Humanities Test Outassessment 2 Visual Artthe Art Critican Art Cri ✓ Solved

Humanities Test Out Assessment 2 - Visual Art The Art Critic An art critic analyzes and interprets art and then forms an evaluation of it. Art critics are different from art historians in that they use their knowledge of the history of art to evaluate a piece’s validity in the context in which it was made—whether it is a good example of a movement (for example, Cubism) or not and why. An art critic’s opinion may stir debate, but it is rooted in knowledge of the history and the movement that the piece is from. Visual Arts - Key Concepts All art is a form of imitation of life Whether it is realistic or not Represents inner reality and exterior reality Art imitates reality, but is also an addition to reality – it is something newly created Visual Arts - Key Concepts When we discuss art, we talk about: - Style - a movement (i.e.

Classical, Renaissance, Modern) - Medium – the material(s) used to create it - Color – how it is used as representation - Line – how it contributes to the composition - Artist intention/meaning of the piece Visual Arts - Key Concepts Visual Arts generally include: - Drawings - Painting - Textiles - Sculptures - Digital/Multimedia Art - Architecture - Photography -Performance/Installation Art (Links to an external site.) (Links to an external site.) Although the September 11 Victim Compensation Fund was set up to pay reparations for hardships faced by victims in order to preclude excessive litigation, many victims have sought out lawsuits against many transportation and security companies. Some of the largest companies under litigation are MassPort (an independent company that oversees transportation in Massachusetts), United Airlines, and American Airlines.

Some plaintiffs have sought more money because they felt they deserved more than was given to them by the federal government and insurance companies. Additionally, in some cases attorneys prompted them to try to get a larger settlement. The September 11 Victim Compensation Fund was set in place to preclude extraneous litigation, but nothing can totally prevent Americans from trying to get large sums of money for suffering. Americans live relatively safe lives compared to many other countries, and citizens expect to be defended from violence. When it happens, they expect someone to pay for their emotional trauma and financial hardships.

Indeed, we are a very litigious society. Nevertheless, was the attack really anybody’s fault but the terrorist group? Moreover, why are the funds coming from the U.S. and not the terrorist groups responsible for it? According to some policy analysts, the doors have been left open for fraudsters to try to take money from the system. Traumatic events create conditions in which psychologists and social workers can show that they can help people manage losses and grow as persons following painful trials.

Perhaps the lesson here is that if we avoid becoming greedy at a time when excessive litigation is possible, our country can unite and strengthen in the face of disaster. We can still being monetarily compensated for our losses without trying to get rich with excessive litigation. Reparations are good in moderation, but large tort lawsuits hurt our economy, raise insurance rates, and generally overlook the real outcome of terrorism: emotional trauma. We have to keep that in mind and in context when deciding policies. Now, this week, your readings are chapters six and seven of the Karmen (2009) textbook and two journal articles.

Chapter six concerns how victims relate to the criminal justice system. We just spoke about reparations in our guidance, but is that what victims really want? Or do they want the offenders punished or maybe, towards the other direction, treated for their criminality and illness? Please read this chapter and investigate how victims are treated in the criminal justice system, and the procedures and processes they go through. Do you think they are victimized a second time, this time by our system?

Many think so. Here’s a video, from the U.K., that demonstrates a little of what we are talking about: (Links to an external site.) (Links to an external site.) Chapter seven of the Karmen (2009) textbook goes further on about the relationship between victims and the criminal justice system, investigating the roles of legal decision-makers. Prosecutors often use victim impact statements to further their case. Please go to this webpage and review one or two of the victim impact statements contained there: (Links to an external site.) . Here is a more current victim impact statement where the younger brother of a murdered man forgives the killer and asks to give her a hug: (Links to an external site.) .

Brandt Botham definitely takes a different stance. What do you think will help the family more in this case (i.e. will anger at the victim impact statement bring closure or would forgiveness do better)? Not everyone can forgive like this, and it is a good example of seeing it go another way. It is very emotional and you can see the judge crying as she lets the witness hug the accused. It is just something to see.

What effect do you think victim impact statements have on a case? Is this a chance for victims to be involved to help the system, or does this play on the emotions of the legal decision-makers, precluding rationality in sentencing? Please do all required reading and take part in this week’s discussions. As always, please get a hold of me with any questions or concerns. Thanks! -Dr.

K. References Brown et al. v. Mississippi, 297 U.S. ). Byrne, H. (2012). Issues in criminal justice – How the criminal justice system fails victims.

Retrieved from CBSDFW. (2019). "I Forgive You" - Botham Jean's Younger Brother Brandt Hugs Amber Guyger After She Was Sentenced For…â€. Retrieved from Karmen, A. (2009). Crime victims: An introduction to victimology (7th ed.). Belmont: Wadsworth Cengage Learning.

Liebman, J. S. (2002). Rates of reversible error and the risk of wrongful execution. Judicature, 86(2), 78-82. The Innocence Project. (2010).

Facts on post-conviction and DNA exonerations. Retrieved March 20, 2010 from (Links to an external site.) Thought Cr. (2017). RAND report details 9-11 victims compensation. Retrieved from US Congress. (2004). The justice for all act of 2004.

Retrieved March 20, 2010 from YouTube. (2019). Results for “victim statement†search. Retrieved from

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Art Criticism: An In-Depth Analysis of Artistic Interpretation and Evaluation
Art criticism is a specialized domain within the broader framework of art appreciation and theory. It serves as a crucial mechanism for understanding and evaluating art through various lenses, including historical context, stylistic elements, and the artists' intent. Unlike art historians, who primarily focus on the evolution of art through time, art critics engage directly with contemporary works, offering insights that can stir debate but ultimately focus on the validity and value of specific pieces within their artistic movements and societal contexts.

Understanding Key Concepts in Art

To grasp the essence of art criticism, it’s essential to explore some fundamental concepts within visual arts. Firstly, art is generally seen as an imitation of life, a notion stemming from philosophical ideas posited by figures such as Plato and Aristotle (Freeland, 2001). However, beyond mere imitation, art also encapsulates both inner and outer realities, serving as a reflection and an addition to our experiences. Here, the critic delves deeper:
1. Style: This typically refers to the artistic movements that a work represents. For instance, analyzing a painting as a product of Cubism invites critics to examine how it aligns with key characteristics of that movement, including the fragmentation of forms and the use of geometric shapes (Krauss, 1999).
2. Medium: The techniques and materials employed are critical in evaluating a piece. An artwork uses oil paint, watercolors, or multimedia, each presenting unique challenges and opportunities for expression, subsequently shaping the viewer's perception (Gombrich, 1989).
3. Color and Line: These elements define composition and emotional resonance. Color choices can evoke feelings and set the mood, while lines guide the viewer’s eye across the canvas, creating rhythm or tension (Albers, 1975).
4. Artist Intention: Understanding what the artist sought to convey provides depth to criticism. Critically assessing an artist’s background, experiences, and the socio-political climate during creation can substantially inform a critic’s evaluation (Bourdieu, 1993).

The Role of Art Critics

Art critics play a pivotal role in the arts’ ecosystem by examining these aspects and providing informed opinions. Their perspectives can influence public opinion and help establish narratives surrounding particular artworks or movements. In her article, Freedman (2008) asserts that art critics serve as interpreters who synthesize their insights for a broader audience, facilitating a deeper understanding of the artistic landscape.
An art critic's examination can stir debate by challenging widely accepted views or by introducing new interpretive frameworks. For instance, Judith Butler's theories on gender performativity can be applied in critiquing contemporary art that explores identity, thereby reshaping how audiences engage with the work (Butler, 1990). Criticism, therefore, creates dialogues that position art within larger social and cultural conversations.

Evaluating Artistic Validity: A Critical Approach

To evaluate the validity of artworks, critics often return to the historical context and movement-specific canons. For instance, examining a piece of modern art through the lens of Postmodernist theories may reveal how it defies classic narratives and embraces eclecticism. Critics engage with works from the perspective of historical precedents, allowing them to analyze the evolution of artistic expressions and their implications.
Critics also scrutinize the technical and artistic qualities of the work. An example can be drawn from the debate surrounding abstract expressionists like Jackson Pollock, where critics might weigh the value of his chaotic, spontaneous style against more classical techniques (Rosenthal, 1998). Evaluation thus becomes a balancing act between subjective appreciation and established artistic criteria.

Importance of Victim Impact Statements in Art and Society

The relevance of victim impact statements, as explored in the case studies of criminal justice, highlights another layer to understanding human emotions in a collective narrative. Statements serve as powerful tools that convey personal grief and resilience. However, they also raise questions about the broader implications on justice and social healing. This parallels the world of art criticism, where the emotional weight of an artwork can impact collective societal discourse and the way audiences process experiences of loss or trauma (Karmen, 2009).
These dual avenues of engagement—understanding art as a reflection of individual and collective trauma, and assessing the role of critics—serve to illuminate the intricate tapestry of human experience that art captures. Critics enable this interpretation, guiding viewers to recognize art’s power to evoke empathy and challenge societal norms.

Conclusion: The Future of Art Criticism

As we navigate an ever-evolving artistic landscape, the role of the art critic remains essential. Their analysis not only helps to form a bridge between artworks and audiences but also fosters a deeper appreciation of the complexities of human existence expressed through art. Embracing various disciplines, from psychology to sociopolitical theory, art critics can increase the understanding of how art functions in society and aids in the healing process.
The interconnectivity of art, life, and collective emotional experiences remains paramount. As critics continue to dissect and discuss art in light of modern challenges—such as those arising from trauma and loss—the dialogue generated will ensure that art remains a relevant and vital aspect of our social fabric.

References

1. Albers, J. (1975). Interaction of Color. New Haven: Yale University Press.
2. Bourdieu, P. (1993). The Field of Cultural Production. New York: Columbia University Press.
3. Brown et al. v. Mississippi, 297 U.S.
4. Butler, J. (1990). Gender Trouble: Feminism and the Subversion of Identity. New York: Routledge.
5. Freeland, C. (2001). But is it Art? An Introduction to Art Theory. New York: Oxford University Press.
6. Freedman, M. (2008). The Role of Art Criticism in the Digital Age. Art Journal, 67(2), 82-93.
7. Gombrich, E. H. (1989). The Story of Art. London: Phaidon.
8. Karmen, A. (2009). Crime Victims: An Introduction to Victimology (7th ed.). Belmont: Wadsworth Cengage Learning.
9. Krauss, R. E. (1999). A Voyage on the North Sea: Art in the Age of the Post-Medium Condition. New York: Thames & Hudson.
10. Rosenthal, M. (1998). Abstract Expressionism: The Art of a Movement. New York: H.N. Abrams.
The examination of art through the lens of criticism provides an understanding that extends beyond the visual elements of artworks and into their emotional and societal contexts, demonstrating the potency of art in expressing and processing human experiences.