2. Art : Derived from the “Latin” - Ars Derived from the “Latin” - Ars Refers to any object, thing or procedure, which express feelings and sentiments, ideas, imagination Refers to any object, thing or procedure, which express feelings and sentiments, ideas, imagination Anything which shows skills in using materials, techniques & procedures Anything which shows skills in using materials, techniques & procedures Activities that express aesthetic ideas by use of skill and imagination in its creation Activities that express aesthetic ideas by use of skill and imagination in its creation

3. Something produced with the INTENTION of giving it the capacity to SATISFY the AESTHETIC interest Something produced with the INTENTION of giving it the capacity to SATISFY the AESTHETIC interest INTENTION = a combination of DESIRE and BELIEF to create something (artwork) for a purpose (that purpose is to satisfy the aesthetic interest) INTENTION = a combination of DESIRE and BELIEF to create something (artwork) for a purpose (that purpose is to satisfy the aesthetic interest) Artist not same with Artisan Artist not same with Artisan

4. Art is the most important means of expression Art is the most important means of expression The study of art is the study of mankind The study of art is the study of mankind Art is a potent cultural force Art is a potent cultural force Art cultivates self-expression, imagination, creativity and critical thinking Art cultivates self-expression, imagination, creativity and critical thinking

5. The Value of Art lies in its contribution: The Value of Art lies in its contribution: Source of Inspiration Source of Inspiration Influence to change our life Influence to change our life Change society Change society

6. Commercial Art Commercial Art Art for art sake Art for art sake

7. Primary Language (innate language of art) Primary Language (innate language of art) Secondary Language (conventional terms) Secondary Language (conventional terms) Third Language (Interpretations/Criticisms Third Language (Interpretations/Criticisms

9. The object or event is made by an artist The object or event is made by an artist The object or event is intended to be a work of art by its maker The object or event is intended to be a work of art by its maker Experts agree that it is a work of art Experts agree that it is a work of art (NOTE: one can not always determine these criteria only by perceiving the work ) (NOTE: one can not always determine these criteria only by perceiving the work )

11. “shovel” Jim Dine 1962

12. “Fussion” Frank Morrison 2011 http://thepaintednote.com/tag/painting/

13. Perception: what we can observe Conception: what we know we think we know We perceive: Artistic Form Content Subject Matter Participation

14. Implies that the parts or elements we perceive, such as line, color, and shape in a painting have been organized in the most profound effect possible

15. “Composition no. 10” Piet Mondrian 1939-42, oil on canvas, 80 x 73 cm, private collection. http://en.wikipedia.org/wiki/Formalism_%28art%29

16. Artistic form as distinct from non- artistic form, involves a high degree of perceptible unity (But how can we determine what is a high degree?) Artistic form (significant form) means – the interrelationships of elements

19. http://twistedsifter.com/2009/06/stunning-open-concept-house-six-ramsgate-singapore-real-estates/

20. Left Figure: Execution in Saigon By: Eddie Adams, 1968 Right Figure: May 2, 1808 (Dos De Mayo) By:Francisco Goya By:Francisco Goya

22. http://twistedsifter.com/2009/06/stunning-open-concept-house-six-ramsgate-singapore-real-estates/

23. Mont Sainte Victorie Photograph

25. Mont Sainte Victoirie Oil on Canvass Paul Cezanne, 1886-1887

26. The ultimate test for recognizing a work of art is how it works in us Participative experiences of works of art communions Participation involves undivided and sustained attention (not spectator’s attention)

27. Artistic form is a pre-requisite if our attention is to be grasped and held Artistic form makes our participation possible

28. Clive Bell – “to appreciate artwork - we need to bring with us nothing fArtistic form asrom life, no knowledge of its ideas and affairs, no familiarity with its emotions” Robert Fry – “The presence of artistic form is all that is needed to identify a work of art”

29. Unless a work has content – meaning fused or embodied with its form, a work is not art Artistic form always informs – it has meaning or content Content – as we experience it when we participate, is always ingrained in the artistic form We do not perceive an artistic form, then later its content- we perceive them as inseparable (we can separate them analytically) If the form and content are perceived separately, it is a weak art, less artictic

30. The content is the meaning of a work of art – the content is embedded in the artistic form But what does the content interpret? – We shall call it the subject matter Content is the interpretation by means of an artistic form – subject matter

31. Female nude constitutes a subject matter fundamental to Western Art Most of these artworks (with nudity as subject matter) are “Masterpieces” because they are highly valued Their value is because of the powerful interpretations of their subject matter, not just rendering of the human body