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"Criticism and the Public Arts", 2008.
This paper defends the course "Criticism and the Public Arts" as a beginning point in understanding how to apply academic methods of study to all aspects of art and communication.
2,140 words (approx. 8.6 pages), 9 sources, MLA, $ 66.95
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Abstract
This paper explains that "Criticism and the Public Arts" is a course that talks about art in society and about what is and is not accepted in society. The author points out that these issues need to be given a stronger academic treatment because the subject matter is not what decides whether a course of study is sufficiently rigorous but rather the methodology applied. The paper relates that a critique of public art is not merely a compendium of what one likes or does not like but instead necessarily includes an assessment of the appropriateness of the public art and of the complexities of communication. The author stresses that public art involves a number of decisions that can be characterized in theoretical terms and analyzed empirically as part of the process of developing an applicable theory.
From the Paper
"Critic Ruth Slavin begins by considering the writing that supports public art, noting that it stresses two different but complementary ideas: 1) public art is considered to stand in a direct, unmediated relationship with the audience; and 2) public art is seen as an exercise in cultural democracy. Slavin is clear about the supposed result of this as she writes that "the placement of art outside the normal venues of the gallery and the museum becomes an important tool for enlarging the possibilities for participation in the fine arts." However, Slavin further finds these to be "liberal good intentions" often faced with "public incomprehension and hostility."
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Public Art, 2002.
Shows how the definition of public art has evolved since the dawn of humankind.
2,184 words (approx. 8.7 pages), 3 sources, MLA, $ 68.95
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Abstract
As long as there has been art there has been public art. But this does not mean that public art has always meant the same thing to the people who made it or the community that it was made for. This paper examines four moments in history and four specific artworks as a way of examining how the function of art in public places has changed, as well as the ways in which it has not changed, over the centuries. This paper begins at a moment long before many people would place the beginnings of public art ? with the Paleolithic drawings on the walls in French caves and ends with the works of Maya Lin. As each moment in time presents a different form of public art, no single, overriding definition of the term is offered here. Rather, each moment in history and each example of art requires its own definition of public art.
From the Paper
"Some nineteenth-century scholars argued that the cave paintings should be seen as attempts to influence reality, that the images painted on cave walls (and this would perhaps have been especially true of the portrayals of animals) had a totemistic value. In other words, people painted animals to help hunters have better luck in the hunt, either in terms of capturing prey or in terms of surviving the hunt without injury. In a similar vein, other important types of Paleolithic that seem to celebrate female fertility, such as the Venus of Wallendorf, might have been used as totems that would help to ensure the continuing existence of the tribe itself."
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What is Public Art?, 2002.
An examination of specific pieces of architecture as public art.
1,150 words (approx. 4.6 pages), 4 sources, $ 44.95
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Abstract
This paper examines public art, specifically architecture as public art. It defines public art and outlines why architecture is public art. It also presents a case study of the Capitol Building and Capitol Mall in Sacramento, CA as public art.
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Public Art, 2003.
Compares two views of the way public art functions.
1,125 words (approx. 4.5 pages), 2 sources, $ 39.95
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Abstract
Examines the relationship of public art to a society. The paper looks at why public art often generates controversy and touches on issues of cultural authority, public opinion, art communication to the public, and aesthetics.
From the Paper
"In their essays on public art, Heather Wainwright and Ruth Slavin offer differing critiques of the ways public art functions in relationship to a society. Public art often generates controversy precisely because it is public art and so gives members of ..."
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New Genre Public Art and Social Policies, 2006.
A review of the history of new genre public art encompassing various social issues.
972 words (approx. 3.9 pages), 1 source, MLA, $ 34.95
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Abstract
This paper reviews and discusses new genre public art, which developed as a result of artists becoming interested in addressing social issues and changes through their artistic endeavors. The paper concludes by discussing how new genre public art has come to encompass various social issues over the years including racism, violence against women, AIDS and environmental damage.
From the Paper
"Starting in 1974, the NEA began encouraging artists to develop artwork that was representative of the physical site on which it stood. This led to artists' differentiation between "public art" and "art in public places". "Public art" referred to sculptures occupying a public space that glorified one version of national history adhered to by members of the socially dominant group in society. The "cannon in the park" phenomena is an example of such art, in which America's military might and glory celebrated by its privileged members of society was put on artistic display in public spaces such as parks, plazas, shopping malls, and so on. In contrast to this, "art in public places" referred to artwork that sought to bring attention to the physical, visual, historical, and social properties of a particular site. This type of public art led to its burgeoning use in the seventies towards promoting social and historical concerns of groups traditionally under-represented in the art world, such as women and minorities."
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New Genre Public Art and Social Policies, 2006.
A review of the history of new genre of public art.
979 words (approx. 3.9 pages), 1 source, MLA, $ 34.95
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Abstract
This paper reviews and discusses a new genre public art, which developed as a result of artists becoming interested in addressing social issues and changes through their artistic endeavors. According to the paper, the evolution of art began in the 1950s. The paper concludes by discussing how new genre public art has come to encompass various social issues over the years including racism, violence against women, AIDS and environmental damage.
From the Paper
"Starting in 1974, the NEA began encouraging artists to develop artwork that was representative of the physical site on which it stood. This led to artists' differentiation between "public art" and "art in public places". "Public art" referred to sculptures occupying a public space that glorified one version of national history adhered to by members of the socially dominant group in society. The "cannon in the park" phenomena is an example of such art, in which America's military might and glory celebrated by its privileged members of society was put on artistic display in public spaces such as parks, plazas, shopping malls, and so on. In contrast to this, "art in public places" referred to artwork that sought to bring attention to the physical, visual, historical, and social properties of a particular site. This type of public art led to its burgeoning use in the seventies towards promoting social and historical concerns of groups traditionally under-represented in the art world, such as women and minorities."
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Public Art In France and Spain, 1780-1830, 1999.
Examines themes and styles of the idealistic works of Jacques-Louis David and his influence on other public art, focusing on political art based on Enlightenment values.
1,800 words (approx. 7.2 pages), 3 sources, $ 63.95
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Abstract
The ideal of public art fostered by Jacques-Louis David was embraced by painters in France and Spain in the period 1780 to 1830. This was a political art, based on the ideals of the Enlightenment, which engaged in criticism or praise of the state. But in this extremely volatile period shifts in politics, transformations of the state, and changes of leaders in the two countries meant that this highly political art did not always meet David's ideal. Depending on the state of politics the times could call for praise or blame of the leadership or would allow more or less explicit critiques by painters.
From the Paper
"The ideal of public art fostered by Jacques-Louis David was embraced by painters in France and Spain in the period 1780 to 1830. This was a political art, based on the ideals of the Enlightenment, which engaged in criticism or praise of the state. But in this extremely volatile period shifts in politics, transformations of the state, and changes of leaders in the two countries meant that this highly political art did not always meet David's ideal. Depending on the state of politics the times could call for praise or blame of the leadership or would allow more or less explicit critiques by painters. An examination of four examples of public art from this period shows how painters sought to promote Enlightenment ideals despite great differences in the political circumstances to which they responded. A comparison of David's Lictors Returning to Brutus the Bodies of ..."
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Public Art and Community, 2005.
Examines Eloy Torrez's "Generacion tras generacion" as an example of public art work.
900 words (approx. 3.6 pages), 3 sources, $ 35.95
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Abstract
Public artwork is one medium through which such community can be encouraged and developed. Creative spaces and pieces exhibited in public spaces can provide disparate groups with a sense of shared community that can bind them closer together despite differences. The paper shows that one such example of public artwork that inspires a sense of community is Eloy Torrez's "Generacion tras Generacion".
From the Paper
"Creative public artwork has a great potential to provide a sense of community to regions in the United States that are increasingly becoming ethically and culturally diverse. The differences in culture are often so dramatic that it is noticeable from house to house and from block to block. Major cities in the United States are largely composed of various cultural and ethnic groups. Finding a strong sense of singular American community is a real challenge. Public artwork, however, is one medium through which such community can be encouraged and developed. Creative spaces and pieces exhibited in public spaces can provide disparate groups with a sense of shared community that can bind them closer together despite differences. One such example of public artwork that inspires a sense of community is Eloy Torrez's "Generacion tras generacion.""
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Public Art, 1999.
Examines controversies including the artist's vision vs. community tastes, definition of art, the impact on the public, funding, politics, and examples.
2,025 words (approx. 8.1 pages), 13 sources, $ 71.95
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Abstract
"Public art takes a variety of forms in different locales, all associated by the fact that the works are funded by public spending in some way and by the fact that the works so produced are then publicly owned and displayed.
From the Paper
"Public art takes a variety of forms in different locales, all associated by the fact that the works are funded by public spending in some way and by the fact that the works so produced are then publicly owned and displayed. Art in general often generates controversy over its value, its meaning, and its place in society, and public art generates even more given that it is art that is paid for by the taxpayer, raising issues of control, decision-making, moral worth, the response of the public, and similar issues. If an artist in private produces a work that is challenging and that may offend, he or she has the right to do so. If the public is paying for the work and finds it offensive, it is less clear who should have the final say over what happens to the work. Inherent in arguments over the worth of public art is an ongoing argument over the definition of art in general and the ..."
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The Effects of Art Education in Public Schools, 2002.
This paper speaks about how art education is a valuable resource in public schools that augments a child's education.
625 words (approx. 2.5 pages), 5 sources, MLA, $ 22.95
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Abstract
This paper shows how art is an important part of education that is dying in many public schools. The writer examines how budget cuts often shift priorities to basic subjects leaving children without a formal art education. The paper states that art is a valuable tool that teaches children to communicate and also augments the learning process in subjects such as mathematics and language. Many studies have found that when children are exposed to art, it has valuable effects on their learning process.
From the Paper
"When implemented in public schools, art helps raise self-confidence while creating problem solving skills and communication. Unlike math and reading, when children create art they are always successful because there is no right or wrong in art. This gives a child a sense of achievement and success, raising their academic self-confidence. Art also helps children figure out how they want to express themselves, thus building problem-solving skills. Art focuses on making your internal thoughts external images or sounds creating a superior way for children to learn to communicate effectively. When you take all of these factors and apply them to a child's education the result is obvious. Studies show that the cognitive skills and spatial reasoning that art offers are essential for math. The communication of art often helps children become more successful in language classes. When a student becomes involved in an art program, the drop out rate dramatically decreases. Art is an exciting and fun way for students to feel more successful in school."
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Art and Pop Art, 2002.
A comparative analysis of art with pop art using the works of Andy Warhol and Leonardo Da Vinci.
1,150 words (approx. 4.6 pages), 6 sources, $ 44.95
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Abstract
This discusses art and pop art, and distinguishes between the two by noting the characteristics of each form. As examples of each, two works of Andy Warhol are compared and contrasted to Da Vinci's "Last Supper" and Rembrandt's "Syndic of the Clothmaker's Guild.
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The "Art" of Art Forgery, 2002.
Shows that forgery is more than just a copying process, involving complex techniques found in art.
2,900 words (approx. 11.6 pages), 5 sources, $ 106.95
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Abstract
This paper examines the skill involved in producing 'true' forgeries within the world of art. It is stressed that the forger is to be seen as an artist, in that he or she must sometimes enter the mind of the original artist, master his or her techniques,and otherwise execute works that can withstand the expert eye. Forgery is a normal aspect of the art world.
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Arts Education in Secondary Schools, 2006.
Assesses whether there is need for arts education in the public schools in light of the recent federal and state focus on standardized testing, which has caused school districts to reduce or eliminate arts programs in public schools.
2,250 words (approx. 9.0 pages), 8 sources, $ 89.95
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Abstract
In an attempt to determine the validity of the hypothesis that arts education is an essential inclusion in the learning experience of secondary students in the public schools, this paper conducts a need assessment through a review of existing documents. The paper contends that, based on the research, new and revised programs are need to allow all students in the American public school systems the opportunity to participate in the arts as part of their regular academic programs.
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The Arts, 2002.
A discussion of the role of the arts in contemporary society.
2,408 words (approx. 9.6 pages), 9 sources, MLA, $ 73.95
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Abstract
This paper examines the role of the arts which comprise of the disciplines of the visual arts, music, theater and dance in society and particularly education today. It shows how the arts not only impart a sense of beauty and vitality to the lives of human beings, but how they can also equip students with the necessary skills to flourish in the real world.
Outline and summary:
Introduction
Role of the arts in contemporary society; the recent resurgence of interest in the arts in schools; positive reasons for incorporating arts as mandatory courses in public schools.
Discussion on the significance of arts in society
Impact on human beings and society; historical significance of the artists? legacy.
Historical background of the role of arts in:
Society
The rise of interest in culture after World War II, leading to the division of America: one that is culturally conscious and one that is not.
Schools
The rise and fall of progressive education; attempts by the Clinton Administration to introduce the arts into public schools; gradual restoration of music programs all over America.
Discussion of the question: should arts be considered mandatory courses for public schools?
Pros
Cognitive abilities; imaginative skills; life skills; multiculturalism; improvement in students? academic performance and behavior; becoming a whole human being.
Cons
Positive results in research need to be proven; arts should not always be incorporated in other subjects; lack of funding.
Recommendations for bringing arts courses into public schools: collaboration between arts organizations and with schools; providing high quality education with well-trained teachers; innovative programs between schools and museums
Conclusions: The potential of the arts for improving education and thus our society. Lists briefly the advantages of arts education.
From the Paper
"Throughout history, many artists have been inspired by the world around them to create their works. Their accomplishments are not limited to the exclusive realm of the arts. Cave painters studied the anatomy and movement of the animals they drew. The pyramids built by the Egyptians were created with the accuracy of mathematics (Unsworth 56). Furthermore, The Impressionists? quest for color as reflected light mirrored the scientific discovery of the nature of light rays (Unsworth 56). Altogether, the rich legacy of all the artists provides contemporary generations with a vibrant representation of the human world and inspires us to continue their great work (York 274)."
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The State of Arts Education in New Jersey, 2005.
A look at the situation of arts education in New Jersey following the No Child Left Behind Act.
16,584 words (approx. 66.3 pages), 13 sources, MLA, $ 249.95
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Abstract
This paper looks at the National Standards for Arts Education as a place to start in assessing any state's interest in and support of arts education. The paper explains that to assess New Jersey's positioning on the canvas of American arts education, the debate and its contributions were analyzed for the past decade; the findings were unequivocal that arts education has a place not only in humanities teaching, but also in creating an atmosphere in which all children can achieve. It explains that wealthier school districts are more likely to retain arts programs under pressure, although it is the disadvantaged districts that would most benefit. The entire issue is assessed in terms of the possibilities post-NCLB, and the current progress of the states in terms of adopting the National Standards for Arts Education are also discussed. The writer concludes that it appears that New Jersey has at least nominally found a niche among the states more dedicated to providing arts education. It remains to be seen whether that education will be of the 'media' sort, or the more substantive arts education that demands continued student/teacher involvement in pursuit of generalized goals contributive to developing an aesthetic sense and possibly some mastery in an arts area.
Chapter I: Statement of Problem
National Standards for Arts Education: History
The Standards Themselves
Budget Issues
Quantitative Information
Qualitative Findings
Chapter II: Literature Review
Merits of Fine Arts Education
Educational Reform and Arts Education
How to Conduct Arts Education
The Standards Themselves
References
Appendix A: New Jersey Standards for Arts Education
Appendix B: U.S. Hunger in the Year 2000
Appendix C: Jasmine's Story
List of Tables
Table 2.1: States requiring arts credits for high school graduation
Table 2.2: Mandatory Status of Arts Education by State
List of Figures
Figure 1.1: Reasons to Support Arts Education: New Jersey
Figure 1.2: Budgeted Funds for Arts Expenditures by Type of School
Figure 1.3: Budgeted Funds for Arts Expenditures by School Size
Figure 1.4: Budgeted Funds for Arts Expenditures by Region
From the Paper
"Four years ago, discussion concerning the place and presence of fine arts education in public schools would have been primarily a discussion of the need for the curricula in the first place and the financing of it. In the early 1990s, discussion of National Standards for arts education became prevalent in the professional media. Since the start of the Bush administration's No Child Left Behind initiatives, however, any public discussion of the present and future of arts programs in public schools is clouded by a new dominant educational debate; the new debate concerns whether NCLB signals the death-knell of learning in U.S. public schools, or is a way to raise up the academically disadvantaged. While this investigation does not attempt to find the definitive answer to that question, there is little doubt that the fact and progress of NCLB will have an impact, and arguably a negative one, on fine arts education generally. Whether it is having or has had a negative impact on fine and performing arts education in New Jersey is a proper question for the current research, however. It is probable that the answers to a statewide survey of fine arts faculty conducted for this investigation will help resolve it. Indeed, the question to be answered is how well New Jersey's Fine Arts Programs compare to National Standards, allowing for classification differences within the state."
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