can be anything you want it to be. … Art can be outrageous and offensive, or it can be timid, and everybody loves it.”

Mel Waters, a Filipino- and African-American Bay Area-based muralist and fine artist, owns a Tattoo shop in the Bay Area. In his murals, Waters mainly focuses on black and white portraits with his most widely recognized being of Carlos Santana painted on 19th street and Mission street.

For Waters, it was his surroundings that inspired him. The stories that would form part of who he is as an artist would begin as a kid.

“It all starts out as a youth when I was a kid, art was my outlet,” Waters said. “It was always, I just always had it in me to be creative and expressive.”

However, as a teen and young adult, Waters put his soon-to-be-discovered passion to the side and began to get into sports. During his early 20’s, Waters had other things to worry about such as his a nine-to-five job at a hospital. But later, he decided to turn his side thing, art, into his work.

“Once I found my love for art I poured myself into it every time I did,” Waters said. “I realized there was something there and people liked it, and so I invested more time in it, and I guess more of my skills started to show as I kept going.”

Eventually, Waters realized that art was not only his job after leaving the hospital, but also his life.

“Art changed my life,” Waters said. “I’m here now and it’s a blessing and I’ve been blessed to have opportunities along the way.”

Waters has now dived deeper into his passion, and continues to work as a full-time artist. He compares art to music, in the sense that some music is happy and some music puts out a message that makes you think. Waters has continued to use art as an outlet in his adulthood, and while he doesn’t stick to any specific rules, he does constantly put what he is feeling at the moment into art.

“I’m not totally drawn into one thing. Sometimes it’s fun it’s about music and being happy,” Waters said. “And sometimes it’s about trying to paint something that involves the times of today. It’s just what I feel, whatever I’m feeling. I’m not totally drawn into one thing, as far as political. I’m just trying to express myself and hopefully, someone will feel a certain way ”

Alejandro Esquivias

Being an artist can mean many different things; to some, it means taking it to murals and communities and to others, its a canvas pad. Skyline College has produced some artists with one being former Skyline student Alejandro Esquivas.

Esquivias, from Jalisco, Mexico, drew as a child but wasn’t as exposed to art. When he came to Skyline, he wanted to be a teacher and was studying early childhood education; it wasn’t until he took a drawing class with professor Amir Esfahani that he realized that this was his calling.

“I realized that I was expressing my ideas when I took art history classes because I learned how the people of the caves expressed themselves through art, whether it was paintings or sculptures, even though they did not know the concept of art” Esquivias said.

His path to learn more about art in general gave him the understanding of what his mind and hands were doing.

Expressing yourself through dance, music or paintings is a form of unspoken communication that inspires others and lets many see someone for who they really are, to see them in their purest form. In some ways, it is a form of breathing.

Esquivas had a hard time finding a way with words in which he could express himself, especially since he was born in a culture where men are raised to be “macho” and to not cry or be sensitive. Art has been a way in which he was able to breathe and let others see him through his art.

“I can express my feelings through it. I can express that I’m sad happy, mad, into politics, gay, kind, sarcastic and much more things through art, without having people’s eyes on me, but on my art,” Esquivias said.

Art as expression today

Today’s society is going through challenging times across the globe and art has contributed into a reaction towards local, as well as national and international issues. With a range of talent, artists are painting ideas that many choose to ignore, using their art as their voice to react to the injustices they see in this world.

Within its nature, art has no rules. There are no guidelines to express yourself. Art is meant to be the way the artist wants it to be, and art could be a reaction to outrage to established systems. But just because art could be a reaction to what’s going on, does not mean it has to be. Different artists have different stories to tell and different ideas to get across through their art.

Art is controversial yet peaceful, simple yet bold. No matter what form art is manifested — be it through a painting, dance or music — it is up to the artist to choose how they express themselves, what expressions they’ll share, and which ones they will keep to themselves.

Carlos Santana mural ‘Para La Mission’ created by Mel Waters

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Comments (1)

Patricia Pforte • May 19, 2018 at 6:28 pm

I saw this article and it is fantastic! I work at California Historical Society in downtown San Francisco and we have a murals exhibition, Murales Rebeldes: L.A. Chicana/o Murals Under Siege and the Skyline students might enjoy it! It is open now through September 16th.

Visiting Sleeping Beauties: Reawakening Fashion?

You must join the virtual exhibition queue when you arrive. If capacity has been reached for the day, the queue will close early.

Heilbrunn Timeline of Art History Essays

Abstract expressionism.

Number 28, 1950

Jackson Pollock

The Glazier

Willem de Kooning

No. 13 (White, Red on Yellow)

Mark Rothko

The Flesh Eaters

William Baziotes

Black Reflections

Franz Kline

Clyfford Still

Symphony No. 1, The Transcendental

Richard Pousette-Dart

David Smith

Elegy to the Spanish Republic No. 70

Robert Motherwell

Black Untitled

Barnett Newman

Autumn Rhythm (Number 30)

Night Creatures

Lee Krasner

Stella Paul Department of Education, The Metropolitan Museum of Art

October 2004

A new vanguard emerged in the early 1940s, primarily in New York, where a small group of loosely affiliated artists created a stylistically diverse body of work that introduced radical new directions in art—and shifted the art world’s focus. Never a formal association, the artists known as “Abstract Expressionists” or “The New York School” did, however, share some common assumptions. Among others, artists such as Jackson Pollock (1912–1956), Willem de Kooning (1904–1997), Franz Kline (1910–1962), Lee Krasner (1908–1984), Robert Motherwell (1915–1991), William Baziotes (1912–1963), Mark Rothko (1903–1970), Barnett Newman (1905–1970), Adolph Gottlieb (1903–1974), Richard Pousette-Dart (1916–1992), and Clyfford Still (1904–1980) advanced audacious formal inventions in a search for significant content. Breaking away from accepted conventions in both technique and subject matter, the artists made monumentally scaled works that stood as reflections of their individual psyches—and in doing so, attempted to tap into universal inner sources. These artists valued spontaneity and improvisation, and they accorded the highest importance to process. Their work resists stylistic categorization, but it can be clustered around two basic inclinations: an emphasis on dynamic, energetic gesture, in contrast to a reflective, cerebral focus on more open fields of color. In either case, the imagery was primarily abstract. Even when depicting images based on visual realities, the Abstract Expressionists favored a highly abstracted mode.

Context Abstract Expressionism developed in the context of diverse, overlapping sources and inspirations. Many of the young artists had made their start in the 1930s. The Great Depression yielded two popular art movements, Regionalism and Social Realism, neither of which satisfied this group of artists’ desire to find a content rich with meaning and redolent of social responsibility, yet free of provincialism and explicit politics. The Great Depression also spurred the development of government relief programs, including the Works Progress Administration (WPA), a jobs program for unemployed Americans in which many of the group participated, and which allowed so many artists to establish a career path.

But it was the exposure to and assimilation of European modernism that set the stage for the most advanced American art. There were several venues in New York for seeing avant-garde art from Europe. The Museum of Modern Art had opened in 1929, and there artists saw a rapidly growing collection acquired by director Alfred H. Barr, Jr. They were also exposed to groundbreaking temporary exhibitions of new work, including Cubism and Abstract Art (1936), Fantastic Art, Dada, Surrealism (1936–37), and retrospectives of Matisse , Léger , and Picasso , among others. Another forum for viewing the most advanced art was Albert Gallatin’s Museum of Living Art, which was housed at New York University from 1927 to 1943. There the Abstract Expressionists saw the work of Mondrian, Gabo, El Lissitzky, and others. The forerunner of the Solomon R. Guggenheim Museum—the Museum of Non-Objective Painting—opened in 1939. Even prior to that date, its collection of Kandinskys had been publicly exhibited several times. The lessons of European modernism were also disseminated through teaching. The German expatriate Hans Hofmann (1880–1966) became the most influential teacher of modern art in the United States, and his impact reached both artists and critics.

The crisis of war and its aftermath are key to understanding the concerns of the Abstract Expressionists. These young artists, troubled by man’s dark side and anxiously aware of human irrationality and vulnerability, wanted to express their concerns in a new art of meaning and substance. Direct contact with European artists increased as a result of World War II, which caused so many—including Dalí, Ernst, Masson, Breton, Mondrian, and Léger—to seek refuge in the U.S. The Surrealists opened up new possibilities with their emphasis on tapping the unconscious. One Surrealist device for breaking free of the conscious mind was psychic automatism—in which automatic gesture and improvisation gain free rein.

Early Work Early on, the Abstract Expressionists, in seeking a timeless and powerful subject matter, turned to primitive myth and archaic art for inspiration. Rothko, Pollock, Motherwell, Gottlieb, Newman, and Baziotes all looked to ancient or primitive cultures for expression. Their early works feature pictographic and biomorphic elements transformed into personal code. Jungian psychology was compelling, too, in its assertion of the collective unconscious. Directness of expression was paramount, best achieved through lack of premeditation. In a famous letter to the New York Times (June 1943), Gottlieb and Rothko, with the assistance of Newman, wrote: “To us, art is an adventure into an unknown world of the imagination which is fancy-free and violently opposed to common sense. There is no such thing as a good painting about nothing. We assert that the subject is critical.”

Mature Abstract Expressionism: Gesture In 1947, Pollock developed a radical new technique, pouring and dripping thinned paint onto raw canvas laid on the ground (instead of traditional methods of painting in which pigment is applied by brush to primed, stretched canvas positioned on an easel). The paintings were entirely nonobjective. In their subject matter (or seeming lack of one), scale (huge), and technique (no brush, no stretcher bars, no easel), the works were shocking to many viewers. De Kooning, too, was developing his own version of a highly charged, gestural style, alternating between abstract work and powerful iconic figurative images. Other colleagues, including Krasner and Kline, were equally engaged in creating an art of dynamic gesture in which every inch of a picture is fully charged. For Abstract Expressionists, the authenticity or value of a work lay in its directness and immediacy of expression. A painting is meant to be a revelation of the artist’s authentic identity. The gesture, the artist’s “signature,” is evidence of the actual process of the work’s creation. It is in reference to this aspect of the work that critic Harold Rosenberg coined the term “action painting” in 1952: “At a certain moment the canvas began to appear to one American painter after another as an arena in which to act—rather than as a space in which to reproduce, re-design, analyze, or ‘express’ an object, actual or imagined. What was to go on the canvas was not a picture but an event.”

Mature Abstract Expressionism: Color Field Another path lay in the expressive potential of color. Rothko, Newman, and Still, for instance, created art based on simplified, large-format, color-dominated fields. The impulse was, in general, reflective and cerebral, with pictorial means simplified in order to create a kind of elemental impact. Rothko and Newman, among others, spoke of a goal to achieve the “sublime” rather than the “beautiful,” harkening back to Edmund Burke in a drive for the grand, heroic vision in opposition to a calming or comforting effect. Newman described his reductivism as one means of “freeing ourselves of the obsolete props of an outmoded and antiquated legend … freeing ourselves from the impediments of memory, association, nostalgia, legend, and myth that have been the devices of Western European painting.” For Rothko, his glowing, soft-edged rectangles of luminescent color should provoke in viewers a quasi-religious experience, even eliciting tears. As with Pollock and the others, scale contributed to the meaning. For the time, the works were vast in scale. And they were meant to be seen in relatively close environments, so that the viewer was virtually enveloped by the experience of confronting the work. Rothko said, “I paint big to be intimate.” The notion is toward the personal (authentic expression of the individual) rather than the grandiose.

The Aftermath The first generation of Abstract Expressionism flourished between 1943 and the mid-1950s. The movement effectively shifted the art world’s focus from Europe (specifically Paris) to New York in the postwar years. The paintings were seen widely in traveling exhibitions and through publications. In the wake of Abstract Expressionism, new generations of artists—both American and European—were profoundly marked by the breakthroughs made by the first generation, and went on to create their own important expressions based on, but not imitative of, those who forged the way.

Paul, Stella. “Abstract Expressionism.” In Heilbrunn Timeline of Art History . New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/abex/hd_abex.htm (October 2004)

Additional Essays by Stella Paul

Paul, Stella. “ Modern Storytellers: Romare Bearden, Jacob Lawrence, Faith Ringgold .” (October 2004)

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Cross-Cultural Psychology

Art across cultures: a tapestry of diverse expressions, exploring the impact of culture on artistic perception and creation..

Posted June 4, 2024 | Reviewed by Monica Vilhauer

The diversity of artistic expression worldwide emphasizes culture's role in art creation and perception.
Emotional reactions to art and aesthetic judgments are deeply influenced by cultural factors as well.
Understanding cross-cultural perspectives on art fosters empathy and inclusivity in the global art community.

This post is written by Hreem Mahadeshwar and Valedeen D'Souza, Monk Prayogshala, Mumbai.

Art is like a deep, shared language that shows us the beauty and complexity of our cultures. Going beyond words, it helps us capture the elements that make each civilization unique and also succeeds in giving us a glimpse into the hearts of those who create it. More often than not, artists use the rich traditions and symbols of their backgrounds to inspire their creations, weaving their cultural stories into their work. The diversity of artistic expression worldwide—from the intricate calligraphy found in Islamic art, which is not just an aesthetic endeavor but also a profound manifestation of cultural and religious significance, to the vibrant patterns and colors in African art, rooted deeply in the continent's rich traditions—highlights the significant role culture plays in art creation. With various kinds of cultures present it isn't hard to posit that individuals from different cultures could perceive art through unique cognitive frameworks developed within their cultural contexts.

This cultural shaping extends into the cognitive processes that underlie artistic expression and appreciation. Culture molds our cognitive frameworks, influencing how we perceive, create, and interpret art. A study found that cultural differences between the East and West profoundly affect perception and thought processes, which in turn can be reflected in artistic expressions. For example, the emphasis on perspective and individual elements in Western art contrasts with the focus on harmony and the relationship between elements in Eastern art. These distinctions not only celebrate the diversity of artistic expression but also underscore how cultural contexts shape our appreciation and understanding of art.

Moreover, the varied use of symbols in art across different cultures adds layers of meaning and complexity to the global art landscape. The meanings attributed to colors, shapes, and motifs, and the storytelling and narrative techniques, vary significantly across cultures, enriching the art world with diverse perspectives. The color red , for instance, may symbolize luck and prosperity in Chinese culture, whereas it might represent negative connotations like blood or danger in some Western contexts. Additionally, storytelling and narrative techniques exhibit remarkable variation across cultural traditions, enriching the world of art with diverse perspectives.

Japanese manga also offers a unique way of telling stories that's different from Western comics. Its special distinctive panel layouts along with its unique storytelling ways provide a rather contrasting narrative experience compared to that of Western comic books. More specifically, manga’s narrative style is deeply influenced by Japanese aesthetics and values, emphasizing the flow of time and the internal states of characters, often through the use of visually quiet, contemplative panels that contrast sharply with the action. As emphasized by Scott McCloud in “ Understanding Comics ”, Western comics tend to be rooted in American and European traditions. Thus they emphasize the external action and dynamics between characters, with a stronger focus on linear storytelling and direct conflict. The art style in Western comics often highlights realism and proportion, with a vibrant color palette used to capture the attention and convey the mood or tone of the scene. The narrative structure is generally more straightforward, with each panel pushing the story forward through action or dialogue. These cultural differences in symbolism and narrative techniques not only underscore the diversity of artistic expression but also draw attention to the role of cultural context in the interpretation of art.

Cultural backgrounds significantly shape how individuals perceive and engage with artworks, particularly through the lens of attentional processes. Cultural values, aesthetic norms, and familiarity influence what aspects of art capture attention. Cultural priming further accentuates attentional biases towards culturally congruent stimuli. For instance, while Western cultures tend to put more emphasis on the object itself, East Asian cultures pay more attention to the context surrounding the object. By recognizing and embracing the differences between cultures, we can make enjoying art a more inclusive and rewarding experience for everyone.

Also, in many cultures, people feel and show their emotions together, collectively , creating a sense of harmony, togetherness, and shared happiness . This contrasts with cultures that value individuality, where personal reactions to art can include deep self-reflection, intense feelings, and thoughts about life's big questions. This shows that different cultures have their own ways of understanding and showing emotions, which could play a role in the way individuals from various cultures look at a particular artwork. When we learn about these differences, we start to appreciate the wide range of human experiences and creativity even more. Recognizing how our backgrounds influence our views and feelings towards art helps us become more open-minded and respectful of others. This approach to art opens our hearts to the beauty of diversity, bringing us closer to art lovers around the world.

In the rich tapestry of human culture, art serves as a vibrant reflection of our diverse experiences. Rooted in cultural heritage, artistic expression resonates with varied emotions and perspectives across societies. Understanding these cross-cultural dynamics enriches our appreciation of art's universal appeal and cultural specificity. By acknowledging the influence of cultural factors on artistic interpretation and emotional reactions, we cultivate empathy and understanding across diverse cultural contexts. Ultimately, embracing cultural diversity enhances the inclusivity and richness of our artistic experiences, fostering a deeper connection to the global art community.

Monk Prayogshala Research Institution is a not-for-profit academic research institution in Mumbai, India.

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The Elements of Art Eight tools, infinite expression

All artwork speaks the same language through a vocabulary of eight terms expressed in infinite ways. We all understand the vocabulary of art subconsciously, but recognizing how it’s applied enriches our experience of art and allows for nuanced discussion of artworks and appreciation of the artist's passion and skill. The vocabulary of art is made up of the Formal Elements of Design: line, shape, form, space, color, texture, motion, and time.

The most basic element of design is the line: a mark with greater length than width, the path traced by a moving point. In mathematics, a line has no width, but in art, lines can be thin, thick, rough or smooth. Lines can convey tremendous emotion, from aggressive zig-zags or tranquil waves to nauseating spirals. Artists can convey confidence in bold lines, or precision with straight lines.

A shape is formed when lines enclose a space. The edges of the shape are its contour, which can be geometric or organic, open or closed. Like lines, shapes can be expressive, sharp or soft, architecturally rigid or flowing. Simple shapes form a common vocabulary that stretches back millenia, often associated with specific attributes. Roman Architects believed the circle to be divinely perfect, and used it when designing their temples. Triangles were imagined to point to the heavens.

Form is the real or perceived dimensionality of a shape, expressing length, width, and depth. Spheres, cubes, pyramids are three-dimensional forms, and some of the fundamental building blocks for expression in art. Form can also describe the structure of a work of art. The composition of a painting or the chapters of a book. Form can be used to talk about the arrangement of formal elements that present the whole.

Space is the area between and around objects. In art and design, the space is as important as the forms it surrounds. Space can be two or three dimensional, and is often referred to as negative space. Space holds the objects it contains, providing context. Space is as emotive as lines and shapes, and can create feelings of isolation, claustrofobia, or wide open possibility.

Color is possibly the most complex tool at the artist's disposal. Color is scientifically defined as the light that reflects off illuminated objects, whose pigmentation absorbs some wavelengths, and the wavelengths that remain enter the eye. The colors we see are part of the visible spectrum: red, orange, yellow, green, blue, and indigo, but these colors combine into millions of perceivable colors. To talk about the variations of colors, we use the terms hue, value, and intensity. Hue defines the range the color sits within, like a greenish yellow or a yellowy green. Value is the relative lightness or darkness of the color, and intensity is the relative brightness or dullness of the color.

Texture comes from the latin word texo , meaning 'to weave' and refers to the qualities of a material surface. Texture may be seen and felt in dimensional objects, such as canvas or a marble sculpture, and two-dimensional objects can create the illusion of texture, like a photograph of a rough wooden surface. Texture can be evocative. Smooth objects can feel refined, and rough surfaces may create a gritty, aggressive appearance.

Motion is the movement or change of an object over time. In art motion can be applied to sculpture, called kinetic sculpture , and is a natural element of video and performance art.

The effect of time on artwork is an oft overlooked element of design. All objects change over time, though in different ways. A stone artifact from 30,000 BCE may be nearly unchanged from the time of its creation, but paintings fade. Time is also part of how we consume art. A book may take weeks to read, and that time creates a different context for the experience than an article read in minutes. Video uses time the same way a painter uses negative space, employing pacing, momentum, and balance over the length of the film.

Reed Enger, "The Elements of Art, Eight tools, infinite expression," in Obelisk Art History , Published June 24, 2017; last modified November 08, 2022, http://www.arthistoryproject.com/essays/the-elements-of-art/.

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StarTribune

9 free things to do in the twin cities this week, 1. chalkfest.

The two-day street art festival will include more than 50 amateur and professional artists from around the world creating chalk art. New this year are a music stage with performances by Dave Burkart, Killbillies and Kat Perkins, improved kids' zone and free chalk zone where guests can create their own art. (10 a.m.-5 p.m. Sat.-Sun., Main Street, downtown Maple Grove, chalkfestmaplegrove.com )

2. Speak Something Alive

Poetry slam champion and activist Guante presents a lineup of passionate writers and performers from the Twin Cities' spoken word community. (6:30 p.m. Wed., Silverwood Park, 2500 County Road E, St. Anthony, threeriversparks.org )

3. Minnesota Symphonic Winds

The adult community band presents "Sensational Summer Sinfonias" under the direction of Timothy Mahr and Paul Kile. The program includes works by Minnesota composers Shirley Mier and Erika Svanoe. (7 p.m. Wed., Centennial Lakes Park, 7499 France Av. S., Edina, mswinds.org )

4. Artistry

Klaire Lockheart and Laura Wennstrom open their exhibit "Fibers and Figures" with a reception. The works of both artists challenge the representation of women in everyday life. (6-8 p.m. Thu., exhibit through June 30, Bloomington Center for the Arts, 1800 W. Old Shakopee Road, Bloomington, artistrymn.org )

5. Sketches of Minnesota

The Minnesota Humanities Center and Danger Boat Productions take a community-inspired improv tour on the road. Using laughter to celebrate community and bridge divides, the tour will travel throughout the state over the summer with eight performances. The metro area performance takes place during the West St. Paul Days festival. (6 p.m. Thu., WSP Sports Complex, 1650 Oakdale Av., West St. Paul, mnhum.org )

6. Continental Ballet

The Bloomington-based troupe performs a shorter version of its "Peter & the Wolf" production during the opening of the Bloomington Farmers Market. (9 a.m. Sat., Bloomington Civic Plaza, 1800 W. Old Shakopee Road, Bloomington, 952-563-8562, continentalballet.com )

7. American Craft Fest

Creative types and those who appreciate good craftmanship can explore the work of emerging artists. Regional arts organizations will lead educational activities, offer demonstrations and savor craft food and beverages. (11 a.m.-5 p.m. Sat.-Sun., free, advance registration required, walk-up tickets available, Union Depot, 214 E. 4th St., St. Paul, craftcouncil.org )

8. Deutsche Tage (German Days)

You don't have to be German to sample the European food and beer offered at this heritage festival. Fun for the whole family includes music and dance performances by Wisconsin's Pommersche Tanzdeel Freistadt and local favorites Bavarian Musikmeisters, the Jolly Huntsmen, Minnesänger Choir and Jimi the Polka Pirate. (11 a.m.-9 p.m. Sat., 11 a.m.-5 p.m. Sun., free admission, $10 for wristband for alcohol purchases, Germanic-American Institute, 301 Summit Av., St. Paul, gaimn.org )

9. Improv in the Park

Stevie Ray's Comedy Troupe brings its theatrical antics to the parks for outdoor performances. The group performs family-friendly shows based on ideas called out from the audience. (5 p.m. Sun., Loring Park, 1382 Willow St., Mpls., stevierays.org )

Free tickets! Sign up for the Star Tribune Going Out newsletter to enter a drawing to win free tickets to Twin Cities events at startribune.com/goingout .

Have a free event? Email [email protected] three weeks in advance of publication for consideration.

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Young women using art, self-expression for social change through non-profit Girl Be Heard

By Web staff

Click here for updates on this story

NEW YORK, NY ( WABC ) — A group of young women in New York City are banding together for social change, using a play to make they points.

The show, called “RISE: The Pursuit of Utopia,” is performed and written by nine talented, young ladies.

“It’s coming from a real place. The issues that we speak about,” said 17-year-old Kristacia Scott. “For some of us, it’s personal. For some, we see it in our community, and we want to speak out against it.”

They are not just honing their crafts, they are banding together for social change

The organization is called “Girl Be Heard,” a non-profit designed to give girls of color a platform to be seen and heard. The girls spend all year getting ready for their show, to be molded into “artivists.”

“It’s a combination of artist and activist,” said Girl Be Heard Executive Director Cynthia Renta. “The idea is to show young people how they can use their art and their self-expression within the context of social justice issues, not only to change the world but to transform themselves.”

“I really care about social justice issues,” said 20-year-old Anastasia Calixte. “Homelessness. Racism. Equality. Something I want to show through my art.”

Divinity Nix-Sow, 20, says she can see herself being an award-winning poet.

The actual performances are Thursday and Friday June 6 and 7, at Theatre Row on West 42nd Street.

Please note: This content carries a strict local market embargo. If you share the same market as the contributor of this article, you may not use it on any platform.

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Essay Papers Writing Online

Exploring the art of essay writing – a collection of insights and reflections.

Essay writing is a craft that allows individuals to express their thoughts, ideas, and arguments in a structured and compelling manner. It is a form of art that requires creativity, critical thinking, and eloquence. Through the art of essay writing, writers have the power to influence and persuade their readers, sparking new perspectives and inspiring change.

When delving into the realm of essay writing, one explores the nuances of language, the intricacies of rhetoric, and the depth of analysis. Essays come in various forms, from persuasive to analytical, from narrative to argumentative. Each type of essay challenges the writer to convey their message effectively, captivating the audience and leaving a lasting impression.

Through this journey of exploration and discovery, writers discover new insights, hone their writing skills, and find inspiration in the world around them. The art of essay writing transcends mere academic requirements; it becomes a form of self-expression, a tool for communication, and a platform for sharing knowledge and ideas with others.

Unlocking the Secrets

Essay writing is often seen as a daunting task, but with the right approach and strategies, it can become a rewarding and enlightening experience. Here are some key secrets to unlocking your potential as an essay writer:

1. Understand the Prompt: Before you start writing, make sure you fully grasp the essay prompt. Take the time to analyze the requirements and expectations, so you can tailor your response accordingly.

2. Plan and Organize: A well-structured essay is a key to success. Create an outline to organize your thoughts and ideas before diving into the writing process. This will help you stay focused and ensure a logical flow of information.

3. Research Thoroughly: Good essays are backed by solid research. Take the time to gather relevant sources, quotes, and data to support your arguments and claims. Remember to cite your sources properly.

4. Develop a Strong Thesis: Your thesis statement should be clear, concise, and specific. It is the central idea of your essay, and all your arguments should revolve around it. Make sure your thesis is arguable and sets the tone for the rest of your paper.

5. Revise and Proofread: Don’t underestimate the power of revising and proofreading. Take the time to review your essay, fix any errors, and polish your writing. A well-edited essay will leave a lasting impression on your readers.

By following these secrets and incorporating them into your writing process, you can unlock the full potential of your essay writing skills and create compelling and impactful essays.

The Journey into Creativity

Embarking on the journey into creativity is an exhilarating experience that opens up a world of possibilities and inspiration. As you delve into the realm of essay writing, you have the opportunity to explore your unique perspective, voice, and style.

Creativity in writing is not just about coming up with innovative ideas or flashy phrases. It’s about approaching your topic from new angles, weaving together compelling narratives, and engaging your readers in thought-provoking ways.

Throughout this journey, you may encounter challenges and roadblocks, but these obstacles can be catalysts for creativity. Embrace the process of brainstorming, drafting, revising, and refining your essays. Allow yourself to experiment with different techniques, structures, and approaches.

Remember, creativity is a journey, not a destination. Stay curious, open-minded, and willing to push the boundaries of your writing. Let your imagination roam free and see where it takes you. The journey into creativity is an ongoing and rewarding adventure that will shape you as a writer and thinker.

Discovering the Power

In the realm of essay writing, one of the most powerful tools at your disposal is the ability to convey your thoughts and ideas with clarity and precision. By mastering the art of crafting well-structured and compelling essays, you open the door to a world of influence and impact.

Through the process of writing, you have the opportunity to delve deep into your subject matter, exploring its nuances and complexities. This journey of discovery not only enriches your own understanding but also allows you to share your insights with others, shaping their perspectives and sparking thought-provoking conversations.

As you hone your essay-writing skills, you tap into the power of words to inspire, persuade, and educate. Each sentence becomes a brushstroke on the canvas of your ideas, painting a vivid picture that captivates your readers and leaves a lasting impression.

By discovering the power of essay writing, you unlock a world of creativity and expression that knows no bounds. Embrace the journey, and let your words soar.

Unleashing Your Imagination

One way to unleash your imagination is to brainstorm and jot down all your ideas, no matter how wild or unconventional they may seem at first. By embracing the unexpected, you can discover unique angles and fresh insights that will make your essay stand out.

Remember, the art of essay writing is not about following rules – it’s about letting your imagination run wild and expressing your ideas in a way that is uniquely yours. So, don’t be afraid to take risks, experiment with different writing styles, and explore the boundaries of your creativity. Unleash your imagination and watch your writing come to life!

Embracing the Craft

Essay writing is not just a task or an academic exercise; it is an art form that allows us to express our thoughts, ideas, and emotions in a structured and coherent manner. To truly excel in the art of essay writing, one must embrace the craft with passion, dedication, and creativity.

Embracing the craft of essay writing means approaching each piece with an open mind and a willingness to experiment with different styles, tones, and techniques. It involves honing your skills through practice, feedback, and continuous learning. Embracing the craft also requires a deep appreciation for language, storytelling, and the power of words to create impact and inspire change.

By embracing the craft of essay writing, you can transform your ideas into compelling narratives, persuasive arguments, and thought-provoking reflections. Whether you are writing for academic purposes, personal expression, or professional communication, embracing the craft will help you communicate effectively, connect with your audience, and leave a lasting impression.

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NeurIPS Creative AI Track: Ambiguity

Fencing Hallucination (2023), by Weihao Qiu

Following last year’s incredible success, we are thrilled to announce the NeurIPS 2024 Creative AI track. We invite research papers and artworks that showcase innovative approaches of artificial intelligence and machine learning in art, design, and creativity.

Focused on the theme of Ambiguity, this year’s track seeks to highlight the multifaceted and complex challenges brought forth by application of AI to both promote and challenge human creativity. We welcome submissions that: question the use of private and public data; consider new forms of authorship and ownership; challenge notions of ‘real’ and ‘non-real’, as well as human and machine agency; and provide a path forward for redefining and nurturing human creativity in this new age of generative computing.

We particularly encourage works that cross traditional disciplinary boundaries to propose new forms of creativity and human experience. Submissions must present original work that has not been published or is not currently being reviewed elsewhere.

Important Dates:

August 2: Submission Deadline
September 26: Decision
October 30: Final Camera-Ready Submission

Call for Papers and Artworks

Papers (posters).

We invite submissions for research papers that propose original ideas or novel uses of AI and ML for creativity. The topics of research papers are not restricted to the theme of ambiguity. Please note that this track will not be part of the NeurIPS conference proceedings. If you wish to publish in the NeurIPS proceedings please submit your paper directly to the main track.

To submit: We invite authors to submit their papers. We expect papers to be 2-6 pages without including references . The formatting instructions and templates will become available soon. The submission portal will open sometime in July.

We invite the submission of creative work that showcases innovative use of AI and ML. We highly encourage the authors to focus on the theme of Ambiguity. We invite submissions in all areas of creativity including visual art, music, performing art, film, design, architecture, and more in the format of video recording .

NeurIPS is a prestigious AI/ML conference that tens of thousands researchers from academia and industry attend every year. Selected works at the Creative AI track will be presented on large display screens at the conference and the authors will have the opportunity to interact with the NeurIPS research community to germinate more collaborative ideas.

To submit: We invite authors to submit their original work. An artwork submission requires the following:

Description of the work and the roles of AI and ML
Description on how the theme of Ambiguity is addressed
Biography of all authors including relevant prior works
Thumbnail image of the work (<100MB)
3-min video preview of the work (<100MB)

Single-blind review policy

The names of the authors should be included in the submission.

Conference policy

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Gothic in Asian Animation and Sequential Art, a special issue of 'Gothic Studies'

Article proposals are invited for a special journal issue of Gothic Studies (expected publication date November 2026) on “Gothic in Asian Animation and Sequential Art” edited by Katarzyna Ancuta (Chulalongkorn University) and Joseph Crawford (University of Exeter).

Gothic horror has always been an important genre in Asian sequential art. In post-war Japan, the mingling of imported Western horror media with indigenous traditions of kaidan (‘strange stories’) and ukio-e prints depicting ghosts and monsters gave rise to a vigorous tradition of horror manga, which subsequently flourished in publications such as Gekkan Halloween magazine (1985-95) and the works of Junji Ito (1986-present). With the rise of Japanese anime to global popularity over the last thirty years, Japanese animated series based on horror manga have acquired worldwide audiences and fanbases, making popular horror anime such as Death Note (2006-7), Black Butler (2008-14) , and Tokyo Ghoul (2014-18) some of the most internationally influential works of Gothic fiction of the twenty-first century. The Gothic horror genre has been similarly important in Korean manhwa , with influential Gothic manhwa titles such as Priest (1998-2007) attracting a large international readership: Priest even had a 2011 American film adaptation. In the 2010s Korean manhwa increasingly moved online, shifting to the smartphone-friendly webtoon format that now dominates sequential art in South Korea, and Korean webtoon horror manhwa is now widely read worldwide, with works such as Bongcheon-Dong Ghost (2011) acting as touchstones of a new globalized culture of viral online horror media.

Although the Japanese and Korean traditions of sequential art have long been better-known in the West than those of other Asian nations, in recent years this has started to shift. Chinese manhua is growing swiftly in international popularity, especially in webtoon format: dedicated online fan communities now produce fan translations of the latest horror manhua for Western audiences, allowing them to access everything from Chinese zombie stories to Chinese vampire romances in manhua form. The Filipino horror komik tradition was brought to the attention of international audiences by the horror anime series Trese (2023), which was adapted from Filipino komiks in collaboration with Netflix. Thailand’s infamously gory horror comics have long been popular with domestic audiences, and some are now starting to find international readers online. In India, meanwhile, Hindi-language horror comics have flourished for decades, although their stories of bloodthirsty rakshasas and pishachas currently remain little-known outside the Indian diaspora.

The sheer numbers involved in the Asian sequential art market are staggering. Bestselling works of horror-themed manga can sell in excess of a hundred million volumes worldwide, a scale of popularity which should push us to rethink our assumptions about what the words ‘Gothic novel’ mean in the 2020s: today, if someone reads a fictional book about ghosts or demons, it is just as likely to be drawn rather than written, electronic rather than physical, and to make use of the horror traditions of Asia rather than the familiar Gothic folklore of the West. Yet despite their importance for modern Gothic media worldwide, which today is just as likely to take inspiration from Death Note or Uzumaki as from Sheridan Le Fanu or M.R. James, these Asian traditions of horror animation and sequential art have been very little studied in Anglophone scholarship.

A few scholars, such as Pandey (2001, 2008), Bolton (2005), Dollase (2010), Davis (2022), and Taylor (2023) have written on Gothic themes in Japanese manga and anime, and articles on key titles such as Black Butler and Tokyo Ghoul have recently appeared in the Journal of Anime and Manga Studies . More recently, we have also seen some publication on Indian horror comics and graphic novels (Sarma 2018, Ciemniewski 2019, Sen 2021), but the horror genre remains highly marginalized within the field. Scholarship on Asian Gothic outside Japan and India has generally ignored sequential art entirely: studies of Korean or Thai horror media, for example, have tended to focus heavily on film and television rather than manhwa . Our proposed special issue would address this gap, providing an opportunity for scholars to explore this increasingly influential but critically neglected field of Gothic media.

Suggested topics include, but are not limited to:

Gothic horror in manga and anime, and the different forms it takes in different manga and anime subgenres (e.g. shōnen , shōjo , seinen , josei ).
The role of Gothic aesthetics in manga art (e.g. Hellsing, Black Butler, ‘Gothic Lolita’ fashion styles).
Manga adaptations of Western Gothic literature (e.g. Junji Ito’s Frankenstein, Shin-ichi Sakamoto’s DRCL ).
Gothic in other Asian sequential art traditions, e.g. Korean manhwa , Chinese manhua , Filipino komiks , Thai and Indian horror comics.
Asian horror webtoons and digital Gothic.
Gothic romance in Asian animation and sequential art, especially queer ‘girl’s love’ and ‘boy’s love’ romance media.
Depictions and interpretations of Asian supernatural beings in Asian animation and sequential art (e.g. Chinese jiāngshī , Indian rakshasa , Malay penanggalan, Filipino Tikbalang ).
The localisation of western Gothic monsters – vampires, werewolves, zombies etc. in Asian animation and sequential art.
Ghosts and hauntings in Asian animation and sequential art.
The role of Asian folklore and religious beliefs in Gothic Asian animation and sequential art.
Monsters and monstrous humans in Asian animation and sequential art.
Haunted geographies and Anthropocene eco-gothics in Asian animation and sequential art.
Gothic cyberpunk and the post-human in Asian animation and sequential art.
Post-colonial Gothic and the legacies of empire in animation and sequential art from India, Indonesia, Malaysia, Korea, and/or the Philippines.
Gothic and the articulation of historical trauma in Asian animation and sequential art.
Gothic vs. Horror in Asian animation and sequential art.

Please send abstracts of 300 words to the journal editors at [email protected] and [email protected] by 31 August 2024 . We will notify the authors about the results in early September.

The first drafts of the complete papers should be submitted by 31 May 2025 . Please note that the articles will need to undergo peer review and the submission of the first draft does not immediately guarantee the publication. The complete issue will be submitted to the journal in early 2026.

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cfp
Article proposals are invited for a special journal issue of Gothic Studies (expected publication date November 2026) on "Gothic in Asian Animation and Sequential Art" edited by Katarzyna Ancuta (Chulalongkorn University) and Joseph Crawford (University of Exeter).. Gothic horror has always been an important genre in Asian sequential art. In post-war Japan, the mingling of imported Western ...

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