Module 5 Soulmaking (Art Making) PDF

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Module4Soulmaking (Art Making)IntroductionArtists typically don't use the word "innovation" to characterize their work, becauseinnovation implies the instrumentalization of these multiple forms of consciousness to achievea specific goal. Rather, they talk about creativity, a word that signifies a mo...

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Module 4

Soulmaking (Art Making)

Introduction Artists typically don't use the word "innovation" to characterize their work, because innovation implies the instrumentalization of these multiple forms of consciousness to achieve a specific goal. Rather, they talk about creativity, a word that signifies a more open-ended conversation- one that is process-oriented instead of goal-oriented. Art schools attempt to foster an environment that is safe for this open-ended creative process to unfold. The goal is to create an experimental laboratory where, as in science, there is an expectation of risk and recognition of the inevitability of failure. Increasingly, there is recognition that artists also are inherently problem solvers and could be useful in all conversations about how to address the world's complex challenges. Curators have observed that many artists are already trying to address world problems with original solutions- artists' types of solutions-based on their aptitude for living in the present while reading the signs of the future. Pressing global challenges, such as economic inequality, migration, climate change, aging societies and food security, present problems too difficult for anyone discipline to solve. And, given the interconnectivity and global scale of these issues, the solutions will have to look and feel completely new. Artists, with their preference for unconventional approaches and unique forms of representation, are adept at this type of daring and creative problem-solving. Increasingly welcomed into these conversations, they can help move consciousness forward, as they always have. Learning Outcomes: At the end of this chapter, the students will be able to: • • • • •

Discuss the concept of soulmaking; Develop students 'artistic potentials through soulmaking; Enhance students' sensitivity and awareness towards their environment; Draw out metaphor from local myths so that students will value cultural roots; and Develop students' ability in manipulating the elements of art.

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Lesson 1: The Process of Art Making and Acts of Appropriation

Introduction No one is really an expert in art. It is truly a lifetime process that never ends. Formal training, though not critical, helps in the sense that it can speed up one's learning, having the benefit of many teachers 'and students' experiences. A beginning art student will learn visual perception (basic drawing), two- dimensional design, three-dimensional design, history of western art, perspective, lettering, color theory, figure drawing, and more; ceramics, sculpture, photography, printmaking, art history, painting and more come after the first year. Though perhaps not commonly known, it requires a lot of study to learn how to make art. Even if self-taught, one must go to museums, galleries, read books, talk to other artists, etc. to learn about painting, sculpture, printmaking, photography, or contemporary media. It really must become more than an area of study - it becomes a way of life, in that an artist is always an artist; it is a characteristic rather than an activity. It means to always be searching, looking, thinking, feeling. Many times, a day, one will see things in nature, in a newspaper or magazine, when driving, etc. that strike us and try to make note of for possible use in the future. It may be an object or scene - but more often it is seeing a color relationship of two or more colors together; or an interesting light effect; an arrangement of patterns in space. Try to remember to use those colors in that relationship in a future painting or that light effect, etc. Soulmaking (Art Making) Art making is a fun and rewarding way for people to express themselves and to learn a broad range of skills and concepts. In making art, students explore the materials and techniques used by artists and architects and experience the decision-making practices that artists have used over the centuries. While many art educators emphasize the creative process and exploration through art, others focus on developing studio skills and a fully realized final product. Students interested in working further in their craft become amateur or professional artists. When educators emphasize the art-making process over the final product, students increase their sense of mastery, decision-making, and feeling of inclusion and independence, and ultimately grow in self-awareness. Working in groups offers opportunities for shared risk taking and completing works through teamwork, cooperation, and the exchange of ideas. When students make art, they can express their feelings, fantasize, tell stories, and give their ideas concrete form. They can reflect and draw upon their everyday experiences and observations. Students find relationships between objects, consider alternative, and make choices. They identify with the ideas and feelings explored and expressed by well-known artists.

Art making is a fascinating and effective way to introduce students to a wide variety of textures and help them develop their tactile exploration skills. Younger students develop their motor skills when working on construction or modeling projects that involve manipulating paper, cardboard, clay, plaster, and other materials. The Art Making Process In the art making process students receive guided instruction on how to start and finish a typical art project using efficiency and best practices.

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Phase One begins with sketching. grid-lining, drawing, or filling in under- paintings. In this phase, students learn about introductory best practices on techniques and approaches and understanding the art concepts. Phase Two includes adding multiple layers of tone, color, or paint within an artwork. Here, students are required to problem solve and are encouraged in their art to explore, manipulate, and master technique-based art applications. Phase Three ends with students adding final detail and craftsmanship showcasing their finished projects. This includes demonstrating the understanding of the art elements, habits of mind and effort, communication skills, habits of work, composition concepts, and execution into a well-crafted project. Stages of Art Making Art doesn't just happen. Whether it's a simple line drawing or an involved, realistic painting, there is a definite trajectory to the creative process. Beginning with the spark of inspiration and finishing with the completion of a work, this illustrated guide portrays the five stages of creating art. 1. Inspiration - This is one of the most exciting moments in the process of creating art: that beautiful moment when inspiration strikes. Where does inspiration come from? Well, that's a subject that has baffled and mystified people for centuries. Perhaps it's a film or piece of fine art that inspires you; perhaps it's something from nature or an event that has occurred in your life. Sometimes, an idea seems to come out of nowhere. Wherever ideas come from, they have an uncanny way of striking at the oddest moments: while waiting for the bus, in the middle of rush hour, or while you're in the bath. 2. Percolation-While it's not the most glamorous part of the creative process, the "percolation" period is vital to creating art. Basically, this is the time that elapses after you've had your idea, but before you start making art. It cannot transpire in many ways. Sometimes this involves refining your idea by making sketches and tossing out just as many or playing around with ideas visually. Other times, it's just a matter of giving an idea space to germinate. Sometimes, you may have an idea year before you create the piece of artwork it inspired. It doesn't mean you've been resting on your laurels that entire time, though. There's part of you that is always processing and refining your idea. 3. Preparation - Preparation can be confused with the "percolation" period, but it is a more active and focused time. You've settled on your inspiration and how you'd like to proceed. Now, it's a matter of figuring out how to make it happen. Preparation includes the time spent obtaining and organizing your supplies, plus creating a blueprint for what your piece will be. Maybe that means making roughs or creating a dummy outline for a book project. 4. Creation - Finally, it's time to make it happen! Creation is the time during which you are solidly on your path. You have your pen to paper, your brush to can was. You are creating. The process of creation can vary depending on your personal temperament, your artistic style and your medium. For some, the process of creation is quite short and much of the work has 3

been done in the previous phases - for instance, a simple line drawing. While it might take minutes to complete the drawing, the thought and time developing that idea was the more time-consuming part of that project. For a detailed painting, it might be just the opposite - you might spend hours, days or weeks refining the perfect light on a realistically painted flower petal in oil. 5. Reflection - After you create a piece of art, there might be a slight tizzy of activity: sharing it with family and friends, delivering it to a client or hanging it on the wall. But regardless of the end point of the art, its completion often leads to a period of reflection. This reflection will be different for everyone. For some artists, there's a sort of low-grade postcreative depression that occurs, making them feel a little empty and "spent." For others, there's relief: "It's done! I can move on to the next thing!" For others, there are regrets: "I wish I had made this line longer, I wish I had made that part of the composition blue." Regardless of how it feels to create a piece, though, its completion is a milestone. But your creative work isn't done forever; it won't be too long before the entire cycle begins again! Seven Da Vincian Principle One of the biggest questions about innovation is "how do we maintain it over time?" After all, there are lots of one hit wonders, but only a few people can continue to come up with innovative ideas on an ongoing basis. While it would be impossible to do justice to this genius in one blog post, hereunder is the Seven Da Vinci Principles that help define da Vinci’s approach to life and as such innovation (Gelb, 1998). Those seven principles are: 1. Curiosita (Curiosity): An insatiable curious approach to life and an unrelenting quest for continuous learning. After all, have you ever met a successful person who does not claim to be a veracious learner? 2. Dimonstrazione (Demonstration): A commitment to test knowledge through experience, persistence, and a willingness to learn from past mistakes. This is pretty much the scientific method applied to everyday life. Thinking back to our WD 40 example in an earlier discussion, it wasn't the first effort that worked, it was the 40th. 3. Sensazione (Sensation): Continual refinement of the senses as the means to enliven experience. To be innovative we must be aware of what is going on around us. One of the important business topics that it relates to that is active listening. Far too often in business we only listen passively and as a result miss vital information that could serve as the inspiration for some new idea. 4. Sfumato (Going Up in Smoke): The literal translation for this term is going up in smoke. It is about our willingness to embrace ambiguity, paradox, and uncertainty. As the old saying goes, the only two things that are certain in business are uncertainty and change. 5. Arte/Scienza (Art and Science): Developing a balance between logic and imagination. After all, imagination without logic is daydreaming, and logic without imagination is boring. Other terms for this are balancing between art and science as well as whole brain thinking.

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6. Corporalita (Of the Body): This is about maintaining a healthy body as well as a healthy mind. Have you ever seen an unhealthy person who was creative? While there are a few exceptions here and there, they are very rare. One of the core concepts of da Vinci's approach is keeping our bodies fit being a function of keeping our minds fit. Fit minds lead to more innovative and creative solutions. 7. Connessione (Connection) This is the simple recognition of the interconnectedness of all things and phenomena. As we talked about early on, it isn't always just an issue of coming up with something totally new, sometimes it is about seeing the links between how to use old things in new ways. Acts of Cultural Appropriation Cultural appropriation is a concept in sociology dealing with the adoption of the elements of a minority culture by members of the dominant culture (Young 2010). It is distinguished from equal cultural exchange due to the presence of a colonial element and imbalance of power (Wikipedia). We live in a culture that overflows with images and objects. From television to the Internet, from the mall to the junkyard, we are surrounded by words, images, and objects that are cheap, or free and throwaway. It is not surprising that artists today incorporate this stuff into their creative expression. Appropriation is the practice of creating new work by taking a preexisting image from another source- art history books, advertisements, the media - and transforming or combining it with new ones. The three-dimensional version of appropriation is the use of found objects in art. A found object is an existing object- often a mundane manufactured product- given a new identity as an artwork or part of an artwork. Some common sources of appropriated images are works of art from the distant or recent past, historical documents, media (film and television), or consumer culture (advertisements or products). Sometimes the source is unknown, but it may have personal associations for the artist. The source of an appropriated image or object can be politically charged, symbolic, ambiguous, or can push the limits of imagery deemed acceptable for art. Many artworks were composed of objects appropriated by everyday life, like clothes, newspapers, etc. and inserted on the canvas. Marcel Duchamp was among the first artists using "readymade" objects in art, as they were produced. Famous is his piece "Fountain" where he just used an ordinary urinal Also important is the new signature the artist apposes at the appropriated image since it expresses another layer of performative agency. Peggy Phelan claims that "signature verifies the authentic, singular subject, while the practice or performance of signing repeats and copies a previous version of the unique. Cultural appropriation can involve the use of ideas, symbols, artifacts, or other aspects of human-made visual or non-visual culture (Schneider, 2003). Cultural appropriation is often portrayed as harmful in contemporary cultures and is claimed to be a violation of the collective intellectual property rights of the originating, minority cultures, notably indigenous cultures and those living under colonial rule. Often unavoidable when multiple cultures come together, cultural appropriation can include using other cultures' cultural and religious traditions, fashion, symbols, language, and songs. Often, the original meaning of these cultural elements is lost, or distorted, and such displays are often viewed as disrespectful, or even as a form of desecration, by members of the originating culture. What makes cultural appropriation bad is that the dominant culture that appropriates elements of from another usually are ignorant of the original context why said cultural elements existed in the first place. And what's worse, the dominant culture does not bother to learn said context. 5

The act of appropriation is basically exploitative in nature because it robs minority cultures of the credit they deserve. This is especially true when it comes to art forms and music, where the borrowing dominant culture is perceived as creative and innovative while the original culture is perceived as lacking in the same, where the truth is, said culture was the one who came up with the music and the art forms in the first place. The differences between types of appropriation are crucial in determining whether and how an instance of appropriation is objectionable. There are at least five quite different sorts of activity called cultural appropriation: 1. Object Appropriation - This appropriation occurs when the possession of a tangible object (such as a sculpture) is transferred from members of one culture to members of another culture. The removal of the decorations from the Parthenon by Lord Elgin is often regarded as a case of material appropriation. The transfer of a totem pole from the site of a Haida village to a museum is another case of material appropriation. 2. Content Appropriation - This form of appropriation involves the reproduction, by a member of one culture of non-tangible works of art (such as stories, musical compositions or dramatic works) produced by some other culture. A musician who sings the songs of another culture has engaged in non-material appropriation, as has the writer who retells stories produced by a culture other than his own. The Lettermen's rendition of Dahil Sa iyo could be an instance of content appropriation. 3. Stylistic Appropriation - Sometimes artists do not reproduce works produced by another culture, but still take something from that culture. In such cases, artists produce works with stylistic elements in common with the works of another culture. White musicians who compose jazz or blues music are often said to have engaged in appropriation in this sense. Similarly, white Australians who paint in the style of the aboriginal peoples would be engaged in stylistic appropriation. The use of coat and tie by Filipinos is another example. 4. Motif Appropriation - This form is related to stylistic appropriation. Sometimes artists are influenced by the art of a culture other than their own without creaking works in the same style. Picasso, for example, was own without creating influenced by African carving, but his works are not in an African style. Similarly, Ravel was influenced by the jazz of African Americans, but his compositions are not in a jazz idiom. Rather than appropriating an entire style, such artists have appropriated only basic ideas or motifs. 5. Subject appropriation - This occurs when someone from one culture represents members or aspects of another culture. Many of Joseph Conrad's novels involve subject appropriation, since Conrad frequently wrote about 'cultures other than his own. W. P. Kinsella's stories about the Hobbema Indian reserve are often cited as examples of objectionable subject appropriation. Many people who have written on cultural appropriation have not been sensitive to the difference between the various types of appropriation. Reasons may exist for thinking that instances of one sort of appropriation are objectionable. The same reasons may be unable to show that another sort of appropriation is in the least problematic. Nevertheless, artists do make ethical decisions in such areas as the appropriation of others' work, what materials they use in their work and how they use them, the digital manipulation of their work, and what role they play as observers of the events they capture in their art. And, as we have seen, museums and other places in which art is exhibited play distinct roles and have responsibilities in how art is preserved, interpreted, and displayed.

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Quiz Multiple Choice: Choose the letter of the correct answer 1. Is the practice of creating new work by taking a preexisting image from another __________ source and transforming or combining it with new ones A. B. C. D.

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2. This occurs when someone from one culture represents members or aspects of another culture A. B. C. D.

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Act of appropriation Subject appropriation Content appropriation Motif appropriation

5. A commitment to test knowledge through experience persistence and a willingness to learn from past mistakes A. B. C. D.

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Act of appropriation Subject appropriation Content appropriation Motif appropriation

4. Sometimes artists do not reproduce wo...