Ink Drawing the Abstract Design “Sensation”


How To Look At And Understand Great Art

How To Look At And Understand Great Art

How To Look At And Understand Great Art Note : Sharon Latchaw Hirsh, Ph.D: President Rosemont College gives 36  lectures. * pdf. 1. Olga’s Gallery: An artist index with biographical and comprehensive lists of works of art, including an image reference, current and past auction information, and current locations. 2. The National Gallery Of Art in Washington  DC: An excellent interactive gallery map, highlighting notable works. 3. The Louvre Collection and a 3D tour of the Louver’s most popular galleries and exhibits with in depth histories and visual aids. 4.

Art Project: 3D Mix oil/water based painting through 5 senses

Jan 27 2011:
Reflection thought about the art project with the cub scouts.
Good: they all engage in the project, they love all ideas, enjoy to discover how to make art with new medium, learn from design and art world (visual arts), experience with music and enjoy the ice cream for taste. Have lot of fun and experiment new thing. They are creative team to work for help out during set up time and clean up. Help them to find tools to solve problems and be more creative.
Bad: not deliver all aspects that i want them to experiments, can’t control the time limit, did not meet my expectation. The reaction of the kids not quite adapt to create good artworks. Need more structure to build up skills, distract from parents (talking in the background), less focus when they use many senses at the same time. They should need to learn to use one at one time.
The project was completed Jan 26 at 8:45 pm.

Jan 23 2011:
Experiences with 5 senses to stimulate the imagination in order to be more creative. One warm-up exercise to stimulate imagination and 5 exercises to work on each sense at the time.
Appreciate the artworks, analyze and interpret the interest ideas. Listen music, analyze by imitate the sounds and use brush strokes to make music. Use the scents to recall a place, find the name of flowers, trees and express by using colors in painting. Taste a delicious desert, analyze the ingredients and create textures in paintings. Experience the falling feeling and draw on canvas.
Goals of the project:
Stimulate right brain function: Imagination and creative skill.
Live artful ( appreciate the beauty in life: observe artworks/ designs, analyze and taste food, listen piece of music, etc … )
Be creative to solve problems : open the mind to find the solution in the infinity of possibilities. (choose tools and material to describe the inner talk)
Practice “go by the flow” by working together in a group to create one  painting.
Experience to focus in one sense at the time. Unlock the senses by appreciate the beauty, analyze, describe and express through creating artwork.
Why imagination? Why the arts?
Why is teaching for imaginative learning important? In Releasing the imagination, Lincoln Center Institute’s philosopher-in-residence, Maxine Greene (1995) speaks of the necessity of fostering the imagination of young people in order to create a sense of empathy for others in the world, as well as to create a sense of possibility in their lives and the lives of others. She goes on to link imagination to the creation of community:
If we can link imagination to our sense of possibility and our ability to respond to other human beings, can we link it to the making of community as well? Can we encourage the ability of young persons to interpret their experiences in a world they come together to name? G.B Madison, writing about the centrality of the imagination, says that ‘it is through imagination, the realm of pure possibility that we freely make ourselves to be who we are, that we creatively and imaginatively become who we are, while in the process preserving the freedom and possibility to be yet otherwise than what we have become and merely are’ (1998, p. 191). I believe that the kind of becoming Madison describes is in large degree dependent on membership in a community of regard. (pp. 38–39)
Sir Ken Robinson of Great Britain has argued there and around the world for the centrality of creativity in education. Almost presaging the NCEE report cited above, Robinson (2001, p. 56) wrote:
The dynamic interaction of technological and economic change has two immediate long- term implications for labor markets. First, it puts a premium on the capacity of compa- nies, countries and of individuals for creativity and innovation. The most important resources of all companies are now the ideas and creative capacities of the workforce … The second key quality is the need for flexibility and adaptability.
Robinson links creativity to imagination. For him, creativity involves doing some- thing, taking action; the creative processes are rooted in imaginative thought, in ‘envisaging new possibilities’. His first definition of creativity is, in fact, ‘imaginative processes with outcomes in the public world’ (p. 115).
Robinson links creativity to imagination. For him, creativity involves doing some- thing, taking action; the creative processes are rooted in imaginative thought, in ‘envisaging new possibilities’. His first definition of creativity is, in fact, ‘imaginative processes with outcomes in the public world’ (p. 115).
the study of artworks in education as a way to foster imagination? Both Mary Warnock and Maxine Greene are helpful here. Warnock (1976) clearly states that she does not think having children create music, dance, or visual art is sufficient to foster imagination in education settings. She says:
I do not believe that children exercise imagination more by having a set of hand-bells put before them, or a glockenspiel, and being told to make their own music than by listening to music with a receptive ear. I do not believe there is anything uniquely valuable (though it may have value) in getting children to write or draw things which are to be original. [sic] On the contrary, they may be deprived if they are not encouraged to read and to look at the works of other people… grown-ups, or the works of nature. The fact is that if imagination is creative in all its uses, then children will be creating their own meanings and interpretations of things as much by looking at them as making them. (p. 207)
Without spending reflective time, without tutoring in or exposure to or dialogue about the arts, people merely seek out the right labels, seek out the works by the artists they have heard they should see…
Aesthetic experiences require conscious participation in a work, a going out of energy, an ability to notice what there is to be noticed in the play, the poem, the quartet. Knowing ‘about’, even in the most formal academic manner, is entirely different from constituting a fictive world imaginatively and entering it perceptually, affectively and cognitively. (p. 125)
At Lincoln Center Institute, we take this connection between studying artworks and the development of the cognitive capacity called imagination most seriously. We believe the arts are uniquely designed as a subject area to bring a focus on imagination to education. As John Dewey (1980) reminds us, the arts rely, for their very being, on sensations and emotions united with meaning, and embody possibility. As such, they are unique, and become, for Dewey, as well as for the Institute, the best evidence of the ‘true nature of imagination’ (p. 267).