Who Do You Think Has the Better Art Dept? Uc Berekeley or Mills?
Why practise you lot make art? That's the simple question Greater Practiced posed to seven artists. Their answers are surprising, and very diverse. They mention making art for fun and adventure; building bridges between themselves and the rest of humanity; reuniting and recording fragments of thought, feeling, and memory; and maxim things that they can't limited in any other mode.
All their answers are deeply personal. Elsewhere on Greater Good, we explore the possible cognitive and emotional benefits of the arts, and even so these artists evoke a more than fundamental benefit: They are just doing what they feel they're born to do.
Gina Gibney: Giving power to others
Gina Gibney'southward choreography has been widely presented in the United States and Away. © Andrzej Olejniczak/Gina Gibney
Gina Gibney is the creative director of the New York-based Gina Gibney Dance Company, which was founded in 1991 to serve a dual mission: to create and perform contemporary choreography that draws upon the forcefulness and insights of women and men, and to enrich and reshape lives through programs that give voice to communities in demand, especially survivors of domestic abuse and individuals living with HIV/AIDS.
I brand art for a few reasons. In life, nosotros experience then much fragmentation of idea and feeling. For me, creating fine art brings things back together.
In my own work, that is true throughout the procedure. At the beginning, developing the basic raw materials for the piece of work is securely cogitating and informative. After, bringing those materials together into a form—distilling and shaping movement, creating a context, working to something that feels cohesive and consummate. That's incredibly powerful for me—something that really keeps me going.
Interestingly, the torso of my work is like a catalog of the events and thoughts of my life. For me, making piece of work is almost similar keeping a journal. Giving that to someone else—equally a kind of souvenir through live operation—is the most meaningful aspect of my piece of work.
Trip the light fantastic toe is a powerful art form for the very reason that it doesn't demand to explain or annotate on itself. One of the most astonishing performances I have ever seen in my life was of a woman—a domestic violence survivor—dancing in a tiny conference room in a domestic violence shelter for other survivors. She was not a professional dancer. She was a woman who had faced unbelievable challenges and who was living with a great deal of sadness. She created and performed an amazing solo—but to accept described her performance as "sad" would have been to diminish what we experienced.
That's the ability of dance. You lot can feel something and empathise with it on a very deep level, and you don't have to put words to it.
Judy Dater: I similar expressing emotions
A portrait by Judy Dater
Judy Dater has been making photographs for more than than 40 years, and is considered ane of America's foremost photographers. The recipient of a Guggenheim and many other awards, her books include Imogen Cunningham: A Portrait, Women and Other Visions, Torso and Soul and Cycles.
I like expressing emotions—to have others experience what it is I'm feeling when I'1000 photographing people.
Empathy is essential to portraiture. I've done landscapes, and I think they can exist very poetic and emotional, but it'south unlike from the directness of photographing a person. I think photographing people is, for me, the best manner to bear witness somebody something near themselves—either the person I photograph or the person looking—that maybe they didn't already know. Possibly it'due south presumptuous, but that'southward the want. I experience similar I'm attending to people when I'm photographing them, and I think I understand people better because I've been looking at them intensely for 40-some years.
Pete Docter: It'south fun making things
Pete Docter has been involved in some of Pixar Studio'due south most pop and seminal animated features, including Toy Story, A Bug's Life, Cars, and Wall-E, but he is best known every bit the manager of the Academy-Award-winning Monsters, Inc. Docter is currently directing Upward, prepare for release in May of 2009.
I make fine art primarily because I bask the process. It's fun making things.
And I'1000 sure in that location is too that universal desire to connect with other people in some way, to tell them about myself or my experiences. What I really look for in a project is something that resonates with life as I run across it, and speaks to our experiences as humans. That probably sounds pretty highfalutin' coming from someone who makes cartoons, but I call back all the directors at Pixar feel the same way. We desire to entertain people, non merely in the vacuous, escapist sense (though to be sure, in that location'south a lot of that in our movies as well), but in a way that resonates with the audience every bit beingness truthful about life—some deeper emotional experience that they recognize in their own beingness. On the surface, our films are virtually toys, monsters, fish, or robots; at a foundational level they're nigh very universal things: our own struggles with mortality, loss, and defining who we are in the world.
Every bit filmmakers, we're pretty much cavemen sitting around the campfire telling stories, only we use millions of dollars of engineering to do information technology. By telling stories, we connect with each other. Nosotros talk about ourselves, our feelings, and what it is to be human being.
Or we just make cartoons. Either mode we try to have a good time, and nosotros hope the audition does too.
Harrell Fletcher: Anything anyone calls art is art
An image from "The Problem of Possible Redemption 2003," staged at the 2004 Whitney Biennial in New York. The video is an accommodation of James Joyce's novel Ulysses shot at the Parkville Senior Center in Connecticut, with the seniors reading the lines from cue cards. © Harell Fletcher
Harrell Fletcher teaches in the art department at Portland State University. He has exhibited at the San Francisco Museum of Modern Fine art, the Berkeley Art Museum, Socrates Sculpture Park in New York, and in numerous other museums and galleries effectually the world. In 2002, Fletcher started Learning To Love Yous More, a participatory website with Miranda July, which they turned into a book, published in 2007. Fletcher is the recipient of the 2005 Alpert Award in Visual Arts.
The question of why I brand fine art needs to be broken down a scrap before I can answer.
Starting time of all, what is art? The definition for fine art that I have come upwardly with, which seems to piece of work best for me, is that anything anyone calls fine art is art. This comes from my belief that there is nothing intrinsic about art. We cannot practice a chemical analysis to make up one's mind if something is art or non. Instead, I feel like calling something "art" is actually but a subjective mode of indicating value—which could be aesthetic, cultural, monetary, and so on.
If nosotros look at other kinds of creative action we can run into how various forms can all exist and be valid at the aforementioned time. I've made what I think of equally fine art since I was a child, initially drawings, so photographs, paintings, videos, and then on. By the fourth dimension I got to graduate school, I was not so interested in making more stuff, and instead started to motion into another direction, which these days is sometimes called "Social Practise."
This is sort of a confusing term since information technology is so new and undefined. In a broad style, I recollect of it as the opposite of Studio Practise—making objects in isolation, to exist shown and hopefully sold in a gallery context. Well-nigh of the art world operates with this Studio Practise approach. In Social Do, there is more of an emphasis on ideas and actions than on objects; it tin take identify outside of art contexts, and there is often a collaborative or participatory aspect to the work.
Then back to the question why I make art. In my instance, the projects that I practise allow me to meet people I wouldn't usually meet, travel to places I wouldn't ordinarily get to, acquire about subjects that I didn't know I would be interested in, and sometimes even help people out in small ways that make me feel good. I like to say that what I'm subsequently is to have an interesting life, and doing the work that I do as an artist helps me attain that.
Kwame Dawes: An environs of empathy
© Rachel Eliza Griffiths
Kwame Dawes, Ph.D., is Distinguished Poet in Residence at the Academy of South Carolina. He is the writer of 13 books of verse, most recently Gomer'south Song, and a novel, She's Gone, which won the 2008 Hurston/Wright Legacy Honor for Best First Novel.
I write in what is probably a vain effort to somehow control the world in which I alive, recreating it in a manner that satisfies my sense of what the world should look similar and be like.
I'm trying to capture in linguistic communication the things that I see and feel, as a mode of recording their beauty and power and terror, then that I tin return to those things and relive them. In that fashion, I try to have some sense of control in a chaotic globe.
I want to somehow communicate my sense of the globe—that manner of agreement, engaging, experiencing the earth—to somebody else. I desire them to be transported into the world that I take created with linguistic communication.
And and so the ultimate aim of my writing is to create an surround of empathy, something that would allow the phenomenon of empathy to have place, where human beings tin seem to rise out of themselves and extend themselves into others and live within others. That has a tremendous ability for the human being. And I know this, because that is what other people's writing does to me when I read information technology.
James Sturm: The reasons are unimportant
James Sturm is a cartoonist and co-founder of the Eye for Cartoon Studies in White River Junction, Vermont. He is the writer of the best-selling and award-winning graphic novel The Golem's Mighty Swing, chosen as the All-time Graphic Novel of 2000 by Time magazine. In 2007, his trilogy of historical graphic novels was collected in a volume entitled James Sturm'due south America: God, Gold, and Golems.
I like the question "Why Do You Brand Art?" because it assumes what I exercise is art. A flattering assumption. The question also takes me back to my freshman year of college, where such questions like "What is nature?" and "Is reality a wave or a circle?" were earnestly debated (usually late at nighttime and later smoking as well much weed).
Xx-5 years later I'd similar to call back I am a niggling more clear-headed regarding this question. Perhaps the only insight I've gained is the knowledge that I take no idea and, secondly, the reasons are unimportant. Depending on my mood, on any given day, I could attribute making art to a loftier-minded impulse to connect with others or to understand the world or a narcissistic coping mechanism or a desire to exist famous or therapy or equally my religious bailiwick or to provide a sense of command or a desire to give up control, etc., etc., etc.
Whatever the reason, an inner compulsion exists and I continue to honor this internal imperative. If I didn't, I would feel actually horrible. I would exist a broken man. So whether attempting to make fine art is noble or selfish, the fact remains that I volition do it still. Anything past this argument is speculation. I would exist afraid that past proclaiming why I make art would be generating my own propaganda.
KRS-One: Hip hop is beyond fourth dimension, beyond space
Lawrence Krisna Parker, meliorate known by his stage name KRS-I, is widely considered by critics and other MCs to exist one of hip hop'south well-nigh influential figures. At the 2008 Black Entertainment Television Awards, KRS-Ane was the recipient of the Lifetime Achievement Honour for his rapping and activism.
I was born this way, built-in to brand art, to brand hip hop. And I call back I'g merely i of the people who had the backbone to stay with my built-in identity. Hip hop keeps me true to myself, keeps me human.
Hip hop is the reverse of technology. Hip hop is what the human body does: Breaking, DJing, graffiti writing. The human body breakdances, yous can't accept that abroad. DJing is not technology; information technology's human being intelligence over technology: cutting, mixing, scratching. It's concrete. The manipulation of technology is what humans exercise, that's art.
Or take graffiti writing. Put a writing utensil in any child's manus at age ii or three. They volition not write on a paper like they'll later be socialized to exercise, they will write on the walls. They're just playing. That'due south human. Graffiti reminds you of your humanity, when yous scrawl your self-expression on the wall. Hip hop helps us to see the things in the world in new ways.
That's why hip hop has kept me young. Information technology doesn't permit yous to grow up likewise fast. Hip hop is beyond fourth dimension, beyond space. That's why I make hip hop.
Source: https://greatergood.berkeley.edu/article/item/why_we_make_art
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