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Unit 1
LEARNING CONTENTS
1. What is Art? Introduction
and Assumption
2. Art Appreciation, Creativity,
Imagination and Expression
3. Function and Philisophical
perspective on Art.
4. Subject and Content
5. Artist and Artisan
6. Elements and Principles of
Design.
LEARNING OUTCOMES
At the end of this unit, you
should be able to do the
following;
1. Demonstrate, understanding
on Art Appreciation function,
creativity, imagination and
expression;
2. Analyze the different
philosophical perspective of
art, subject and content
3. Explain the different
elements and principles of
design.
Lesson 5.
INTRODUCTION TO ART
APPRECIATION
Intoduction
Art appreciation is the
knowledge and understanding of the
identify of the universal and timeless
qualities that identidy all great art.
The more you appreciate and
understand the art of different eras,
movements, styles and techniques,
the better you can develop, evaluate
and impprove your artwork.
It helps open up the mindset
of the people by listening to different
perspective and views as well as
interpretations of the art, it
encourages thoughtful conversation
and the understanding that there is
more than one approach to
everything.
In college students focus on
interpreting and evaluating works of
art within formal, cultural and
historical contexts, as well as
exploring a survey view of art history
form prehistoric to contemporary,
including a deeper look and global
artworks.
Artist and Artisan
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Learning Outcomes

At the end of this lesson, you will be able to:

1. Justify the difference of Artist and artisan;
2. Recognize the concepts of imagination; and
3. Examine artworks which utilizes appropriation.

Learning Essentials

KEY WORDS AND CONCEPT

 Artist - is generally defined as an art practitioner such as a painter, sculptor,
choreographer, dancer, writer, poet, musicians, etc.
 Artisan- is a craftsman such as carpenter, carver, plumber, blacksmith, weaver,
embroiderer, etc. who produces directly functional and/or decorative arts.

Artist
A formal Art study would be an advantage but it is not a
requirement to practice art. Acquiring or learning skills in Art is not
just taught and learned in a formal art school but also acquired
informally. You may learn to play the guitar not from a formal
workshop but from the neighborhood. Yet, an artist may learn not
entirely from a school perspective but can be developed later in life
through curiosity, hobby, or experiences.
Most artists feel free in making their art. They have the real
drive to develop a particular artwork, most often, regardless of potential market and of how
people would respond to its message-They may love, like, embrace or the other way around.
Burton supported this claim when he said that “ an artist will do whatever it takes to make
the work ‘right’ .The result may not be pretty; it may even be painful, but it will be honest”
(2011). He added that indeed, real Art moves people. Hence, Stillmunks said that “the real
artist touches the heart and soul of the viewer. An artist takes something out of his or her
heart and soul and places it on that page, canvas, song, or whatever” (Burton: 2011).
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Artisan
People have different perceptions on the importance of
artist and artisans in our society. They are the same in the
sense that they both develop works of Art; hence, they are also
different since they address different needs of human being.
Like the artists, Artisans ‘works are also noticed and
valued-only in different ways and levels. The relevance and
usefulness of the artisans’ works makes them essential in our
everyday living. A great part of our survival greatly depends
on the works that the artisans produce. The utilitarian function of artisans works give us
comfort, convenience, ease and happiness in living everyday lives. From our basic needs to
our wants, artisans are there to facilitate easy living.
Concepts of Imagination
While human beings are unique and no two individuals are exactly the same,
imagination, too, differ from one person to another. It is affected by experiences-by what our
senses received.
In describing imagination, Burke (1757), says “Besides the ideas. Which are presented to the
senses; the mind of man possesses a sort of creative power of its own; either in presenting at
pleasure the images of things in the order and manner in which they are received by the
senses or combining those images in a new manner, and according to a different order. This
power is called imagination; and to this belongs whatever is called wit, fancy, invention and
the like. But it must be observed that the power of imagination is incapable of producing
anything absolutely new; it can only vary the disposition of those ideas which it has received
from the senses” (1967,16-17).
The direct exposure of the artist to the environment will eventually affect the way the
artist looks upon the subject and the story of his/her own work. It is important that the artist
would submit himself/herself to what he/she doing (art making) to allow deep imagination in
creating forms of Art.
Hunters (2012) enumerate eight different modes of imagination, to wit:
Effectuate Imagination combines information together to synergize new concepts and
ideas. Can be either guided or triggered by random thoughts, usually stimulated by what a
person experiences within the framework of their past experience. It may also incubate from
pondering over a specific problem within the occasional attention of a person.
Intellectual (or constructive) Imagination is utilized when considering and developing
hypotheses from different pieces of information or pondering over various issues of
meaning, like in the areas of philosophy, management, or politics, etc. Intellectual
imagination originates from a definite idea or plan and thus is guided imagination as it has a
distinct purpose which in the end must be articulated after a period of painstaking and
sometimes meticulous endeavour.
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Imagination fantasy creates and develops stories. Pictures, poems, stage-plays, and the
building of the esoteric, etc. This form of imagination may be based upon the inspiration of
some fact or semi-autobiographic experiences, extrapolated or analogized into new persona
and events, supernatural mythology and folklore, and structural with mythical people in real
world setting.
Empathy is a capacity we have to connect to others and feel what they are feeling. It helps a
person know emotionally what others are experiencing from their frame and reference. It
allows our mind ‘to detach itself from one’s self and see the world from someone else’s
feelings, emotions, pain, and reasoning. It can assist us in seeing other realities, alternative
meanings of situations, which may consist of many layers. It shows us that there is no
absolute, just alternative meaning to situations. It links us to the larger community and thus
important to human survival in enabling us to understand what is required to socially coexist
with others.
Strategic Imagination is concerned about vision of ‘what could be’ the ability to
recognized and evaluate opportunities by turning them into mental scenarios, seeing the
benefits, identifying the types and quantities of resources required for taking particular
actions. And the ability to weight up the issues in a strategic manner.
Motional Imagination is concerned with manifesting emotional dispositions and extending
them into emotional scenarios. Without any imagination, emotion would not be able to
emerge from our psyche and manifest as feelings, moods, and dispositions.
Dreams are unconscious forms of imagination made up of images, ideas, emotions, and
sensations that occur during certain stages of sleep. Dreams show that every concept in our
mind has its own psychic associations and the ideas we deal with in everyday life are by no
means as precise as we think. Our experiences become sublimed into our memory passing
into the unconscious where the factual characteristics can change, and can be reacquired at
any time.
Memory reconstruction is the process of retrieving our memory of people, objects, and
events. Our memory is made up of prior knowledge consisting of a mix of truth and belief,
influenced by emotion. Recurring memory therefore carries attitudes, values, and identify as
most of our memory is within the “l” or “me” paradigm. Memory is also reconstructed to fit
into our current view of the world, so is very selective. The process of memory
reconstruction occurs within our subconscious emerging into our consciousness without us
being aware of the source elements, i.e., what is fact and what is belief.
Appropriation
“Appropriation in art is the use of pre-existing objects or images with little or no
transformation applied to them. It can be understood as the use of borrowed elements in the
creation of a new work. In the visual arts, to appropriate means to properly adopt, borrow,
recycle, or sample aspects (or the entire form) of man-made visual culture. Other strategies
include re-vision, re-evaluation, variation, version, interpretation, imitation, approximation,
supplement, increment, and improvisation. The term appropriate refers to the use of
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borrowed elements in the creation of a new work or refers to the new work itself”
(Wikipedia.org).
To appropriate does not mean stealing or plagiarizing. It is not owning a particular
work but just using the artwork in the artist’s new context. Appropriation artists do not
prohibit the viewers to bring the original message and intention of the original artwork;
rather, they still establish them in the new context.
Appropriation can, but not exactly, revive a particular work of art. Thus, it can also
be a vehicle to comment on its original meaning and purpose.
Most Art forms can be appropriated. Painting, sculptures, music, dances, literary
pieces, and even functional arts are appropriated to get in touch, to serve, and to provoke
ideas of particular audiences.
Young (2008) posits five (5) sorts of appropriation.
1. Object Appropriation- occurs when the possession of a tangible work of Art is
transferred from members of one culture to members of another culture.
2. Content- occurs when an artist reuses an idea first expressed in the work of an artist
from of another culture.
3. Style- when an artist produces works with stylistic elements which are common with
the works of another culture.
4. Motif Appropriation- it occurs when artists are influenced by the art of a culture
other than their own without creating works in the same style. Basic forms are
appropriated.
5. Subject Appropriation- occurs when outsiders represent a subject matter that is
intended by insiders to be secret.

Art Making

Art making can be associated with art exploration, concept

development, experimentation, and Art production. In Art
making, the artist undergoes three stages of experience
which are popularly known as pre-production or subject
development, production or medium manipulation and
post-production or exhibition. Art expressions such as
painting, sculpture, dance, drama, music, etc. vary in
approaches in terms of subject interpretation and medium used. Hence, target audience, size
and scope of the work, time frame, budget, availability of materials are considered.

In theatre or performing arts, pre-production involves the following:

conceptualization of the theme, writing the script, making auditions for cast selection,
casting or assigning of roles and workshops. The following should also be considered during
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the practice: spacing, staging, light, music. Set rehearsals and press release should also be
given priority during pre-production phase to ensure quality of performance and people
involved in the production are also vital.

Production refers to the proper presentation of

performing arts. When more than one production is set,
directors must observe and evaluate the production to
improve the performance of the casts in the next set.
Acknowledging the sponsors and people involved in the
production is also vital.

In post-production, evaluation, critiquing, ‘success’

press release, sending thank you messages and letters are done. Schedules for possible re-
staging can also be accommodated.

Performing or combined Arts such as dance, theatre and film are collaborative in
nature. These Art forms need various skills and expertise to run a show or project. In
particular, choreographer, lights director, costume designer, production manager, finance
officers, logistics, tickets in charge, etc. are needed to make a production.

Art making can be done collaboratively or individually. Basically, painters,

sculptures, writers and poets work alone just like carpenters, carvers, etc. However, if they
are involved in a bulk and big projects, they need a hand from other artist or artisans.

Since most artisans outputs are generally for commercial use, they follow a standard
time frame of work form eight (8:00) a.m. to five (5) p.m. with two (2) breaks for snacks in
the morning and in the afternoon. However, most artists work with open time which is
primarily dependent upon artists’ mood and drive to create an artwork. Sometimes they
sacrifice not to take break just to sustain the fluidity of ideas and to hold the momentum. For
them, Art process is a ritual of accommodating overflowing ideas that are accessible in the
imagination. An artist’s approach is so special that skills is not the only thing offered but
everything-emotion, effort and resources even without expecting any return of investment.

Concept development is sometimes interactive and consultative. Some artists

collaborate with other artists, especially when the project is huge enough for an artist to
handle alone. This is called pro-active interaction. In this case, the hired artist follows the
dictates of the one contracting the project. For example, if the painter is commissioned to do
big backdrops or murals and given only few weeks to get the work done, he/she has no other
way but to hire artist to work with him/her.

On the other hand, when an artist does the

concept development alone and would hire artists or
artisans to actually develop, manipulate and execute the
concept, this is a passive Interaction. Here, the hired
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artist and artisans have to strictly adhere with the ideas and thoughts of the one who
developed the art concept.

In poetry and writing, it is usually an individual approach. An artist explores,

manages, and manipulates language and expression alone. The writing process usually starts
with subject or theme identification, followed by writing proper, then proof reading/editing
before finally publishing a work. When poetry or a literary piece is utilized for a
performance art, some poets are sensitive enough that they want a careful and appropriate
interpretation of their work. Sometimes, they tend to be involved in the production to guard
the right interpretation of their work.

Medium and Technique

Medium refers to the material use by the artist.

It is the thing that objectifies an idea. Without
the medium, an idea remains a concept or it
would just reside in the walls of your
imagination. It is challenging to manipulate
medium and transform it from its raw state. The
different media that are sold in the market, such us paint, metal, etc. would remain raw,
unless the artist manipulate and transform them into something else-an image, a metaphor, a
representation, a masterpiece.

Manipulation of Medium requires a technique.

Technique refers to the artist ability and knowledge
or technical know-how in manipulating the medium.
According to Ariola, the technique is the manner in
which the artist controls the medium to achieve
desired effect. So, it is in the technique that artists
differ from one another.

Making an Artwork requires technical competence.

The ability to manipulate is the driving force in the birthing a new form or idea. The artist
has undergo a certain moment of reflection and understanding of the chemistry and physical
properties of the object until he/she finds her/himself commune with the medium.
Manipulating a medium is somehow a trial and error. It requires patience, resourcefulness,
thrift and industry.