1pm Questions

Please post any questions below you would like me to answer in class (if you have a question, usually multiple classmates have a similar or related question ;-), or you would like to hear input from your classmates. Please keep your post to LESS than 100 words.

53 thoughts on “1pm Questions

  1. e0310682 says:

    Under Supporting Details, examples was cited as a form of Supporting Detail. However, how do you use examples as a form of Supporting Details? (I’m sorry, but I could not understand the example provided.)

  2. e0325897 says:

    With regards to the video on Jackson Pollock, I read several comments under the video that highlight how the painting could have been one of Pollock’s early amateur artwork before he gained expertise, explaining the unusual neatness and compactness of the painting. Could there be other possible theories or reasons that support the idea of the painting being one of Pollock’s, in contrary to the belief of the art expert?

  3. Wei Yang says:

    Should the government be the one to support the arts in society, even though the arts are often performed for the entertainment of the upper classes (or people who can afford it)? Moreover, is the arts truly as important, or even more important than supporting the needy in society, or giving support to economic advances, or even research?

    1. e0007962 says:

      I feel that the government is one of the many stakeholders in the society that should support the arts; after all, it is an integral sector. My belief is built upon the definition of Art that Tolstoy provided; it is an expression of a feeling or experience in such a way that the audience to whom the art is directed can share that feeling or experience. These expressions are prevalent in many aspects of our everyday lives and are almost unavoidable. Such support is seen in Singapore, through the many art events and monetary and non-monetary support provided by the National Arts Council and National Youth Council. One example would be the Arts in Our Neighbourhood movement conducted by NAC. This event is one of the many examples of how arts is not only performed for the entertainment of the upper classes. Within a year, there are occasional performances and displays of arts in neighbourhoods such as Ang Mo Kio and Tampines to promote the arts scene in Singapore. I also feel that art can have a greater effect on people that it is given credit for, especially on beneficiary groups such as the Youth At Risk. It is definitely important to support the arts scene so that there can be greater benefits reaped within society.

  4. e0053510 says:

    How does the internet and digital age, which enabled the increased accessibility to art/creative media, affect the patronage of art, especially when people can download and consume music, films etc for free, or take virtual tours of art museums? Would people stop paying for it, or would an increased accessibility encourage more to patronise?

  5. Niklaus Teo says:

    Hello Prof Greg!

    In Tolstoy’s “What is Art,” he listed 3 conditions on the degree of the infectiousness of art that stems from individuality, clarity and sincerity. He places a lot of emphasis on the artist to convey his feelings in order for the work to be considered art.
    I was wondering how true does this hold in today’s modern context where art can come in various forms such as interactive art?

  6. Giam Ju Xian says:

    Does Copyright Laws affect the creation of art? Tolstoy mentioned borrowing and imitation as methods of producing objects stimulating art. I understand from the examples mentioned by the author that he is not referring to the replication of an art entirely. However, I am curious if these law have any effect at all on the creation of art.

  7. Koon says:

    Tolstoy talks of true art being able to infect others with the author’s feeling and state of mind, and that the worth of art is measured by the degree of infectiousness. However, is all true art able to infect everyone that patronise the art? Is art recognised as art only by those who have been infected by it, or by critics of art?

  8. e0036511 says:

    In the reading of “What is Art?”, Tolstoy states what is required to produce true art and what counts as a counterfeit. Who determines and verifies what is real or counterfeit? If it is the critics or connoisseur, how do they determine if the artwork (eg a painting) is being produced with/least feelings and sincerity when they are not present at the time of production?

    Say for example, Paul Cezanne’s The Basket of Apples. How do critics (or we) know the degree of the artist’s sincerity just by looking at the apples?

  9. Jordan Low says:

    Tolstoy mentions that “In painting, this method (Imitation) reduces painting to photography, and (it) abolishes the differences between photography and painting.”

    Imitation involves the addition of a superfluity of details which would result in “highly descriptive realism”. These extra details added unquestionably hinders any potential communication or conveyance of feelings from author to audience. If anything, does photography not, immediately and naturally, retain and preserve whatever is seen by the human eye?

    Also, photography in itself is an independent art form, born off age-old scientific know-how of optics and light. How could it be reduced to an imitation of painting?

    Would like to know more, in general, why photography has always struggled with its more “historical” art counterparts.

  10. Jordan Low says:

    The concept and existence of two opposing cultures (pop culture vs. sub culture) in a society/country indicates that there would be a conflict or (power) struggle between two very conflicting worlds of intellectuals and individuals.

    Does the creation and existence of subculture in a country affect the art that is patronised/demanded in that country?

  11. Ricole Sim says:

    Recently I saw an online post about people making use of the King of Pop, Michael Jackson, to promote their current music and works. Sort of leveraging on his popularity for their own benefit. This got me thinking about how fine the line is between memorialising the artist and exploiting the memories of the artist for economic and social benefit. Are there ethical issues arising with partonising such art?

  12. Tan Pei Lin Rena says:

    Artworks are often created from the result of re-articulation of earlier works via borrowing and transfer. How does one draw the line for what is considered culturally “ours” or “theirs” since it is often a mixture of several styles?

  13. Niklaus Teo says:

    Warren Buffett has been named the most charitable Billionaire with his monetory contributions with $46 billion since 2000. However, his contributions are mainly to other foundations and charities, not to a specific foundation founded by him. Does extremely wealthy philanthropists have to have their own foundations to show their true passion or does merely contributing large sums of money constitutes as being a great philanthropist. By contributing money only, does their impact make a lesser difference than those that run their own foundations?

  14. Wei Yang says:

    Is this current chapter on Philanthropy trying to value art as a form of philanthropy (aka donations of arts/arts as means to gain money for charity)? Or is it trying to show how art can be a form of philanthropy (giving time as an artist to support the needy)? Or is it trying to show a relation between the thoughts and actions of a philanthropist, vs the thoughts and actions of an artist while creating art (target audience, authenticity, etc.)?

  15. Wei Yang says:

    I noticed that the museums often focus on 3 main aspects: research, preservation and education. All 3 of these costs a lot of money, and museums rely on donation/grants/ticket sales to support themselves. With the limited resources that these museums have, why is it that they still choose to collect more artifacts?

  16. Giam Ju Xian says:

    Do you consider it philanthropy if a music festival’s purpose is to support a cause and at the same time, generate profit for themselves? There are several music festivals that adopt causes to raise awareness. However, the profits they generate is not used to aid the cause. For example, Organizers of Coachella manage its carbon footprint by partnering with the organization Global Inheritance to promote several environmentally friendly initiatives. To some extent, they utilized their talents and time instead of treasure. In that case, are they considered philanthropic?

  17. Niklaus Teo says:

    The action for children’s art states countries should ensure that the testing of children’s attainment does not limit the breadth and quality of their learning
    • put creativity, play and the arts at the heart of the curriculum, especially for young children and children. Does the emphasis on academics in Singapore, as seen from the stellar records held in the areas of maths and science, forces children to study rather to partake in the arts and if this is true, prevents aspiring philanthropist to give support the arts due to the lack of mediums?

  18. Winni Yeo says:

    In Twilight of the Gods, the Malthusian or rabbit-and-lettuce phenomenon was mentioned as a considerable element in the present crisis of the arts. The more money available, the more troupes and theaters and companies will be formed. For example, symphonies collectively took in $290.4mil but spent $688.9mil in 1990- over-expenditure to the extent of deficits. As philanthropies/ people who fund the organisations, are there no regulations/ rules implemented to prevent such deficits from happening or preventing the funds from being used unnecessary or going into the pockets or executives and music directors etc? Why is there still an increasing number of symphonies/ orchestras formed even though they knew that the concert attendance had decreased drastically?

  19. Tan Pei Lin Rena says:

    To be a philanthropist, one has to contribute time, talent and financial resources. What if one is only contributing one of these three? Are they still considered a philanthropist? So what is the difference between volunteers and philanthropy? Are all volunteers philanthropist since they are giving both their time and/or talents?

    Also, Ford foundation grants seed money, however, they require the arts groups to raise up to four times the grant amount. Are they a philanthropist or something like a business partner instead since they are expecting a return?

  20. Niklaus Teo says:

    What are some of the factors needed to build a cultural mecca and what places in Asian can be considered as a cultural mecca. Can Singapore, with it’s relatively short art history of around 50 years become a cultural mecca?

  21. Wei Yang says:

    The arts have received money from various sources, like patronage, government spending, etc. Is there still a need for artists to apply for grants? Are individual artists, or a group of artists more likely to request for grants?

  22. Niklaus Teo says:

    In Singapore, we have community centers in many districts which allows organisation such as the youth executive committee (YEC) to tap into funds provided by the government provided that they meet certain criteria. Hence, where can we use grant writing skills in Singapore?

  23. Wei Yang says:

    When we want to measure the success of a film/movie, should we measure the ticket sales of the premier or the score the critics give the film? Which shows a better representation of the film?

  24. Wei Yang says:

    Is it not dangerous that the audiences are getting used to conventional forms of entertainment? If they seek entertainment in the future, will they not look for entertainment that will stimulate them more, resulting in morally questionable outcomes (especially since entertainment is not moral)?

  25. Ishaan Dulhani says:

    Looking at audiences with the attention model, which states that the source solely aims at capturing the audiences’ attention, can advertisements be considered entertainment? If so, is this the reason why there is continuous development in the creativity with which advertisements are being made? Is this a result of audiences becoming diffused audiences?

  26. e0053510 says:

    If pieces of art are created with an audience with mind, does that make it entertainment? Or would its classification as “entertainment” be dependent on the audience’s perception of it and what meanings they give it? Alternatively, can a piece of entertainment be considered art based on its value/meaning given by its audience?

  27. Ricole Sim says:

    Under the reading of “Consumers: Markets, public’s and Audiences” we get to know more of the relations between the producer of visual art and the market. To what extent do these apply to other forms of art (e.g. musicals) as well?

  28. Wei Yang says:

    Since Art forms are either used to promote a political agenda, or deter a political view (think in terms of satire, like the book 1984, or the political art work for the Russian-China Communism Posters) , which shows that they are often simulacra, either by imitation or effectfulness. Hence, does that mean that a political art cannot be a form of true art?

  29. Wei Yang says:

    When we consider Political Art, we have to take into account he economic factors, as well as religious factors, into the art form. Is there any form of Political Art that is separate from the Status or Social Groups?

  30. Wei Yang says:

    To what extent does Religion restrict the creation of Art, and to what extent does it support the creation of Art? Also, there has been many cases whereby art was destroyed due to “Religious Motives”, especially art of a different religion.

  31. Tan Pei Lin Rena says:

    There isn’t any great women artist is it because they tend to make art that expresses their personal life and emotions that many at that time could not relate to it? Hence they felt that it was not a great artwork because they couldn’t see the meaning behind the work.

  32. Jordan Low says:

    Given that women throughout the earlier parts of history have experienced a great deal of societal oppression under a very dominant institutionalised patriarchy (with no opportunity/platform to properly and legally contest the inequality), are the art they produce not great, if anything, greater (and more true) than the art produced by the men from their timeline?

  33. Jordan Low says:

    We all know and talk about the ‘male gaze’, but what about the ‘female gaze’? How is a woman’s gaze different from that of a man’s? If it is different, how does this difference influence the ways in which the two opposing genders view art and the world?

    and on the contrary, would that mean that there are ‘female’ standards to art?

  34. Jordan Low says:

    I’ve always been puzzled by nudity in ‘great works of art’. Never understood how and why nudity provides the ‘temporal universality and the classical idealization required by great art’. How is it not considered obscene or transgressive? What constitutes obscenity?

  35. Jordan Low says:

    Were/Are steps taken towards the future for feminist art appropriate/favourable? – given the rise of radical feminist art and how it has appropriated pornography as an act of empowerment for female sexuality (Marilyn Minter, Hannah Wilke, Valie Export etc).

  36. Joshua says:

    Comparing between these two, music nowadays is definitely less technical and less complicated compared to music from centuries ago, like classical music. Would this might be one of the reasons why there are more great women composers nowadays compared to the history, which is mostly dominated by men composers? Is it because women are able to express their feelings more straightforwardly through music nowadays without having to deal with the complex ‘rules’ and ‘refinements’ of music of the past? Or is this just a result of the stereotype in which women preferring feeling over thinking, and vice versa for men?

Leave a Reply