References for understanding Art evidence research.
A Love Letter to the Arts by Patrica Leavy
Where did my published articles go? who was reading it? cold. I couldn't spend the rest of my life developing academic insights that no one else would ever read. There had to be a better way. That's why I come back to you. When there is much to lose/ Concealment or ploy/ When chaos ensues/ We must choose the creative path. You create what we need most: connection. There is a network of possibilities in those connections. As I write to you, I write a love letter to the universe, humanity and myself.
Maira Kalman's wise, witty artworks have appeared on numberless New Yorker covers, in dozens of her own books and in many museums around the world.
Why you should listen
A pair of leather and silk slippers from 1830 United States, part of “Maira Kalman Selects,” a guest-curated exhibition.
Today, major arts institutions are investing in bringing technology and interactivity to the live museum experience, hoping to attract a younger and more diverse audience. To that end, the museum has developed “The Pen,” which will be launched in early 2015. Shaped like a pen and equipped with a stylus, you can press the non-writing end of a task label to store details in the pen's memory. . At the touch of a button on interactive tables scattered throughout the museum, additional information about a particular piece is revealed, and eventually all of the awkwardly stored pieces can be accessed via a custom link on a paper ticket after a visit. Pen also allows visitors to explore design principles. You can draw a shape on one of the tables, access thousands of objects in the Cooper Hewitt archive that contain the same shape, or design your own hats, buildings, and chairs. What it's not: These are tech tools that increase your understanding of design while focusing on the room, not Snapchat. The new Immersion Room projects the museum's extensive collection of wall coverings, painting the room and the faces within it in a variety of colored patterns and tones. Visitors can enhance and edit the projection of the table in the center of the room, adjust the color palette or sketch out their own designs.
Smartphone-in-hand visitors to contemporary museums want to share, connect, and go deeper, and it's important that design museums satisfy that urge. But with powerful collections and smart curation, it's possible to remind visitors, even for a moment, why smartphone design stories are as interesting as the content inside.
What are the elements and principles of art?
Knowing the elements and principles of art will improve your visual skills. Artists and creators create more powerful works when they utilize the principles of art. As the audience becomes familiar with the elements of the art, they become more aware of the details and better able to understand what they see and the message behind it. Our connection to art makes us more empathetic and reinforces our social fabric.
Creative Matter by Emily Jean Hood and Amelia M. Kraehe
A strong case has been made for rethinking art practice as research (Marshall & D'Adamo, 2011; Rolling, 2013; Sullivan, 2010). Artists ask questions, formulate problems, speculate, investigate, experiment, fail many times, but make discoveries along the way. As “everyday artists” (Bentley, 2013, p. 7), children also engage in this kind of practice.
According to Elkins (1996) “Each entity has a being, that is, a being” (p. 12). For many of us, this is the appeal of being with art and creating things in material form.
Our discussion consists of three parts. First, we look at how current artists talk about materials as an aspect of their creative experience. The second section introduces new materialist concepts for thinking about the power of objects in art education. In the last section, we introduce new materialist concepts to two different venues for visual arts exploration: school art classrooms and museum galleries. Consider how to apply the method. Philosopher Jane Bennett (2012) takes a close look at hoarders and the way they talk about things to show how hoarders have keen sensibilities for the objects they collect.
Indeed, Bennett (2010) points out that accepting the world as a child helps us better understand the life force of things.
From a materialist point of view, it represents the vitality of our matter just below the surface of awareness. To get lost is to be curious, captivated, and entangled in the material work of art, not the idea of art. This “activity of matter that makes impressions on the body” (Barrett & Bolt, 2012, p. 7) has the potential to stimulate artistic inquiry. When working with children, getting lost can lead to wandering or wondering about a single piece of art.
Myungja Anna Koh