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Creativity in Art: Evaluating Representations and Communication

Explore the concept of creativity in art, analyzing how representations communicate artistic intentions. Learn to assess and improve artistic skills and creativity. Understand the importance of viewer inclusion and artistic expression through symbolic vehicles, composition, and expression. Discover the factors that contribute to good art and the decision-makers in art evaluation.

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Creativity in Art: Evaluating Representations and Communication

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  1. Ms. Gabanski CREATIVITY Visual Art

  2. EVALUATE HOW REPRESENTATIONS COMMUNICATE ARTISTIC INTENTIONS IN ARTWORKS THEY MAKE AND VIEW TO INFORM THEIR FUTURE ART MAKING (ACAVAR130)

  3. Class Objectives Thumbs up, middle, down What is creativity? How can we be more creative? How can we improve our art?

  4. Artistic skill: B/C Creativity: A 11. Think of different ways you can use a newspaper.

  5. Which is the most creative answer? a) To check how my football team is doing. b) To block the windows because the sun keeps shining on my TV and I want to watch the cricket. c) Paper mache. Why?

  6. Authentic, problem solving, original, not just reading the news, a lot of information, other people can relate to it. Art is not just about you, you have to include the viewer (concept.) Art is alanguage: You need two people: the artist and the viewer.

  7. You go to an art gallery, and see a work that tell you the artist’s life story. You go to an art gallery, and see a work that tell you YOUR life story.

  8. What is creativity? What is ‘good’ art? Who decides? Golomb, 1992; Winner & Gardner, 1981

  9. Draw happy Drawing activityResearch study by Davis (1997) 140 participants (5,8, and 11 year olds; 14-year-old and adult artists and non-artists)

  10. Draw sad Drawing activity

  11. Draw angry Drawing activity

  12. Research study by Davis (1997) Four hundred and twenty happy, sad, and angry drawings from 140 participants (5,8, and 11 year olds; 14-year-old and adult artists and non-artists) were scored across relevant aesthetic dimensions: 1) symbolic vehicle; 2) composition; 3) expression • (i.) expression as possession, • (ii.) expression as reference, including a referential distinction betweenmetonymicandmetaphoricconnection.

  13. symbolic vehicle (conscious expression of mental content) 2) Composition (how you use the paper) 3) expression (mark-making… not drawing!)

  14. metonymic “its like psychology” “it’s that thingummy” a thing is named not by its real name, but in relation to something else) (toilet signs) • Metaphoric : described in comparison to something else. (Nike sign)

  15. 1) Symbolic vehicle • the precise symbol used to represent the meaning of the drawing. • Representational • Nonrepresentational • The choice of vehicle • Use of cultural stereotype as developmental marker

  16. 2) Composition • the placement of the symbolic vehicle on the page (Symmetrical versus asymmetrical balance) • Asymmetry is harder to achieve, according to previous studies (Golomb, 1992; Winner & Gardner, 1981) • Composition used as agent of expression • asymmetrical balance used as agent to expression of less centered feelings • symmetrical balance might be used to express more centered feelings

  17. Angry Guess which one is the adult artist and which is the 5 year old, based on the use of composition for expression

  18. 3) Expression • Expression as possession. • embodies emotion through the use of line and/or composition. • Expression as reference. • refers to the emotion that the drawing is expressing. • connection between the symbolic vehicle (the image) and its referent (the emotion). • The connection between the expression and the symbol: • 1) metonymic • 2) metaphoric.

  19. Angryvisual choice in representation

  20. A. Out of 10. Score for skill? Score for creativity?

  21. B. Out of 10. Score for skill? Score for creativity?

  22. C. Out of 10. Score for skill? Score for creativity?

  23. D. Out of 10. Score for skill? Score for creativity?

  24. E. Out of 10. Score for skill? Score for creativity?

  25. Concept? (umbrella) Focus? (lens) Body of work? (thought process made visual) How do artists work? They experiment and learn from them. They make happy accidents They branch out They don’t make great art all the time. Da Vinci didn’t just pick up a paintbrush and paint the Mona Lisa.

  26. Body of Work

  27. Emma Goodhew, Kingaroy State High School Personal perception – drypoint etching, watercolour, chalk pastel My work is symbolic of my identity. The mouth of the dog represents the traumatic experience I have had during high school. The angry feeling that is expressed from the dirty sharp teeth expresses the harsh words that have been said to me by these "dogs". I specifically created a wet look within the dog's mouth to create an image of the dog barking which represents the name calling. I placed myself in front of the barking dog as this portrays that I am trapped within this bark and can’t escape. http://www.qagoma.qld.gov.au/__data/assets/pdf_file/0003/161589/Catalogue-Revised_16_June.pdf

  28. Class Reflection Thumbs up, middle, down • What is creativity? • How can we be more creative? • How can you improve your art?

  29. Apply an art analysis to each one. https://www.youtube.com/watch?v=YUroYPadQv8 Students discuss it. http://www.tate.org.uk/art/artworks/koons-three-ball-total-equilibrium-tank-two-dr-j-silver-series-spalding-nba-tip-off-t06991/text-summary

  30. Discussion of students of their artist statements http://tv.qagoma.qld.gov.au/2013/05/23/creative-generation-excellence-awards-in-visual-art/ Examples of art http://forms.education.qld.gov.au/eavad/slideshow/slideshow.php

  31. Vs. Jeff KoonsThree Ball 50/50 Tank (Two Dr. J. Silver Series, One Wilson Supershot) 1985

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