Advanced higher art critical essays | Rhoda Jaya

6. Write comments on the exams. Point out the good as well as the bad. Comments indicate that you actually read the exam. Also, they serve as an explanation of why you assigned a particular grade. Comments such as "Expand," "What about . . . ," or "How do you conclude this?" readily indicate weakness to the students. When commenting, adopt a nonconfrontational attitude by assuming that you and the student share a common enterprise. Write to convince the student: be direct in your criticisms, but be dispassionate and never engage in ad hominem attack. Ask yourself whether your disagreement with the student's writing is based on specialized knowledge you possess because of your education and training. If so, then offer that knowledge to the student. Don't simply bash the student for not knowing something that "everyone knows." Maintain an appropriate perspective on the writing assignment, i.e., don't fixate on remarks that may be tangential to the principal point/s of the composition (Moore 1992). Finally, realize that you do not necessarily improve a student's writing by writing an "overwhelming" number of comments on an essay (Moore 1992).

Advanced higher art critical essays

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While Sublett and Stevens shared an exclusive interest in the landscape as a point of reference for their abstractions, Birdwell and Ewing often found inspiration in urban settings and the human figure. Sometimes they exhibited as a foursome and other times as the “The Knoxville 7” with fellow artists Joanne Higgs Ross, Richard Clarke, and Philip Nichols. Each artist maintained an individual style and utilized varying degrees of abstraction. Together, they produced what are likely the first abstract paintings in Tennessee and helped establish a foothold for modern art in the region.

Ask the Art Professor: How Do You Price Art? | HuffPost

In order to quench my new found thirst for computers, I started reading books like the basics of DOS & Internet Programming .I also read novels like Prey by Michael Crichton which explored the concept of AI and Deception point by Dan Brown which introduced me to the world of cryptography .Although these books were fictional, it nevertheless enthralled me and motivated me to explore the pot...

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It was only gradually that we grew into the feeling that the higher self was and that what we see down here is only a very small part of him.

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The sight of that plane enables us to see the inside of every object, and to look down into the interior of the earth; so that in many ways our consciousness is greatly widened.

I happened to be in the heart of the city of London, where those present were mostly com­mercial or professional men with their wives.

Importance of Art in the Society Essay - 331 Words

So that theory of art is nothing but the setting up as good whatever pleases us, that is, pleases a certain class of people. In order define any human activity, it is necessary to understand its sense and importance; to do that one must examine the activity itself, and its causes and effects, not merely in relation to the pleasure we get out of it. If we say that the aim of any activity is merely pleasure, and is defined by that pleasure, our definition will be false. If we compare it to the food question, nobody would affirm that the importance of food consists in the pleasure we get from eating it. We know that the satisfaction of the taste buds is no infallible guide to the best food from a health point of view, in the same way the pleasure we get from a painting is no indication of its worth. People who consider the meaning of art to be pleasure cannot realise its true meaning, in fact, people will come to understand the meaning of art only when they cease to consider that the aim of art is pleasure.

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The Monad and Other Essays Upon the Higher …

Second, there are countless examples to testify to the fact that art has long since departed from the studio and become practical in the ways ecology would seem to demand. In fact, art has crossed over into the domains of engineering, architecture and design in order to do so. Cheetham mentions the pioneering artist-duo Newton and Helen Mayer Harrison, and Basia Irland. There are many others too: Alan Sonfist, Betty Beaumont, Patricia Johanson, Jackie Brookner, Mel Chin, Agnes Denes, Mierle Laderman Ukeles, to name only a few American artists who are primarily known for their site restorations. The list of artists who are developing an ecoaesthetics would be very long if we were to include artists around the world who are reflecting on ecology in ways other than restoring balance to neglected sites, and who, for example, deal with the intersection between ecosystems, economic systems, and political systems, or forms of visuality and representation that contend with the phenomenological limits of the human body and their overcoming through technology, or interspecies relationships. Moreover, we should consider those works that already fall within the parameters of eco-art in ways that go beyond praising the literal restoration that they accomplish. This domain of practice is lively, complex, deep and conflicted, and these artists are well aware of this complexity. We do not help things by reducing their knowledge, skill, labor, and the subtlety of their visual interventions to gestures of guardianship and protection. The call for ecoaesthetics is being answered, and so instead of exacerbating the situation with ever more desperate calls to action, we might instead get involved in thinking critically about the terms by which ecology enters into, and is developed through, our visual field, sensorial life, embodied reality, and forms of representation.