CONTEMPORARY ARTAS AN ACCESS POINT

Katherine Giard

University of Central Florida

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INTRODUCTION

Any art program is better than no art program.

Is that enough? Art education challenges minds to be critical,

reflect, process skills and techniques, organize structure, make meaning of historical and global connections, be innovative through the use of technology, and, then, assimilate these big ideas for application in the future (“Next Generation,” n.d.).

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The goal of art education “’is not the art itself, or the aesthetic product, or the aesthetic experience, but rather the child who grows up more creatively and sensitively and applies his experience in the arts to whatever life situations may be applicable’ (quoted in Michael, 1982,

p. xix)” (Efland, 1990, p. 235). Contemporary artists think currently, not only

locally, but also globally. Students who are provided the opportunity to

investigate “issues of real concern to them are more engaged in the learning process” (Gude, 2007, p. 8).

Han Yajuan

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INTRODUCTION.

Born in 1980 in Qingdao, China, Han Yajuan “enjoyed the social and cultural openness that China has had to offer for its citizens since its economic reform more than a decade ago” (Ng, n.d., para. 2).

paintings are a running commentary on peer society

artist of the Cartoon Generation, grew up with technology, social media, and the internet

girls exude consumerism, material reality, and consumption

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previous generations of artist were oppressed by a regime that used art to make political statements and produce propaganda (“Chinese Art,” n.d.).

Yajuan’s art is completely contrary to a society that once discouraged individuality and Western influences

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BIOGRAPHY.

earned her B.A. from the China Academy of Art, well respected institution

worked in the College of Visual Art at the China Academy of Art

earned an M.F.A. from the Oil Painting Department of the Central Academy of Fine Arts

currently lives and works in Beijing, China

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SIGNIFICANCE.

forefront of an expanding and evolving Chinese art world, Mainland China has overtaken Japan as the biggest world economy

figures often seem simplistic until you look past their superficial exteriors

closed eyes? cow companions caricatures embrace capitalism and success,

but at what price?

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XL BEETLE2007OIL ON CANVAS, 240 X 120 CM

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HOUSE PARTY2010OIL ON CANVAS, 300 X 150 CM

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“Almost all her recent works adopt bird’s eye perspective. There are multiple focuses and scenes in each of the paintings, with all the focuses and scenes being independent and equally important. The perspective with multiple focuses is consistent with the multi-point perspective used in traditional Chinese painting, which enables artists to depict objects from different angles and allows the audience to have diversified experiences. The perspective not only empowers Han Yajuan to depict multiple scenes and plots simultaneously, but also makes her art language an effective vehicle of her ideas. The complicated scenes described with the perspective indicate the complexity of society and reveal that seemingly unrelated people may be interconnected with each other (Chunfeng, 2011, para. 2).”

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SPLASH BASH NO.022011OIL ON CANVAS, 200 X 120 CM

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EPISODIC MEMORY #12011OIL ON CANVAS, 60 X 60 CM

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“My recent creations consider the relationship between people, objectivity, and space, and I attempt to use a kind of perspective that transcends reality in order to observe and express the existence of physical ‘materialism.’ Through deconstruction and the overall composition, a multi-dimensional perspective presents itself, and this creates an effect that can highlight the interplay between people, objectivity, and material culture. This type of thinking originates from our curiosity and suspicion of the unknown world, and our investigative probe into the ‘unknown’ behind ‘existent reality.’ And this ‘unknown’ factor may well influence and construct the elements underlying our ‘existent reality’” (“Han Yajuan,” 2011, Talk, para. 1).

symbolism in Chinese painting

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DIVA FEVER FEST2012OIL ON CANVAS, 200 X 120 CM

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HYPOTHETICAL PROPOSITION2012OIL ON CANVAS, 130 X 85 CM

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IMPLICATIONS.

engaging, cartoon-like excellent opportunity to explore art as it

relates to another culture think about the lives of people in another

place traditions of Chinese painting in her work,

symbols commentary, stories interrelatedness of individuals, identity,

exploring self artist’s process

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CONCLUSION.

works offer social commentary via ultra feminine figures who are delightfully engaging and unexpectedly relatable

Yajuan’s work represents a culture and a generation dealing with same themes of relationships, identity, and place that exist for others all over the world

Forces us to see that we aren’t so unalike

19 Banksy

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INTRODUCTION.

elusive figure in the street art scene, identity is unknown

works are a running commentary about everything from politics to social themes

works pop up all over the world, on any public surface

paintings, assemblages, and films (nominated for an Oscar in 2011, documentary)

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BIOGRAPHY.

born in 1974, in Bristol, in West England spraying paint at 14 trained as a butcher part of the Bristol underground scene in

1990s, diverse urban culture, collaborations between musicians and graffiti artists, influenced by 3D

stenciling technique work parallels that of the Godfather of street

art Blek Le Rat King Robbo, engage in ongoing “Graffiti

Wars,” over painting, with artwork and insults

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SIGNIFICANCE

“satirical pieces of art on topics such as politics, culture and ethics” (“Biography for Banksy,” n.d., para. 2).

works are amusing and then, thought provoking

stereotypical graffiti clever, planned, and imaginative, simple and

quick "Art should have your pulse racing, your

palms clammy with nerves and the excitement of creating something truly original in a dangerous environment," Banksy once said (Chaundy, 2006, Political, para. 5).

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WHITE-WASHING OF HUMAN HISTORYN.D.

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RAT MURALN.D.

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street artist don’t just go away, as tenacious, invasive, and relentless as rats reveling in their underworld

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CIGARETTE BREAK2009

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PARKINGN.D.

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challenge the establishment and the status quo

placement is brilliant, appearing on the side of a windowless building, overlooking a parking lot in California, one of the most congested locations in the world

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FOLLOW YOUR DREAMSN.D.

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SWEEPING IT UNDER THE CARPETN.D.

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“a metaphor for the West's reluctance to tackle issues like Aids in Africa” (Chaundy, 2006, Political, para. 1).

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FLOWER THROWER2010

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IMPLICATIONS.

obvious technical aspect, planning, creating stencils, spray paint, time

spends time thinking, reflecting using a stencil to create artwork constitutes

an art form? explore the use of language and symbols,

making a statement simply

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CONCLUSION.

street art has meaning may never run out of images and insights to

impart Society reflects the human condition and

Banksy sees it as his job to hold the mirror, so that we don’t miss the reflection.

Carrie Mae Weems

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INTRODUCTION.

purposeful photographs that beg you to look, linger, and contemplate

as an artist, she is a storyteller, developing plots, using props, and integrating words with image

strives to unravel the truth about race, gender, and class

explore who we are, as individuals, and our sense of place in the world

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BIOGRAPHY.

born in 1953, large Portland, Oregon, family interested in dance, shifted to photography

when she was gifted a camera The Black Photography Annual, a book of

African-American photographers, more creative

New York to study photography at the Studio Museum in Harlem, bicoastal

B.F.A. at the California Institute of the Arts, Valencia, black women non-existent in art

M.F.A. from the University of California, San Diego

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studied folklore in the graduate program at the University of California, Berkeley

currently lives in Syracuse, New York and maintains a studio in Brooklyn, New York

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SIGNIFICANCE.

help us define who we are by showing us the sum of our parts in one visual representation

make a change in ourselves or in the world or not

we are more than the labels and constraints that society imposes

works masterfully challenge us to see who we are

she pushes us to become more than we can hope to imagine

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FAMILY PICTURES AND STORIES1981-1982

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BLACK WOMAN WITH CHICKENAIN’T JOKIN’1987-1988

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COLORED PEOPLE1989-1990

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“I assume that I can speak from multiple places and in multiple contexts. And even if I’m wrong, I assume that I can speak for those who can’t or are too afraid to speak for themselves” (Art Participant, 2012, para. 4).

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THE KITCHEN TABLE SERIES1990

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DREAMING IN CUBA2001

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ROAMING2006

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OBAMA PROJECT2012HTTP://CARRIEMAEWEEMS.NET/GALLERIES/OBAMA-PROJECT.HTML

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“In a Feb. 29 New York Times review, art critic Roberta Smith wrote of Weems, ‘No American photographer of the last quarter-century … has turned out a more probing, varied and moving body of work. None has made more adventurous use of the photographic medium, adding performance, film and installation to the serial print format’” (“Carrie Mae Weems,” 2008, para. 2).

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IMPLICATIONS.

world of photography for children to explore, “Cameras are powerful tools of creative expressionism” (Linderman, 2009, p. 139).

provide the ability to tell a story, capture a moment, and send a message

Is photography art? determine if there is a message being sent

through the work explore, research, and share photographers

that are meaningful, sending a message, and explain

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technical aspects of operating a camera appropriate vocabulary relating to the field of

photography explore the theme of identity

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CONCLUSION.

Weems isn’t pigeonholed by her identity or her situation

frozen moments offer insight and a unique perspective akin to walking in another man’s shoes

raises our awareness and engages us in the lives and plights of others

Richard Long

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INTRODUCTION.

walks … a lot, epic walks, for weeks at a time, in rural or remote areas

English sculptor, photographer, and painter, best known as a land artist

reinterprets the landscape using discoveries made upon walks

walks, and the resulting artwork, can be predetermined or arbitrary

trekked all over the world, in every type of environment and terrain

snapshot, production is left to time and elements

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BIOGRAPHY.

born on June 2nd in 1945 in Bristol, England studied at the West of England College of Art,

a very conservative school act viewed as too precocious, he was

dismissed for snapping photos of the track left after making a snowball (O’Hagan, 2009, para. 4)

St. Martin’s School of Art and Design, birth of a new art form, land art

received the Turner Prize in 1989 (under 50, UK highly publicized, usually to conceptual artist)

currently walks, lives, and works in Bristol, England

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SIGNIFICANCE.

respect for nature the structure of shape master of raw material manipulation very simple, although precise captures the sublime interactions in nature

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1967IRELAND

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A LINE IN SCOTLAND1981

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BRUSHED PATH1983

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“What I do in the landscape takes its place with all the other human and geographic history that has been before. I've no romantic idea that I'm going to some virgin untouched part of the planet. The places I go to are generally empty because that suits my work which is about space and distance and time and simplicity” (Wroe, 2003, para. 51).

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Tom Lubbock of the The Independent observes, “And why does he go all over the planet, to desert, to mountain, to river, to arctic? For the traditional reason, it seems: to get away from it all. Wherever Long travels, the messy human world is strangely absent. Whatever might be going on in that part of world, he manages not to notice. Apart from his own interventions, the Earth might be the Moon. His photos show bare nature, uninterrupted even by animals. The Animal Droppings dropped into that text are a surprise. The kangaroo that appears in A Straight Hundred-mile Walk in Australia is a real rarity” (Lubbock, 2009, para. 14).

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SIX STONE CIRCLES1991ENGLAND

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A ROLLING STONE2001

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ROAD STONE LINE2010CHINA

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IMPLICATIONS.

offers kids a change of scenery and a chance to try something different in art

children can see another way that art can be in the world

determine whether or not land art exists if raw materials are manipulated and introduced into a gallery setting

determine if art exists if no one else sees it, photo taken of the work is also art

take what occurs in nature and manipulate it, without destroying it or the surroundings

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use photography determine how time and the elements affect

a piece

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CONCLUSION.

adheres to the pure definition of land art man is one with nature work is minimalist, present, and unobtrusive “A local could walk by and not notice it, or

notice it and not know anything about me. Or someone could come upon a circle and know it was a circle of mine. I really like the notion of the visibility or invisibility of the work as well as the permanence and transience” (O’Hagan, 2009, para. 8).

Karen Searle

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INTRODUCTION.

“The term crafts is often used to describe the family of artistic practices within the family decorative arts that traditionally are defined by their relationship to functional or utilitarian products (such as sculptural forms in the vessel tradition) or by their use of such natural media as wood, clay, ceramics, glass, textiles, and metal” (“The Arts,” n.d.).

emphasis on manipulation of the material and the technique used to achieve the desired product

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“the whole of the crafts field has uniformly clamored to be considered as art. Too many people are asking for the rewards without the responsibilities; they want to be granted the status of artists without being subject to the demanding kind of thinking that is necessary for art, or to the challenging criticism that it always faces,” says contributing editor to FiberARTS and art critic Janet Koplos (Koplos, 1986, para. 9)

female form to explore self, saying, “I am interested in form as a container for thoughts, emotions, desires and archetypal imagery” (Searle, n.d., WARM, para. 1).

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BIOGRAPHY.

born in April of 1943, in Illinois B.A. from the University of Wisconsin,

Madison M.F.A. from the Minneapolis College of Art

and Design Women's Art Institute, Minneapolis College of

Art & Design in 2001, 2003, and 2009 Textile Center, a national center for fiber arts,

she works in the Mentor/Protégé Program to foster emerging artists

works in the art editorial and publishing field currently lives in St. Paul, Minneapolis

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SIGNIFICANCE.

Knitting wire? unique innovation, ability to speak through

her creations has allowed her to walk into the art world

considerable skill to weave works that convey a personal message

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ESSENCE INSTALLATION (DETAIL)2005CROCHETED AND HANDMANIPULATED STEEL WIRE

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ESSENCE INSTALLATION (DETAIL)2005CROCHETED STEEL WIRE

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ESSENCE INSTALLATION (DETAIL)2005CROCHETED STEEL WIRE

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WOMAN WITHIN IIN.D.WIRE KNIT, 28 IN

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ESSENCE: IMAGE AND REALITYN.D.CROCHETED COPPER WIRE, BEADED BARBIE DOLL, 14”

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“My Torso forms originated from my interest in the Jungian concept of the body as a container for aspects of the self” (Searle, n.d., WARM, para. 6).

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HOW MY MOTHER DRESSED MEN.D.COPPER WIRE, HAND KNITTING, 40 X 18 X 20 IN

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HOW MY MOTHER DRESSED ME (DETAIL)N.D.COPPER WIRE, HAND KNITTING, 40 X 18 X 20 IN

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“I utilize the techniques of "women's work" to present the feminine view. My imagery is inspired by womens' lives and womens' bodies, and by the feminine impulse to nurture. My sense of humor enters into the creation process and becomes integral to many of the pieces. I think of my wire sculptures as 3-dimensional line drawings in space. The line and movement of the object and its shadow suggest the energy of a human presence, says Karen Searle (Searle, n.d., Biography).”

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IMPLICATIONS.

an opportunity to learn a new skill children of today’s world often miss out on

acquiring the skills used to knit manipulate a material to get a desired effect use the skill to explore their sense of self difference between art and craft identify artists and art forms that transcend

the line between art and craft

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CONCLUSION.

balances her work between light and flowing garments and grounded, sturdy human forms

assembles her pieces with great care and forethought

“Entanglements … have preoccupied me during the past 25 years. … I use the tools and techniques of domestic textile-making, or ‘women’s work,’ to assert the feminine view. The ritual of a repetitive handwork process is meditative and honors my connections to female ancestors and the divine feminine,” says Searle (Searle, n.d., WARM, para. 4).

Better Results

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INTRODUCTION.

social stereotype, as defined by Dictionary.com, is “a set of inaccurate, simplistic generalizations about a group that allows others to categorize them and treat them accordingly” (“Stereotype,” n.d.).

the jock, the misfit, the model, represent individuals as one-dimensional caricatures

one word, an image has already taken shape and, likewise, a notion of how to interact with that label has developed

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adults, parents and educators, intervene to teach children that people are more than just a typecast

otherwise, the stereotype, becomes their normal

pass judgment on complex people, who are comprised of many layers and personas

people are distinct entities, with character and qualities that are unique

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HISTORY.

“Get a Mac” television advertising campaign, that ran from 2006 – 2009, campaign created for Apple Inc. by TBWA\Media Arts Lab, the company's advertising agency (Nudd, 2011, para. 1)

66 commercials, ran over a 4-year period, all the major markets of the world

actor Justin Long, seen as young, hip, and stylish was Mac

author and humorist, John Hodgman, a middle-aged man, in a brown suit, and glasses was PC

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entertained “viewers for years with their quips, barbs, sight gags, and one-liners” (Nudd, 2011, para. 1).

“despite iPod's staggering success, Mac remained a niche player in the computer market. In January 2006, the new Intel-based Macs were an opportunity to make Mac as culturally relevant as iPod, but Mac didn't translate to the PC world. The idea: compare the easy, fun Mac experience with PC's frustrating complications. The “Get a Mac” campaign personified each and the result was magic. A simple, charming metaphor with all the reasons to get a Mac. Market share grew by 42%, Apple had record sales and the campaign was culturally influential” (“Despite,” n.d.).

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SIGNIFICANCE.

commercials were well received PC = you are a bit of a dinosaur, you are

outdated, not tech savvy, and not in the “in” crowd

Mac user = the world is your oyster criticisms, regarding the content of the

commercials are slight, Apples are PCs, smugness of the Mac character

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unscientific survey, conducted by Hunch in 2011, found that PC users “tend to prefer fitting in with others, are less tech savvy, and prefer Hollywood films over indie films. The same survey suggests Mac users tend to throw more parties, are modern art enthusiasts, and would rather drive a Vespa than a Harley” (Suarez, 2011, para. 1).

main characters are white males, suggesting you may not even own a computer otherwise

big mistake since there are more women than men in the US alone

central characters changed depending on the country (remember, this was a global campaign) women were never represented as PC or Mac

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white males are not the dominant ethnicity in US or world

didn’t make a difference Better Results, the stereotype = a perfect

Mac home movie = a Brazilian super model and a perfect PC home movie = basically, your dad wearing a dress and a wig

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BETTER RESULTS2006HTTP://WWW.YOUTUBE.COM/WATCH?V=KNNX6XRQBEC

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IMPLICATIONS.

stereotypes in the school environment abound

children may represent, impose stereotypes awareness of the media driven social

stereotypes that exist define and express observed and existing

stereotypes thoughtful reflection of student media

stereotype presentations create a short film about stereotypes engage in critiques

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CONCLUSION.

important the children understand that what they are viewing is the result of serious consideration and can have negative connotations

awareness key and at the heart of learning to not succumb to someone’s preconceived notion

painful, attaching a stigma, presenting a flat view of an individual

a considered education is essential

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CONCLUSION

use of contemporary artists in the art classroom makes art relevant

use artists whose works provide current “memorable substance to their creative visions” (Robertson & McDaniel, 2010, p. 3) and who reflect the world society

generation of artists who speak to what is going on in and around the lives of kids, should be present in the art curriculum

artists of today possess a wide range of skills, due to a variety of mediums, often possess a conspicuous awareness

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Shouldn’t the art curriculum at the local school reflect that?

children function on a higher level, are being asked to perform at higher levels, Contemporary productions have the potential to engage children at these levels

While the art of generations before should never be forgotten, the works of today must be included.

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REFLECTION

huge undertaking, extended well beyond what I had anticipated

on point, usable Contemporary artists have a real place in art

education thinking about art researching via Internet, wasn’t an option good/bad, too much/too little interesting learning process

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