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Conceptualism and minimalism raised brainy questions about art and visual perception, while students today favor art about nonart issues.
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Whereas once students attended life classes and learned skills by drawing from a model ('' We will begin by drawing, we will go on drawing and then we will continue to draw,'' Ingres famously instructed his charges), today they sit in paint-free classrooms devising strategies for subverting the patriarchal order.
To call an artist ''academic'' was to insult his work, implying that it was unimaginative, rote, banal.
Virtually all the great modernists, from Cezanne on down, felt undisguised contempt for the Royal Academy of Painting and Sculpture, the mighty Paris institution where students began by copying plaster casts, progressed to the life class to study the (male) nude and, with few exceptions, emerged as proficient, B-minus painters of scenes culled from history or mythology.
For much of this century, the question elicited the same vehement answer.
Academies, the argument went, were anathema to creativity.