Question 1
Looking basically implies to glare or gaze one’s eyes on something or concede its existence. To see an object, one is not only required to look but also to comprehend and pay attention to its presence. In the endeavors of life, not even a single person comes into realization that life is just moving on and days are changing. People just look at things without actually seeing them. Looking and seeing are two distinct and different things despite the fact that they both depict the act of visualization. Visualization basically means being able to see and deduce the content and features of a given environment by sorting out the information that is available in evident light. Looking is also used in a range of other distinct contexts which include: looking after someone, or even looking forward for profits. The former implies to take of someone while the latter means hope, vision, and an outlook.
Seeing on the other hand is defined as to perceive by the eye or to notice as if by sight. Seeing can be said as a more active act. To see, one is not only required to look but also to perceive and pay attention to what is being envisioned. In this case, perception generally implies to recognize or connect what the eye is seeing with previous awareness and familiarity of the object. Seeing is more of understanding, contemplating, and paying attention to an object other than just acknowledging it. Furthermore, it means to look beyond what is just palpable or normal and incorporating some considerable time relishing it. This instance is commonly exercised by artists and art faultfinders. To comprehend on any piece of art, one is required to look at the aspect of time. Furthermore, one is required to have imperturbability and be open minded as to take in everything the artist is trying to articulate. Those who look just live as life passes them over, but those who see are able to find beauty in the little things that happen and really relish in, what life has to offer (Harrison, 2009)
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Question 2
The effect and impact of location to an artwork is usually underrated. Whether philosophical, cultural, religious or economical, the location in which an artwork is created is inherent to its meaning. A street artist for example is determined and defined by the very location in which they design and develop their artwork. A good illustration of a street artist is Bansky who always presented his art work in the streets of Bristol. This meant that his artwork was closely connected to the location’s social, legal, and architectural settings which not only enabled a clear definition of his art work but also provide meaning to an artist as well. Bansky’s art work on the wall of west bank showing two kids playing in the rubble and dreaming of a sandy beach on a tropical paradise clenches an expressiveness that reverberates. This is due to its explicit location and the past political endeavors and situations it arouses to the audience. The location is not only central to the meaning of the artwork, but it is the provider of the meaning that is sandwiched in it.
Concerns and issues relating to location and responsibility remain to be troublesome when viewed via exhibitions, Displays, as well chronological prisms. Not even a single artist can dictate the relegation of time. However, in the contemporary world, artists tend to be more inclined on aspects of culture and display locations, their responsibility in them, and the way such a process provides meaning to their work.
Question 3
Regarding formalists and art historians, I can basically term myself as a formalist. Generally, my resignation to formalism is simply because am interested in studying art by carrying out assessments, comparing form and style, means of art construction and its morally visual facet. According to Harrison (2009), formalism focuses on compositional features including shape, texture, color, as well as other perceptual facets rather than the historical and societal perspectives. More on formalism is that in art history, it postulates that every aspect that is necessary to comprehend an art work is often sandwiched within its art work, purpose of its creation, as well as the historical context and background of the artist which includes its theoretical aspect.
My actions in a museum that best explains my take on formalism are basically my emphasis on physical aspects of an object which constitute paint, outline, volume, composition and feel. Additionally, these aspects remain to hold a position with regard to my carrying out of assessments and analysis on a given object. More on this is that I like describing artwork carefully to assess artistic styles that are used in any given object. Creating illustration on these objects is another essential feature that is embedded in every single step that I take to assess artworks.
Question 4
The claim that bell tables basically states that “the commencement point of all systems of artistic work ought to be the personal experience of a weird emotion.” Simply, Bell commences with a supposition which he himself believes originates and is developed from practicality that artistic experience is in actual fact confidential and personal. If his claim is true, then the work of artistic is to unearth the quality common to every item that evokes this artistic emotion. The idea that Bell tries to table is no different from that of Plato where he endeavors to discern the core of certain theories such as beauty, justice, knowledge and many others. The fact that beauty is used to describe a range of items such as buildings, songs, people, places among other things, it is next to impossible to justify one particular thing that represents core beauty. In other words, Bell can be seen or assumed of taking Plato’s path in what is termed as the search for the core of something, whereby in this instance, Bell searches for the core of art. Hence, it is undeniable to say that Bell clenches a core perception of art by considering art as a core thing. His claim is nonetheless crippled, very untrue and highly provocative.
Question 5
Some of the problems that accrue museums include the challenge of audience expectations, engaging interpretation and building challenges. On audience expectations, it is only fair to state that each and every day the number audiences visiting the museum keeps on increasing. The wide use of scholarly articles and media has fashioned a generation of museum visitors who require deep and extensive information on arts. This is a problem that puts museums in a dilemma of maintaining their standards while at the same time delivering quality services to all its clients.
On engaging interpretation, it can be said that the diversity of cultures imposes a problem on how museums should interpret information on a given art to their audience. The subject matter is interpreted sometimes as not to offend a certain culture while in other instances, due to the extinct of other cultures, the provided information may be very less or minimal to satisfy the informational needs of the audience. On building, there is a lot of bias against the construction of new museums which provides that new museums ought to be constructed where there is a demonstrable need. This has rendered to shortages of museums and thus resulting high congestions in the already existing museums.
Reference
Harrison, C. (2009). An introduction to art . New Haven [Conn.]: Yale University Press.
