Feeds:
Posts
Comments

Archive for September, 2007

Blog Response DUE ONLINE by 8:15 a.m. on October 9th: stillhere_f02.jpg

Reading Due:

  • Croce, Arlene. “Introduction” and “Discussing the Undiscussable,” Crisis of Criticism (handout given in class).
  • “Confronting Head on the Face of the Afflicted,” Crisis of Criticism (handout).

You must address BOTH readings in your blog response. Your response must also be thoughtful and critical, not merely a restatement of what you read. Also, when you provide textual evidence (quotes or summarizations), be sure to explain HOW that quote or reference further illuminates the point you are trying to make. DO NOT let the quote speak for you!

  • In Croce’s essay, she says that she has not seen Bill T. Jones’s “Still/Here” and doesn’t plan to review it. According to Croce, why will she not review the dance performance? What is your response?
  • Croce brings up the term “victim art” within her (non)review of Jones’s dance performance. What exactly do you think Croce means by the term “victim art”? Do you agree or disagree with Croce’s term “victim art” and why?
  • Croce’s essay brought on a slew of critical responses, some suggested that while Croce’s essay was understandably controversial, Croce also had some good arguments. What might those be? What did Croce argue about art and/or our ways of perceiving it that actually have logical merit?
  • Discuss Oates response to Croce with a focus on the term “victim art.” Does Oates take primary offense at the use of the term “victim art” or Croce’s claim that such art is “beyond criticism”? Why? Explain your response and provide textual evidence (quotes, paraphrases and/or examples from the text) to back up your conclusion.
  • In what ways are Oates’ arguments both convincing AND unconvincing? Where are the strengths in her arguments? Where are the flaws? Again, explain your response and provide textual evidence (quotes, paraphrases and/or examples from the text) to back up your conclusion.
  • Oates utilizes multiple examples in an attempt to argue that history is full of art that points to painful and authentic experience, but we do not render it “beyond criticism” as did Croce with the Bill T. Jones’ dance. However, what is the primary (and perhaps the most significant) difference between Oates’ examples and the Bill T. Jones’ dance (not)reviewed by Croce?

EXTRA CREDIT question (you must answer this along with one above to receive extra credit): In Croce’s essay, she argues a certain point of view in regards to what she believes consitutes art or makes it valuable as art. In what ways does each author reflect (however explicit or subtle) one of the main arguments of either Plato, Bell, Tolstoy or Winterson?

** Always, always back up your thoughts with some example, quote, or explanation.

Advertisements

Read Full Post »

Blog Response DUE ONLINE by 8:30 a.m. on Tuesday, Sept. 25th.

* Please write a one-two page review for next class (on the Jeff Wall Art Institute exhibit) – to turn in, typed, double-spaced. Using your own style, tone, and voice, try to be as creative as you can in your overall review of the work. Don’t forget to address aesthetics (composition, style, lines, colors, etc.) while discussing the work and how these aesthetics help support your response to the overall collection. You can focus on the collection as a whole or one piece (though I then expect comparison/s to either other pieces or the collection).

Then read/view the following:

Then, answer any one set of questions below, incorporating your understanding of at least two of the three readings/viewings into your response:

  • According to Winterson, what makes art valuable? Must art carry a message? Must it demonstrate technical expertise? Or must it simply be aesthetically pleasing? How do we, as a society, typically place value on certain art items?
  • According to Winterson, must art do something to be worthy of being called art? And if so, what must it do? Elaborate and explain your response.
  • If Winterson had seen the Jeff Wall exhibit that we saw last week, how might she respond?
  • How does Winterson seem to view the relationship between art and its audience? Does art have a greater responsibility to its audience than the audience to art? And in what ways does this either directly contradict or support some of the authors we’ve read up to this point?
  • When considering the value and/or significance of art, do you think a piece of art stands alone (or should stand alone)? Or do you think knowing something about the artist is important and/or necessary? What do our readings thus far suggest?
  • Winterson suggests that art is not a luxury, but rather a need. How does she support this idea? Why, according to Winterson, do we need art?

Read Full Post »

Blog Response DUE ONLINE by 8:30 a.m. on Tuesday, September 18th

Read each of the following and then respond to ONE of the questions within EACH Tolstoyreading (at bottom). You can either post two separate blogs or one.

Clive BellAgain, I suggest that you take a look at the discussion questions first, so that you will have them in mind while reading (and can take notes or highlight as needed). And be sure that you utilize textual evidence to support your thoughts.

Read Full Post »

Blog Response DUE ONLINE by 6 p.m. on Tuesday, September 11th

PlatoRespond to one of the questions within the “Excerpts from Plato“ reading. I suggest that you take a look at the discussion questions first, so that you will have them in mind while reading (and can take notes or highlight as needed). Ignore the minimum page count (that was for when students handed it in). However, do make sure that your response is thoughtful and incorporates some textual evidence (quotes, paraphrasing, etc.).

Inform me immediately if you are having problems accessing either the reading or the blog.

MAKE SURE YOU PUT YOUR FIRST NAME ON ANY POST YOU WRITE and include the email address to which you would like for me to send comments and grade.

Read Full Post »